Art of Design v2

ART OF DESIGN
…considering now the whole house of war in its structural aspect, which was strategy, in its
arrangements, which were tactics, and in the sentiment of its inhabitants, which was
psychology; for my personal duty was command, and the commander, like the master
architect, was responsible for all.
—T. E. Lawrence 1
STUDENT TEXT DESIGN TEAM

Strategic Sponsor: Colonel Stefan Banach.
Design Team Leader: Dr. Alex Ryan.
Core Design Team: Dr. Peter Schifferle, Dr. Michael Stewart, Dr. Alice Butler-Smith,
Matthew Schmidt, John Rochelle, George Webb.
Subject Matter Experts: Bruce Stanley, Lieutenant Colonel Andrew Johnson, Commander
Michael Hutchens.
Murder Board: Dr. Scott Gorman, Major Luis Cepeda, Dr. Chris Paparone, Dr. Tom Clark,
Lieutenant Colonel Tino Perez, Colonel Matt Dawson, Major Trent Mills, James Greer,
Lieutenant Colonel Richard King, Lieutenant Colonel Tom Traczyk, Major Grant Martin,
Brad Gill, Major David McHenry, Carl Fischer.
Graphic Design and Multimedia SME: Eleanor Joel.
Copy Editor: Jennifer Swartz.
1 Thomas E. Lawrence, Seven Pillars of Wisdom: A Triumph (London: Penguin Books, 1983), 181.
i
ART OF DESIGN
FOREWORD
Our Nation continues to be engaged across a complex, dynamic, and ambiguous world in
which situations are poorly understood and ready solutions are neither available nor
anticipated. Moreover, what we see as apparent problems are often merely symptoms of
deeper issues with their own dynamics and relationships. This is not a new phenomenon.
The world has always been and will continue to be complex. The sources of novelty and
complexity that we experience everyday are derivatives of technological revolutions and
ideological influences that have driven adaptation for millennia. These evolving dynamic
factors affect existing cognitive processes and leadership approaches, which at times are
proving to be inappropriate for contemporary complex problem solving. These continually
emerging realities require adaptive leadership techniques, new strategic and tactical
cognitive approaches, and organizational learning methodologies to keep pace with the
multiple adversaries who are confronting our country. These lethal assemblages have a
strategic perspective and are using asymmetric approaches to leverage the seam between
traditional warfare and law enforcement activities of the United States and her allies. When
faced with these challenges, commanders and leaders at all levels need to answer four
fundamental questions to compete decisively in the future:
• What is the appropriate cognitive approach for 21st century warfare?

• How should one structure and lead adaptive organizational work?
• How should one structure and lead organizational learning?
• How can one communicate effectively in the 21st century?
Answering these questions requires reflection on alternative approaches to leadership; on

constructing a cognitive framework for how to reason through complexity; on how to
create an organizational learning system to decisively compete in the contemporary
operating environment; and how to communicate the resulting understanding with others.
Design is a strategic cognitive construct that directly confronts these challenges.
The School of Advanced Military Studies’ (SAMS) involvement in this endeavor began with
Exercise Unified Quest in 2005. In July 2007 we received the mission to further develop
design thinking for the Army, building upon U.S. Army Training and Doctrine Command’s
(TRADOC) continuing effort to assess the application of design. This required our faculty to
establish an open experimental environment to encourage learning, and generate the
atmosphere for new thinking to flourish. SAMS developed, taught, and refined an initial
curriculum that has matured into a 24-lesson design course grounded in theory, history,
philosophy, and doctrine. Our students and faculty have written monographs and
professional articles to carry the word to the field and aid further development. Twenty
five seminars have studied design as a theory of reflective practice – and indeed, our
graduates have taken it straight from the classroom to the battlefields in Iraq and
Afghanistan, bringing to the operating force the ability to incorporate a well-thought-out
strategic cognitive construct as a complement to what commanders attempt to do
intuitively.
ii
ART OF DESIGN
Design is elucidated in many recent military doctrinal and concept manuals. Each of these
publications has served to advance the professional discourse for the refinement of design
concepts and application. A graduate-level institution like SAMS requires a rich supporting
text that enables education of the form, function, logic, and practice of design. SAMS’ Art of
Design Student Text, Version 1.0 was published in September 2008 as a reference for future
instruction at the school. As happens with any new concept, the transition from theory to
practice yielded a significant body of experience, which revealed innumerable insights and
understanding.
The Art of Design Student Text, Version 2.0 is the next iteration of this understanding of
design as the art of strategic thinking. The utility of this student text will not be limited to
the classroom. It will also serve as a comprehensive resource for leaders in the field who
are already designing exceptionally complex operations in Afghanistan and Iraq. This
student text contains leading edge theory and practical advice for how to educate and lead
design. With regard to design, never has there been more truth in our SAMS motto: MENS
EST CLAVIS VICTORIAE – “the mind is the key to victory.”
iii
ART OF DESIGN
iv
ART OF DESIGN
1. INTRODUCTION
Design does not replace planning, but planning is incomplete without design. The
balance between the two varies from operation to operation as well as within each
operation. Operational design must help the commander provide enough structure to
an ill-structured problem so that planning can lead to effective action toward strategic
objectives. Executed correctly, the two processes always are complementary,
overlapping, synergistic, and continuous.
— General James N. Mattis 2
With the publication of design doctrine within U.S. Army Field Manual 5-0, Operations, and
the advocacy of the U.S. Joint Forces Command (USJFCOM) Commander General Mattis for
migrating operational design into the joint arena, the debate on whether and why design
has now transitioned towards a discussion on how to design. If the early problems of
learning design were hampered by the lack of any written accounts of design methodology,
the current problem facing students of design is the proliferation of books, doctrinal
manuals, and journal articles on the subject. While these sources share a common core,
there is significant divergence in terminology, and varied emphasis on the philosophical
versus practical aspects of design. This is actually a very good sign that design discourse is
alive and well, but it can make entry into the subject more daunting. This highlights the
requirement for an up-to-date introductory text for students of design.
The School of Advanced Military Studies (SAMS) has been an active participant in design
discourse since before its official introduction into the United States Army. An informal
academic relationship between SAMS faculty and the enigmatic Israeli commando, division
commander, historian, and professor Brigadier General (Retired) Shimon Naveh began in
the mid-1990s. It was during this time when the Israel Defense Force (IDF) think tank, the
Operational Theory Research Institute (OTRI), first began to develop Systemic Operational
Design (SOD). This initial relationship emerged from mutual interests in the history of
operational art.
By the time SOD made its debut at SAMS in January 2005, U.S. Army Training and Doctrine
Command (TRADOC) Futures had already developed its own curiosity about the approach
because it seemed to have potential as a way of thinking that could address some
conceptual contradictions that, at the time, were becoming apparent with regard to the war
in Iraq. As the war became something else – an insurgency, a civil war – and the reality that
somehow ‘culture’ was a critical component of what was happening, Naveh, along with
other senior academics, senior retired IDF officers, and military graduates of OTRI, were
invited to SAMS and began what would be the first of a number of workshops and practical
exercises with SOD. This first SOD seminar included SAMS faculty, retired Army general
2Gen. James N. Mattis, “Memorandum for U.S. Joint Forces Command: Vision for a Joint Approach to
Operational Design,” 6 October 2009.
1
ART OF DESIGN
officers, and the Fellows who comprised the Advanced Operational Arts Studies Fellowship
(AOASF). Eight SAMS students were subsequently chosen to study SOD in greater depth,
mentored by BG Naveh and OTRI scholars. As a holistic approach that emerged from, and
was developed in relation to, a practical military context in which preponderant power was
irrelevant, it was intriguing. Moreover, it inherently understood the centrality of
culture; aimed at adaptability; and was founded on inquiry and learning based on
observing difference. It consciously developed operational art as a place where
environmental differences were accounted for and as a relevant source of insight for the
refinement of strategy. These features combined with the outcomes of practical exercises –
which offered unconventional recommendations – sustained the curiosity and interest.
So it was in 2005 that the first eight students from the Advanced Military Studies Program
(AMSP) were selected to study and practice SOD. In May, the group participated in Exercise
Unified Quest 2005, to compare the outcomes of SOD with those of two other groups, one
using Effects Based Operations (EBO) and the other the Military Decision Making Process
(MDMP). Their design caught the attention of several senior officers at Unified Quest
because something different was going on. The logic of the approach was different: it
began with a holistic inquiry into the nature of the rival in context and came to its
own understanding of ‘the problem.’ These aspects combined in the discourses of SOD
generated both critical and creative thought. Because the inquiry was holistic, the SOD
team produced a very different recommendation within the scenario – an indirect and non-
military disruption of the rival system. This first experiment was documented in a
collaborative student monograph, “Systemic Operational Design: An Introduction.”3 In one
of the first American presentations on SOD, Colonel Mark Inch stated:
Systemic Operational Design (SOD) is a commander-driven process of structured discourse
to understand and modify strategic guidance, in order to frame the problem and solution for
the operational planners. 4
We will see that the new design doctrine, repeated here in Chapter 3, stays true to the
themes recognized during Exercise Unified Quest 2005 by Colonel Inch. FM 5-0 emphasizes
the role of the commander; explains the importance of dialog and collaboration; explicitly
links design with developing understanding within battle command; and provides a
methodology for framing problems and solutions to enable detailed planning.
In the summer of 2005 faculty from SAMS, as well as members of other organizations at
Fort Leavenworth and American General Officers, attended and participated in a week-long
seminar organized by OTRI in Israel. During this week Americans and Israelis engaged in a
robust schedule of presentations and intense discussions centered on cognition and
learning. Israeli participants included active duty General Officers, senior academics, and
3 Maj. William T. Sorrells et al., “Systemic Operational Design: An Introduction” (Monograph, School of
Advanced Military Studies, U.S. Army Command and General Staff College, 2005).
4Col. Mark Inch, “Systemic Operational Design: Case A Outbrief,” Presentation to Exercise Unified Quest,
Carlisle, PA, May 6, 2005.
2
ART OF DESIGN
members of government who had learned and applied SOD. This produced a tremendous
expansion of knowledge for a number of the American participants.
The following year, a group of SAMS students self-selected for participation in an elective
course in military theory combined with the study of SOD. This group culminated its
activities with participation in Unified Quest. Naveh and the team from OTRI once again
worked with SAMS directly when it came to instruction in SOD and mentoring during the
preparation for the exercise. The Israelis changed some aspects in the application of the
approach to overcome practical and cognitive challenges some Americans had
demonstrated with the different way of thinking. As the team prepared for Unified Quest
they wrote a 20-page article, “Operational Design: Standard Operating Procedure.”5 This
reflected not only the nature of the growing interest in SOD, but the thought that was going
into adapting SOD to an American organizational structure. Both were able to do this easily
without altering the logic of the methodology. Once again, SAMS gained the attention of
senior officers at Unified Quest. What was this? Majors were discussing philosophy in
relation to their thinking during planning, using theory to propose innovative ideas, and
developing products that reflected novel conceptions of the problems with which they
were presented.
At the same time, interest was growing within SAMS among the Majors who were not
participants in Unified Quest. Monographs began to proliferate – about Systemic
Operational Design specifically, about linear and non-linear thinking, the form, function,
and logic of decision-making processes, cognitive initiative, efficacy in the operational level
of war, the nature and role of discourse, and the relationship between design and
planning.6 Other monographs were written that applied SOD to specific issues, and even to
other militaries. No one can fully appreciate what Design is as it exists today without an
understanding of its intellectual lineage, in the context of SOD, SAMS’ early development of
the thinking, and the military’s ongoing experience in the Middle East and Central Asia.
Those were exciting and creative days.
Since that time, SAMS students have participated in every Unified Quest experiment as core
members of design teams, where the students have continued to impress exercise
participants with their innovative approaches to complex and ill-structured problems. In
2007, based on further positive feedback from the Unified Quest experience, SAMS was
charged with introducing design into its core curriculum. In response to this requirement,
the Art of Design Student Text, Version 1.0 was published in 2008, with contributions from
both students and faculty. 7 The student text was widely circulated and provided a clear
articulation of the value of design:
5Ketti Davison et al., “Operational Design: Standard Operating Procedure” (Monograph, School of Advanced
Military Studies, U.S. Army Command and General Staff College, 2006).
6 For an annotated list of student work up to academic year 2009, see Appendix A.
7 School of Advanced Military Studies, Art of Design Student Text, Version 1.0 (Fort Leavenworth, KS,
Command and General Staff College, 2008).
3
ART OF DESIGN
Design’s benefit to current doctrine is the creation of a frame of reference that aids
comparison in a changing environment and enables learning through iterative actions.
Design has the potential to provide a systemic shared understanding that is easily
communicated to U.S. forces, coalition, and interagency partners. Design requires an
egalitarian collaborative leadership and participative style of command that engages
subordinate commanders, coordinating authorities, representatives of various staff
disciplines, and the higher commander in continuing dialog and discussion, leading to a
shared understanding of the situation and its requirements and a sense of participation by
all in decision making. Design enables commanders and leaders to learn by exploiting
multiple perspectives, varied sources of knowledge and expertise, while employing critical
thinking to formulate a sophisticated understanding of the situation. 8
In 2009, SAMS faculty participated in the Combined Arms Doctrine Directorate (CADD)
integrated planning team assembled to write the first draft of design doctrine. The doctrine
evolved from an interim field manual FMI 5-2 Design, to a widely staffed Issue Paper, and
finally to a chapter within FM 5-0, The Operations Process. As the U.S. Army has
experimented with design, it has adapted it to better fit within the institution’s existing
processes, structures, and norms. 9
Broadly speaking, the two biggest changes to design since its introduction in 2005 are
simplifications of the design lexicon and alternative approaches to the delivery of design
education. Both are intended to lower barriers to entry for practitioners by finding easier
paths to the same goal: learning a methodology for shared critical and creative thinking and
acting within problematic operational situations. While care must be taken not to diminish
design to the point where it is neither critical nor creative, there is great merit in improving
the accessibility of design, so that more professionals can make use of this approach to
coping with complex operational challenges.
Because of the significant changes to both the language of design and its delivery in the
SAMS curriculum, a complete rewrite of the SAMS student text was necessary. A simple
design method called “the six serving men” (see Appendix B) illustrates the requirements
for the second edition:
Who: The primary audience consists of SAMS AMSP students and AOASF students from all
services as well as interagency backgrounds, with ranks equivalent to Major through
Colonel. Members of the wider design community of practice are the secondary audience.
In particular, when SAMS graduates are asked to lead a design team in the field, this
student text should serve as a single integrative resource for teaching design to new
8 Ibid., 4.
9In addition to the development of doctrine, a series of articles in Military Review on design documents the
American evolution of design. See for example, Brig. Gen. (R) Huba Wass de Czege, “Systemic Operational
Design: Learning and Adapting in Complex Missions,” Military Review (January-February 2009): 2-12; Col.
Stefan J. Banach, “Educating by Design: Preparing Leaders for a Complex World,” Military Review (March-April
2009): 96-104; Col. Stefan J. Banach and Alex J. Ryan, “The Art of Design: A Design Methodology,” Military
Review (March-April 2009): 105-115; Brig. Gen. (P) Edward C. Cardon and Lt Col. Steve Leonard, “Unleashing
Design,” Military Review (March-April 2010): 2-12.
4
ART OF DESIGN
design team members. Other key stakeholders within the design community of practice
that have been engaged with SAMS and have a potential use for this text include the United
States Army Command and General Staff College (CGSC), United States Special Operations
Command (SOCOM), United States Army Central Command (ARCENT), Army Capabilities
Integration Center (ARCIC), United States Joint Forces Command (USJFCOM), United States
Pacific Command (USPACOM), United States Southern Command (USSOUTHCOM), United
States Northern Command (USNORTHCOM), United States African Command
(USAFRICOM), Combined Arms Doctrine Directorate (CADD), the United States Army Battle
Command Battle Laboratory (BCBL), other governmental agencies, allies including
Australia, Canada, and the United Kingdom, and contractors teaching design to the military,
including Booz Allen Hamilton.
What: A self-contained student text synchronized with the design chapter of FM 5-0 that
provides the historical, theoretical, and practical context for leading design. The student
text is written to academic standards, allowing practitioners to trace the concepts of design
back through their multidisciplinary origins. It includes a glossary to clearly and explicitly
identify the terminology of design.
When: The student text will be released in May 2010. This date was chosen to follow the
publication of FM 5-0 in March 2010, prior to the graduation of AMSP AY 10-01, and prior
to the commencement of design practica for AMSP AY 10-02. This version of the student
text should have a shelf life of at least two years.
Where: The student text will be issued both in hard and soft copy to all SAMS students,
and be made available to other organizations and individuals on request. It will also be
available electronically for download at http://www.dtic.mil.
Why: The official incorporation of design within the operations process requires an up-to-
date student text that uses doctrinal terminology and captures how design is educated and
practiced at SAMS. This means that as the design community of practice grows, it can build
upon the lessons already learned and help communicate both the spirit and discipline of
design thinking.
How: The organization of the student text is visually depicted in the Table of Contents on
page iii. Unlike a normal Table of Contents, which just lists sections and page numbers, we
used a design method called a “rich picture” to show how the parts of the student text are
related. 10 This rich picture was initially created as a design sketch on paper, shown in
Figure 1. Comparing the Table of Contents with Figure 1 shows there were a number of
iterations in the design of this student text. For example, the chapters were originally in a
different order, and not all of the important components of the student text had been
fleshed out. Rich pictures are often accompanied with a narrative, which walks the reader
10 Peter B. Checkland and John Poulter, Learning for Action: A Short Definitive Account of Soft Systems
Methodology and its use for Practitioners, Teachers and Students (Chichester, Sussex: John Wiley & Sons,
2006), 26.
5
ART OF DESIGN
through the picture and explains its meaning. The next three paragraphs provide a
narrative for the rich picture Table of Contents.
Chapter 1 introduces the art of design in

its historical context, establishes the need
for this student text, and uses the “six
serving men” to outline the purpose and
structure of the text. Chapter 2 provides
an introduction to design thinking by
summarizing the history, theory, and
philosophy taught at SAMS within the
design course. The focus is not on the
individual readings themselves, but on
the key concepts that they contribute to
design. Chapter 3 reproduces the third
chapter from FM 5-0, which is dedicated
to design and provides an overview of the
design methodology in its entirety.
Previous SAMS graduates told us they like
to borrow the field manuals of their peers
just to read their margin notes, so we
made sure Chapter 3 left plenty of space
for note taking. Chapter 4 uses real
examples of design conversations,
narratives, drawings and methods to FIGURE 1. ORIGINAL DESIGN SKETCH OF THE
illustrate how they can be woven together RICH PICTURE TABLE OF CONTENTS.
to create holistic understanding and a
systemic response to operational challenges. This chapter also builds on the theoretical
concepts introduced in Chapter 2 by placing them in an applied context. In Appendix A, the
annotated bibliography invites the interested reader to explore the literature that informed
the writing of the student text. Appendix B contains a set of design methods, to include
more general thinking methods, which have proved useful in the facilitation of design
discourse. Appendix C provides a lexicon of design terminology that covers both the official
doctrinal terms and some of the language used in the wider design community of practice.
Appendix D lists a set of representative questions devised by the faculty to stimulate design
discourse. Appendix E contains a feedback form for practitioners to suggest improvements
to the text, which helps SAMS complete its own “learning loop” on design. Appendix F
contains a repository of previous SAMS design products. The intent of Appendix F is not to
provide templates for designing, which is antithetical to design thinking, but rather to
provide a gallery of designs for inspiration and to start building the designer’s repertoire of
historical precedents. Appendix G contains a review of software that is potentially useful
within design. Due to the size and interactive nature of the last two appendices, they are
provided only in the electronic format of the publication. The electronic format also
contains an interactive version of Appendix C’s lexicon.
6
ART OF DESIGN
To show how the chapters fit together, it is useful to consider leading systems thinker Peter
Checkland’s model of the relationship between theory and practice, shown in Figure 2. 11
According to Checkland, there are four main parts to this relationship. The first, F, is a
framework of ideas. F represents theory – a set of concepts, as well as the relationships
between those concepts. Second, methodology (M) provides a guide for the application of a
particular theory. Third, the area of application (A) defines the kind of real world problem
situations that are suited to the application of methodology M based on the theoretical
framework F. Last, each time F is applied by way of M in context A, the practitioner has an
opportunity to learn about and improve F, M, and A. When this learning is captured and
implemented, a learning system between theory and practice is formed.
FIGURE 2. THE RELATIONSHIP BETWEEN THEORY, PRACTICE, AND LEARNING
In the context of this student text, Chapter 2 introduces the framework of design concepts.
Chapter 3, which reproduces the third chapter of FM 5-0, describes the methodology for the
military application of design. Chapter 4 maps out the area of application for design, with
examples from the field, the classroom and the laboratory. Because SAMS is a military
school, and the majority of its students serve in the U. S. Army, there is an emphasis on the
application of land power. However, we do not believe that the value of this design
framework and methodology is limited to land operations. Within the military, design has
11 Figure 2 is adapted from Peter B. Checkland, “From Optimizing to Learning: A Development of Systems
Thinking for the 1990s,” Journal of Operational Research Society 36, no. 9 (1985): 758.
7
ART OF DESIGN
great potential not just for the operating force, but also for the generating force. Some of
the greatest opportunities for design thinking may be in providing a holistic and innovative
approach to interagency projects. There is no reason that other Government agencies and
even businesses may not also benefit from this evolution of design thinking within the U.S.
Army. Exploring the boundary of the domain of application (A) raises many important
topics for further research. Appendix E provides a mechanism for learning about
Framework (F), Methodology (M), and Application (A). Readers are encouraged to think
critically about the contents of this student text, to experiment with the framework and the
methodology, and then tell us what works and what doesn’t. Our vision for future versions
of this student text, to paraphrase T. E. Lawrence, is to smell less of the lamp and more of
the field. Your experience will drive the future of design. 12
12“Not perhaps as successfully as here. I thought out my problems mainly in terms of the Hejaz, illustrated by
what I knew of its men and geography. These would have been too long if written down; and the argument
has been compressed into an abstract form in which it smells more of the lamp than of the field. All military
writing does, worse luck.” Lawrence, Seven Pillars of Wisdom, 202ff.
8
ART OF DESIGN
2. DESIGN THINKING
Design is thinking made visual.
—Saul Bass
FIGURE 3. MIND MAP FOR CHAPTER 2.
In a 2009 Military Review article, the Director of SAMS, Colonel Stefan Banach, wrote that
“design is a way of thinking more than it is a theory, process, or product.”13 This presents a
challenge for the student of design. A theory may be understood. A process can be
memorized. A product can be copied. But how is a “way of thinking” to be learned? Schön
calls this “the predicament of learning to design.”
The paradox of learning a really new competence is this: that a student cannot at first
understand what he needs to learn, can learn it only by educating himself, and can educate
himself only by beginning to do what he does not yet understand.14
This is particularly problematic when learning design, because designing is a form of

artistry. It would be paradoxical to expect that a prescriptive doctrine could lead to creative
thought. Fortunately, the definition of doctrine in Joint Publication 1-02 acknowledges that
doctrine “is authoritative but requires judgment in application.”15 How, then, is it possible
13 Banach and Ryan, “The Art of Design,” Military Review, 106.

14Donald A. Schön, Educating the Reflective Practitioner (San Francisco: Jossey-Bass, A Wiley Imprint, 1987),
93.
15United States, Joint Publication 1-02 DOD Dictionary of Military and Associated Terms (Washington, DC: Joint
Chiefs of Staff, 2009).
9
ART OF DESIGN
to learn the critical and creative appreciation of doctrine, in order to develop appropriate
judgment for the application of design?
2.1. CHARACTERIZING DESIGN

Once again, the “the six serving men” can help to address the frequently asked questions of
students of design. The answers given here are accurate to a first order of approximation.
However, in the spirit of the iterative and critical nature of design, the reader is encouraged
to repeatedly ask these questions as their knowledge of design increases – and to challenge
the answers in order to develop a personal philosophy of design.
2.1.1. WHAT IS DESIGN?

According to the doctrine, “design is a methodology for applying critical and creative
thinking to understand, visualize, and describe complex, ill-structured problems and
develop approaches to solve them.”16 This tells us at least four things about design. First,
design is an application of critical and creative thinking. Second, the kind of situation
design is intended to address is complex and ill-structured. Third, the use of understand,
visualize, and describe associates design with battle command. In the words of Lieutenant
General William Caldwell, “[d]esign is the next step on a path to maturing our battle
command model for the complexities of operations in an era of persistent conflict.” 17
Fourth, design is about problems and solutions. Design theorist Bryan Lawson agrees,
observing that the “tension between a problem view and a solution view of the situation is
at the very heart of the way designers have to think.” 18 In the military context, it is
important to note that a solution is not the same thing as a Course of Action (COA).
Whereas designing produces a solution that informs the commander’s intent, planning
compares multiple COAs that provide a possible sequence of activities to accomplish the
mission.
While a definition provides a useful start, a clearer picture of what design is can be
sketched by comparing design to something more familiar. Nigel Cross compares design
with art and science in order to identify the design mindset – what he calls a “designerly
way of knowing.”
For instance, the “things to know,” the respective fields of knowledge, are the natural world
for science, human experience for art, and the artificial world for design; the “ways of
knowing,” the values of science are rationality and objectivity, those of art are reflection and
subjectivity, and those of design are imagination and practicality. Similarly, the “ways of
United States, Field Manual 5-0, The Operations Process (Final Approved Draft) (Washington, DC:
16
Headquarters, Department of the Army, 2010), 3-1.

17Lt Gen. William B. Caldwell IV, “Foreword,” in Jack Kem, Design: Tools of the Trade (Leavenworth: U.S. Army
Command and General Staff College, 2009), iii.
18 Bryan Lawson, How Designers Think: The Design Process Demystified (Amsterdam: Elsevier, 2006), 271.
10
ART OF DESIGN
finding out,” the intellectual skills, can be differentiated: those of science are experiment
and analysis, those of art are criticism and evaluation, and those of design are modeling and
synthesis.19
While this classification is clearly an oversimplification, it still has utility because it

emphasizes the differences between science, art, and design. Attempts to understand
design in terms of art and science will ultimately be unsuccessful, because design is a field
that is different to both traditions. Design as a discipline has emerged in the last half a
century as an evolution of craft.
For the military professional, the dominant framework and tool set, common among all
officers and arguably the greatest strength of Western militaries, is planning. Therefore, it
is worth comparing design with conventional planning. This comparison does not imply
that design and planning are competing approaches, or that one is superior to the other.
The differences between design and planning are just as significant as the differences
between design, art, and science.
Army FM 3-07 provides one of the more insightful military articulations of the purpose of
planning.
Simplicity is central to reducing complexity in planning. The most effective plans are clear,
concise, and direct… Planning involves projecting thoughts forward in time and space to
influence events before they occur. Rather than responding to events as they unfold,
proactive planning anticipates these events. Proactive planning contemplates and evaluates
potential decisions and actions in advance; it involves visualizing consequences of possible
courses of action to determine whether they will contribute to achieving the desired end
state. Proactive planning reduces the effects of complexity during execution. 20
In an earlier chapter, the rationale for planning in detail is provided. “Detailed planning is
necessary to integrate and synchronize activities in time and space, identify
complementary and reinforcing actions, and prioritize efforts within and across the
stability sectors.” 21 However, FM 3-07 also warns of the pitfall of over-planning. “While
sound plans must include detail, planning in more detail than needed only consumes
limited time and resources.” 22
Colonel Stephen Gerras identifies the assumptions behind rational decision making models,
which provides the foundation for detailed planning methods such as the MDMP.
MDMP and any rational decision making model are typically rooted in several assumptions.
First, the model assumes that the problem or goal is clearly definable. Second, the
19 Nigel Cross, “Design Research: A Disciplined Conversation,” Design Issues, 15, no. 2 (1999): 5-10.
20United States, Field Manual 3-07, Stability Operations (Washington, DC: Headquarters, Department of the
Army, 2008), 4-1 – 4-2.
21 Ibid., 2-6.
22 Ibid., 4-3.
11
ART OF DESIGN
information that is required to make a decision is available or can be acquired. Third, there
is an expectation that all options generated can be adequately considered, compared, and
evaluated to identify an optimal solution. Fourth, the environment is presumed to be
relatively stable and predictable, and finally, there is sufficient time for working through the
decision making processes. 23
To these Army doctrinal discussions, we can add Henry Mintzberg’s contributions to the
theory of planning.
Planning is a formalized procedure to produce an articulated result, in the form of an
integrated system of decisions. What to us captures the notion of planning above all—
most clearly distinguishes its literature and differentiates its practice from other
processes—is its emphasis on formalization, the systemization of the phenomenon to which
planning is meant to apply… Formalization here would seem to mean three things,
especially (a) to decompose, (b) to articulate, and especially (c) to rationalize the
processes… Rationality of this formal kind is, of course, rooted in analysis, not synthesis.
Above all, planning is characterized by the decompositional nature of analysis—reducing
states and processes to their component parts.24
Table 1 summarizes the purpose, assumptions, approach, culture, and logic of military
planning. From this, we can see that planning is a formalized approach to influencing
events before they occur. This requires certain assumptions to be made about the
operational environment. Planning assumes that a clear, stable, and well defined end state
is already given in the commander’s planning guidance and commander’s intent; that it is
possible to anticipate future events; that analyzing alternative courses of action will
identify the best way to achieve the end; and that this path will be simple, clear, concise,
and direct. The planning approach decomposes problems in order to prioritize,
synchronize, and integrate a set of interrelated decisions at regular, discrete points in time.
Planning is associated with a culture of rational management: hierarchical, decisive,
objective, and technocratic behavior is expected to produce optimal decisions. The
underlying logic of planning can be summarized as rational, rigorous, reductive, and
repeatable.
23 Col. Stephen Gerras, “Thinking Critically About Critical Thinking: A Fundamental Guide for Strategic
Leaders,” U.S. Army War College, 2006, 12.

24 Henry Mintzberg, The Rise and Fall of Strategic Planning (London: Financial Times/Prentice Hall, 2000), 12-
13.
12
ART OF DESIGN
TABLE 1. THE PURPOSE, ASSUMPTIONS, APPROACH, CULTURE, AND LOGIC OF PLANNING.
Purpose Formalize the approach to influencing future events.

Assumptions Clearly defined end state is known.
Events can be anticipated.
Alternative courses of action can be objectively evaluated in advance.
Simple, clear, concise, and direct solutions exist.
Approach Reduce and rationalize complexity by decomposing and analyzing
component parts in detail.
Synchronize and integrate decisions at regular intervals.
Culture Hierarchical, decisive, objectivity, optimality, and technocratic.
Logic Rational, rigorous, reductive, repeatable.
In comparison, according to Army FM 3-24, “[t]he purpose of design is to achieve a greater

understanding, a proposed solution based on that understanding, and a means to learn and
adapt.” 25 TRADOC Pamphlet 525-5-500 identifies an alternative approach suited to complex
operational environments.
Reductionism and analysis are not as useful with interactively complex systems because
they lose sight of the dynamics between the components. The study of interactively complex
systems must be systemic rather than reductionist, and qualitative rather than quantitative,
and must use different heuristic approaches rather than analytical problem solving. 26
Investigating how designers across a number of professions explain how they work, Nigel
Cross reaches the following conclusion:
Designers
• produce novel, unexpected solutions

• tolerate uncertainty, working with incomplete information
• apply imagination and constructive forethought to practical problems
• use drawings and other modeling media as means of problem solving 27
Tim Brown, CEO and president of design firm IDEO, echoes Cross when he describes design
thinking as a “human-centered, creative, iterative, and practical approach to finding the
best ideas and ultimate solutions.” 28 Donald Schön adds that “[d]esigning in its broader
sense involves complexity and synthesis. In contrast to analysts or critics, designers put
25United States, Field Manual 3-24, Counterinsurgency (Washington, DC: Headquarters, Department of the
Army, 2006), 4-1.
United States, TRADOC Pamphlet 525-5-500, Commander’s Appreciation and Campaign Design (Washington,
26
DC: Headquarters, Department of the Army, 2008), 6.

27Nigel Cross, “Discovering Design Ability,” in Discovering Design: Explorations in Design Studies ed. Richard
Buchanan and Victor Margolin (Chicago: University of Chicago Press, 1995), 107.
28 Tim Brown, “Design Thinking,” Harvard Business Review 86, no. 6 (2008): 84-92.
13
ART OF DESIGN
things together and bring new things into being, dealing in the process with many variables
and constraints, some initially known and some discovered through designing.”29
Providing a bridge between Army doctrine and design theory, Rick Swain discusses the
assumptions of a design approach.
Design involves a skeptical yet inquiring intellectual approach to learning that cannot be
assumed, and a critical stance regarding declared truths and beliefs. Practice of design is
progressive if not sequential. Some activities must take place first for others to proceed,
although there is an expectation that the “steps” will double back on themselves,
continuously, as design is applied…
Operational design adopts a skeptical posture regarding the finality of learning, or

achievement of stasis in human situations. It assumes intervention in a situation by one
party will elicit a variety of responses from other interested parties—an assumption often
omitted by military planners who behave as though they believe they can act on a passive
opponent before a local and global audience that will interpret those planners’ motives with
the same sense of altruism they assigned to themselves. 30
Table 2 summarizes the characteristics of design. The first and ongoing goal of design is to
approach understanding. 31 Because understanding is always incomplete, this requires
continual learning, adapting, and reframing of problems and solutions. The design
approach is different than planning because it makes different assumptions. Design
presumes the end state will be vague, unknown, or a moving target; that unforeseen
patterns of events will emerge; that while military judgment is absolutely critical, it may
not be sufficient to predict in advance which courses of action will prove most fruitful; and
that the shortest path may not always be a straight line, and it may not be simple.
Consequently, the design approach acknowledges complexity rather than attempting to

rationalize it, and implies a willingness to act in the face of uncertain relationships between
causes and effects. Design approaches a unique situation with dialog and collaboration,
drawing and modeling, in order to share interpretations from different perspectives. This
highlights relationships within the environment and between worldviews, rather than
focusing on components of the environment. Analysis still has a role in design, but
synthesis of a systemic response to the problem situation is emphasized. Rather than
collecting decisions into discrete bundles to be decided on in advance, design is continuous
and dynamic, and adapts decisions in response to interactions with the environment.
Design culture is inherently participative and pluralistic. It encourages continual reflection

and discourse to develop inter-subjective (shared) meaning. The design culture is not
seeking optimality against a set of measures of effectiveness, but rather improvement
29 Schön, Educating the Reflective Practitioner, 41-2.

30 Rick Swain, Fundamentals of Operational Design (Leavenworth, Kansas: Booz Allen Hamilton, 2009), iii.
31 “Understanding is a process of rending the unfamiliar familiar…” Hayden White, Tropics of Discourse: Essays
in Cultural Criticism (Baltimore, MD: The John Hopkins University Press, 1978), 5.
14
ART OF DESIGN
defined more holistically in terms of cognitive, aesthetic, and ethical values. The logic of
design is thus critical, creative, continuous, and circular.
TABLE 2. THE PURPOSE, ASSUMPTIONS, APPROACH, CULTURE, AND LOGIC OF DESIGN.
Purpose Understand, learn and adapt to iteratively (re)frame and (re)solve

problems.
Assumptions Clear end state unknowable in advance.
Unexpected discontinuous events will emerge.
Environment is too complex and uncertain to know which course of action
is best prior to interacting with the environment.
Simple, clear, concise, and direct solutions may not exist.
Approach Acknowledge uniqueness and complexity, develop shared holistic
understanding by drawing and modeling, and respond systemically.
Iterative interaction and dynamic collaborative decision making.
Culture Participative, pluralistic, reflective, inter-subjective, holistic improvement.
Logic Critical, creative, continuous, circular.
These differences have important implications for design thinking and design-in-action.
The way designers think promotes a different approach to education, understanding, and
leading compared to traditional military methods. Together, these differences represent a
significant paradigm shift in military discourse. Design education places a greater emphasis
on learning by doing, supervised by coaches and mentors, rather than the memorization of
technical knowledge or the copying of best practices. 32 Design’s holistic understanding
of unique situations is reached through critical and creative thinking, mediated by
discourse and drawings.33 Leading design challenges the dominant model of power
leadership, augmenting it with a more facilitative approach tailored to accommodating
multiple perspectives in ill-structured problem situations. Ronald Heifetz calls this leading
adaptive work, which he defines as “the learning required to address conflicts in the values
people hold, or to diminish the gap between the values people stand for and the reality they
face.” 34
In addition to differences in design thinking, designers act and interact with their
environment in new ways. First, design descriptions are fundamentally different from the
conventional approach. Where conventional descriptions list facts and assumptions, design
creates a narrative. Because they must have a coherent beginning, middle, and end, a plot, a
moral, and a point of view, narratives go beyond just describing facts and are much
richer. 35 Second, action in design does not seek to bend reality to fit the idealized form of a
design or plan (the real world is far more complex than our representations of it for this to
32 Schön, Educating the Reflective Practitioner, 117.

33 Lawson, How Designers Think.
34Ronald A. Heifetz, Leadership Without Easy Answers, (Cambridge, MA: Belknap Press of Harvard University
Press, 1994), 22.
35 Elinor Ochs and Lisa Capps, “Narrating the Self,” Annual Review of Anthropology 25 (1996): 19-43.
15
ART OF DESIGN
ever work). Instead, interaction always serves a dual purpose. On one side of the coin,
action exploits favorable potentials within the operational environment based on the
appreciation of context generated within design. 36 On the other side of the same coin, by
stimulating the system, action generates information, which provides a learning
opportunity to the designers. 37 In design, action is taken both to transform the system
and to learn. 38 This creates an interactive feedback loop that enables design to contribute
to organizational learning.
It is important to note that the differences we have identified are between the theory of
design and planning. In practice, commanders adapt the tools they have to the realities of
their environment. They analyze and synthesize. They think creatively and acknowledge
complexity and uncertainty. It is not surprising that design-like thinking has been practiced
in the field well before it was encoded into doctrine; nor is it surprising that planning in
real world environments bears only a passing resemblance to the theoretical ideal. Colonel
(R) Jim Greer provides a more realistic account of planning:
Planning does not have a clearly defined end state. The commander describes a desired end
state in the upfront guidance, but that’s all it is. End states often are refined during planning,
and in parallel planning at successive echelons end states often are adjusted based on policy
or other considerations. End states are also general in nature, not specific. The planning
culture is also not necessarily hierarchical. Military design and military planning both are
conducted within the same organizational and cultural framework. Good planning teams
have the same level of discourse between Lieutenant Generals and Majors that good Design
teams do. That’s a function of the leadership climate in the organization. Additionally, most
planning today is joint, interagency and multi-national; hardly hierarchical. Finally, planning
is not and never has been about optimizing. It has always been about satisficing. Planning is
aimed at a future that is unknowable and within a resource constrained environment. With
those restrictions, planning solutions are never optimal, at best they satisfy the requirement
enough to accomplish the objective within resource constraints. 39
By including a chapter on design in FM 5-0, the hope is that the doctrinal account of the
operations process moves closer to the reality of simultaneously designing, planning,
preparing, and executing. Understanding the different underlying logics of design and
detailed planning helps the commander to make best use of the available tools in a
particular context. Because design and detailed planning have very different purposes,
assumptions, approaches, cultures, and logics, as General Mattis notes, “the two processes
always are complementary, overlapping, synergistic, and continuous.” 40
36Francois Jullien, A Treatise on Efficacy: Between Western and Chinese Thinking, trans. Janet Lloyd (Honolulu:
University of Hawai’i Press, 2004), vii.
37 Checkland and Poulter, Learning for Action.
38Schön, Educating the Reflective Practitioner, 73.
39 Jim Greer, personal communication, April 2010.
40 Mattis, “Vision for Joint Operational Design,” 8.
16
ART OF DESIGN
2.1.2. WHY SHOULD I LEARN TO DESIGN?

FM 5-0 provides many reasons for learning design. According to doctrine, design improves
understanding of ill-structured problems, helps anticipate change, creates opportunities,
and recognizes and manages transitions. 41 Design encourages solving the right problem
(not just solving the problem right), promotes adaptation to dynamic conditions, and
strengthens the link between strategy and tactics. 42 A creative design can inform economy
of effort, greater coherence across rotations, better interagency and intergovernmental
integration, and fewer unintended consequences. 43
At a more personal level, learning design can improve you and your organization’s capacity
to cope with complexity over time. Design complements existing intelligence and planning
approaches and permits critical inquiry as to whether these more traditional approaches
are working. Reading about design and participating in a designer community of practice
will equip you with a language to communicate about the critical and creative activities
that previously may have only been implicit and private. Embracing the theory will allow
you to learn from the innovative ideas of other designers, many from outside the
traditional military community, so you do not have to always reinvent the wheel. It will
make you a more effective team member when you are required to think critically and
create new ideas in a group setting. If you expect to face complex problems requiring
critical reasoning and creative thinking, then it can be expected to be of benefit to you to
explore the design approach.
Consider the different purposes of thinking. Figure 4 shows three broad purposes for
thinking: sensemaking, idea making, and decision making. 44 (This model applies equally to
thinking done by individuals, teams, and organizations.) The commander and staff all
contribute to each of the three types of thinking. Multiple field manuals provide tools for
making sense of information and models for decision making. Yet, prior to the release of
the updated FM 5-0, there was no detailed discussion of how to generate new ideas and
new solutions. Idea making is the gap that design is intended to fill.
41 United States, FM 5-0, 3-2.

42 Ibid., 3-5 – 3-6.
43 Ibid., 3-7.
44 Lt Col. Richard King, “How Stupid Are We?” Australian Army Journal VI, no. 3 (Summer 2009): 182-183.
17
ART OF DESIGN
FIGURE 4. THINKING INCLUDES SENSEMAKING,

IDEA MAKING AND DECISION MAKING.
Idea making is important to an organization when it is required to deal with complexity

over time. Ideally, whenever we become committed to military conflict, we seek rapid,
decisive victory. According to Boot, this ideal is even characteristic of a new American way
of war, which “relies on speed, maneuver, flexibility, and surprise.” 45 Unfortunately, our
current enemies understand our preference for rapid victory, and instead seek protracted
conflict in complex terrain. They do this to target a perceived weakness of democracies to
maintain popular support to fight “small wars” over long periods of time. Whereas decisive
victory emphasizes rapid decision cycles to efficiently couple sense making and decision
making, long wars are more of a marathon than a sprint. Long wars demand cumulative
progress, learning organizations, and innovative thinking. Long wars require an investment
of the best available thinking into idea making, as well as decision making and sense
making.
This is not to say that design has applicability only to irregular warfare. Rather, the
demands of the contemporary operating environment have merely highlighted an
imbalance in conventional military thinking. If the circles in Figure 4 were drawn
proportional to the amount of attention they are currently given, decision making would
dwarf and subsume the other two. Sensemaking would be seen only as the intelligence
preparation of the battlespace input to the Joint Operation Planning Process JOPP or
MDMP. Idea making would have a small role, with design as an embellished version of mission
analysis. While decision making clearly dominates short term military effectiveness, idea
making is more strategic, because it is the source of innovations essential for long term success.
According to doctrine, conventional planning begins with receipt of mission.46 (In practice, of
course, good units will not wait until they are given a mission to begin planning.) Deliberate
decision making focuses on how to accomplish a given mission. Design and idea making
45 Max Boot, “The New American Way of War,” Foreign Affairs 82, no. 4 (2003): 41-58.
46 United States, FM 5-0, H-1.
18
ART OF DESIGN
permits questioning of the mission, the thinking that got us to where we are now,
and even whether any action is actually required. By exposing goals, aims, and
objectives to collaborative dialog, design improves the likelihood of effective action
towards solving the right problem. Design thinking applies across the spectrum of conflict.
2.1.3. WHO DOES DESIGN?

Any professional responsible for changing existing conditions into preferred conditions
already does design – even if they do it implicitly.47 Architects design buildings and
structures to accommodate human needs and desires. Doctors diagnose and prescribe
treatments to heal patients. Lawyers design arguments to persuade juries. Teachers design
courses to educate students. Military professionals design strategies, operations, and
tactics to achieve objectives through the use of force or by other means. As Nigel Cross’
comparison above illustrates, design is the common core that unites and distinguishes the
professions from the arts and sciences. Whereas art explores the human condition and
science explains the natural world, the purpose of profession is to transform the world in
the context of a greater societal aim. In Schön’s view, “designing, broadly conceived, is the
process fundamental to the exercise of artistry in all professions.” 48 Tim Brown further
observes that “[l]ogistics systems, the Internet, organizations, and yes, even strategy—all of
these are tangible outcomes of design thinking. In fact, many people in many organizations
are engaged in design thinking without being aware of it. The result is that we don’t focus
very much on making it better.” 49
In spite of this common ground across fields of design, there are also important differences
among the professions. As Rick Swain notes, “design lacks practical content when it
appears without an antecedent. This is why schools of design organize themselves around
specific applications: architecture, industrial design, graphic design, network design,
organizational design, and so on.” 50 SAMS is a school organized around the design and
planning of military operations. The doctrinal design methodology described in Chapter 3
is intended for use by operational commanders and staffs faced with complex, ill-
structured problems, requiring joint, interagency, intergovernmental multinational, and
commercial (JIIM-C) dialog and collaboration. These operational problems are sufficiently
complex that it is safe to assume no single individual has a complete understanding of the
environment, the problems, and how to resolve them.
It follows that, in the military context, design as a fully fledged methodology is intended to
be performed in teams and groups, rather than by individuals. The power of teamwork is
eloquently captured in the U.S. Navy’s Background to Decision Making, published in 1958.
47 Herbert A. Simon, The Sciences of the Artificial (Cambridge, MA: MIT Press, 1981).
49 Tim Brown, “Strategy by Design,” Fast Company, (June 2005): 53.
50 Swain, Fundamentals of Operational Design, iii.
19
ART OF DESIGN
“An individual is severely limited in his capacity to deal with uncertainty. Situations soon
become too complex for individual handling. The organization is the answer, for it permits
groups to aim at and to achieve objectives that would be far beyond the reach of any of its
members acting alone.” 51 However, organizations can also serve as forms of limited human
attention and cultural filters. Design often requires the admittance of “outsiders” who can
impart differing frames or perspectives on the situation that may be invaluable to the
design effort.
Design, then, is ideally done by a design team.52 The commander is an integral team
member, because enhancing his/her understanding is the design team’s raison d’être.
According to FM 5-0, “[d]esign underpins the exercise of battle command.” Another way of
saying this is design provides a collective approach to battle command. Design enables the
commander to leverage the collective intellect of his staff and subordinate commanders to
develop a deeper understanding of the operational environment, visualize the source of the
difference that is causing the current problem, and describe the operational approach to
transform towards the desired system. By forming a team, the commander is able to
enhance his/her own understanding, which consequently enhances the battle command
process.
The commander 53 is responsible for forming the design team and assigning initial roles to
structure the work. Key roles in a design team include design team leader, recorder, and
observer/controller. The size of the design team depends on purpose and staff availability.
However, research in multiple fields suggests that core teams of five to six persons are
most effective, teams of up to nine can still be effective, while a team of twenty or more is
likely to be completely ineffective. 54 All members of the core design team should aspire
towards a holistic appreciation of both the problem situation and the design methodology.
It will sometimes be necessary to temporarily augment the core design team with subject
matter experts (SMEs). Valid reasons for augmentation include: to engage key
stakeholders; to introduce divergent thinking into the design team; and/or to cover specific
gaps in knowledge. While SMEs are invaluable for introducing new ideas and perspectives,
the core design team always maintains responsibility for organizing the information into a
coherent design within the time and resource constraints.
51 William Reitzel, Background to Decision-Making, (Newport, RI: Naval War College), 1958.
52This is supported by complex systems theory. “If a problem is more complex than a single individual, the
only way to solve it is to have a group of people – organized appropriately – solve it together.” Yaneer Bar-
Yam, Making Things Work: Solving Complex Problems in a Complex World (Cambridge, MA: NECSI Knowledge
Press, 2004), 259.
53 Or equivalent, if the leader is provided by another JIIM-C organization.
54 Major Michael L. Hammerstrom, “Size Matters: How Big Should a Military Design Team Be?” (Monograph,
School of Advanced Military Studies, U.S. Army Command and General Staff College, 2010).
20
ART OF DESIGN
2.1.4. WHEN DOES DESIGN HAPPEN?

When design occurs is a commander’s decision. However, those with design education and
experience serve to advise when it may be appropriate. Design should be applied when the
situation is complex and requires iteration over time. When we use the word complex in a
technical way, it does not mean difficult (in war, friction means even simple problems are
difficult). Nor is it the same as complicated. Complicated systems are those systems that are
amenable to reductive mechanistic analysis. It is possible to understand, control, and
predict complicated systems as if they are machines following fixed rules of operation, even
when they have many interacting components. When systems contain feedback – when
they learn or evolve or adapt – the rules are no longer fixed, and the behavior of one
component changes the way other components behave. This interdependence is the
primary characteristic of complex systems, and the design approach is needed to
understand and influence these systems.
Because time devoted to understanding and framing a problem situation might have been
spent on more detailed planning or contingency planning, design always has an
opportunity cost. Complicated problems in a stable context may not need a standing design
team. Unfortunately, problem situations do not come with signposts warning of oncoming
complexity. The solution to a complicated problem may give rise to unforeseeable side
effects and the recognition of complexity. For example, the technical problem of how to
provide fresh water to a remote community might be solved by building a well. But if the
location of the well provides unequal access, some sub-groups may lose power and
influence, catalyzing a cascade of complex social processes. The commander is responsible
for deciding when to design, informed by an appreciation of the costs and benefits of
design, the degree of complexity of the current situation, and the relevance of the current
understanding.
Ideally, when the commander anticipates the need to cope with complexity over time,
design starts prior to any detailed planning and execution. This enables designers to frame
the problem and operational approach up front. This means that detailed planning is fully
informed by design’s systemic understanding, and execution provides a direct test of the
initial frames. In this scenario, designing, planning, preparing, and executing are aligned
and complementary, which promotes unity of effort and offers the greatest opportunities
for learning.
However, real world constraints will not always allow for iteration of design prior to
planning. Unanticipated “black swan” events occur. 55 Enemy action often requires an
immediate response, and political factors can force quick decisions. While it is true that the
design methodology can be scaled up or down to meet the available time frame, we know
that there are diminishing returns to compressing the time available for design. Time
pressure forces short cuts. The deeper meaning generated by design comes from
55 Nassim Taleb, The Black Swan: The Impact of the Highly Improbable (New York, NY: Random House, 2007).
21
ART OF DESIGN
intentionally inefficient methods. Divergent thinking, iteration, circling back on previous

steps, critique, deconstruction, dialog, posing meta-questions, examining alternative
perspectives, reflecting, and reframing are slow and all take time. Rather than sacrificing
the quality of design under time pressure, in this situation the commander can start
designing and planning in parallel. This normally requires separate design and planning
teams. The biggest risk of this approach is that shared deeper meanings may be
disconnected between designers and planners. Understanding generated by design is
wasted if it is not shared with the commander and staff. Planning that ignores concurrent
efforts in design may make delivering a product easier, but if the plan frames the problem
too narrowly, it may be solving the wrong problem. To mitigate this risk, careful attention
must be paid to the command climate, particularly effective communication between the
commander, designers, planners, and the JIIM-C community.
There is a third scenario. A unit may already be planning and executing when the
commander recognizes a need for design. This case contains the most moving parts, and
the design team will be starting behind the curve of current events. Because this is
generally the most challenging scenario, the commander needs a design team that has both
an intimate knowledge of the current situation, and is a cohesive team with a successful
track record of designing together. Unfortunately, in this scenario no such standing design
team exists. Forming a design team will be a compromise between including members who
have regional experience with the situation, and members with experience of the design
methodology. With designing, planning, preparing, and executing all occurring
simultaneously, the design team must make a particular effort to maintain an external
focus, and ensure their understanding is shared with the commander and JIIM-C
participants. They must also be careful to maintain a long-term view; otherwise crises
within current operations will quickly limit the design team’s focus to near-term tactical
concerns. Considering that at present, there are in fact very few standing design teams in
the US Army, this may in fact be the most likely scenario a potential design team member
finds themselves in. Designers must be comfortable with stepping into the flow of
simultaneously designing, planning, preparing, and executing to function effectively in this
environment.
2.1.5. WHERE DOES DESIGN HAPPEN?

Design, following the methodology described in FM 5-0, requires a headquarters with a
staff. According to Brigadier General (R) Huba Wass de Czege, “[n]early all missions this
century will be complex, and the kind of thinking we have called ‘operational art’ is often
now required at the battalion level.” 56 FM 5-0 is consistent with this, stating that “…the
need for design at lower echelons often increases as brigades and battalions contend with
the challenges of shaping environments and conducting operations over extended
periods.” 57 Based on our own surveys of the field, however, an explicit design methodology
56 Wass de Czege, Systemic Operational Design, 2.
22
ART OF DESIGN
is not yet frequently applied at lower echelons, and even divisions often report that they
are challenged to use design within a time-compressed environment. We expect it will take
time, further education, and tailored development of the design methodology before it
becomes practicable at the battalion level, even if there is already an established need for
battalion-level design due to the complexity of current operations.
Looking up the military hierarchy, design appears equally applicable to strategy

development as to operational art. Currently, the highest level standing design team resides
at USARCENT. However, there is no theoretical reason why design could not be applied
above the level of Land Component Command. The logic that mediates strategy and tactics
with operational art equally applies to the mediation of policy and operations through
strategy development. Operational art provided the initial area of application for design,
but future applications are likely to expand into the realm of strategy and policy.
Although there may be an overlap in personnel between design and plans (especially at
lower echelons), it is recommended that design occurs in a room dedicated to designing. In
order to generate holistic understanding, information needs to be accessible, visual,
sharable, and modifiable. Often, the same information will be organized in several different
ways to show different insights. A great way to achieve shared understanding in design is
to make smart use of shared space within the design room. Designers need whiteboards,
flip charts, butcher paper, and/or tri-fold project boards to visually display and manipulate
concepts and relationships. Whiteboards are great for drawing rich pictures, and their
temporary nature encourages creativity. Flip charts can substitute for whiteboards, and are
also good for facilitating and maintaining a record of discourse. When ideas become more
stable (but always remaining open to revision), they can be transferred onto butcher paper
and pinned to the walls. This helps to maintain the group’s attention on the latest drafts,
and frees up whiteboards for more dynamic and creative activities. A design team should
have no trouble filling the walls with maps, networks, affinity diagrams, problem
statements, and other products by using the design methods listed in Appendix B. When
the walls are filled, even empty space on the floor can be used to display the results of
design inquiry. A good example of the use of walls to visually communicate design is shown
in Figure 5.
23
ART OF DESIGN
FIGURE 5. EXAMPLE USE OF WALL SPACE IN A DESIGN ROOM.
While this illustrates good use of wall space, Seminar 6 was not entirely satisfied with their
first attempt at designing. During their second two-week practicum, they chose to
experiment with two smaller, independent design teams, which both moved out of the
classroom to better shape their work space. In the after-action review, the observer-
controller (OC) documented differences between the teams’ work space, shown in Figure 6.
The first team, which the OC dubbed ‘the collective,’ worked as a single unit focused around
a white board covered with transparent overlays. The collective used the secondary board
on their left for “storyboarding,” to keep track of the big picture. The second team, ‘the
collaborative,’ instead had laptops for each team member on the main table. The
whiteboard on the right functioned as a projector screen, while the whiteboards on the left
were used for brainstorming and storyboarding. Team members would collaborate in twos
and threes around what became known as the ‘arts and crafts table,’ depicted in the bottom
right of Figure 6. This table contained three tri-fold project boards, where sticky notes were
organized to capture relationships between military, information, diplomatic, law
enforcement, infrastructure, finance, and economic aspects within their environmental
frame. Although the teams organized their rooms differently, both teams created
environments that promoted the visual display of information and inclusive group
discourse, which greatly enhanced shared understanding of the problem situation.
24
ART OF DESIGN
FIGURE 6. SEMINAR 6 SAMS AMSP 2010: DESIGN PRACTICUM 2

WORK SPACE ARCHITECTURE. R DENOTES RECORDER, LT DENOTES LAPTOP.
We also need to explore where design occurs within battle command and the operations
process. As the intellectual underpinnings of battle command, design is continuous and
central to the plan, prepare, execute, and assess cycle – it informs and is informed by each
activity. Of particular importance is the complementary relationship between designing
and planning. The most important determinant of the nature of this relationship is the
operational environment. In a well-structured environment, with clear goals, a stable
strategic context and no more than two dominant actors, design can be largely implicit.
Here, detailed planning of branches and sequels in breadth and depth is a key to success. In
contrast, an ill-structured problem situation, with no agreement on goals, a dynamic
strategic context, and an “ecosystem” of actors demands a much greater role for design to
inform balancing and integrating activities. Because ill-structured problems violate the
assumptions required for conventional planning, launching into detailed planning
without designing first will generate counterproductive unintended consequences.
When facing a complex, ill-structured problem situation, designers frame their

environment, frame their problem(s), and invent an operational approach capable of
transforming the existing problem set. In other words, design sets and frames the problem
sufficiently for the commander to articulate clear guidance, which allows detailed planning
to occur. However, since design is continuous, this is just the beginning of the relationship
25
ART OF DESIGN
between designing and planning. Continual dialog between designers and planners
enhances the level of understanding and the quality of products both produce.
The different logics of designing and planning generate a creative tension between
interpretation and analysis, creativity and rationality, holistic and detailed
understanding, and situational specificity and generic applicability. Designers can
alert planners to subtle interdependencies between operational variables, while planners
can inform designers of the scheduling requirements for synchronization. Planners provide
important feedback to designers as they work within the current frame, and designers
reframe problems and the environment for the planners to maintain the relevance of
understanding. Detailed planning operates within the physical constraints of time-distance
factors, and through wargaming, explores action-reaction-counteraction dynamics. If
designers are not continually interacting with and listening to planners, they risk
developing unworkable solutions. Throughout this interaction, the commander is an
integral link between designing and planning. Design enhances the commander’s
understanding, while planning realizes the commander’s intent.
It is important to emphasize that the current Modification Table of Organization and

Equipment (MTOE) for the various U.S. Army headquarters does not allow for a separate
design team. Currently, the closest analog to the design team is a Commander’s Initiative
Group (CIG). In most cases, design teams will be drawn from existing plans staff. 58 In the
real world, teams are simultaneously designing, planning, preparing, executing, and
assessing. Advice on how to manage this simultaneous action is provided below. For now, it
is sufficient to note that because design frames subsequent detailed planning, initially
investing in design effort streamlines planning processes. Design should not add to the
total workload of a staff. By developing a deeper understanding through designing, the staff
may avoid some of the crises and second and third order effects generated by acting
without the same level of understanding.
2.1.6. HOW CAN I LEARN TO DESIGN?

At the start of this section, Schön raised an apparent paradox. The artistry of design cannot
be taught by memorizing technical knowledge. Instead, the student of design is asked to
start designing before the student understands what design is, or how to evaluate the
quality of the designs the student produces. Schön states:
In the terrain of professional practice, applied science and research-based technique occupy
a critically important though limited territory, bounded on several sides by artistry. There
are an art of problem framing, an art of implementation, and an art of improvisation—all
necessary to mediate the use in practice of applied science and technique. 59
58However, the commander should not assume that all designers should be planners. Diversity is strongly
encouraged for a design team.
26
ART OF DESIGN
The knowledge of design embodied in this student text is necessary but not sufficient for a
professional to learn and embrace design. A book by itself cannot teach students of design
the artistry of problem framing, nor the artistry of applying theory to a unique problem
situation. It cannot provide rules for how to improvise and create workarounds when the
problem has novel characteristics that were not anticipated at the time of writing. How,
then, can a student master the artistry of design?
Fortunately, Schön offers a resolution to this paradox. The ladder of reflection, a “chain of
reciprocal actions and reflections that makes up the dialog of student and coach,” offers a
way out of the dilemma. 60
Design studios are premised on a particular kind of learning by doing. The student is asked
to start designing before she knows what designing means. If she accepts this challenge and
the perceived risks it entails, entering, tacitly or explicitly, into a contract with the coach
that carries with it a willing suspension of disbelief, she begins to have the sorts of
experiences to which the coach’s language refers. She puts herself into a mode of operative
attention, intensifying her demands on the coach’s descriptions and demonstrations and on
her own listening and observation.
Her initial efforts at design provide the coach with evidence from which to infer her
difficulties and understandings and a basis for the framing of questions, criticisms, and
suggestions. 61
The coordinated actions and dialog between coach and student of demonstrating and
imitating, telling and listening provides a way for students to learn to design. Coach
and student each move up and down the ladder of reflection as they act and reflect on their
actions. Schön explains the vertical dimension of the ladder where:
…higher levels of activity are “meta” to those below. To move “up,” in this sense, is to move
from an activity to reflection on that activity; to move “down” is to move from reflection to
an action that enacts reflection. The levels of action and reflection on action can be seen as
the rungs of a ladder. Climbing up the ladder, one makes what has happened at the rung
below into an object of reflection… Climbing down the ladder, one acts on the basis of a
previous reflection. Having reflected on an earlier performance, the coach may offer a new
demonstration, or the student may try a new drawing. 62
Design can be learned within a design practicum, where students act and receive feedback
from mentors who are experienced designers. The design community of practice, which
includes recent SAMS graduates, is an excellent source for mentors to help coach new
members of design teams in the language and practice of design. As a SAMS graduate, one
must be prepared to lead the practice of design and help mentor new practitioners of
60 Ibid., 114.
61 Ibid., 117.
27
ART OF DESIGN
design through the design methodology articulated in FM 5-0. One must also continue to
seek out mentors to help reflect upon and improve one’s own mastery of design.
2.2. A CONCEPTUAL FRAMEWORK FOR DESIGN

Now that we have answered the journalists’ “5Ws and one H” on design, next we organize
the key concepts of design within a conceptual framework. The purpose of this framework
is not to be definitive, but rather to make explicit the conceptual framework that SAMS has
evolved and found useful in design education. A well rounded design education draws
on history, theory, doctrine, philosophy, and practice. These five pillars are the sources
of the concepts in our conceptual framework. In this section, the contributions of the five
pillars are summarized. Then, the conceptual framework for design is explained. The
conceptual framework is divided into four levels: design, the four big ideas of design, the
twenty key concepts, and the full design lexicon. Last, this section expands on the
intermediate levels of the conceptual framework – the big ideas and the key concepts.
2.2.1. FIVE PILLARS OF DESIGN EDUCATION

The five pillars of design education at SAMS are history, theory, doctrine, philosophy, and
practice. This section explains why each pillar is essential in design education.
2.2.1.1. HISTORY
The value of history in the art of war is not only to elucidate the resemblance of past and
present, but also their essential differences.
—Julian Corbett
According to John Gaddis, the study of history shifts and elevates the perspective of the
student, resulting in an enlarged experience and expanded horizon.63 SAMS uses history to
assist in educating how to lead design. Throughout the design course, history, theory,
doctrine, philosophy, and practice are integrated to generate the appropriate
understanding of the different aspects of design. We start the course with an examination
of the “Iron Major,” then move to a case study/virtual staff ride of a campaign, and then
flow history into individual class sessions.
Wedemeyer and the Victory Plan
An example of a historical case study illustrating design-like thinking is the experience of

(then) Army Major Albert Wedemeyer as documented by Kirkpatrick. 64 In the summer of
63 John Lewis Gaddis, The Landscape of History: How Historians Map the Past (Oxford: Oxford University Press,
2002), 4.
64Charles E. Kirkpatrick, An Unknown Future and a Doubtful Present: Writing the Victory Plan of 1941
(Washington, DC: Center of Military History, 1992).
28
ART OF DESIGN
1941, Major Wedemeyer received a tasking from the Chief of the War Plans Division of the
War Department General Staff. Wedemeyer was to “calculate the nation’s total production
requirements for the defeat of ‘potential enemies’ of the United States.” 65
Wedemeyer started with little more than this nebulous guidance. The American political
environment did not allow strategic leaders to make positive statements about the nation’s
desired end state, much less to admit that planning was underway to enter the war. No one
could fully articulate who the enemy was, nor could policy makers describe how America
and her allies would go about defeating the enemy.
Major Wedemeyer, as the officer responsible, had to organize the work, gather information
without arousing suspicion, and frame the problem broadly. His research went well beyond
the scope of mobilization facts and figures. Because there was no clear strategy,
Wedemeyer first had to propose a strategy. Next, he had to devise concepts of operations
across multiple theatres, which exploited emerging mechanized technologies, and which
identified the enemy’s organizing logic as well as how to defeat it. All this was necessary to
appreciate the operational environment and the desired end state the mobilization was
intended to satisfy. There were many tensions and competing demands, such as
maintaining a sustainable civilian economy, meeting the insatiable materiel demands of
allies through the lend lease program, while rapidly building a large expeditionary force.
The mobilization problem was not just ill-defined, it was interwoven with many other
problems and potential problems that could not be understood without taking what we
would call a JIIM-C approach to dialog and collaboration.
Given the “stupendous task” of calculating the nation’s total production requirements
under serious time pressure, a natural approach would have been to focus inwards on the
components required for mobilization. Such an analytic approach would have taken the
mission and broken it into simpler pieces to be analyzed separately. Yet Wedemeyer did
exactly the opposite. His inquiry was first directed outwards to better understand the
context for mobilization. Wedemeyer appreciated that the answer to the question
“Why?” resided in the context, not in breaking apart his mission. Only when he
understood the context in terms of the national objective, the strategy, and the forces
required did he attempt to answer the question he had been given. A lifelong commitment
to education, combined with broad and varied military experiences, helped prepare
Wedemeyer to view the problem of mobilization as a system.
Three months later, Wedemeyer produced a 14-page document that answered the
question. His paper became the Army’s input to the “Victory Program.” According to
Kirkpatrick, the “Victory Plan was in effect a comprehensive statement of American
strategy that served as a fundamental planning document in preparing the country for
war.” 66 Had Major Wedemeyer limited his study and his report to the question of
65 Ibid., 56.
66 Ibid., 122.
29
ART OF DESIGN
mobilization, he would not have produced such a comprehensive and enduring framework.
Even though the Victory Plan did not always accurately forecast the detailed force
structures that were implemented, its great strength was that it framed a complex and
ambiguous situation sufficiently to allow a coherent and successful mobilization for war.
Vicksburg Virtual Staff Ride
The direction given to a line of operations depends not only on the geographic situation of the
country, but also on the positions occupied by the enemy. The general plan of campaign is
frequently determined on previous to beginning operations, but the choice of lines and
positions must ordinarily result from the ulterior events of the war, and be made by the
general as these events occur.
—Henry Wager Halleck, 1862
We expose SAMS students to the Vicksburg staff ride so they have a detailed awareness of
the challenges of operational command and control in a complex environment – an
understanding they can refer back to on frequent occasions in the rest of the design course.
For the first three days of the design course, students assess the nature of operational art
and science in 1862, then spend two days role-playing assigned positions as either Union
or Confederate senior leaders.
The teams consist of students role playing: Henry W. Halleck (2 students), Ulysses S. Grant
(2 students), William T. Sherman/James B. McPherson/John A. McClernand (2 students
play all three roles), Admiral David D. Porter (1 student). For the Confederates: Jefferson
Davis (2 students), John C. Pemberton (2 students). Joseph E. Johnston (2 students).
Another two students change roles from day one to day two. They play the commanders of
the cavalry raids – Benjamin Grierson, Earl Van Dorn and Nathan Bedford Forrest.
The intent of the staff ride is to analyze the context of a campaign, identify the strategic
requirements for both sides in the campaign, understand the environmental context, the
problem appreciation (specifically the challenge of achieving battlefield decisive victory),
and generate an interactive discussion of the solutions offered by the commanders in the
campaign. The value of the staff ride rests in the deep appreciation, or in Clifford Geertz’s
phrase, the “thick description” of a complex campaign conducted in a complex
environment. Students refer back to the campaign, their roles, and the lessons they learned
throughout the design course, and instructors frequently refer them back for specific points
of awareness.
Design Spaces and History
When we teach the environmental frame, we use T. E. Lawrence’s depiction of his

environmental designing from Seven Pillars of Wisdom. 67 Chapter XXXIII of this classic of
military theory is a superb depiction of an individual conducting design during a period of
67 Lawrence, Seven Pillars of Wisdom, Chapter XXXIII.
30
ART OF DESIGN
enforced reflection. Suffering from dysentery, Lawrence spent ten days in a tent, unable to
do anything other than suffer and think. The first part of the chapter is his remembrance of
his thinking, of his reflection before action, on the situation, the environment facing the
Arab revolt, and British interests in the Saudi Arabian peninsula. He closes the chapter
with a single paragraph – perhaps the best single paragraph environmental
narrative written in English. He also adds an interesting footnote, reflecting on the
artificial nature of all military writing, which always fails to capture the instrumental
details necessary for both conceptual and detailed planning, and make things seems much
more ethereal and abstract – in his words, “smelling more of the lamp than of the field.”
SAMS students are required to present a graphic of Lawrence’s environmental frame
narrative, and are given 15-20 minutes of class time to create a single PowerPoint slide or
whiteboard sketch. During this short practical exercise, students are assigned to small
groups to conduct the work, then required to present to their classmates. Sometimes,
depending on the learning curve of the seminar, students are required to do either a
presentation drawing, a design drawing, or a production drawing, as distinguished by
Lawson.
For the problem frame, we refer to Admiral Sandy Woodward’s memoir on his command of
the British Falkland Islands relief force. 68 In Chapter 4 of these memoirs, Woodward
depicts his increasing awareness of the nature of the problem he faced as commander of
the joint force. In these 20 pages, he places the reader in his own position of increasing
awareness, as he reflects, acts, communicates, and discusses his situation with his
superiors, subordinates, and staff officers.
In the advance sheet for this day, students are reminded that getting the right problem
identified, and being able to re-sort whether you have the right problem identified, is
essential to the art of design. Understanding the challenge of proper problem identification,
or framing, is part of the solution. Searching, mapping, and telling the story (or constructing
the narrative) are all ways ahead for problem framing. Students are required, as
homework, based on Woodward’s description of his problem frame, to construct a 225
word single page email problem statement. They are told to be prepared to brief this
document to their classmates and to be prepared to discuss their version in a small group
to develop consensus and then brief a consensus problem statement or sketch of the
problem frame. In class, different groups are required to present either a narrative
statement of the problem, or a sketch of the problem. This practical exercise leads to a
discourse on how to present issues of time, space, intent and others graphically.
Instructors frequently use this discourse as a teaching moment to bring in ideas about
storyboarding both presentations and actions.
For the solution space, we use a primary source document from the pre-Overlord planning
for Normandy from the Chief of Staff to the Supreme Allied Commander (COSSAC) staff.
This document, “Digest of Operation Overlord, 7 July 1943. (43) 32 Final,” provides the
68 Admiral Sandy Woodward, One Hundred Days: The Memoirs of the Falkland Battle Group Commander,
(Annapolis: Naval Institute Press, 1992), Chapter 4.
31
ART OF DESIGN
students an actual operational approach document from conceptual planning in a complex

environment. 69 After looking at this design concept from more than 60 years ago,
students step into the worlds of individual and group learning, the deep
interconnectivity of blue actions inside the environmental system, the need for
discourse as a mode of developing understanding, and the positive, and negative,
aspects of design as a team effort. Students also read about, and discuss in class, the
techniques for conducting formulation of an operational approach, and techniques for
constructing the bridge from design into planning. The homework assignment for this class
is to compose a 225-word, single-page email detailing either the environmental narrative,
problem statement/question, or the design concept, as assigned the day before. The in-
class practical exercise creates, and then presents, three PowerPoint slides that brief the
design of the COSSAC staff in 1943. These slides are usually design drawings, not the
production or presentation sketches, discussed by Lawson.
Closing the course, students address the issue of simultaneity through reading, discussing,
and assessing U. S. Grant’s memoir of the Chattanooga Campaign from his Memoirs. 70 Grant,
in this “cracker-line” campaign, clearly placed his efforts in the larger context of 1863. At
the start of this reading, students observe Grant taking stock of various ongoing operations,
and accounting for the effects of previous military events. He then is given some specific
instructions (design constraints) and begins to design the environmental frame, problem
frame, and eventually a design concept for his “space.” He then proceeds to execution of
specific tasks, but also keeps an awareness of the connections to the larger issues. Students
are advised that this class is not the end of this course – it is the start of their personal
concept of design. Design is not conducted in a vacuum, nor is it performed as a simple
initiation of action. Indeed, unlike most military exercises, actual military operations
are nearly always in a context of previous and sequential operations. This class
explores the contextualization of design – placing it in the midst of ongoing planning and
execution, both of the current operation and of precursor and successor events. Some of
the class discussion is on identifying differences, and reasons for these differences amongst
the language and concepts of design, planning, preparation, execution, and assessment. All of
this is an effort to initiate ideas on making the seams between these elements useful and
relevant for the development of understanding. For homework students are required to
prepare for present a sketch of a presentation drawing of one of the following from this
campaign: design environmental frame, design problem frame, design operational
approach, planning, preparation, execution, or assessment.
69COSSAC (Chief of Staff to the Supreme Commander Allied Forces), “Digest of Operation ‘Overlord’,”
available at http://cgsc.cdmhost.com/u?/p4013coll8,1246 (accessed May 17, 2010).
70Ulysses S. Grant, Personal Memoirs of U. S. Grant, (New York, NY: Charles L. Webster & Company, 1982,
originally published 1885), Chapters 40-41.
32
ART OF DESIGN
2.2.1.2. THEORY
So long as no acceptable theory, no intelligent analysis of the conduct of war exists, routine
methods will tend to take over even at the highest levels.
—Carl von Clausewitz, On War 71
During the 1974 West Point graduation address, author Ayn Rand argued for the practical
importance of philosophy. In her speech, she also explained the essential role of theory.
Now ask yourself: if you are not interested in abstract ideas, why do you (and all men) feel
compelled to use them? The fact is that abstract ideas are conceptual integrations which
subsume an incalculable number of concretes — and that without abstract ideas you would
not be able to deal with concrete, particular, real-life problems. You would be in the position
of a newborn infant, to whom every object is a unique, unprecedented phenomenon. The
difference between his mental state and yours lies in the number of conceptual integrations
your mind has performed.
You have no choice about the necessity to integrate your observations, your experiences,
your knowledge into abstract ideas, i.e., into principles. Your only choice is whether these
principles are true or false, whether they represent your conscious, rational conviction — or
a grab-bag of notions snatched at random, whose sources, validity, context and
consequences you do not know, notions which, more often than not, you would drop like a
hot potato if you knew. 72
Published 132 years earlier, in On War, Clausewitz expressed the same insight in nine
words: “a working theory is an essential basis for criticism.”73 Design is practical, yet at the
same time it is theoretical. When the psychologist Kurt Lewin said “there is nothing more
practical than a good theory,” he was making a point about the importance of integrating
theory and practice. 74 Because theories provide highly compressed insight into how
something works, theories are tools that provide practitioners with a great source of
leverage. Designers must therefore be capable of surfacing and critiquing the theories that
underlie the narratives and frames of reference of all the actors within the operational
environment – especially our own implicit frames, which can be the hardest to identify and
criticize. Designers need to be able to employ theories across multiple knowledge
disciplines, replace outdated concepts with more relevant ones, and create new meaning in
the light of reframing. Without theory, design cannot be critical, and genuine reframing is
71 Carl von Clausewitz, On War, ed. and trans. Michael Howard and Peter Paret (New York, NY: Alfred A.
Knopf, 1993), 154.

72 Ayn Rand, Philosophy, Who Needs It (Indianapolis: Bobbs-Merrill, 1982).
73 Clausewitz, On War, 157.
74 Kurt Lewin, Field Theory in Social Science: Selected Theoretical Papers, ed. Dorwin Cartwright (New York,
NY: Harper & Row, 1951), 169.
33
ART OF DESIGN
implausible. Design is as much about tentatively creating new theory (new sensemaking)
as it is about using established theories (old sensemaking).
Military conflicts always have political ends, and they occur within and between societies.
This means they are unencapsulated – they do not fit within any single discipline’s
theoretical framework. Once again, Clausewitz warns us of this when he observes that the
first common error of critical analysis “is an awkward and quite impermissible use of
certain narrow systems as formal bodies of laws.” 75 Brigadier General Jimmy Khoo, while
he was Future Systems Architect for the Singapore Armed Forces (SAF), articulated the
need for an eclectic and opportunistic approach to theory:
But we are self-confessed eclectics when it comes to developing the 3G SAF. We want to
shop for the best ideas, technology, what have you, from existing theories and research. We
are not religious about any particular idea and would be quite quick to adopt another if
existing ones no longer work out. We are in fact really promiscuous about this. This is the
culture that we feel is needed when we are exploring and experimenting with ideas and
concepts. 76
In a similar vein, Major General Peter Chiarelli advocates a broad education to prepare for
full spectrum operations:
Critical thinking, professionally grounded in the controlled application of violence, yet
exposed to a broad array of expertise not normally considered as a part of traditional
military functions, will help create the capacity to rapidly shift cognitively to a new
environment. We must create an organization built for change, beginning with the
education of our officer corps. 77
Design draws on theory and applications from many disciplines. Those theories and
activities serve as sources of heuristics (sources of metaphor, similes, analogical ideas, case
studies, frameworks, schema, and so on). “This situation is a lot like…” Interdisciplinary
fields are especially useful for understanding unencapsulated conflict situations. Civilian
research in design theory, complex systems science, and soft systems are particularly
relevant. Political science, anthropology, communication theory, historiography,
leadership, linguistics, organization theory, and psychology all have a role in the SAMS
design curriculum (see the annotated bibliography in Appendix A). At the same time,
grounding in military theory is also essential. War involves extremes of coercive
violence between interacting opponents, an unpredictable dynamic that is
unmatched by any other profession. Care must be taken to avoid the abuse of theory that
results from cherry picking fragments of theory from professions operating under very

76 Transcript of Keynote Address by Brig. Gen. Jimmy Khoo, Future Systems Architect, Singapore Armed
Forces, at the IMTA 2005 Conference on 8 November 2005 at Pan Pacific Hotel, Singapore.
77 Maj. Gen. Peter W. Chiarelli and Maj Patrick R. Michaelis, “Winning the Peace: The Requirement for Full-
Spectrum Operations,” Military Review, (July-August 2005): 15.
34
ART OF DESIGN
different rule sets and applying them out of context. 78 However, the requirement for a
multidisciplinary approach to design theory means that crossing disciplinary boundaries is
unavoidable.
2.2.1.3. DOCTRINE
Generals and admirals stress the central importance of “doctrine.” Military doctrine is the
“logic” of their professional behavior. As such, it is a synthesis of scientific knowledge and
expertise on the one hand, and of traditions and political assumptions on the other.
— Morris Janowitz, The Professional Soldier 79
In an address to the Command and General Staff College, Fort Leavenworth, Kansas, on 16
December 1960, General George Decker stated that “[d]octrine is indispensible to an
army…. Doctrine provides a military organization with a common philosophy, a common
language, a common purpose, and a unity of effort.”80 Doctrine informs all aspects of design
methodology. United States Joint and Army doctrine figures prominently in the SAMS
design curriculum, particularly during the design practica, as does the doctrine of the
other81. Virtually all military-like organizations employ doctrine, whether it is formal or
informal. Many state militaries are run through formalized doctrine that is developed
through an institutionalized process. Non-state actors may have formal doctrine, but often
informal doctrine based on tried methods of operation fills the same function as formal
doctrine. Doctrine differs from Tactics, Techniques, and Procedures (TTP) in that doctrine
is institutionalized – it has been directed or widely accepted as the fundamental guiding
principles for a military force. Joint Publication 1-02, the Department of Defense Dictionary
of Military and Associated Terms, defines doctrine as the “[f]undamental principles by
which the military forces or elements thereof guide their actions in support of national
objectives. It is authoritative but requires judgment in application.” 82 Doctrine informs how
militaries conduct operations. Doctrine does not self-limit creativity in military operations,
but serves as a common foundation.
J. F. C. Fuller highlights a tension between innovation and integration in the application of

doctrine. Doctrine plays an essential role in integrating the force, but at the same time
innovation requires “mutating” the doctrine so it is adapted to a unique context.
78This is the second and “far more serious” common error of critical analysis identified in Clausewitz, On War,
168.
79 Morris Janowitz, The Professional Soldier (Glencoe, IL: Free Press, 1960), xii.
80Robert Debs Heinl, Jr., Dictionary of Military and Naval Quotations (Annapolis, MD: United States Naval
Institute, 1966), 95.
81 ‘The other’ is a key concept in design, described below.
82United States, Joint Publication 1-02, Department of Defense Dictionary of Military and Associated Terms
(Washington , DC: Government Printing Office, 2006).
35
ART OF DESIGN
The central idea of an army is known as its doctrine, which to be sound must be based on
the principles of war, and which to be effective must be elastic enough to admit of mutation
in accordance with change in circumstances. In its ultimate relationship to the human
understanding this central idea or doctrine is nothing else than common sense – that is,
adapted to circumstances. 83
As such, doctrine must be known, understood, and assessed against a particular situation
or environment before a military force departs from it in designing, planning, or executing
military operations. Eliot Cohen and John Gooch compare U.S. and Soviet conceptions of
doctrine, and reach a surprising conclusion.
Ironically, despite the difference between a liberal democracy and a party dictatorship, the
Soviet view is the less rigid, the richer, the more imaginative. One might say, as a kind of
shorthand, that the Soviets conceive of doctrine as a picture of future war, incorporating
politics and technology as well as tactics. This far more inclusive picture of war makes a
great deal of sense: Failures of anticipation may be best understood as doctrinal failures,
using the term in the Soviet sense. [...] Such misfortunes result as well from a failure to think
as holistically as the Soviet definition of doctrine would suggest. 84
According to Cohen and Gooch, a holistic, flexible, and imaginative conception of doctrine
as a theory for future war is important for a military to reduce the risk of failing to
anticipate the next war.
The 2010 version of FM 5-0, The Operations Process, includes for the first time a chapter on
design. The previous edition of FM 5-0 mentioned design as a precedent to planning, but
did not offer any explanation of what design is or how it is accomplished. 85 By its nature as
the guide for military activities, doctrine must be widely applicable which in turn means
that it is often vague, and Chapter 3 of FM 5-0 is no different. As a result, the doctrine of
design does not provide the level of depth necessary for operational artists to gain
understanding of the theory, philosophy, and application behind the concept of design.
Therefore, the SAMS design course curriculum deliberately goes beyond the doctrine to
foster the deeper understanding of design necessary to enrich operational art. However, a
thorough knowledge and understanding of design doctrine as the common baseline of
understanding and language of design across the Army (and potentially the joint force) is
essential.
Pre-doctrinal materials and supplanted doctrine related to design, such as FMI 5-2, Design 86
and TRADOC Pamphlet 535-5-500, Commander’s Appreciation and Campaign Design, 87
83 Maj. Gen. John F. C. Fuller, The Foundations of the Science of War (Washington, DC: Government Printing
Office, 1993).
84Eliot A. Cohen and John Gooch, Military Misfortunes: The Anatomy of Failure in War (New York, NY: Vintage
Books, 1991), 239.
85 This, however, was briefly discussed in FM 3-24.
86 United States, Field Manual Interim 5-2, Design (Washington, DC: Headquarters, Department of the Army,
2009).
36
ART OF DESIGN
provide insight to the evolution of military design which led to the current doctrine, and
thereby contributes to the depth of understanding in the thought behind Design. One
TRADOC publication of particular relevance is the recently released TRADOC Pamphlet 525-
3-0, The Army Capstone Concept Operational Adaptability, which describes the broad
capabilities the Army will require in 2016-2028. The capstone concept identifies
adaptability as the way to cope with future uncertainty. In an operational setting,
adaptability is achieved through developing the situation through action and
framing problems using design.
(1) Developing the situation through action requires understanding the situation in depth,
breadth, and context; acting; assessing and adapting tactical and operational actions;
consolidating gains; transitioning between tasks and operations; and, ultimately, being
prepared to transition responsibility
(a) Understanding the situation in depth, breadth, and context. Because of the complexity of
the environment and the continuous interaction with adaptive enemies, understanding in
armed conflict will never be complete. While acknowledging the enduring uncertainty of
war, however, Army leaders must begin with a clear definition of the operation’s purpose
and pursue an understanding of the qualitative relationships between factors that interact
in the context of armed conflict. Leaders must be adept at applying design as a methodology
for framing problems. 88
In summary, doctrine in general and design doctrine specifically, including its

development, are essential to understanding and applying design.
2.2.1.4. PHILOSOPHY
What is the first business of philosophy? To part with self-conceit. For it is impossible for
anyone to begin to learn what he thinks that he already knows.
—Epictetus, Discourses
The importance of an appreciation of the philosophy of design is best illustrated by

analogy. During World War II, Melanesians enjoyed access to previously unseen Western
manufactured goods, due to Japanese and American operations in the Pacific theatre. At the
end of the war, the bases closed and cargo drops ceased. To restore the flow of goods, cults
engaged in ritualistic behavior, including imitating the behavior of the Soldiers they had
observed. 89 Life sized replicas of rifles, airplanes, runways, and control towers were built
from wood and straw to attract cargo drops. Cult members performed parade drills, lit up
87 United States, TRADOC Pam. 525-5-500.

88United States, TRADOC Pamphlet 525-3-0, The Army Capstone Concept Operational Adaptability: Operating
Under Conditions of Uncertainty and Complexity in an Era of Persistent Conflict (Washington, DC:
Headquarters, Department of the Army, 2009), 17.
89 Peter Worsley, The Trumpet Shall Sound: A Study of "Cargo" Cults in Melanesia (London: MacGibbon & Kee,
1957).
37
ART OF DESIGN
the runways, and manned the control towers wearing carved wooden headphones. The
flaw in the causal reasoning of the cargo cults was mistaking a necessary condition for a
sufficient condition. The flaw in their design was imitating the form of the military bases
with no understanding of the underlying function or logic. Adopting design terminology
and methods with no deeper understanding of design philosophy and theory risks falling
into exactly the same trap. Using new design methods and buzz words within the old
paradigm will not lead to improved results.
John Schmitt explains the importance of understanding the unique logic of a problem
situation in design. Schmitt proposes Charles Sanders Peirce’s class of abductive reasoning
(in contrast to inductive and deductive reasoning) as the process design teams can use for
theory development.
Facing a complex operational situation, the commander assembles a design team and holds
an iterative, conversational discourse. The purpose of this discourse is to imagine the
situation as a system, to hypothesize a causal logic to explain the behavior of that system
and to conceive a logical approach, a counterlogic, for transforming that system through
action. The design team uses extensively abductive reasoning—the process of inferring best
explanations from limited facts. The resulting operational design is a logic system that
permeates all operations by establishing a context for all planning and execution. The
rationale is to pull out of the problem itself the logic for solving the problem rather than to
apply or adapt some predetermined logic. Once the designers have created the design they
continue to test and modify it through argumentation, but more importantly through
feedback from the results of implementing the design through action. 90
Making sense of the logic of an emerging situation requires digging beneath the surface
impressions of symptoms and issues, which are often based on limited and contradictory
information. Philosophy provides a rational foundation for this design inquiry.
The stereotype of the armchair philosopher as removed from all practical concerns is
encapsulated in Ambrose Bierce’s tongue-in-cheek definition of philosophy as “[a] route of
many roads leading from nowhere to nothing.” 91 Yet this belies the surprisingly practical
tools philosophy offers for design inquiry. Clausewitz’s dialectical approach distinctive of
On War, although believed to be his own invention, has connections to the philosophies of
Plato, Kant, Fichte, and Hegel. 92 John Boyd’s unpublished paper, “Destruction and Creation,”
described what he called a ‘dialectic engine’ of deconstructive analysis and creative
synthesis, repeatedly applied to existing conceptual patterns of meaning. 93 The logic of
design, moving between the environmental frame, the problem frame, and the operational
approach, is also fundamentally dialectical.
90 John F. Schmitt, "A Systemic Concept for Operational Design," unpublished article, 2006, 16.
91 Ambrose Bierce, The Devil’s Dictionary (New York: Oxford University Press, 1999), 144.
92 Christopher Bassford, “Clausewitz and His Works,” (2008): 17ff.
93John R. Boyd, “Destruction and Creation,” 1976,
http://www.goalsys.com/books/documents/DESTRUCTION_AND_CREATION.pdf, (accessed 12/30/2009).
38
ART OF DESIGN
Focused primarily on understanding rather than on action, the whole logic of operational
design as a dynamic form of knowledge creation is based on a system of heuristics
combining three functional components, or three planes of learning: description,
problematization, and synthesis…
The conceptual triad thesis–antithesis–synthesis, which is popularly attributed to the

German idealist philosopher Friedrich Hegel, basically offers three arguments, which are
relevant to our case. First, every learning or advancement of understanding implies a
critical attack on an existing conceptual proposition. Second, without the mediating attack
upon a proposed understanding, one cannot reach the state of synthesis, which implies the
deliberate acquisition of a higher or more relevant state of understanding. And, third, it is
through the application of the learning dialectics, which is perpetuated by the mediating
problematization, that knowledge progresses.94
The dialectical logic of thesis–antithesis–synthesis, the Socratic method of questioning

(best documented in the writings of Plato), and Kuhn’s paradigm shift are three essential
philosophical underpinnings for design discourse. The dialectic generates the theoretical
differences needed for creative synthesis. The Socratic Method provides a skeptical
approach to challenging confidently held beliefs by questioning their logical foundations
from multiple perspectives.
Kuhn’s explanation of scientific revolution reveals both the importance of framing for the
accumulation of knowledge (this is what Kuhn called ‘normal science’), and the mechanism
to relax the bounds on research, which allows for reframing (or a ‘paradigm shift’) in the
wake of a crisis. 95 The crisis occurs when the “normal technical puzzle-solving activity”
breaks down. 96 A paradigm shift requires a viable alternative framework, and involves a
social process of conversion from the old paradigm to the new. Organization theorist James
March explains the practical implications of paradigms and frames for decision making.
Framing. Decisions are framed by beliefs that define the problem to be addressed, the
information that must be collected, and the dimensions that must be evaluated. Decision
makers adopt paradigms to tell themselves what perspective to take on a problem, what
questions should be asked, and what technologies should be used to ask the questions. Such
frames focus attention and simplify analysis. They direct attention to different options and
different preferences. A decision will be made one way if it is framed as a problem of
maintaining profits and in a different way if it is framed as a problem of maintaining market
share. A situation will lead to different decisions if it is seen as being about “the value of
innovation” rather than “the importance of not losing face.” Decision makers typically frame
problems narrowly rather than broadly. They decide about local options and local
preferences, without considering all tradeoffs or all alternatives. 97
94Shimon Naveh, Jim Schneider and Timothy Challans, The Structure of Operational Revolutions: A
Prolegomena (Leavenworth, Kansas: Booz Allen Hamilton, 2009), 78-81.
95 Thomas S. Kuhn, The Structure of Scientific Revolutions (Chicago, IL: University of Chicago Press, 1970).
96 Ibid., 69.
97 James G. March, A Primer on Decision Making (New York, NY: Free Press, 1994), 14.
39
ART OF DESIGN
Chris Paparone recently published an article that casts contemporary design discourse as
contributing to a conversation that was first started in philosophy between Heraclitis and
Parmenides. In this view, an understanding of philosophy provides context for the current
literature on design.
Framed around how to deal with highly volatile, uncertain, complex and ambiguous (high
“VUCA”) situations, design is becoming attractive as a complementary or perhaps an
alternative for a military staff culture that is deeply rooted in the analytic-planning
paradigm. While design-as-praxis is a relative newcomer to military professionals, it has
conceptual ties to ancient Greek philosophical debates and a decades-long history in the
areas of architecture, urban studies, public policy, and more recently, business
management. 98
Above and beyond any immediate practical utility, the study of philosophy teaches
its students to keep an open mind. According to Bertrand Russell, “[p]hilosophy is to be
studied, not for the sake of any definite answers to its questions, since no definite answers
can, as a rule, be known to be true, but rather for the sake of the questions themselves;
because these questions enlarge our conception of what is possible, enrich our intellectual
imagination and diminish the dogmatic assurance which closes the mind against
speculation….”99 An openness to possibility and intellectual imagination are essential
characteristics of designers in any field.
2.2.1.5. PRACTICE
A study of the laws of war is necessary as we require to apply them to war. To learn this is no
easy matter and to apply them in practice is even harder; some officers are excellent at paper
exercises and theoretical discussions in the war colleges, but when it comes to battle there are
those that win and those that lose.
—Mao Tse-tung, On the Study of War, 1936
Earlier, Schön provided an answer to the question of how to learn to design, by advocating
learning by doing in a reflective practicum. Lawson agrees that practice is essential for
learning design.
Conceptually the studio is a process of learning by doing, in which students are set a series
of design problems to solve. They thus learn how to design largely by doing it, rather than
by studying it or analysing it. It seems almost impossible to learn design without actually
doing it. 100
98Christopher R. Paparone, “Design and the Prospects of a US Military Renaissance,” Small Wars Journal Blog
(5 May, 2010): 1.
99 Bertrand Russell, The Problems of Philosophy (Plain Label Books, 1938), 159.
100 Lawson, How Designers Think, 7.
40
ART OF DESIGN
The reflective practicum is an essential pillar of the SAMS approach to educating design.
Three two-week long design practica provide a studio environment for low risk
experimentation and reflection on the practice of design. We believe this is so important to
design education that Chapter 4 is devoted to illustrating the practice of design.
While there is no substitute for learning design by doing, the student of design can
supplement opportunities for practice with reading theory, history, doctrine and
philosophy as foils for reflection. Opportunities to observe other design teams in action are
another valuable way to learn more about design. Finally, although the journey of learning
in design is always more revealing than the destination, it is possible to learn through
sharing design products. This is why we have assembled for the first time a design
repository of SAMS AMSP design products in Appendix F.
2.2.2. INTRODUCING THE CONCEPTUAL FRAMEWORK FOR DESIGN

The five pillars of history, theory, doctrine, philosophy, and practice are sources for the rich
(and continually developing) design lexicon. Appendix C contains an extensive list of
definitions for the technical terms most commonly used within SAMS design practica.
Although useful to the student of design, in isolation, a laundry list of definitions falls short
of a conceptual framework. It raises questions such as, “Which concepts are the most
important?”, and “How are they related?”
In response to the first question, our conceptual framework is organized hierarchically. At

the top of the hierarchy is a single concept – design – which has already been discussed at
length at the start of this section. The next level down contains four concepts, which we
have come to refer to as the ‘four big ideas’ of design. They are learning, difference,
systems, and social creation, described below. The third level contains the ‘key concepts’.
Our methodology for selecting the key concepts was to extract major themes from the
design curriculum. Key concepts are sufficiently important that at least three hours of
instruction is focused on exploring them. To ensure the key concepts were truly
multidisciplinary, we triangulated by requiring key concepts to be supported by theorists
from two or more fields. Finally, the fourth level is the full design glossary. This hierarchy is
depicted in Figure 7.
41
ART OF DESIGN
FIGURE 7. THE CONCEPTUAL FRAMEWORK FOR DESIGN.
In response to the second question on relationships, the glossary identifies relationships

between the concepts by underlining related concepts in each definition. (In the interactive
electronic version of the glossary, these relationships are hyperlinks.) Relationships
between the key concepts and between the four big ideas are discussed in increasing detail.
An extra advantage of identifying these relationships is it allows the conceptual framework
to be represented visually. Figure 8 shows the glossary as a directed graph, where the
nodes represent the concepts. A link is drawn between concepts A and B if A refers to B in
its definition. The spatial arrangement of the conceptual framework is computed
automatically by software that allows the nodes to self-organize to be closer to the
concepts they are related to.
At this level of detail, the framework may initially appear too complicated to make much
sense of. It does however tell us that the lexicon forms a fully connected web, and that
learning the language of design is not trivial! By counting the number of links connected to
each node, we can identify ‘hubs’ of highly connected concepts. System (16 links), design
42
ART OF DESIGN
(noun) (8 links), design (verb) (8 links), problem situation (8 links), adaptation (7 links),
problem (7 links), and stakeholder (7 links) are the most connected terms. In other words,
design is a systems approach to problem situations that engages stakeholders to
identify problems as well as better ways to adapt. Similar graphs are drawn for the four
big ideas and the key concepts below. Each perspective provides different yet
complementary insights into the nature of design thinking.
FIGURE 8. DESIGN TERMINOLOGY FROM THE GLOSSARY

(APPENDIX C) VISUALIZED AS A DIRECTED GRAPH.
2.2.3. THE FOUR BIG IDEAS OF DESIGN

This section introduces the four big ideas of design: learning, difference, systems, and social
creation. They are considered the big ideas because they permeate all of the other key
concepts and together embody the ‘spirit’ of design. The four big ideas are strongly
interrelated and self-referential, as depicted in Figure 9. Both the ideas and their
relationships are discussed in detail below.
43
ART OF DESIGN
FIGURE 9. THE FOUR BIG IDEAS OF DESIGN.
2.2.3.1. LEARNING
Our capacity to learn, after two years of war, had improved beyond measure. The same blind
refusal to learn, which had characterized many of our operations early in the war, had almost
disappeared. We were learning, and learning how to learn faster.
—Robert Sherrod, Tarawa: The Story of a Battle 101
Although design as a practical art is ultimately about solving problems, designers do not
start by focusing on the solution, or even the problem. The first question for designers
required to create an innovative response to a unique problem situation is “How can we
learn about this situation?” Before the design team can design a solution, they must
first design their own learning system. Getting this learning system right is more
important than the initial design product. This is why ‘learning to learn’ in Figure 9 is
critical: it allows the designers to improve their products over time, and maintain a
relevant understanding in a changing environment.
Learning is a broad theme in design that encompasses reframing, refinement, adaptation

and evolution. In the following passage, Peter Senge extols the virtues of learning.
Through learning we re-create ourselves. Through learning we become able to do
something we never were able to do. Through learning we reperceive the world and our
relationship to it. Through learning we extend our capacity to create, to be part of the
generative process of life. 102
101 Robert Lee Sherrod, Tarawa: The Story of a Battle (New York, NY: Duell, Sloan and Pearce, 1944), 148.
Peter M. Senge, The Fifth Discipline: The Art and Practice of the Learning Organization (New York:
102
Doubleday/Currency, 2006), 14.
44
ART OF DESIGN
Learning in design occurs at multiple levels. At the individual level, design inquiry yields a
deeper understanding of the operational environment. Learning is supported by individual
research, dialog, drawing and modeling, and above all from interacting with the situation.
As the quote from Robert Sherrod above suggests, it is also possible to learn how to learn
faster. Psychologist Dietrich Dörner has some advice on learning to cope with complex
situations.
We must learn that events have not only their immediate, visible effects but long-term
repercussions as well. We also must learn to think in terms of systems. We must learn that
in complex systems we cannot do only one thing. Whether we want it to or not, any step we
take will affect many other things. We must learn to cope with side effects. We must
understand that the effects of our decisions may turn up in places we never expected to see
them surface. 103
Dörner’s main contribution is an understanding of the common cognitive traps decision

makers fall snare to that prevent learning. In Dörner’s experiments, a poor decision maker
would set vague goals, fail to model the system of interest, ignore the temporal dimension,
formulate deconditionalized plans, and then engage in ‘ballistic behavior’ – fire and forget
decision making without ever looking for feedback. When a poor decision maker is finally
forced to face negative feedback from bad decisions, they are quick to resort to ‘external
attribution,’ which involves finding a scapegoat to take the blame. 104
At the team level, no theorist has contributed more to an understanding of team learning
than Senge. The following captures the importance of distinguishing between dialogue and
discussion, and the analog of external attribution at the team level – defensive routines.
The discipline of team learning involves mastering the practices of dialogue and discussion,
the two distinct ways that teams converse. In dialogue, there is the free and creative
exploration of complex and subtle issues, a deep “listening” to one another and suspending
of one’s own views. By contrast, in discussion different views are presented and defended
and there is a search for the best view to support decisions that must be made at this time.
Dialogue and discussion are potentially complementary, but most teams lack the ability to
distinguish between the two and to move consciously between them.
Team learning also involves learning how to deal creatively with the powerful forces
opposing productive dialogue and discussion in working teams. Chief among these are what
Chris Argyris calls “defensive routines,” habitual ways of interacting that protect us and
others from threat or embarrassment, but which also prevent us from learning. 105
At the organizational level, the communication between design teams allows for the
transfer of knowledge and learning from the experience of others. Bryan Lawson
Dietrich Dö rner, The Logic of Failure: Recognizing and Avoiding Error in Complex Situations (Cambridge,
103
MA: Perseus Books, 1996) 198.

104 Dö rner, The Logic of Failure, 182.
105 Senge, The Fifth Discipline, 220.
45
ART OF DESIGN
recognizes the importance of situating design teams within the context of organizational
learning.
One other lesson to be drawn from all this is that developing a learning design organisation
demands that some effort be put into the sort of reflection we have begun to indulge in here.
That is to say a design organisation should try to transfer knowledge gained from the
projects it completes in order to develop its processes. 106
Argyris and Schön describe two types of organizational learning, where learning means the
detection and correction of error.
When the error detected and corrected permits the organization to carry on its present
policies or achieve its present objectives, then that error-and-correction process is single-
loop learning. Single-loop learning is like a thermostat that learns when it is too hot or too
cold and turns the heat on or off. The thermostat can perform this task because it can
receive information (the temperature of the room) and take corrective action. Double-loop
learning occurs when error is detected and corrected in ways that involve the modification
of an organization’s underlying norms, policies and objectives. 107
Because single loop learning takes the current goals, values, and frameworks of the
organization for granted, 108 it is focused on ‘solving the problem right.’ Doctrine claims that
design helps commanders ensure they are ‘solving the right problem’ because designers
are engaged in double loop learning. Double loop learning “involves questioning the role
of the framing and learning systems which underlie actual goals and strategies.”109 In
a sentence, this captures the essence of design as it is applied by the U.S. Army. Double loop
learning also connects learning with difference, as well as with the key concepts of the
other and asymmetry (described below). According to Argyris:
…underlying assumptions and governing variables cannot be effectively questioned without

another set against which to measure them. In other words, double loop learning always
requires an opposition of ideas for comparison. 110
This is the real role of the rival in Naveh et al.’s theory of systemic operational design:
At the level of learning system, which is reflected in the development of the complete design
process, the construction of the opposition system problematizes the initial system frame

Chris Argyris and Donald A. Schön, Organizational Learning: A Theory of Action Perspective (Reading, MA:
107
Addison Wesley, 1978), 2-3.

In fact, the organizational defensive routines associated with single loop learning not only take the status
108
quo for granted, they actively protect it.

109 Emphasis added. Robin Usher and Ian Bryant, Adult Education as Theory, Practice and Research (London:
Routledge, 1989), 87.

110Chris Argyris, “Double Loop Learning in Organizations,” Harvard Business Review, 55, no. 5 (September-
October 1977): 123.
46
ART OF DESIGN
and produces a higher level of synthetic synergy. The rival becomes the fundamental
element of antithesis.111
Zooming out from the organizational level further still, Yaneer Bar-Yam sees the whole
learning ‘ecosystem’ as an evolutionary process involving multiple levels of competition
and cooperation. Evolution, conceived as a process of differentiation, selection, and
amplification, begins with the generation of variety, then selects and expands on those
strategies that actually work in the context of the operational environment.
Organizations that learn by evolutionary change create an environment of ongoing
innovation. Evolution by competition and cooperation and the creation of composites of
patterns of behavior is the way to synthesize effective systems to meet the complex
challenges of today’s world. 112
In addition to learning at the level of the individual, the team, the organization, and the
ecosystem, one of the most distinguishing characteristics of Naveh et al.’s theory of
systemic operational design is the importance of learning at the meta-level:
Thinking about their thinking (meta-thinking), the designers examine the compatibility
between the existing methodology of the inquiry and the cognitive challenges implied by
the circumstantial context, and thus, may reframe the structure of their learning process. 113
Learning to learn requires the ability to take a meta-perspective at all levels. The
significance of the meta-level is it frees designers from the constraints of any one
theory of learning, which allows the design team to reframe when the current
paradigm loses relevance in a changing context.
Table 3 summarizes the importance of learning and its relationships with the big ideas of
design.
TABLE 3. LEARNING AS ONE OF THE BIG IDEAS OF DESIGN.
Importance of Learning Learning at individual, team, organizational, ecosystem and

meta levels determines the long-term effectiveness of design.
Learning  Learning Learning to learn (and to unlearn maladaptive habits)
accelerates the rate of learning.
Learning  Difference Viewed as a special kind of adaptive or evolutionary process,
learning involves differentiation, selection and amplification.
Learning has an exploration phase, which generates variety,
and an exploitation phase, which favors the experiments that
worked. The initial differentiation/exploratory phase of
learning increases differences within the system.
Learning  Systems The systems approach creates an interactive cycle of sensing
111 Naveh, Schneider and Challans, Structure of Operational Revolutions, 82.

112 Bar-Yam, Making Things Work, 92.
47
ART OF DESIGN
and responding to the context. Learning closes the feedback

loop of this interactive cycle, which allows a learning system
to adapt and improve its fitness over time.
Learning  Social Creation Learning and social creation are intimately linked at the
levels above individual learning. Team learning and
organizational learning involve feedback loops that extend
across teams and organizational divisions. These feedback
loops are socially created and must be continually recreated
over time.
2.2.3.2. DIFFERENCE
How different is almost every military problem, except in the bare mechanism of tactics. In
almost every case the data on which a solution depends are lacking.
—Dennis Hart Mahan 114
Difference is foundational to design. Difference is how we learn. What is different? Why?

What are the sources of difference? What is the difference between the environment as I
understand it and as I want it to be? Why is there a difference between them and what are
the origins of that difference? These questions reveal to the designer sources of opposition
within that system, and provide an entry point for reflection on self in relation to the
environment and the other. Understanding the practical implications of these differences is
where relevant, useful, transformative action can be identified. Appreciating difference is
how designers assess whether we are “solving the right problem.”
The appreciation of difference is the first step of critical thinking. Without this step,
decision makers risk falling into the trap of methodism. Methodism, a term coined by
Clausewitz and expanded on by Dörner, is “the unthinking application of a sequence of
actions we have once learned.” 115
We can summarize Clausewitz’s advice thus: In many complex situations, considering a few
“characteristic” features of the situation and developing an appropriate course of action in
the light of them is not the essential point. Rather, the most important thing is to consider
the specific, “individual” configuration of those features and to develop a completely
individual sequence of actions appropriate to that configuration.116
Mao Tse-tung echoes Clausewitz by emphasizing the need to understand the differences
that make the ‘laws’ of each war unique.
114Dennis H. Mahan, An Elementary Treatise on Advanced Guard, Outpost, and Detachment Service of Troops,
and the Manner of Posting and Handling Them in Presence of an Enemy; with a Historical Sketch of the Rise and
Progress of Tactics, Etc, 1847.
48
ART OF DESIGN
It is well known that when you do anything, unless you understand its actual circumstances,
its nature and its relations to other things, you will not know the laws governing it, or know
how to do it, or be able to do it well.
War is the highest form of struggle for resolving contradictions, when they have developed
to a certain stage, between classes, nations, states, or political groups, and it has existed
ever since the emergence of private property and of classes. Unless you understand the
actual circumstances of war, its nature and its relations to other things, you will not know
the laws of war, or know how to direct war, or be able to win victory…. Thus the different
laws for directing different wars are determined by the different circumstances of those
wars—differences in their time, place and nature. 117
Recognition of the uniqueness of the current situation is central to design thinking. Major
Ed Hayward’s monograph on the philosophy of design recognized the central place of
difference:
The process of design is about the recognition of difference; internal difference as essential
identity, a consequence of flux rather than circumstantial difference, a predicate of identity.
This recognition occurs following reflective thought. 118
In addition to underpinning critical thinking, difference is central to framing. In their

foundational treatise on operational design, Shimon Naveh, James Schneider, and Timothy
Challans articulate an important connection between difference, framing, and systems.
Framing implies the mental construction of a comprehensive understanding that results
from the projection of an exterior perspective on a sphere of phenomena. In other words,
the frame presents the logical explanation of an observed variety, which, at first, appears
complex. To construct a frame, or to bound an understanding, the designer explores the
difference between the object of his/her observation and the paradigm he/she uses as an
organizing reference. Or put in Peter Checkland’s words, while observing the world outside
himself, the beholder frames a system, or a systemic understanding. 119
Other theorists support the importance of difference to problem solving in general, and
design in particular. Jamshid Gharajedaghi offers the memorable dictum: “Interactive
design is both the art of finding differences among things that seem similar and the
science of finding similarities among things that seem different.”120 The conscious
search for the pattern of difference in the superficially similar and similarity in the
superficially different is how designers recognize the ‘difference which makes a difference’
Mao Tse-tung, “Problems of Strategy in China's Revolutionary War” in The Art of War (El Paso, TX: El Paso
117
Norte Press, 2005), 5.

118Maj. Edward P. W. Hayward, “Planning Beyond Tactics: Towards a Military Application of the Philosophy
of Design in the Formulation of Strategy” (Monograph, School of Advanced Military Studies, U.S. Army
Command and General Staff College, 2005), 7.
120 Emphasis added. Jamshid Gharajedaghi, Systems Thinking: Managing Chaos and Complexity: A Platform for
Designing Business Architecture (New York, NY: Elsevier, 2006), 126.
49
ART OF DESIGN
represented in Figure 9. Restated, the difference which makes a difference is the evaluation
of relevance of information towards understanding a problem situation.
Robert Axelrod and Michael Cohen notice the connection between complex systems
science, diversity, and design. “The Complex Adaptive Systems approach, with its premise
that agents are diverse, is well suited to design projects… It builds in the default
assumption that there is variety within a population that could matter.” 121 Difference is
essential for the design of complex systems, because “the variety within a population is a
central requirement for adaptation.” 122 Scott Page elegantly articulates the value of
difference for team composition.
What we desire influences how we look at problems, the perspectives we choose. Thus,
collections of people with diverse preferences often prove better at problem solving than
collections of people who agree. Difference of opinion not only makes a horse race, it also
makes for effective, albeit sometimes contentious, teams. 123
Gregory Bateson, a pioneering member of the cybernetics 124 movement, placed the self-
referential use of difference at the center of his theory of mind. Bateson restated the theory
of information invented by fellow cybernetician Claude Shannon: “The technical term
‘information’ may be succinctly defined as any difference which makes a difference in some
later event. This definition is fundamental for all analysis of cybernetic systems and
organization.” 125 Bateson argued that the impulses travelling through our brains from the
firing of neurons were more correctly thought of as “news of a difference.” 126 Hence, he
could claim that “the word ‘idea’ in its most elementary sense, is synonymous with
‘difference.’ ” 127 Bateson applied this concept of difference to human perception as well as
thought.
Human sense organs can receive only news of difference, and the differences must be coded
into events in time (i.e., into changes) in order to be perceptible. Ordinary static differences
that remain constant for more than a few seconds become perceptible, only by scanning.
121Robert Axelrod and Michael D. Cohen, Harnessing Complexity: Organizational Implications of a Scientific
Frontier (New York: Basic Books, 2000), 33.
122 Ibid., 32.
123Scott E. Page, The Difference: How the Power of Diversity Creates Better Groups, Firms, Schools, and Societies
(Princeton, NJ: Princeton University Press, 2007), 12.
124 Cybernetics and General System Theory were the two original Western schools of systems thinking.
Cybernetics aimed to uncover common mechanisms of control and communication between living organisms
and machines.
125 Gregory Bateson, Steps to an Ecology of Mind (New York: Ballantine Books, 1972), 381.
126 Ibid., 460.
127 Ibid., 459.
50
ART OF DESIGN
Similarly, very slow changes become perceptible only by a combination of scanning and
bringing together observations from separated moments in the continuum of time. 128
Table 4 summarizes the importance of difference and its relationships with the big ideas of
design.
TABLE 4. DIFFERENCE AS ONE OF THE BIG IDEAS OF DESIGN.
Importance of Difference The appreciation of difference is fundamental to our ability

to perceive changes in the operational environment, to
generate relevant ideas, and to critically examine concepts.
Difference  Learning Design deliberately seeks differences in perspectives,
frames and theories in order to learn. Differences between
observation and expectation often produce feelings of
surprise, which is an extremely important trigger for
learning 129 and reflection.130
Difference  Difference The difference which makes a difference defines the
relevant information within design.
Difference  Systems Diversity of agents provides the raw material for adaptation.
Difference is the key to selecting the boundary between a
system and its environment, which determines the identity
of the system.
Difference  Social Creation Scott Page’s book The Difference shows how and under what
conditions differences in perspectives, interpretation,
heuristics, and models can improve the performance of
teams for prediction and problem solving.131 His work
provides the link between difference and social creation.
2.2.3.3. SYSTEMS
When a war is decided upon, it becomes necessary to prepare not an entire plan of
operations—which is always impossible—but a system of operations in reference to a
prescribed aim…
—Henri Jomini132
128 Gregory Bateson, Mind and Nature: A Necessary Unity (Bantam, 1988), Chapter III.
129 Zvi Lanir, Fundamental Surprises: The National Intelligence Crisis. Tel Aviv: Dvir, 1984.
131 Page, The Difference.
132 Henri Jomini, “Jomini and his Summary of the Art of War: A Condensed Version,” in Ardant du Picq, Charles
Jean Jacques Joseph, Carl von Clausewitz, and Henri Jomini. Roots of Strategy, Book 2: 3 Military Classics.
Harrisburg, PA: Stackpole Books, 1987, 453.
51
ART OF DESIGN
When we asked what design was at the beginning of this chapter, Table 2 summarized a
key element of the design approach as acknowledging uniqueness and complexity,
developing shared holistic understanding by drawing and modeling, and responding
systemically. Design thus described is a systems approach. The systems approach emerged
in the middle of the 20th century in response to a concern over the specialization and
fragmentation of knowledge in science. Systems scientists set themselves the task of
organizing knowledge across disciplines of science, to improve the flow of techniques,
results and communication between the specialized sciences. The first scientists to apply
these new ideas to designed systems gave birth to the field of cybernetics. In the
subsequent 60 years, systems approaches have proliferated and influenced almost all
approaches to design, as well as the specialized branches of science and the humanities.
A designer of military operations today finds themselves in an analogous situation to the

early systems thinkers. There is no shortage of SMEs on Afghanistan and Iraq willing to
share deep and narrow specialist knowledge of a particular threat, tribe, or resource. In
contrast, very few people can integrate all of the pieces of information and tell you what it
means within the strategic context. Analysis is in far greater supply than synthesis. A
systems approach equips designers with a framework for synthesizing and
organizing complex and often contradictory information.
So what exactly is a systems approach? Ervin Laszlo, the first philosopher to write about
the new systems paradigm, described it this way:
In sum, nature, in the systems view, is a sphere of complex and delicate organization.
Systems communicate with systems and jointly form supersystems. Strands of order
traverse the emerging hierarchy and take increasingly definite shape. Common
characteristics are manifest in different forms on each of the many levels, with properties
ranged in a continuous but irreducible sequence from level to level. The systems view of
nature is one of harmony and dynamic balance. Progress is triggered from below without
determination from above, and is thus both definite and open-ended. To be “with it” one
must adapt, and that means moving along. There is freedom in choosing one’s paths of
progress, yet this freedom is bounded by the limits of compatibility with the dynamic
structure of the whole. 133
Laszlo’s summary highlights the importance of understanding the hierarchical organization

of communicating parts into wholes, which is represented in Figure 9 as the concept of
multi-level systems. In addition, Laszlo recognizes irreducible emergent properties at each
level of the system, the self-organizing dynamic of increasing order from the bottom-up,
and the need to adapt, because fitness is always measured relative to a changing context.
There is an important distinction between the everyday meaning of the word system and
the more technical meaning of system as ‘taking a systems approach.’ Peter Checkland and
John Poulter write that “everyone is so used to the casual everyday-language usage of the
133Ervin Laszlo, The Systems View of the World: The Natural Philosophy of the New Developments in the
Sciences (New York: George Braziller, 1972), 74-5.
52
ART OF DESIGN
word ‘system’. In ordinary talk we constantly refer to complex chunks of the everyday
world as systems, even though they do not come close to meeting the requirements of that
concept.” 134 In contrast, they say “ ‘systems’ are devices used in a learning process to define
desirable and feasible ‘action to improve’.” 135 The implication of systems as devices is that
“the notion of systemicity (‘systemness’) appears in the process of inquiry into the world,
rather than in the world itself.” 136 We should always remember that it is our thinking
that is systemic, not the world itself.
In developing a systems approach for the business world, Peter Senge explains that
“[s]ystems thinking is a discipline for seeing wholes. It is a framework for seeing
interrelationships rather than things, for seeing patterns of change rather than static
‘snapshots.’ 137” Senge views systems thinking as the best way to cope with complexity.
Complexity can easily undermine confidence and responsibility—as in the frequent refrain,
“It’s all too complex for me,” or “There’s nothing I can do. It’s the system.” Systems thinking
is the antidote to this sense of helplessness that many feel as we enter the “age of
interdependence.” Systems thinking is a discipline for seeing the “structures” that underlie
complex situations, and for discerning high from low leverage change. That is, by seeing
wholes we learn how to foster health. To do so, systems thinking offers a language that
begins by restructuring how we think. 138
The most active and exciting contemporary systems approach, complex systems science,
makes the connection between systems and complexity even more explicit. The director of
the New England Complex Systems Institute, Yaneer Bar-Yam, expands on Senge’s
argument.
What do people do today when they don’t understand “the system?”. They try to assign
responsibility to someone to fix the problem, to oversee “the system”, to coordinate and
control what is happening. It is time we recognized that “the system” is how we work
together… We need to learn how to improve “the system” without putting someone in
charge, in order to make things work. 139
In complex systems science, we see for the first time tools sophisticated enough to provide
an alternative to putting someone in charge. Complex systems science shows how
distributed networks of adaptive agents are capable of solving problems no agent
could solve alone. Antoine Bousquet draws the connection between complex systems
science and warfare in The Scientific Way of Warfare. Prompted by the reflections of
General John Abizaid on the networked nature of contemporary operations, Bousquet asks:
134 Checkland and Poulter, Learning for Action, 18.

135 Ibid., 19.
136 Ibid., 22.
138 Ibid., 69.
53
ART OF DESIGN
How has war, an activity traditionally dominated by institutions extolling the virtues of
hierarchical command and submission to orders, come to be understood essentially in
terms of decentralised networks of combatants connected together by horizontal
information links?140
Examining chaos theory and complex systems science, Bousquet characterizes these new
scientific approaches as:
…an outgrowth of cybernetics and information theory, but the focus on change, evolution,
and positive feedback breaks with the concern for stability of the cybernetic pioneers… The
key notions here are those of non-linearity, self-organisation, and emergence, and the
central metaphor is that of the network, the distributed model of information exchange
perhaps best embodied by the Internet.141
The connection between systems thinking and design is the subject of Jamshid
Gharajedaghi’s classic book Systems Thinking. The following quote describes design in
terms of learning and an awareness of systems.
Designers seek to choose rather than predict the future. They try to understand rational,
emotional, and cultural dimensions of choice and to produce a design that satisfies a
multitude of functions. The design methodology requires that designers learn how to use
what they already know, learn how to realize what they do not know, and learn how to
learn what they need to know. Finally, producing a design requires an awareness of how
activities of one part of a system affect and are affected by other parts. This awareness
requires understanding the nature of interactions among the parts. 142
Table 5 summarizes the importance of systems and its relationships with the big ideas of
design.
TABLE 5. SYSTEMS AS ONE OF THE BIG IDEAS OF DESIGN.
Importance of Systems Systems thinking – thinking in terms of boundaries, flows,

relationships, feedback loops, patterns, and attractors –
enables us to take a systemic approach, to construct systems
models, and to use those models as a source of questions
within design discourse.
Systems  Learning A learning system implies deliberate thought about and
implementation of a system for collecting feedback from
action, ensuring that successful actions are amplified and
unsuccessful actions are inhibited. Learning without a
learning system is haphazard, private, local and transitory.
Systems  Difference Where traditional approaches average out differences to
Antoine Bousquet, The Scientific Way of Warfare: Order and Chaos on the Battlefields of Modernity (New
140
York NY: Columbia University Press, 2009), 2.

141 Ibid., 34.
142 Gharajedaghi, Systems Thinking, 23.
54
ART OF DESIGN
simplify analysis, the systems approach explicitly recognizes

that agents are heterogeneous, and that this variety has
adaptive value to a system in a changing context.
Systems  Systems The systems concept is naturally recursive. The parts of a
system may also be systems, and the parts of those systems
may also be systems, and so on. Recognizing that systems are
multi-level means not being constrained to a single level of
analysis and description.
Systems  Social Creation The systems approach provides a way to understand and
improve social creation.
2.2.3.4. SOCIAL CREATION

Identifying the design problem, building a potential solution, and testing that solution against
the activities meant to occur with and around the artifact all require access to cognitive
features beyond the scope of the individual designer’s mind. Building a shared representation
that both designer and client can work from and manipulate is critical to moving a complex
design forward.
—Christopher A. Le Dantec 143
At the start of Chapter 2, we made an assumption that in the military context, design will be
performed by teams. Teams encourage more diverse perspectives and experiences to
be represented during designing. While it is certainly possible for individuals to design –
historically architects worked as individuals – it takes a team to engage in dialog. The social
nature of design in the military context is a source of great strength, but it also presents
significant challenges. If the group dynamics become dysfunctional, there is little chance
that the design team will realize their potential in either their depth of understanding or
the quality of their design concept. In practice, a significant proportion of leading design
involves attending to group dynamics. This challenge is addressed in Chapter 4, which
provides practical guidance on leading social creation during design.
In order to understand how social creation underpins design, Major Xander Bullock turned
to the engineering design literature, where the importance of designing in teams has long
been acknowledged. Bullock recognizes the big idea of social creation has implications for
leading design. “Engineering Design, as a theory of social creation, recommends a cultural
shift away from single authorship or commander centric leadership.” 144 However,
143 Christopher A. Le Dantec, “Situated Design: Toward an Understanding of Design Through Social Creation
and Cultural Cognition,” in Proceedings of the Seventh ACM Conference on Creativity and Cognition (Berkeley,
California, USA, October 27 - 30, 2009): 69-78.
144 Major Xander L. Bullock, “Engineering Design Theory: Applying the Success of the Modern World to
Campaign Creation,” (Monograph, School of Advanced Military Studies, U.S. Army Command and General Staff
College, 2009), iv.
55
ART OF DESIGN
…the recommendation to make the cultural shift toward social creation does not imply that
the commander has a diminished role. In contrast, commanding in a critical and creative
environment requires intellectually agile and competent leadership. Design is part of battle
command, and properly harnessing the creative energy of the organization intentionally
enhances leadership and decision-making.145
Louis Bucciarelli is an engineer who promotes a view of engineering design as a historically

situated social process that is full of uncertainty and ambiguity.
Contemporary design is, in most instances, a complex affair in which participants with
different responsibilities and interests—that is, working within different object worlds—
must bring their stories into coherence. This is no simple synthesis achieved according to
some straightforward instrumental technique, as much as that might be desired by
professors of management or engineering design, or even by the participants themselves.
Object worlds are not congruent. Interests conflict, trade-offs must be made among
different domains, and negotiation is necessary. Design is a social process as much as it is
getting things right within object worlds. 146
Senge identifies four important factors for ensuring social dynamics are healthy and
conducive to team learning: dialogue, alignment, a shared language for dealing with
complexity, and practice.
The discipline of team learning starts with “dialogue,” the capacity of members of a team to
suspend assumptions and enter into a genuine “thinking together.”…
Team learning is the process of aligning and developing the capacity of a team to create the
results its members truly desire…
Without a shared language for dealing with complexity, team learning is limited. If one
member of a team sees a problem more systemically than others, that person’s insight will
get reliably discounted—if for no other reason than the intrinsic biases toward linear views
in our normal everyday language…
Lastly, the discipline of team learning, like any discipline, requires practice. 147
Social creation requires leaders to manage the level of stress within the design team. Ron
Heifetz and Martin Linsky use a metaphor of temperature to explain how to balance
tension within a team, an organization, or a community.
If you try to stimulate deep change within an organization, you have to control the
temperature. There are really two tasks here. The first is to raise the heat enough that
people sit up, pay attention, and deal with the real threats and challenges facing them.
Without some distress, there is no incentive for them to change anything. The second is to
lower the temperature when necessary to reduce a counterproductive level of tension. Any
145 Ibid., 30.

146 Louis L. Bucciarelli, Designing Engineers (Cambridge, MA: MIT Press, 1994), 83.
147 Senge, The Fifth Discipline, 10, 218, 221, and 251.
56
ART OF DESIGN
community can take only so much pressure before it becomes either immobilized or spins
out of control. The heat must stay within a tolerable range—not so high that people demand
it to be turned off completely, and not so low that they are lulled into inaction. 148
John Kotter notes that in an increasingly complex environment, organizations must also
become more complex by embracing diversity and interdependence.
People who have studied organizations have made very similar observations. Corporations
that are leaders in their industries and those that help start new industries tend to be full of
diversity, interdependence, and conflict, often by explicit design. The people running these
firms sometimes purposely create seemingly messy organizational structures, full of
complex interdependent relationships. They encourage and even force diverse elements to
interact. In doing so, they realize that more conflicts will then emerge and that this can
create more short-term problems and challenges. But they also realize that if those conflicts
can be productively managed, the result will be more original thinking, more creative
solutions to business problems, and more innovative products and services. And they have
learned that such originality can make them more competitive, responsive, and adaptive. 149
Understanding and addressing the organizational aspects of design is essential to enabling

social creation. Mary Jo Hatch provides a meta-perspective on organizations in
Organization Theory: Modern, Symbolic, and Postmodern Perspectives. Rather than
committing to a single prism for understanding organizations, Hatch examines the way
organizations have been framed by the three historically dominant paradigms within
organization theory. This provides a far richer and very design-like view of the complex
reality of modern organizations. The modern, symbolic, and postmodern perspectives are
compared within a common conceptual model of organization, depicted in Figure 10.
According to this model, organizations consist of the overlapping phenomena of culture,
social structure, physical structure, and technology embedded within an environment.
These five concepts are shaded grey to represent a sixth concept – power – which infuses
the other five.
148Ronald A. Heifetz and Martin Linsky, Leadership on the Line: Staying Alive Through the Dangers of Leading
(Boston, MA: Harvard Business School Press, 2002), 107-8.
149 John P. Kotter, Power and Influence (New York: Free Press, 1985), 33.
57
ART OF DESIGN
FIGURE 10. A CONCEPTUAL MODEL OF ORGANIZATION, ADAPTED FROM HATCH. 150
The development of knowledge takes place within a community of practice. The theory of
situated learning developed by Jean Lave and Etienne Wenger first introduced this concept.
A community of practice is a set of relations among persons, activity, and world, over time
and in relation with other tangential and overlapping communities of practice. A
community of practice is an intrinsic condition for the existence of knowledge, not least
because it provides the interpretive support necessary for making sense of its heritage.
Thus, participation in the cultural practice in which any knowledge exists is an
epistemological principle of learning. The social structure of this practice, its power
relations, and its conditions for legitimacy define possibilities for learning (i.e., for
legitimate peripheral participation).151
Wenger describes the importance of informal communities of practice to official

organizational structures.
People belong to communities of practice at the same time as they belong to other
organizational structures. In their business units, they shape the organization. In their
teams, they take care of projects. In their networks, they form relationships. And in their
communities of practice, they develop the knowledge that lets them do these other tasks.
150 Mary Jo Hatch and Ann L. Cunliffe, Organization Theory: Modern, Symbolic, and Postmodern Perspectives
(Oxford: Oxford University Press, 2006), 19.

151 Jean Lave and Etienne Wenger, Situated Learning: Legitimate Peripheral Participation (Cambridge:
Cambridge University Press, 1991), 98.
58
ART OF DESIGN
This informal fabric of communities and shared practices makes the official organization
effective and, indeed, possible. 152
Table 6 summarizes the importance of social creation and its relationships with the big
ideas of design.
TABLE 6. SOCIAL CREATION AS ONE OF THE BIG IDEAS OF DESIGN.
Importance of Social Creation Problem situations are too complex for any single
individual to comprehend and resolve. They need diverse
perspectives, shared understanding, and social creation to
be transformed towards a desirable future.
Social Creation  Learning Working well in social groups can lead to individual, team
and organizational learning.
Social Creation  Difference Social creation changes the environment. Even if this
generates effects other than those intended, social creation
generates difference, or information, which provides an
opportunity for learning.
Social Creation  Systems A systems approach is fundamentally interdisciplinary.
Social creation, which brings together multiple
perspectives, enriches the systems approach.
Social Creation  Applying social creation to the process of social creation
Social Creation may result in the formation of a community of practice.
Practitioners design artifacts and institutions to facilitate
professional discourse.
2.2.4. THE TWENTY KEY CONCEPTS OF DESIGN

This section summarizes twenty key concepts in the Art of Design, which provides the
heart of our conceptual framework. Doctrinal and theoretical references help define and
explain the importance of each concept. We demonstrate how the concepts have been used
in a military context, and identify relationships between the key concepts. Table 7 shows
the twenty key concepts, organized by the functional block of instruction that provides the
primary readings for each concept. Of course, the key concepts are interrelated, and neither
the blocks nor the key concepts are taught in linear sequence. Figure 11 depicts the
relationships between the key concepts. The key concepts expand and elaborate on the
four big ideas of design. From this diagram, it is clear that the four big ideas are largely
overlapping, with discourse in their intersection at the heart of design.
152 Etienne Wenger, “Communities of Practice: Learning as a Social System,” Systems Thinker, June 1998, 4.
59
ART OF DESIGN
TABLE 7. KEY CONCEPTS OF DESIGN, GROUPED BY BLOCK OF INSTRUCTION.
Effective Foundations Communication, Practice

Thinking of Design Organizations & Leadership of Design
Critical Thinking Narrative Strategic Communication Assessment
Creative Thinking Discourse Authenticity Iteration
Metaphor Identity Organizing to Learn Simultaneity
Systems Thinking The Other Team Learning Drawings
Complex Systems Asymmetry Leading and Facilitating Reflection
FIGURE 11. KEY CONCEPTS OF DESIGN GROUPED BY THE FOUR BIG IDEAS.
2.2.4.1. CRITICAL THINKING

In design, critical thinking is achieved by focusing on the differences between things,
by reflecting on actions, and reflecting on how we think. A reflective approach to
history, theory, doctrine, philosophy, and practice enhances critical thinking. Critical
thinking is hard work. It requires questioning templated solutions, surfacing and evaluating
the grounds that support a claim, and considering the implications (so what, which means,
therefore). The most important guideline for critical thinking is to apportion belief in
proportion to the evidence. Critical thinking means taking a rational approach to the
available evidence.
60
ART OF DESIGN
TABLE 8. KEY CONCEPT 1: CRITICAL THINKING.
Critical Thinking
Doctrine FM 6-22 153 Official doctrine offers an overly simplistic definition.
“Critical thinking is a thought process that aims to find
truth in situations where direct observation is insufficient,
impossible, or impractical.”
This is unhelpful because it sets too high a standard for
critical thinking – truth – and it is misleading because it
defines critical thinking as a substitute for observation,
rather than a way of interpreting observations and
evaluating beliefs. A more useful passage in FM 6-22
provides an operational definition of critical thinking.
“Critical thinking implies examining a problem in depth,
from multiple points of view, and not settling for the first
answer that comes to mind.”
Doctrine FM 5-0 154 “Critical thinking is purposeful, reflective, and self-
regulating judgment to determine the meaning and
significance of what is observed or expressed.”
Theory: Dewey 155 Dewey preferred the term ‘reflective thinking,’ but his
Education concept is the same.
“Active, persistent, and careful consideration of any belief or

supposed form of knowledge in the light of the grounds that
support it, and the further conclusions to which it tends,
constitutes reflective thought.”
Theory: Paul and “Critical thinking is that mode of thinking – about any
Critical Elder156 subject, content, or problem – in which the thinker
Thinking improves the quality of his or her thinking by skillfully
taking charge of the structures inherent in thinking and
imposing intellectual standards upon them… Critical
thinking is, in short, self-directed, self-disciplined, self-
monitored, and self-corrective thinking.”
United States, Field Manual 6-22, Army Leadership (Washington, DC: Headquarters, Department of the
153
Army, 2008), 6-1.

154 United States, FM 5-0, vii.
155 John Dewey, How We Think (Boston, MA: D. C. Heath & Co., 1910), 6.
156 Richard Paul and Linda Elder, Critical Thinking: Tools for Taking Charge of Your Professional and Personal
Life (Upper Saddle River, NJ: Financial Times/Prentice Hall, 2002), xx.
61
ART OF DESIGN
Theory: King 157 “Critical Thinking is the process by which we judge the
Effective information and arguments we deal with, and through
Thinking which we generate questions to help us to understand and
deal with issues in complex environments. Critical thinking
incorporates analytical and creative thinking skills.”
Theory: Clausewitz 158 Clausewitz’s insights into the role of kritik (critical
Military analysis) in the study of military history and theory have
lost none of their relevance to thinking critically about war
today. Note that what he calls ‘plain narrative’ does not
mean the same narrative we refer to in this student text,
but rather what historians refer to as a chronology.
“We distinguish between the critical approach and the plain
narrative of a historical event, which merely arranges facts
one after another, and at most touches on their immediate
causal links. Three different intellectual activities may be
contained in the critical approach. First, the discovery and
interpretation of equivocal facts. This is historical research
proper, and has nothing in common with theory. Second,
the tracing of effects back to their causes. This is critical
analysis proper. It is essential for theory; for whatever in
theory is to be defined, supported, or simply described by
reference to experience can only be dealt with in this
manner. Third, the investigation and evaluation of means
employed. This last is criticism proper, involving praise and
censure. Here theory serves history, or rather the lessons
to be drawn from history.”
Usage in Gerras 159 p.1 “Whether we are evaluating the information on a power
Context point slide in a Pentagon briefing, reading a newspaper
article, or participating in a discussion with an Iraqi mayor,
critical thinking is the deliberate, conscious, and
appropriate application of reflective skepticism. Some
Army leaders refer to the “critical” in critical thinking as
mere fault finding with either a conclusion or the process
by which a conclusion was reached. Fault finding is not
what critical thinking entails. The word ‘critical’ really has
to do with purposeful, reflective and careful evaluation of
information as a way to improve one’s judgment.”
Relationship Creative Thinking critically about current habits can stimulate
Thinking creative thinking about new possibilities.
157 Lt Col. Richard King, “Thinking Skills Resources” (unpublished draft, 2009), 13.
159 Colonel Stephen J. Gerras, “Thinking Critically about Critical Thinking: A Fundamental Guide for Strategic
Leaders,” U.S. Army War College (June 2006): 1.
62
ART OF DESIGN
Relationship Metaphor Metaphor (imaginative rationality) is a combination of

critical and creative thinking.
Relationship Discourse Discourse quality relies on critical thinking.
Relationship Assessment Assessment should always involve critical thinking.
Relationship Reflection Reflection is an important application of critical thinking.
2.2.4.2. CREATIVE THINKING

Breaking old habits of thought, questioning the status quo, visualizing a better future, and
devising integrated responses to ill-structured problems requires highly creative thinking.
Creative thinking is encouraged throughout the design methodology, because it enables
designers to constantly tailor their work to fit the unique problem situation they are faced
with. As design is concerned with ‘solving the right problem’ in an environment defined by
conflicting perceptions of realty, designers must seek ways to generate creative thinking –
to get outside their own frames of reference; to grasp the uniqueness of each context; to
find ways of operating with relevance in an environment that is composed of competing
versions of reality; and to imagine new, more desirable worlds. Creative thinking can be
understood as consciously generating new and useful ideas, and re-evaluating or
combining old ideas, to develop new and useful perspectives in order to satisfy a need.
TABLE 9. KEY CONCEPT 2: CREATIVE THINKING.
Creative Thinking
FM 5-0 160 “Creative thinking involves creating something new
or original. Often leaders face unfamiliar problems or
old problems requiring new solutions. Creative
thinking leads to new insights, novel approaches,
fresh perspectives, and new ways of understanding
and conceiving things. Leaders look at different
options to solve problems by using adaptive
approaches (drawing from previous similar
circumstances) or innovative approaches (coming up
with completely new ideas). In both instances,
leaders use creative thinking to apply imagination
and depart from the old way of doing things.”
Doctrine acknowledges the importance of creative
thinking. It does not specify how to think about what
constitutes creativity, where it comes from, how we
can understand what it is, and most importantly how
we generate it? The authors below offer important
insights into how to be creative, to understand
novelty, and to learn.
63
ART OF DESIGN
Theory: Flesch This simple definition of creative thinking is

Education attributed to Rudolph Flesch: “Creative thinking may
simply mean the realization that there is no
particular virtue in doing things the way they have
always been done.”
Theory: Sternberg and “Creativity requires a balance among synthetic,
Education Williams161 analytic, and practical abilities. The person who is
only synthetic may come up with innovative ideas,
but cannot recognize or sell them. The person who is
only analytic may be an excellent critic of other
people’s ideas, but is not likely to generate creative
ideas. The person who is only practical may be an
excellent salesperson, but is as likely to sell ideas or
products of little or no value as to sell genuinely
creative ideas.”
Theory: Dietrich 162 “…creativity is essentially a Darwinian process, that
Cognitive is, it entails a variation-selection process. Ideational
Neuroscience combinations are generated all the time but a
selection process is required to determine which
ideas are truly creative as opposed to merely new.”
Theory: Csikszentmihalyi 163 “[C]reativity can be seen as a special case of
Psychology evolution; specifically, it is to cultural evolution as
the mutation, selection, and transmission of genetic
variation is to biological evolution.”
161Robert J. Sternberg and Wendy M. Williams, How to Develop Student Creativity (Alexandria, VA: Association
for Supervision and Curriculum Development, 1996), 3.
162 Arne Dietrich, “Who’s afraid of a cognitive neuroscience of creativity?” Methods, 42 (2007): 25.
163 Mihaly Csikszentmihalyi, “Implications of a Systems Perspective for the Study of Creativity,” in Handbook
of Creativity, ed. Robert J. Sternberg (New York, NY: Cambridge University Press, 2007), 316.
64
ART OF DESIGN
Theory: Goldstein 164 “…emergence and creative process share a common

Emergence logic of novelty. …an anacoluthian logic points to how
both emergence and creative processes are creative,
that is, how they enable the coming into being of the
radically novel. (Anacoluthian refers to a
grammatical expression that changes midstream.)
[These processes] are the origin of originality for
they mix things up so much so that unpredictable,
non-deducible and irreducible novelty results
through paradoxical sounding-simultaneous
continuing and undermining of extant rules, routines,
and procedures. An important aspect of the logic of
following and negating is that every creation must
have familiar or it would not be recognized as
departing from the familiar. Thus, while it is
necessary that radical newness implies some kind of
discontinuity with the past, the novelty that is
generated in the creative process must be at the same
time inextricably tied-up with the past.” For example:
“In this world we walk on the roof of hell gazing at
flowers.”
Usage in FM 3-0 165 “Operational art is the application of creative
Context imagination by commanders and staffs—supported
by their skill, knowledge, and experience—to design
strategies, campaigns, and major operations and
organize and employ military forces.”
Usage in FM 3-90 166 “Every commander needs a high degree of creativity
Context and clarity of thought to outwit a willing and able
opponent.”
Relationship Critical Thinking Thinking critically also involves creative thinking
about new possibilities.
Relationship Metaphor Metaphor (imaginative rationality) is a combination
of critical and creative thinking.
Relationship Narrative Creative thinking is an integral part of narrativizing.
Relationship Drawings Creative thinking enhances design drawings.
164Jeffrey Goldstein, “Emergence, Creativity, and the Logic of Following and Negating,” The Innovation Journal
10 no. 3 (2005): 3; 6-7.
United States, Field Manual 3-0, Operations (Washington, DC: Headquarters, Department of the Army,
165
2008), 6-1.
166United States, Field Manual 3-90, Tactics (Washington, DC: Headquarters, Department of the Army, 2001),
1-5.
65
ART OF DESIGN
2.2.4.3. METAPHOR
The use of metaphor is unavoidable when comprehending novel and complex situations.
Metaphor enables us to capture the systemic features of one context in terms of another,
better understood context. However, the commonly accepted metaphors within our culture
operate largely subconsciously and must be surfaced before they can be critically
examined. That makes understanding the role of metaphors essential to designers who
themselves are trying to understand complex systems (and situations) and convey that
understanding to others.
Metaphors also come with dangers. Metaphors bring attention to some features and
connections within a problem situation, but they necessarily hide others. In other words,
metaphors help to frame an understanding of the operational environment. A
metaphor used to describe a previous situation may have to be replaced to convey the new.
For example, the term “hard power” was a dominant metaphor within international
relations to describe the use of military and economic means to coerce other, usually lesser,
powers. The metaphor of “soft power”, which refers to influence through diplomacy,
culture, and history, was coined by Joseph Nye to challenge the concept of hard power.
However, by negating the dominant metaphor, soft power operates within the existing
frame and only adds legitimacy to the case for hard power. A strategy recently adopted by
the U.S. State Department has reframed the debate by adopting the metaphor “smart
power” to promote consideration of the full range of tools at their disposal, thus dissolving
the hard/soft dichotomy. Trying to negate this frame would be equally unsuccessful - who
would ever argue for “dumb power?” To displace the concept of smart power, it would be
necessary to create a new metaphorical basis to reframe the debate.
TABLE 10. KEY CONCEPT 3: METAPHOR.
Metaphor
Doctrine FM 3-24 167 Although doctrine does not discuss the use of metaphor, it
does make use of metaphors for explaining abstract concepts.
“The relationship of LLOs [Logical Lines of Operation] to the

overall operation is similar to the stands of a rope... Each LLO
is a separate string. Operations along it cannot accomplish all
objectives required for success in a COIN operation. However,
a strong rope is created when strands are woven together.
The overall COIN effort is further strengthened through IO,
which support and enhance operations along all LLOs by
highlighting the successes along each one.”
Theory: Lakoff and “The essence of metaphor is understanding and experiencing
Linguistics Johnson168 one kind of thing in terms of another.”
66
ART OF DESIGN
Theory: Lakoff and “The reason we have focused so much on metaphor is that it
Linguistics Johnson169 unites reason and imagination. Reason, at the very least,
involves categorization, entailment, and inference.
Imagination, in one of its many aspects, involves seeing one
kind of thing in terms of another kind of thing—what we have
called metaphorical thought. Metaphor is thus imaginative
rationality.”
Theory: Bousquet 170 “The word ‘metaphor’ itself is from the Greek for ‘transfer’
Military with metaphors effectively transfering meaning from one
domain to another… If conceptual thought is therefore largely
structured according to specific metaphors, it follows that
many (if not all) social activities and human representations
of the world around us are organised by metaphorical
understandings… While new metaphors can modify our
conceptual system, they also help us apprehend novelty.”
Philosophy: Aristotle 171 “The greatest thing by far is to be a master of metaphor. It is
Aesthetics the one thing that cannot be learned from others; it is also a
sign of genius, since a good metaphor implies an eye for
resemblance.”
Usage in Paparone 172 “Given a framework for evaluating metaphors, the reflective
Context military practitioner can adjust to the ambiguity prevalent in
complex operational environments.”
Usage in Lakoff 173 “Metaphors can kill. The discourse over whether to go to war
Context in the gulf was a panorama of metaphor. Secretary of State
Baker saw Saddam Hussein as ‘sitting on our economic
lifeline.’ President Bush portrayed him as having a
‘stranglehold’ on our economy. General Schwarzkopf
characterized the occupation of Kuwait as a ‘rape’ that was
ongoing. The President said that the US was in the gulf to
‘protect freedom, protect our future, and protect the
innocent’, and that we had to ‘push Saddam Hussein back.’
Saddam Hussein was painted as a Hitler. It is vital, literally
vital, to understand just what role metaphorical thought
played in bringing us in this war.”
168 George Lakoff and Mark Johnson, Metaphors We Live By (Chicago, IL: The University of Chicago Press,
2003), 5.
169 Ibid., 193.
170 Bousquet, Scientific Way of Warfare, 25-26.
171 Aristotle, The Poetics, transl. Ingram Bywater (Whitefish, MT: Kessinger Publishing, 2004), 35.
172 Chris Paparone, “On Metaphors we are Led by,” Military Review (November-December 2008): 64.
173 George Lakoff, “Metaphor and War: The Metaphor System Used to Justify War in the Gulf,” Viet Nam
Generation Newsletter and Journal 3, no. 3 (1991).
67
ART OF DESIGN
Relationship Critical Surfacing implicit metaphors promotes critical thinking about

Thinking what the metaphor hides.
Relationship Creative Extending metaphors provides a creative way of reasoning
Thinking through novel situations.
Relationship Systems Metaphors can capture systemic features of a novel situation
Thinking in terms of a better understood situation.
Relationship Narrative Metaphor provides an organizing logic for narrative.
Relationship Discourse Metaphor conveys systemic understanding within discourse.
Relationship Drawings Metaphor provides an organizing logic for rich pictures.
2.2.4.4. SYSTEMS THINKING

Checkland’s distinction between systems as a chunk of the world compared to a systemic
approach to inquiry is very useful in design. In design we are not interested in identifying
and labeling all of the systems within the operational environment. Rather, we want to
take a systemic approach, to construct systems models, and to use those models as a
source of questions within design discourse. Often, this systemic approach is
characterized as ‘systems thinking.’ Systems thinking means thinking in terms of
boundaries, flows, relationships, feedback loops, patterns, and attractors, both between a
system and its environment, and between parts of the system. In contrast to analysis, which
breaks apart wholes to understand the parts, systems thinking provides a way for
designers to synthesize new emergent wholes.
TABLE 11. KEY CONCEPT 4: SYSTEMS THINKING.
Systems Thinking
Doctrine FM 3-24 174 “Systems thinking involves developing an understanding
of the relationships within the insurgency and the
environment. It also concerns the relationships of actions
within the various logical lines of operations (LLOs). This
element is based on the perspective of the systems
sciences that seeks to understand the interconnectedness,
complexity, and wholeness of the elements of systems in
relation to one another.”
68
ART OF DESIGN
Theory: Gharajedaghi 175 Gharajedaghi, a consultant who also teaches systems

Management thinking to MBA students, provides a framework for
systems thinking.
“…effective systems methodology lies at the interaction of

the following four foundations of systems thinking:
• Holistic Thinking (iteration of stucture, function
and process)
• Operational Thinking (dynamics of multi-loop
feedback systems; chaos and complexity)
• Self-organization, movement toward a predefined
order (socio-cultural model)
• Interactive Design (redesigning the future and
inventing ways to bring it about)”
Theory: Checkland 176 “Systems thinking is founded upon two pairs of ideas,
Complex those of emergence and hierarchy, and communication
Systems and control. Emergence and hierarchy comes from the
field of biology. Biologists have been among the pioneers
in establishing ways of thinking in terms of wholes, and it
was a biologist who suggested generalizing this thinking
to refer to any kind of whole, not simply biological
systems. Communication and control comes from a very
different source, from electrical, communication, and
control engineers.”
Usage in Kirkpatrick 177 “In three tours of duty as an aide-de-camp, Wedemeyer
Context had the unusual opportunity, as a very junior officer, to
see how the Army functioned at much higher levels. He
came to understand the Army as a system, to appreciate
the high-level perspective on day-to-day operations, and
to observe top flight, experienced leaders.”
Relationship Complex Complex systems is a form of systems thinking.
Systems
Relationship Strategic Systems thinking is essential for effective strategic
Communication communication.
Relationship Organizing to Systems thinking underpins learning organizations.
Learn
Relationship Team Learning Systems thinking enhances team learning.
Relationship Assessment Assessment is inherently systemic and requires systems
thinking to connect assessment of parts with performance
of the whole.

176 Peter B. Checkland, Systems Thinking, Systems Practice (Chichester, Sussex: John Wiley & Sons, 1981), 75.
177 Kirkpatrick, Unkown Future Doubtful Present, 11.
69
ART OF DESIGN
2.2.4.5. COMPLEX SYSTEMS

Complex systems is a particular approach to multi-disciplinary systems thinking dedicated
to understanding how self-organizing networks of adaptive agents give rise to complex
patterns of behavior. These networks are often called complex adaptive systems. Complex
systems provides an understanding of the sources of complexity, as well as new
approaches to coping with complexity by becoming more adaptive. Designers can leverage
the complex systems approach to deal with complexity over time.
TABLE 12. KEY CONCEPT 5: COMPLEX SYSTEMS.
Complex Systems
Doctrine TRADOC Pam “It is the number of parts and the ways in which they
525-5-500 178 interact that define the complexity of a given system.
(1) Structural complexity is based upon the number of
parts in a system. The larger the number of independent
parts in a system, the greater its structural complexity.
(2) Interactive complexity is based upon the behavior of
the parts and the resulting interactions between them.
The greater the freedom of action of each individual part
and the more linkages among the components, the greater
is the system’s interactive complexity.”
Doctrine FMI 5-2 179 “The nonlinearities of complex systems due to feedback,
self-organization, emergence, memory, and side-effects act
as surprise-generating mechanisms. Actions taken on the
basis of experience in similar situations can lead to serious
mistakes.”
Theory: Ryan 180 “There is no concise definition of complexity that all
Complex complex systems scientists are agreed upon. However, the
Systems essence of complexity is related to the amount of variety
within the system, as well as how interdependent the
different components are. Interdependence means that
changes in the system generate many circular ripple
effects, while variety means there are many possible
alternative states of the system and its parts. Because
interdependencies are the result of many interactions
over time, complexity is fundamentally a dynamical
characteristic of a system.”
178 United States, TRADOC Pam. 525-5-500, 5.

179 United States, FMI 5-2, 14-15.
180 Alex J. Ryan, “The Foundation for an Adaptive Approach: Insights from the Science of Complex Systems,”
Australian Army Journal, VI, no. 3 (2010): 71.
70
ART OF DESIGN
Theory: Bar-Yam181 “ ‘Complex Systems’ is a new approach to science, which

Complex studies how relationships between parts give rise to the
Systems collective behaviors of a system and how the system
interacts and forms relationships with its environment.”
Theory: Bousquet 182 “…complexity suggests the ‘intricate intertwining of
Complex elements within a system, and between a system and its
Systems environment.’ 183 The notion of network is therefore
critical to describing the patterns of interaction which are
constituted by the interplay of multiples [sic] entities in a
complex system.”
Theory: Bousquet 184 “The worldview constituted by [chaos and complexity
Complex theory] marks a seismic shift away from the dominant
Systems conceptions of the natural world. No longer is order to be
seen as the product of a natural tendency towards
equilibrium. On the contrary, it is with non-equilibrium
that order emerges from chaos, at the point where
instability and creative mutation allow for the genesis of
new forms and actions... Not only are ambiguity and
unpredictability the conditions of true creativity but they
are also assets to be exploited against one’s opponents.”
Usage in McChrystal 185 “Our strategy cannot be focused on seizing terrain or
Context destroying insurgent forces; our objective must be the
population. In the struggle to gain the support of the
people, every action we take must enable this effort. The
population also represents a powerful actor that can and
must be leveraged in this complex system… My
conclusions were informed through a rigorous multi-
disciplinary assessment by a team of accomplished
military personnel and civilians and my personal
experience and core beliefs. Central to my analysis is a
belief that we must respect the complexities of the
operational environment and design our strategic
approach accordingly.”

182 Bousquet, Scientific Way of Warfare, 174.
183 James Moffat, Complexity and Network-Centric Warfare (Washington DC: CCRP Publications, 2003), 68.
184 Bousquet, Scientific Way of Warfare, 181; 194.
185 General Stanley A. McChrystal, COMISAF’s Initial Assessment, 2009.
71
ART OF DESIGN
Usage in Kilcullen186 “Complex adaptive systems modelling shows that the

Context global nature of the present Islamist jihad, and hence its
dangerous character, derives from the links in the system
– energy pathways that allow disparate groups to function
in an aggregated fashion across intercontinental distances
– rather than the elements themselves.”
Relationship Systems Complex systems is a form of systems thinking.
Thinking
Relationship Strategic The complexity of strategic communication requires a
Communication complex systems approach.
Relationship Iteration Complex systems cannot be fully understood in advance –
they require iteration and interaction to comprehend.
Relationship Simultaneity Complex systems provides tools for simultaneous rather
than sequential action.
2.2.4.6. NARRATIVE
In a broad sense, narrative is a story that is constructed, either intentionally or
unintentionally. 187 In both cases its purpose is to give meaning to artifacts. 188 So to narrate
or narrativize is to engage in the process of and production of a story – an explanation of an
event or phenomenon by proposing a question in relation to the artifacts themselves. What
is the meaning of what I see? Where does this story begin and end? How do different
possible boundaries of this story in time and space change my understanding of what I am
considering? Why has this happened? To narrate, then, is to develop a technique or art of
consciously and self-consciously giving a plot to artifacts and events that determine the
course of a story. So, narrative is meaning ascribed to data. It asks ‘why’ and answers
‘because’ as it reconfigures time, space, events and artifacts. The meaning that is produced
is inherent in the nature of the questions asked. And the plot, or logic, of the final story
emerges in relation to where the story begins and ends. Narrative construction –
conscious bounding of events and artifacts in time and space – produces an
understanding of the logic of what is observed. Meta inquiry leads us to the sources of
that meaning. 189
Individuals, groups, organizations, countries – all have narratives with many components
that reflect and reveal how they define themselves. Political parties, social organizations,
186 David J. Kilcullen, “Countering Global Insurgency,” Journal of Strategic Studies 28, no. 4 (2005): 597-618.
187An intentional narrative is a conscious effort to produce explanation in context, whereas an unintentional
narrative is an unconscious reflection of the predispositions of the story teller
188 Artifacts are tangible objects that have been created by people and can include such things as
archeological evidence, historical documents, to organizations that function as representations of those who
define, organize, and run them.
189 Meta can be understood as something beyond, more comprehensive – transcending.
72
ART OF DESIGN
government institutions, for example, all have stories that are bounded chronologically and
spatially. They incorporate symbols that impart and elucidate core meaning, historical
events and artifacts that together with a plot explain their raison d’être.
For design, narrative represents a multi-purpose tool. Design distinguishes itself from
conventional planning in its goal of understanding – systemic explanation – rather than
complete knowledge of the facts. Narrative is a mechanism for producing systemic
understanding. Once one grasps that narrative is the connection of data and meaning
through plot, it becomes clear that information – complete as it may be even
temporarily – is incomplete itself because there is no inherent meaning in a
collection of facts. As a place in which meaning is consciously created, narrative is an
important resource for the designer as a tool for developing self-awareness. Practically, the
narrative is a product in the process of design that communicates the design team’s
explanation of the environment, the problem, and the solution – with the logic of that
explanation uniting understanding, context, and action.
TABLE 13. KEY CONCEPT 6: NARRATIVE.
Narrative
Doctrine FM 5-0 190 “As commanders visualize an operation, they describe
it to their staffs and subordinates to facilitate shared
understanding of the situation, the mission, and
commander’s intent. Commanders ensure
subordinates understand the visualization well enough
to begin course of action development and preparation
activities. Commanders describe their visualization in
their commander’s intent and planning guidance.
During execution, commanders describe their updated
visualization as planning guidance that results in
fragmentary orders.”
Useful for comparison to the concept of narrative.

Doctrine FM 5-0 191 “The environmental frame’s narrative captures a more
detailed understanding of the relevant actors and their
interactions and relationships.”
Theory: White 192 “To raise the question of the nature of narrative is to
Historiography invite reflection on the very nature of culture
and…even on the nature of humanity itself. …does the
world really present itself to perception in the form of

191 Ibid., 3-10.
192 Hayden White, The Content of the Form: Narrative Discourse and Historical Representation (Baltimore, MD:
The John Hopkins University Press, 1987), 1; 23-24.
73
ART OF DESIGN
well-made stories, with central subjects, proper

beginnings, middles, and ends, and a coherence that
permits us to see ‘the end’ in every beginning? And
does the world, …ever really come to us …already
speaking for itself from beyond the horizon of our
capacity to make scientific sense of it? …we cannot say,
surely, that any sequence of real events actually comes
to an end, that reality itself disappears, that events of
the order of the real have ceased to happen. Such
events could only seem to have ceased to happen when
meaning is shifted by narrative means from one
physical or social space to another.”
Theory: Ochs and “Personal narrative is simultaneously born out of
Linguistics Capps 193 experience and gives shape to experience… narratives
are versions of reality. They are embodiments of one
or more points of view rather than objective,
omniscient accounts… Narratives situate narrators,
protagonists, and listener/readers at the nexus of
morally organized past, present and possible
experiences… Aristotle discerned that narratives have
a thematically coherent beginning, middle and end. As
Goffman noted every tale is told from a particular
vantage point. Ricoeur referred to the configurational
dimension of narrative which ‘construes significant
wholes out of scattered events’.”
Theory: Iser 194 “Ultimately, the text brings about one more boundary-
Literary crossing that occurs within the readers’ experience: it
stimulates attitudes toward an unreal world, the
unfolding of which leads of which leads to the
temporary displacement of the reader’s own reality.
The acts of fictionalizing can be clearing distinguished
by the different gestalt each of them brings about:
Selection results in revealing the intentionality of the
author; combination results in bracketing the world
represented, thereby converting it into a sign for
someone else, and simultaneously suspending the
reader’s natural attitude. All these cases are “facts from
fiction. On the one hand the writer’s reality fades into a
range of its own possibilities, and on the other these
possibilities overstep what is …the real and the
possible coexist, for it is only the author’s selection
from and textual representation of the real world that
193 Ochs and Capps, “Narrating the Self,” 20-22; 25-26.

194 Wolfgang Iser, “The Significance of Fictionalizing,” Anthropoetics III no. 2 (Winter 1997-1998): 4, 5.
74
ART OF DESIGN
can create a matrix for the possible to emerge, whose

ephemeral character would remain shapeless if it were
not for the transformation of something already
existing.”
Theory: White 195 “…there are at least two levels of interpretation in
Historiography every historical work: one in which the historian
constitutes a story out of the chronicle of events and
another in which, by a more fundamental narrative
technique, he progressively identifies the kind of story
he is telling…. Moreover, [if] we can say with some
certitude ‘what happened’, we cannot always say, on
the basis of appeal to the record, ‘why’ it happened as
it did. The record [has] to be interpreted, and this
meant ‘seeing realities in past events, realities with
that certain plenitude of conditions which they must
have had in order that they might become realities’.
This seeing [is] a cognitive act…. Every proper history
presupposes a metahistory which is nothing but the
web of commitments which the historian makes in the
course of his interpretation on the aesthetic, cognitive,
and ethical levels…”
Theory: White 196 “…narrative is a meta-code, a human universal on the
Historiography basis of which transcultural messages about the nature
of a shared reality can be transmitted. …between our
experiences of the world and our efforts to describe
that experience in language, narrative ceaselessly
substitutes meaning for the straightforward copy of
the events recounted. …the absence of narrative or a
refusal of narrative indicates an absence or refusal of
meaning itself.”
Usage in Lawrence 197 “In the Arab case the algebraic factor would take first
Context account of the area we wished to conquer, and I began
idly to calculate how many square miles…and how
would the Turks defend all that…if we were an army
attacking with banners displaying…but suppose that
we were an influence (as we might be), an idea, a thing
invulnerable, intangible, without front or back, drifting
about like a gas? Armies were like plants, immobile as
a whole, firm-rooted, nourished through long stems to
the head. We might be a vapour, blowing where we
195 White, Tropics of Discourse, 53; 70.

196 White, Content of the Form, 1-2; 23-24.
197 Thomas E. Lawrence, “The Evolution of a Revolt,” CSI Reprint from the Army Quarterly and Defence Journal,
(1920): 7, 8.
75
ART OF DESIGN
listed. Our kingdoms lay in each man’s mind, and as we

wanted nothing material to live on, so perhaps we
offered nothing material to kill. It seemed a regular
soldier might be helpless without a target.”
Usage in Operation Badr in October 1973 arguably began for
Context the Egypt with the deep humiliation the nation felt at
the overwhelming defeat of its military by Israel in
1967. The logic of the operation was evident in its
name, after the battle that resulted in the restoration of
the Prophet Mohammed’s honor when he returned to
Mecca from Medina to defeat the forces that had cast
him and his followers out after a humiliating defeat.
From a strictly military perspective the story might
have ended when the Egyptian Army was able to
achieve its objectives. The Egyptian military still tell a
story of unquestionable victory. The end of this story
may also have be the realization of the Camp David
Accords nearly 5 years later – Operation Badr lead to
an honorable agreement between Egypt and Israel and
the restoration of Egypt’s position as leader of the Arab
world. A conscious awareness of the functioning of
narrative cannot be separated then from an
understanding of meta-meaning and meta-cognition. It
is possible to understand that the plot of Operation
Badr gives the event and the motivations of the
participants’ coherence and meaning. The plot centers
on a restoration of honor. Questions about the meta-
meaning of Operation Badr focus at the deeper level of
inquiry: What are the sources of Egyptian
understanding of honor? What does this imply about
their conception of victory and success and where do
those come from?
Relationship Creative Narrative can transcend traditional ideas, rules,
Thinking patterns, and relationships to enhance creative
thinking.
Relationship Discourse The value of narrative is fully realized as it is practiced
in conjunction with discourse.
Relationship Identity Narrative helps to create identity.
Relationship The Other Narrative serves as a reference and source of insight
into the other.
Relationship Strategic Strategic communication includes the battle of
Communication competing narratives.
Relationship Authenticity Authentic communication rests on listening closely to
the narratives of each party in the meaning-making
76
ART OF DESIGN
process.
Relationship Reflection Narrative is a tool for reflection.
2.2.4.7. DISCOURSE
It is important to understand the utility of narrative for generating new understanding, and
how narrative constitutes a representation of systemic logic, which comes from the
structure and meaning of plot. Narrative also clarifies the distinctions between self and
other when looking at the environment and understanding the adversary/adversaries. But
narrative can only function in relation to discourse. Discourse is essential to narrative
creation and refinement, and to producing a common understanding both within the design
team and with the strategic sponsor.
What discourse does, how it functions, and the components that identify it are found in its
definition. Discourse comes from the Latin ‘discurrere’ and means ‘running to and fro’ and it
suggests a movement ‘back and forth.’ It is a reasoning process that incorporates the
complete range of objects, events, attributes, relations, that are expressed, assumed or
implied, in discussion. It is holistic in character and dialectic as a process. Discourse is not
simply an exchange of information. It is a technique that intends to establish fact in an
event or situation under consideration, and what way of expressing the meaning of those
facts is appropriate to an understanding of those facts.
Design is about learning, achieving understanding of what is unknown and emerging, and
of standing outside of self to both reflect on the nature of self and other in context in order
to do so. Discourse is central to design as a mode of learning and because in its nature it is
central to generating understanding. If creativity is a result of combining the known
with the unknown through reconfiguration – unbounding and rebounding – then
discourse provides the mechanism that accomplishes this. The discursive process
mediates between what is known and unknown and is as much about interpretation as it is
about the subject at hand. It endeavors to make sense of the world as it deconstructs
preconceptions or ideas that have become fixed and are impediments to new thoughts or
ideas, and it makes evident areas that require more analysis.
Discourse is a continuous process as conflicting narratives confront each other and are
modified. Discourse is evidence of societies’ conscious efforts to reconcile, or rationalize,
areas of experience that fall outside the comfort of a reality or narrative explanation its
milieu. Warfare, as an expression of narratives in competition, is another form of discourse.
Design consciously identifies tensions through its awareness of narratives in
discourse in an effort to both enhance understanding and opportunities for learning,
and to identify asymmetries that can be exploited. Designers themselves practice
discourse to consciously expose their own preconceptions as they engage over fact and
meaning in context through constructing and reconstructing narrative explanation. The
emergent explanation of the environment then becomes the underlying logic of the
77
ART OF DESIGN
approach taken, and a frame of reference for further learning as the systems exhibits
difference when action generates change.
Ultimately design reaches to and refines strategy with discourse as the vehicle, or medium,
for learning and understanding. The practice of discourse requires discipline, suspension of
disbelief, and the ability to listen. Conscious and self-conscious discursive practice has the
potential to refine strategy, create adaptability, and to produce relevant action in relation
to the environment over time.
TABLE 14. KEY CONCEPT 7: DISCOURSE.
Discourse
Doctrine FM 5-0 198 “Throughout operations, commanders, subordinate
commanders, staffs, and other partners collaborate and
dialog actively, sharing and questioning information,
perceptions, and ideas to better understand situations and
make decisions. Collaboration is two or more people or
organizations working together toward common goals by
sharing knowledge and building consensus. Dialog is a
way to collaborate that involves the candid exchange of
ideas or opinions among participants that encourages
frank discussions in areas of disagreement.”
It is instructive to compare this understanding of dialog

with discourse, what it implies in its etymology and how it
can generate creativity. Consensus represents the lowest
common denominator through compromise, not
necessarily the most creative and relevant ideas. A group
can come to a common understanding after discourse
during which ideas were not reduce but refined.
Doctrine FM 5-0 199 “During design, the commander and staff consider the
conditions, circumstances, and factors that affect the use
of capabilities and resources as well as bear on
decisionmaking. As an organizational learning
methodology, design fosters collaboration and dialog as
commanders and staffs formulate conditions that define a
desired end state and develop approaches that aim to
achieve those conditions. When initial efforts do not
achieve a thorough enough understanding of behaviors or
events, commanders reframe their understanding of the
operational environment and problem. This cycle of
inquiry, contextual understanding, and synthesis relies on
continuous collaboration and dialog.” Should design foster
198 United States FM 5-0, 1-6.

199 Ibid., 3-7 – 3-8.
78
ART OF DESIGN
dialog or rely on discourse – and what is the difference

given what the authors propose discourse means and
does?
Theory: White 200 “…discourse…suggests a movement ‘back and forth’ or a
Historiography ‘running to and fro’. This movement, discursive practice
shows us, may be as much prelogical or antilogical as it is
dialectical. As antilogical, its aim would be to deconstruct a
conceptualization of a given area of experience which has
become hardened into a hypostasis that blocks fresh
perception or denies, in the interest of formalization, what
our will or emotions tell us ought not be the case in a given
department of life. As prelogical, its aim is to mark out an
area of experience for subsequent analysis by a thought
guided by logic. …It moves ‘to and fro’ between received
encodations of experience and the clutter of phenomena
which refuses incorporation into conventional notions of
‘reality’…Discourse, in a word, is … a meditative
enterprise. As such it is both interpretive and
preinterpretive: it is always as much about the
interpretation itself as it is about the subject matter which
is the manifest occasion of its own elaboration.”
Theory: White 201 “Discourse must be analyzed on three levels: that of
Historiography description of the ‘data’ found in the field of inquiry being
investigated or marked out for analysis; that of the
argument or narrative running alongside of or
interspersed with the descriptive materials; and that on
which the combination of these previous two levels is
effected…a discourse is itself a kind of model of the of the
process of consciousness by which a given area of
experience… is assimilated by analogy to those areas of
experience felt to be already understood as to their
essential natures.”
Theory: Lefkowitz 202 “There is nothing simple about the play of symbols… They
Semiotics are enmeshed in webs of significations that lead outward
in many directions… Symbols are meaningful by virtue of
their deployment in situated contexts of communication,
and their meaning emerges from such use, rather than
inhering in the symbols themselves. But the meaning of
any particular deployment of a symbol depends upon
emergent characteristics of the discourse context… The
200 White, Tropics of Discourse, 3-4.

201 Ibid., 4-5.
202 Daniel Lefkowitz, Words and Stones: The Politics of Language and Identity in Israel (New York, NY: Oxford
University Press, 2004), 77-78.
79
ART OF DESIGN
gap between a symbol’s (historical) meaning potential and

its emergent meaning in discourse is a source of play.
Discourse is thus simultaneously structured by the
historical meanings of symbols, and structuring, as it re-
sets trajectories for subsequent meanings. Formal
linguists tend to use discourse to refer to levels of
linguistic structure larger than a sentence. Linguistic
anthropologists use discourse to refer to levels of
linguistic structure larger than a sentence. And cultural
anthropologists use discourse in the… sense of forms of
power that work by limiting and constraining what can be
said.”
Philosophy: Deleuze and “Hjelmslev remarked that a language necessarily includes
Postmodern Guattari203 unexploited possibilities or potentialities and that the
abstract machine must include these possibilities or
potentialities. ‘Potential’ and ‘virtual’ are not at all in
opposition to ‘real’; on the contrary, the reality of the
creative, or placing-in-continuous variation of variables, is
in opposition only to the actual determination of their
constant relations. Indirect discourse is the presence of a
reported statement within a reporting statement, the
presence of an order-word within the word. Language in
its entirety is indirect discourse. Indirect discourse in no
way supposes direct discourse; rather the latter is
extracted from the former. …Direct discourse is a detached
fragment of a mass and is born of the dismemberment of
the collective assemblage.”
Usage in Cerami et “The stated intent of the Goldwater-Nichols legislation is
Context al. 204 broadly accepted as valid for effective political discourse
on issues affecting the nation’s security; the Congress and
the Executive need a common understanding of the
strategic environment and the administration’s intent for
future dialogue. That said, however, it is understood that
in the adversarial environment that prevails, this report
can only provide a beginning point for the dialogue
necessary to reach such a ‘common’ understanding.”
Relationship Critical Discourse provides the social context for critical thinking.
Thinking
Relationship Narrative Narrative is part of discourse.
Relationship Identity Discourse reveals and also shapes identity.
203 Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (Minneapolis, MN:
University of Minnesota Press, 1987), 84; 99.

Joseph R. Cerami et al., U.S. Army War College Guide to Strategy (Carlisle, PA: Strategic Studies Institute, U.S.
204
Army War College, 2001), 130.
80
ART OF DESIGN
Relationship Team Discourse develops shared understanding and contributes

Learning to team learning.
Relationship Simultaneity Discourse provides a way to achieve near-simultaneity in
design inquiry.
2.2.4.8. IDENTITY
Alfred Korzybski’s quotation of E. T. Bell, “the map is not the thing being mapped,” which he
famously paraphrased as “the map is not the territory,” makes the point that boundaries
are nothing but abstractions. 205 This observation is nothing if not a basic truism in the
contemporary context. As a holistic approach that understands the role of the cognitive in
conflict and conflict resolution, design requires practitioners to engage in meta-inquiry.
This is at the level of identity, and the sources of identity; to distinguish between self and
other in analysis, and establish sources of difference; to create space to learn and to
develop understanding. In its interest in identity, design challenges the conventional
understanding of physical and cognitive boundaries and boundary construction, and the
practical implications of how we conceptualize both. The experience of Iraq continues to
illustrate the limited utility of defining ‘problem’ within the limited context and
geographical boundaries of a single nation-state. The Global War on Terrorism (GWOT)
concept, vague as it was, did seem to articulate recognition that there was a conflict in
process that defied national boundaries and was tied to fundamental tensions that existed
at the level of how people saw and identified themselves.
Individuals and groups possess identities – self-conceptions, ideas, and perceptions of

reality that shape physical and cognitive boundaries. Meanings can be both generated and
reflected in discursive tools such as narratives, symbols, and labels as they are applied to
other narrated actors or groups in specific contexts. Because identity is composed of
multiple components, the uniqueness of each context is essential to the inherently
understood, or the constructed, meaning in time and space. Boundaries can create
identities, and identities can create and re-create boundaries themselves. Anssi Paasi
has said that “identities and boundaries are different sides of the same coin.” As a place for
learning in design, it is significant that “…borders and boundaries, identities and difference
construct and determine to a large extent the space of agency and [individuals] mode of
participation…” 206
Identity can be a fundamental source of conflict. It is important to remember that identities

can reconfigure in relation to a changed context or central issue. They can be implicit as
well as consciously constructed. In either case, as the genesis of conflict, perceptions of
205 Alfred Korzybski, Science and Sanity: An Introduction to Non-Aristotelian Systems and General Semantics
(Lancaster, PA: The International Non-Aristotelian Library Pub. Co., 1933), Book I, 247.
206 Nikki Slocum-Bradley, ed., Promoting Conflict or Peace Through Identity (Aldershot, England: Ashgate,
2008), 6-7.
81
ART OF DESIGN
reality that exist in tandem with identity constructions are critical to locating the problem
at its source and to selecting indirect approaches to problem resolution.
For the purposes of design, it is not only important to understand the implications of
identity and the boundaries that it creates. Recognition of the importance of boundaries to
the creation of a logic is useful for a designer as a basis for conceptual inquiry and
creativity. Consciously ‘re-bounding’ space can produce fresh insight into the realities of
any context under investigation. For example, rather than relying on national boundaries as
the explanation for the configuration of space, ask, “Where the boundaries would be if the
question were about the distribution of power, ethnic, or religious communities?” This
practice of deterritorialisation and reterritorialisation can serve as a technique for learning
and, when followed by inquiry into the sources of these various self-understandings, can
produce systemic understanding. In other words, deconstruction and reconstruction create
something new, and that is the basis of creativity and learning.
TABLE 15. KEY CONCEPT 8: IDENTITY.
Identity
Doctrine: FM 5-0 207 “...Red teams assist the commander and staff with critical and
creative thinking and help them avoid groupthink, mirror
imaging, cultural missteps, and tunnel vision throughout the
conduct of operations. Red teams are part of the commander’s
staff at division through theater army. … Commanders use red
teams to provide alternatives during planning, execution, and
assessment to—
• Broaden the understanding of the operational environment.
• Assist the commander and staff in framing problems and
defining end state conditions.
• Challenge assumptions.
• Ensure the perspectives of the adversary and others are
appropriately considered.
• Aid in identifying friendly and enemy vulnerabilities and
opportunities.
• Assist in identifying areas for assessment.
• Anticipate cultural perceptions of partners, adversaries, and
others.
• Conduct independent critical reviews and analyses of plans
and concepts to identify potential weaknesses and
vulnerabilities.”
FM 5-0 208 “Persistent conflict presents a broad array of complex, ill-

208 Ibid., 3-2.
82
ART OF DESIGN
structured problems best solved by applying design. Design

offers a model for innovative and adaptive problem framing
that provides leaders with the cognitive tools to understand a
problem and appreciate its complexities before seeking to solve
it. This understanding is fundamental to design. Without
thoroughly understanding the nature of the problem,
commanders cannot establish the situation’s context or devise
approaches to effect change in the operational environment.
Analyzing the situation and the operational variables provides
the critical information necessary to understand and frame
these problems.”
How and why does design do what it purports to do? What is a
source of energy that creates the “ill-structure” of problems?
What role is played by concepts such as identity, sense of other,
and the re-bounding of conceptual space that is so central to the
discussion of globalization?
Theory: Lefkowitz209 “Identity is a complex field of ideas… ‘Identity’ implies complete
Anthropology equivalence, as in the related word ‘identical’, but social
scientists conceptualize a person’s ‘social identity’ as meaning
the opposite, namely the ways in which a person differs from
other individuals. Moreover ‘identity’ in its mathematical
meaning of ‘equation’ implies an eternal equivalence, whereas
recent studies of identity focus on the ways that individuals
may be constituted differently depending upon the context.
Identity… conceptualized as a discourse phenomenon… never
loses sight of the real power that is won and lost as identities
are fixed – and refixed – by culture, by ideologies, and by
individuals in their everyday speaking practices.”
Theory: Newman 210 “Many changes have taken place in the world political map
Geopolitics during the past decade, not only in pattern (the collapse of the
Soviet Union, the formation of new states) but also in process
(the impact of globalisation on information and economic flows,
the emergence of non-territorial communities). The social
construction of national identities is still inherently tied up with
notions of territory, space, and place. …it is important to
understand the spatial reconfiguration of the world political
map and the extent to which the previous dominance of the
state as the supreme play in this map is now being shared with
the supra-state and intra-state levels of territorial ordering. It is
a more complex world with power being diffused both upwards
and downwards from the state, and with boundaries taking on
multi-dimensions of bordering, excluding and including, not
209 Lefkowitz, Words and Stones, 76.
210 David Newman, Boundaries Territory and Postmodernity (London: Frank Cass, 2002), 13.
83
ART OF DESIGN
only territories but also social groups and virtual communities.”

Theory: Albert 211 “ ‘Postmodernist’ thought is not about a breakdown of
Geopolitics boundaries and a deterritorialisation of statehood in the sense
that space would be entirely displaced by time.
…reterritorialisation is always conceived to form a necessary
part of deterritorialisation. What is changing in the process are
the exact mode and the relative importance of certain kinds of
borderings. What… [‘debordering’] suggests is that we currently
witness a continuing functional differentiation on a worldwide
scale, with an ensuing incongruence of functional boundaries
that cease to overlap on one line (the territorial state’s
boundary). …it appears that new modes of inclusion and
exclusion as well as the breakdown of such modes in cultural
practices can be equally telling about the new structural
features of a ‘postmodern’ world as can be solely political-
spatial demarcations. It is by now very well understood that the
appearance, function, and even the location of territorial
boundaries can usually not be pinned down in a simple manner:
‘The boundary does not limit itself merely to the border area or
landscape itself, but more generally manifests itself in social
and cultural practices…which are expressions of narratives
connected with boundaries and border conflicts as well as
definitions of the Other.…anthropologists and ethnographers
have come to perceive culture not as an object to be studied but
as a boundary-construction exercise which can only be
understood by studying the way that cultural reality is
expressed through symbolic markers.”
Theory: Cohen 212 “The following interrelated arguments recur, the first two
Anthropology summing up positions well established in literature, the others
developing them significantly:
• that the definition or ascription of a group’s identity may be
the subject and outcome of a cross-boundary struggle for
control;
• that the social identity of a group may also be contested
within the group itself, on grounds related to the cross-
boundary interaction;
• that discourse about identity within the boundary tends to
focus on its absolute character. …It is in cross-boundary
transaction and discourse that the identity and its
predicates may become explicitly contingent, ‘other-
211 Mathias Albert, “On Boundaries, Territory and Postmodernity: An International Relations Perspective,” in
David Newman, ed., Boundaries, Territory, and Postmodernity (London: Frank Cass, 2002), 62-63.
212 Anthony Cohen, Signifying Identities: Anthropological Perspectives on Boundaries and Contested Identities
(London: Routledge, 1999), 1-2.
84
ART OF DESIGN
referential’ and relativistic. …what seems peripheral to

those at the putative political and economic center is central
to those on the putative periphery, and so on;
• that therefore the cultural differences which discriminate
people on either side of a boundary are not just matters of
degree or relativity (powerful/powerless…
authentic/inauthentic, god-fearing/pagan) but of kind: each
party sees different issues as being at stake, or the terms in
which they perceive them may be incongruent and
incommensurate.
The point of discrimination…is not just to draw a gratuitous
contrast between internal and external interactions, but to
address the qualitative character of social and cultural
boundaries, and to show how they are implicated in
formulation, articulation, management and valorisation of
collective identities.”
Usage in Khadduri213 “Muslim publicists have classified the territory of Islam into a
Context variety of divisions and subdivisions, depending on the
approach and purpose of each one of them. Some writers have
stressed tribal distribution, others the dynastic division
(according to the dynasty ruling in a certain region, such as
the… Fatimids in Egypt, the Buwayhids in Persia, etc.); and still
others, especially the geographers, have based their division on
regional grounds. For instance, al-Muqaddasi divides the dar al-
Islam in Arab and …(Persian) zones; the latter was subdivided
into eight regions and the former into six. The author of Hudud
al –Alam, who describes not only Muslim but also non-Muslim
territory, divides the world into three parts – Asia, Europe, and
Libya – subdivided into fifty-one regions…In Muslim law,
however, these divisions have no validity whatsoever, since the
law recognizes neither division in Muslim authority nor
differentiation among Muslims on racial or cultural background.
The law recognizes one umma…to whom belongs every one
who professes the religion of Islam regardless of the ruler or
dynasty that enforces the law and the region in which he
resides.”
Ochs and “Personal narrative simultaneously is born out of experience
Capps 214 and gives shape to experience. In this sense, narrative and self
are inseparable. Self is here broadly understood to be an
unfolding reflective awareness of being-in-the-world, including
a sense of one’s past and future. We come to know ourselves as
213 Majid Khadduri, War and Peace in the Law of Islam (Baltimore, MD: Johns Hopkins Press, 1955), 157-158.
214 Ochs and Capps, “Narrating the Self,” 20-21.
85
ART OF DESIGN
we use narrative to apprehend experiences and navigate

relationships with others.”
Relationship Narrative Identity provides the point of view for narrative – any narrative
is told by someone.
Relationship The Other Identity separates self from the other.
Relationship Asymmetry Identity as demarcation between self and other creates
asymmetry.
2.2.4.9. THE OTHER

Other is whatever is not self. Other can only be constructed and understood – explicitly or
implicitly – in relation to self. For the individual and the group, ‘other’ is where differences
create a distinction that distinguishes self in a holistic sense. Reflection on the difference
and sources of difference, between self and other, is potentially the most revealing
cognitive space toward understanding self. One’s individual or affiliation(s) systemic logic
is different than the other. Sources of otherness emerge at the meta-cognitive level in
cultural and historical milieus and are intimately bound up with the concept, or
understanding, of identity. They are those ideas and perceptions of reality that are central
to what makes self, self.
Why is this important? Because when we mirror-image, we often ‘solve the wrong problem’
– we assume that a problem is existential, what is a problem for us is a problem for
everyone, and that our ‘solution’ is relevant in any context. For example, when European
missionaries were working to convert the indigenous tribes in North America during the
colonial period, there was a frustration at the very limited results which accrued from their
efforts. In the sparse written record from the perspective of the proselytized it became
apparent that the message of the Europeans offered no promises that were meaningful to
their world view. They had no aspiration for gold streets and pearl gates – what had value
to them were natural resources associated with nomadic life. Likewise, tribespeople who
had acquiesced to the ritual of Last Rights became apprehensive about their futures since
nearly everyone who received the Right died after. For them causality was “this ritual
causes death,” not “this ritual assures an afterlife in heaven.” So understanding the
differences between other and self has basic implications for holistic apprehension of the
context.
For designers, differences, and difference, are ultimately what generate the boundaries for
relevant action. Moreover, they expose a scope for action to include exploiting the
intangible. It is in difference that we can begin to understand the systemic logic of the
adversary – of systems of opposition. By seeing actors as rational according to their own
logic, we can identify when we are saying the same things, but understand the frames of
reference for saying them come from different constructs. In the reasons for and sources of
difference between self and other, the ‘problem’ emerges along with an understanding of
the potential of the system for change.
86
ART OF DESIGN
TABLE 16. KEY CONCEPT 9: THE OTHER.
The Other
Doctrine FM 5-0 215 “As part of building their situational understanding,
commanders consider how culture (both their own and
others’ within an operational area) affects operations.
Culture is the shared beliefs, values, customs, behaviors,
and artifacts members of a society use to cope with the
world and each other. Culture influences how people
make judgments about what is right and wrong and
assess what is important and unimportant. Culture
provides the framework for rational thought and
decisions. What one culture considers rational another
culture may consider irrational.
Understanding the culture of a particular society or group
within a society can significantly improve the force’s
ability to accomplish the mission. Leaders are mindful of
cultural factors in three contexts:
• Awareness of the cultures within a region that the
organization operates.
• Sensitivity to the different backgrounds, traditions,
and operational methods of the various military (joint
and multinational), civilian (intergovernmental,
nongovernmental, and private), and host-nation
organizations.
• Awareness of how one’s own culture affects how one
perceives a situation.
Understanding other cultures applies to all operations,
not just those dominated by stability. For example, some
enemies consider surrender a dishonor worse than death
whereas others consider surrender an honorable option.
Commanders use different tactics with the enemy
depending on the culture.”
From these passages, we can know that culture is

important, but how do we understand why it matters,
what it means, and how it works?
Doctrine FM 3-24 216 “The contest of internal war is not “fair”; many of the
“rules” favor insurgents. That is why insurgency has been
a common approach used by the weak against the strong.

87
ART OF DESIGN
At the beginning of a conflict, insurgents typically hold

the strategic initiative. Though they may resort to
violence because of regime changes or government
actions, insurgents generally initiate the conflict. Clever
insurgents strive to disguise their intentions. When these
insurgents are successful at such deception, potential
counterinsurgents are at a disadvantage. A coordinated
reaction requires political and military leaders to
recognize that an insurgency exists and to determine its
makeup and characteristics.”
As we can see in the range of literature below, there can
be cultural bases for the form conflict combatants take.
The sense of ‘fairness’, or lack of it, simply reflects what is
at the heart of the idea of ontological asymmetry – every
system operates according to its own logic. Design
proposes that the non-quantifiable aspects of the
combatant are potentially more significant than
“attributes” and “makeup,” both of which are defined as
something that can be measured and understood by
virtue of its structure.
Theory: Geertz 217 “In finished anthropological writings… this fact—that
Anthropology what we call ‘our data’ are really our own constructions
of other people’s constructions of what they and their
compatriots are up to—is obscured because most of what
we need to comprehend a particular event, ritual, custom,
idea, or whatever is insinuated as background
information before the thing itself is directly examined…
What the ethnographer is in fact faced with… is a
multiplicity of complex conceptual structures, many of
them superimposed upon or knotted into one another,
which are at once strange, irregular and inexplicit… Doing
ethnography is like trying to read (in the sense of
‘construct a reading of’) a manuscript—foreign, faded, full
of ellipses, incoherencies, suspicious emendations, and
tendentious commentaries, but written not in
conventionalized graphs of sound but in transient
examples of shaped behavior.”
Theory: Ochs and “The notion of a narrative of personal experience implies
Linguistics Capps 218 that person has his or her own experiences, that selves
are ultimately discrete entities. At the same time, the
unfolding narrative defines self in terms of others in past,
present and imagined universes. Scholars and artists
217 Clifford Geertz, The Interpretation of Cultures: Selected Essays (New York, NY: Basic Books, 1973), 9-10.
88
ART OF DESIGN
emphasize that selves are not necessarily the same across

time and place nor do they necessarily cohere. Although
many societies celebrate the notion of an individual
thinking ego, the development of self awareness in all
human beings is inextricably tied to an awareness of
other people and things. One of the most important
functions of narrative is to situate particular events
against a larger horizon of what we consider to be human
passions, virtues, philosophies, actions and relationships.
As narrators, we evaluate specific events in terms of
communal norms, expectations, and potentialities;
communal ideas of what is rational and moral; communal
senses of the appropriate and the esthetic. In this way we
come to understand, reaffirm, and revise a philosophy of
life.”
Theory: Auerbach 219 “International conflicts vary in intensity, duration, the
Political number of players, and a host of other parameters. One
Science crucial dimension for distinguishing between conflicts is
the kind of issue around which they have evolved.
Looking at conflicts from this angle one can differentiate
between material conflicts and identity conflicts. While
identity conflicts may…have a material dimension, the
core bone of contention is identity and the feeling…that
the other has usurped their legitimate rights. This search
for a unique and exalted identity at time of conflict, which
Gompin calls ‘negative identity’, ‘tends to focus on what
makes me the most different precisely when I feel the
most mortally and existentially threatened by an enemy’.
The identity conflict which ‘is usually nourished by a
powerful sense of injustice on the part of the
victimized…group’ tends to be passionate and intense.
‘The historic wounds are felt as assaults on the self-
concept…safety and security of the victim group’. Religion
is then offered both as a rationalization for the suffering
and as a source for consolation and hope for days of
glory.”
Theory: Slocum- “While many factors contribute to the fomenting of
Social Bradley 220 violent conflict, violence between social groups – whether
Psychology defined as ethnic, religious, linguistic, gender, racial or
other terms – necessarily entails the construction of a
certain perception of one’s own group and that of the
219Yehudith Auerbach, “Forgiveness and Reconciliation: The Religious Dimension,” Terrorism and Political
Violence 17, no. 3 (2005): 472, 473.
220 Slocum-Bradley, Promoting Peace or Conflict, 1-2; 5; 7; 11.
89
ART OF DESIGN
‘other’, as well as all persons esteemed to be members

thereof. …we are concerned with the identities of actors,
as opposed to objects. Actors can obviously be individual
persons, but they can also be anything else which is
narrated – or positioned – as an actor, such as a groups of
persons (‘Muslims’), a country (‘South Africa’), a region
(…’Flanders’), an institution (the ‘United Nations’) or any
other type of purported community (‘migrants’, ‘the
international community’, ‘people of color’)… ‘Identities’
are meanings - labels, categories, symbols, and so forth –
applied to persons or other narrated actors in specific
contexts. Understanding the formation of regional
identities as an expansion of the ‘we’ from nation-state
identities aligns with Paasi’s definition of regional
identities as ‘collective narratives on who and what ‘we’
and ‘our region’ are and how these differ from others’.
Paasi emphasizes that such narratives always include a
normative element of power, alluding to the fact that the
psychological and ideological nature of regional borders
is no less than that of state borders. Linking identity with
agency… ‘a region and regional identity are social facts
that can generate action as long as people believe in
them.’… Kaufman concludes that the ‘fundamental
explanation of ethnic war lies in the meanings the
participants see’.”
Theory: Newman 221 “The geopolitical imagination follows on from such
Geopolitics notions as ‘imagined communities’ and ‘banal
nationalism’ which relate to the national imaginations
held by citizens of the state, at both the individual and
collective level, and which reflect…the preferred
geopolitical location of these groups within the global
system. The fact that the position accorded to the state
does not necessarily coincide with the preferred location
of the state, as reflected in its geopolitical imagination(s)
may often be the cause for conflict and tensions within
the global system. As globalization and boundary
permeability affect the state at one end of the spectrum
so too do the emergence of new states and the associated
creation of new boundaries affect the lower end of the
system. Globalization itself is partly responsible for a
parallel increase in ethnic identities at local and regional
levels with the demand for autonomy, self-government,
221 David Newman, “Geopolitics Renaissant: Territory, Sovereignty and the World Political Map,” in David
Newman, ed., Boundaries, Territory and Postmodernity (London: Frank Cass, 2002), 4-5.
90
ART OF DESIGN
secession and independence becoming stronger, rather

than weaker. Territorial ideologies remain strong at both
the concrete and symbolic levels.”
Theory: Paasi 222 “The construction of identity narratives is a contested
Identity political process and part of the distribution of social
power in society. The narrative constitution of identity
points to the fact that language is a fundamental element
in the nature of identity, where language is understood
broadly as including other language-like systems which
mean, represent or symbolize something ‘beyond
themselves’. …instead of analyzing how boundaries
distinguish social entities, we should concentrate on how
social action and discourse produce diverging,
continually changing meanings for boundaries and how
these are then used as instruments or mediums of social
distinction… instead of comprehending boundaries
merely as stable, fixed lines and products of a modernist
project… conceptualise them as processes that exist in
socio-cultural action and discourses… A boundary…
manifests itself in many institutions such as education,
the media, novels, memorials, ceremonies and spectacles,
etc. These are effective expressions of narratives linked
with boundaries and border conflicts and serve as
references to the Other.”
Usage in Vlahos 223 “The key features of non-state ascendency in war are—
Context:
• Ineffectiveness of the nation-state order in deploying
and using military force.
• Greater energy and battle focus among non-state
actors than nation states.
• Selective technology equalizations that, combined
with tactical creativity, make non-state fighters equal
to our Soldiers on the battlefield.
…We lack a holistic approach to human conflict. We have
no access to the religious dimension of war, and so no
way to assess the inner dynamics of wars of identity.
Because we are chained to the mental construct of war-
as-phenomenology, we can only adapt to today’s
transformation of war by superficially adapting to its
changing phenomena.”
Anssi Paasi, “Boundaries as Social Processes: Territoriality in the World of Flows,” in David Newman, ed.,
222
Boundaries, Territory, and Postmodernity (London: Frank Cass, 2002), 69-70; 72; 76.
223 Michael Vlahos, “Fighting Identity: Why We Are Losing Our Wars,” Military Review (November-December
2007), 4; 7.
91
ART OF DESIGN
Relationship Identity Reflecting on the other can provide perspective on

identity.
Relationship Asymmetry Asymmetry exists between self and other.
Relationship Strategic Understanding the other enables effective strategic
Relationship Reflection The other provides a foil for reflection.
2.2.4.10. ASYMMETRY
Something is asymmetric if it cannot be divided into two balancing parts. Dictionaries
exhibit a profound preference for explanation it in terms of what it is not – a lack of
symmetry. Interestingly, one suggestion is that it can be an absence of symmetry in logical
relations – or causal relationships. Traditionally from the perspective of the military,
asymmetry has been understood in terms of practical capabilities. In confrontations, even
competitions, between conventional militaries that identified victory and defeat in the
same terms – advantage was not necessarily thought of in terms of asymmetry. In conflicts
between adversaries with vastly different capabilities such as insurgents and professional
militaries public discourse focuses on proportionality while professionals retreat to
semantic debates that produce explanations based on their own rationality. Terms such as
‘radical,’ ‘extreme,’ ‘irrational,’ and ‘criminal’ are often an unreflective expression of a
world view that is endeavoring to make events comprehensible and its understanding of
capability and will relevant.
Design, however, acknowledges that asymmetry is, in fact, holistic. In the current context,
‘asymmetric conflicts’ are between systems that are based on and operate according to
different systemic logics, emergent from different perceptions of reality. Through meta-
questions, the source of an implied ontology is revealed. Viewed from this perspective,
practical differences between adversaries are only evidence of an asymmetry of thought.
The competition, and the field of competition, is no longer simply confined to the spatial.
Moreover, once the visible manifestation of the adversary becomes united with the
organizing logic that produced it, it becomes possible to challenge the adversary in ways
that are productive and meaningful according to their logic. These may be direct, indirect,
cognitive, and practical. Tensions within a worldview (at the place where an enemy system
finds its meaning) have the most transformative potential because asymmetric conflict
understood holistically is fundamentally about perceptions of reality, or realities, in
conflict. Within the context of holistic asymmetry, it is essential to locate sources of
identity. Because identity sustains conflict, understanding sources of identity
supports relevant action.
92
ART OF DESIGN
TABLE 17. KEY CONCEPT 10: ASYMMETRY.
Asymmetry
Doctrine FM 5-0 224 “...clearly discerning the motivations and reactions of
various population groups with respect to the friendly
force or the enemy often proves difficult. American ideas
of what is normal or rational are not universal. Members
of other societies often have different notions of
rationality, appropriate behavior, levels of religious
devotion, and cultural norms. These differences in
perspectives and culture add to the uncertain nature of
operations.”
Design proposes that the cultural difference (cultural and
ontological asymmetry) is a focal point for learning and
self-reflection. This is particularly the case because it is
precisely those perceptions of reality that organize the
system and establish the parameters for ‘relevant’ action.
Doctrine FM 5-0 225 “...Understanding is more than awareness of information
or the immediate surroundings. In the context of the
cognitive hierarchy, understanding is knowledge that has
been synthesized and had judgment applied to it
[emphasis added] in a specific situation to comprehend
the situation’s inner relationships
(FM 6-0).
Situational understanding is the product of applying
analysis and judgment to relevant information to
determine the relationships among the mission variables
to facilitate decisionmaking (FM 3-0). As commanders
develop their situational understanding, they see
patterns emerge, dissipate, and reappear in their
operational environment. These patterns help them
direct their own forces’ actions with respect to other
friendly forces, civilian organizations, the enemy, the
terrain, and the population. While complete
understanding is the ideal for planning and
decisionmaking, commanders accept they will often have
to act despite significant gaps in their understanding.
The complex nature of an operational environment
requires both analysis and synthesis to build and
maintain situational understanding throughout the
conduct of operations. Analysis is the process of studying

225 Ibid., 1-3 – 1-4.
93
ART OF DESIGN
a situation by successively dividing it into parts and

addressing each part in turn...”
Theory: Henrotin and “Symmetry tends more and more to give way to
Political Swielande 226 asymmetry. In a way, people and States are fighting each
Science other, but without understanding each other’s reciprocal
strategies, because they are acting according to different
cultural, ontological patterns, making it impossible to
adopt common rules. In the evolution of strategy, defined
as a conceptual object where force – in its physical and
psychological forms – is the medium between opposing
adversaries, this could mark a dramatic shift, where one’s
force will try not to enter in the game of the other to fight
him – as this was the case in the traditional way to
conduct military operations – but rather to fight in a
completely different way, negating the norms of combat
of the adversary... [a]symmetric warfare is a
confrontation between political, cultural, social and
organizational systems, obedient to different logics, and
far away from the single question of its weapons.”
Theory: Naveh 227 “...the advent of a disordered strategic setting, the
Military emergence of novel operational forms, and of certain
practical trends, in the course of the last decade imply a
quantum change in the elusive nature of “small wars”, on
the one hand, and invite a revision of traditional
paradigms on the other. ...Unlike cases of cultural
symmetry, where the conceptual boundaries of the
problem at stake, including random occurrences, are
determined by the commitment of the belligerents to
state conventions... in a competition against a social entity
whose raison d’être derives from a different cultural
source, two meta questions are raised. First, the
rationalisation of the “unique other” as a reference for the
construction of a relevant logic of one’s “self” invites
organizational ...learning practices that differ from those
exercised in conditions of cultural homogeneity.
Secondly, the conceptualization of the cultural difference
estranging the competing agents in asymmetric conflict
requires the employment of different conceptual
materials from those used in contexts of conceptual
226 Joseph Henrotin and Tanguy Struye de Swielande, “Ontological-Cultural Asymmetry and the Relevance of
Grand Strategies,” Journal of Military and Strategic Studies 7 no. 2 (2004).

227 Shimon Naveh, “Asymmetric Conflict: An Operational Reflection on Hegemonic Conflict,” Operational
Theory Research Institute, unpublished paper (2002): 3, 21.
94
ART OF DESIGN
uniformity.”
Theory: Hirsch 228 “...modern armies must be ready to abandon linear
Military patterns of action in order to remain a capable fighting
force. At present armies provide their enemies with an
easily identifiable form, thus a clear target, in contrast the
enemy is able to conceal his form...this is the essence of
asymmetry. In asymmetric conflict, the issue of decision
is a political matter, while the strike is the military
interpretation. Once the strike has achieved its objectives
and effected a change in the circumstances, the learning
begins; the conditions are set for a different design.”
Theory: Lanir 229 There are two types of surprise that are the product of
Intelligence two approaches to utilizing information and generating
understanding: “Situational Surprise – a surprising event
caused by failures in the collection, analysis, judgment or
distribution of information about known phenomena, and
Fundamental Surprise – a surprising event which reveals
a personal, group or national mindset as irrelevant and
misleading in interpreting the occurrence.”
Philosophy: Jullien230 “…the definition that follows: That potential consists in
Eastern ‘determining the circumstances with a view to profiting
from them.’ Understood in this fashion, circumstances are
no longer something unpredictable that will turn out in a
particular way, always threatening to ruin any plan
imposed upon them. Instead, thanks precisely to their
variability, circumstances can progressively be turned to
advantage by the propensity emanating from the
situation…one accedes to a logic of unfolding… The
potential of a situation [is] variable; it cannot be
determined in advance, since it proceeds from continuous
adaptation; the assessments from which the potential is
deduced [combine] spiritual and physical features….[and]
the dimension of reciprocity lies at the very heart of what
constitutes the potential of a situation…”
Lai 231 “shi” is such an important concept that Sun Tzu…used it
for the title of a chapter in his Art of War….In this chapter
Sun Tzu has discussed four key aspects of shi. First, it is
the idea of qi and zheng. Zheng is the regular way of doing
Gal Hirsch, “On Dinosaurs and Hornets: A Critical View on Operational Moulds in Asymmetric Conflict,”
228
Royal United Services Institute Journal (August 2003): 65-66.

229 Zvi Lanir, “Fundamental Surprises.”
230 Jullien, Treatise on Efficacy, 21-23.
231David Lai, Learning from the Stones: A Go Approach to Mastering China’s Strategic Concept Shi (Carlisle, PA:
Strategic Studies Institute, U.S. Army War College, 2004), 1-2.
95
ART OF DESIGN
things, or in military term, the regular order of battle. A

commander deploys his troops in regular ways. However,
the commander must mobilize his troops to engage the
enemy in extraordinary (qi) ways. Zheng is, in essence, a
given. It is open knowledge to friends and foes. Yet qi is a
variable and its variation inexhaustible. The second
aspect…is about creating an overwhelming force with
irresistible unleashing power. The third aspect…is about
developing a favorable situation with great potential to
achieve the political objective. Finally, shi is about taking
and maintaining the initiative. As Sun Tzu puts it, ‘those
skilled at making the enemy move do so by creating a
situation to which he must conform’.”
Usage in Secretary of “There is no Western equivalent to the concept of “shi”..
Context Defense 232 Chinese linguists explain it as “the alignment of forces,”
the “propensity of things,” or the “potential born of
disposition,” that only a skilled strategist can exploit to
ensure victory over superior force. Similarly, only a
sophisticated assessment by an adversary can recognize
the potential exploitation of “shi.”
Relationship The Other Penetrating the rationality of the other requires
acknowledging ontological asymmetry.
2.2.4.11. STRATEGIC COMMUNICATION

Strategic Communication stresses the importance of understanding the role effective
communication plays among different actors in conflict environments. Strategic
communication attempts to understand the ways different audiences understand or frame
the meaning of military, diplomatic, and other influencing actions. Previously, strategic
communication occurred at the theater-strategic and national-strategic levels. However,
with the proliferation of new media tools like smart-phones, digital cameras, and the
internet, the structure of mass communication has changed. Strategic communication is
now an essential and integral part of operational planning. Where before, mass
communication meant a limited number of media sources (broadcast t.v., radio,
newspapers) controlled the content and spread of information to a few aggregated and
passive audiences, the contemporary world has seen an explosion where there are many
sources of information (cable t.v., internet video, blogs, etc.) able to communicate to ever
more segregated audiences. As a result, the interpretation of a military or other national-
strategic action is highly varied depending on the audience. Strategic communication is
integral to design theory for two reasons: (1) communication occurs in a complex systems
environment in its own right; strategic communication is a complex activity; and (2) as an
232 Secretary of Defense, Annual Report on the Military Power of the People’s Republic of China (Washington,
DC: Pentagon, July 2002), 6, 1ff.
96
ART OF DESIGN
element of a conflict environment communication pathways among actors are often key
connectors among “nodes” in a larger system.
TABLE 18. KEY CONCEPT 11: STRATEGIC COMMUNICATION.
Strategic Communication
Doctrine JP 1 233 “The USG uses strategic communication (STRATEGIC
COMMUNICATION) to provide top-down guidance
relative to using the informational instrument of
national power in specific situations.
(1) Strategic communication is focused USG processes and
efforts to understand and engage key audiences to create,
strengthen, or preserve conditions favorable to advancing
national interests and objectives through the use of
coordinated information, themes, messages, and products
synchronized with the actions of all instruments of
national power. Strategic communication’s primary
communication capabilities are coupled with defense
support to public diplomacy (DSPD) and military
diplomacy activities to implement a holistic strategic
communication effort.
(2) The predominant military activities that support
strategic communication themes and messages are
information operations (IO), public affairs (PA), and
DSPD.”
Strategic communication is most similar to PA and DSPD,
but should not be confused with them. The key doctrinal
point is that strategic communication planning must be
integrated into military planning and operations,
documented in operation plans (OPLANs), and coordinated
and synchronized with OGAs and multinational partners.
Strategic communication should not been seen as
something separate from operational planning, but
inherent to it.
233 United States, Joint Publication 1, Doctrine for the Armed Forces of the United States (Washington, DC: Joint
Chiefs of Staff, 2007 (2009 update)), I-9.
97
ART OF DESIGN
Doctrine FM 3-0 234 “The Army implements strategic communication and

defense support to public diplomacy while applying
focused efforts to understand and engage key audiences.
Such actions promote awareness, understanding,
commitment, and action in support of the Army and its
operations.”
Though strategic communication has generally been
considered a national strategic concept, it is currently
addressed at the theater strategic level as well.
Doctrine IO Primer 235 “Strategic communication comprises an important part of
the U.S. government’s information arsenal. The
government communicates themes and messages based on
fundamental positions enumerated in the U.S. Constitution
and further developed in U.S. policy. While U.S. leaders
communicate some of this information directly through
policy and directives, they also shape the environment by
providing access and information to the media.”
Theory: Corman et Strategic communication adopts a modern definition of
Strategic al. 236 communication as a process of dialog. This is opposed to
Communication the standard idea that confuses “marketing” with
“communication.” Strategic communication emphasizes
that actions are communications and that interpersonal
dialog, rather than mass media techniques, should guide
the practice of strategic communication.
Usage in IO Primer 237 “While ‘strategic communication’ is a fairly new term in the
Context U.S. government lexicon, the concept, theory, and practice
behind it is not. For example, General Winfield Scott
recognized the importance of strategic communication at
the theater level in Veracruz in 1847. Realizing the
influence of the Catholic Church on Mexican society, Scott
attended Mass with his staff at the Veracruz Cathedral to
display the respect of U.S. forces. He further ordered U.S.
Soldiers to salute Mexican priests in the streets. Each of
these measures was ‘part of a calculated campaign to win
the friendship of the Mexicans’.”

235United States Army War College, Information Operations Primer (Carlisle, PA: United States Army War
College and Carlisle Barracks, 2007), 116.
Steven R. Corman, Angela Trethewey and H. Lloyd Goodall, Weapons of Mass Persuasian: Strategic
236
Communication in the War of Ideas (New York, NY: Peter Lang, 2008).
237 United States Army War College, Information Operations Primer, 10.
98
ART OF DESIGN
Usage in Waugh238 General Grant understood the “larger truth” of the

Context American Civil War, publicly supporting the Emancipation
Proclamation as a significant blow to the underlying social
system of the South that would have an effect greater than
many direct military defeats. Further, Grant also acted with
the post-war reunification of the States in mind by giving
paroles (over the objection of many in the North) to
captured Confederate Soldiers. In this way he used actions
as a means to communicate the strategic aim of the war –
the end of slavery as an economic system, but a
reunification of the States.
Relationship Discourse Strategic communication contributes to and influences
multiple discourses.
Relationship Authenticity Strategic communication promotes a dialog, not a model of
“ballistic” communication where a message is “fired” at a
target audience like a one-way marketing campaign.
2.2.4.12. AUTHENTICITY
In strategic communication the focus is less on crafting the exact message the sender
intends, but more on understanding how an audience interprets a message as valid.
Authenticity requires the sender to explore the actors, philosophies, and cultural
symbols that signal to a given audience that the sender of a message is trustworthy
and an authentic representative for a given community. In this way, the content of the
message is less important to transmit to the audience than the building of a relationship of
sincere dialog among groups where an ongoing process of communication may occur.
Within design theory authenticity is central to the effectiveness of design methods in
facilitating group work. In addition, the purpose of many narratives is to demonstrate the
authenticity of a worldview, especially in relation to understanding foreign norms.
238 Joan Waugh, Personal Memoirs of U. S. Grant: A History of the Union Cause, Frank L. Klement lectures, no. 12
(Milwaukee, WI: Marquette University Press, 2003), 12-16.
99
ART OF DESIGN
TABLE 19. KEY CONCEPT 12: AUTHENTICITY.
Authenticity
Theory: Luhman239 Communication is not about designing the right
Communication message to market, and then delivering it via mass
media. Rather, it is a “meaning-making” process across
audiences. Further, “meaning cannot simply be
transferred” as in the standard marketing or “ballistic”
model of communication theory. Meaning-making only
occurs through the development of a shared sense of
authenticity among member audiences to the dialog.
By creating a sense of trust that each side in a dialog is
an authentic representative for a given audience, mis-
communication happens less often. Also, a forum is
established where different interests can be
communicated with a sense that each party is sincerely
trying to come to a common understanding of the
meaning of the conflict and the positions of each side.
Theory: Paine 240 Quoting Sociologist Zygmunt Bauman: “Modernity
Anthropology makes all being contingent, and thus a ‘problem’, a
‘project’, a ‘task’. Lifting identity to the level of
awareness, making it into a task.” “There is…the
personal or private domain where authenticity is self-
originated, but there is also the public and group
domain where authenticity is proclaimed by authority
– an authority that either emanates from within the
group or is imposed upon it. [Postmodernism]
considers authenticity to be as much about what we
will be, or should be as about what we are. We must
not conceptualise authenticity as either given or as
unchanging, but as a process with relational and
contingent qualities. We can expect ‘the authentic’
itself to become dated… ‘the authentic is not immune
to culture-in-the-making even though common sense
tells us that because authentic is ‘genuine’ it is not
‘fictional’.”
239 Niklas Luhman, Social Systems (Stanford, CA: Stanford University Press, 1995).
240 Robert Paine, “Aboriginality, Authenticity, and the Settler World,” in Anthony Cohen, Signifying Identities:
Anthropological Perspectives on Boundaries and Contested Identities (London: Routledge, 1999), 80-82.
100
ART OF DESIGN
Usage in An example of how the standard “ballistic” model of

Context communication fails comes from former White House
(What not to Communications Director Karen Hughes. In an effort to
do) explain U.S. policy Hughes used her right to drive as an
example of freedom. “I feel, as an American woman,
that my ability to drive is an important part of my
freedom. It has allowed me to work during my career.
It has allowed me to go to the grocery store and shop
for my family.” However, her intended audience
throughout the Arab world reacted opposite to the
administration’s expectation. Seeing her example as
outside Arab norms, her view of freedom was seen as
inauthentic and her speech as a one-sided PR campaign
that denigrated Arab and Muslim values. As the major
Egyptian newspaper put it, “We in Egypt, and
everywhere else, don’t need America’s public relations
campaign.”
Usage in Rather than continually promote an American view of
Context democracy, an expression of the faults of the American
(What to do) political system might open the way for a dialog about
the faults in adversary systems. However, the subtle
effect is also to signal that the American system, though
flawed, is strong enough to endure criticism while
other systems are not. Thus a dialog of mutual
meaning-making might be created that lessens
negative views of America as arrogant while suggesting
to other audiences that they adopt a U.S. model of self-
criticism within their own societies.
Relationship Strategic Authenticity is essential for effective strategic
Relationship Leading and Authenticity underpins successful leadership and
Facilitating facilitation.
Relationship Narrative Authentic communication rests on listening closely to
the narratives of each party in the meaning-making
process.
2.2.4.13. ORGANIZING TO LEARN

Military design is a social creation generated through dialog and collaboration, according to
doctrine. A key role of the design leader is to organize the group’s learning. Brian Lawson
refers to this need as the question of “how to construct the social organization of the
practice?” 241 What complicates the process of organizing the learning in a design setting is
101
ART OF DESIGN
the breadth and depth of the inquiry. As Lawson observes, “One of the essential
difficulties and fascinations of designing is the need to embrace so many different
kinds of thought and knowledge.”242 Like an architect, who must balance client,
legislators, and the architectural firm’s members, design team leaders must be mindful of
both the internal and external relationships of the team. A consideration related to this
function is how to keep the team on track while designing, which implies informal
leadership skills and the ability to manage an ad hoc organization with responsibilities that
cut across broad functional and hierarchical groups.
TABLE 20. KEY CONCEPT 13: ORGANIZING TO LEARN.
Organizing to Learn
Doctrine FM 5-0 243 “In leading design, commanders typically draw from a
select group within the planning staff, red team members,
and subject matter experts internal and external to the
headquarters. The commander selects these individuals
based on their expertise relative to the problem. The
commander expects these individuals to gain insights and
inputs from areas beyond their particular expertise—either
in person or through reachback—to frame the problem
more fully. Design serves to establish the context for
guidance and orders. By using members of the planning
staff to participate in the design effort, commanders ensure
continuity between design and detailed planning as well as
throughout the operations process. These are purpose-
built, problem-centric teams, and the commander may
choose to dissolve them once they complete the design
effort.”
Doctrine FM 3-0 244 Doctrine leaves open the question of how commanders
“develop a personal and in-depth understanding of the
enemy and operational environment” before visualizing
their concept.
Theory: Lawson 245 Lawson wrote primarily about architectural design, but his
Design observation that “Design practices are intensely social
compared with, for example, legal or medical practices
where the partners and junior members work more in
isolation” holds true for military applications.
242 Emphasis added. Ibid., 13.

102
ART OF DESIGN
Theory: Gabarro and While most management texts focus on the top-down
Management Kotter 246 aspect of management, Gabarro and Kotter contend, at a
minimum, that one must appreciate the boss’s goals and
pressures. Gabarro and Kotter offer suggestions on how to
interact with one’s superior so that organizational goals get
accomplished.
Theory: Weick and The authors offer a theory that individuals and
Sensemaking Sutcliffe 247 organizations engage in sensemaking when faced with
situations that do not meet expectations or cannot be
explained with existing models. In such circumstances, the
organization probes the environment (i.e. acts) to construct
a retrospective explanation of the situation. “Sensemaking
involves the ongoing retrospective development of
plausible images that rationalizes what people are doing.”
Theory: Page 248 “A good starting point for thinking about how to leverage
Business diversity is to recognize (and then often restructure) the
nature of the task. The organizational theorist I. D. Steiner
distinguished between disjunctive tasks, those in which only
one person needs to succeed for the group to be successful,
and conjunctive tasks, those in which everyone’s
contribution is critical. Solving a vexing math problem is
disjunctive: the more diverse heads, the better. In football,
the offensive line’s task of protecting the quarterback is
conjunctive. If any one lineman fails to do his job, the
quarterback gets sacked. Diversity works best on
disjunctive tasks because multiple approaches can be tried
simultaneously, and one good idea means success for
everyone.”
Theory: Ancona and “…the critical knowledge needed to beat the competition
Organization Bresman 249 has become ever-more complex, fast advancing, and spread
out. The knowledge teams need to accomplish their task
increasingly cannot be found within the team or even in the
company itself. Instead, these teams have found it critical to
span their boundaries in pursuit of the knowledge they
need.”
Usage in Kirkpatrick 250 “The problem was in determining where to begin.”
Context
246 John J. Gabarro and John P. Kotter, “Managing Your Boss,” Harvard Business Review (January 2005): 92-99.
247 Karl E. Weick and Kathleen M. Sutcliffe, “Organizing and the Process of Sensemaking,” Organization Science
16, no. 4 (July-August 2005): 409-421.

248 Page, The Difference, xv.
249 Deborah Ancona and Henrik Bresman, X-Teams: How to Build Teams That Lead, Innovate, and Succeed
(Boston, MA: Harvard Business School Press, 2007), 55.

250
Kirkpatrick, Unkown Future Doubtful Present, 56.
103
ART OF DESIGN
Usage in Augustine 251 Augustine writes from a practical perspective. By observing

Context that “recognizing that, in fact, there is a crisis” is perhaps
the most difficult stage in crisis management, he
illuminates the difficulty inherent in seeing the situation’s
magnitude.
Usage in Kirkpatrick 252 Kirkpatrick’s monograph highlighted the use of “murder
Context committees,” in which participants gathered to provide
frank critiques of concepts. “Friendship notwithstanding,
these men were experienced staff officers who did not
spare Wedemeyer’s feelings as they dissected and
examined every facet of his drafts in minute and critical
detail.”
Relationship Discourse Organizing to learn includes structuring time for discourse.
Relationship Team Organizing to learn improves team learning.
Learning
Relationship Leading and Organizing to learn is part of informal leadership and
Facilitating creates processes to facilitate design.
2.2.4.14. TEAM LEARNING

Design in a military context takes place in a social setting. According to Peter Senge, team
learning is “the process of aligning and developing the capacity of a team to create the
results its members truly desire.” Senge offers three features of team learning: a “need to
think insightfully about complex issues,” “the need for innovative, coordinated action,” and
“the role of team members on other teams.” 253 Although Schön and Lawson devote most of
their work to developing the theme of design as “an entirely personal and individual
process,” Lawson supplements his work with a lengthy discussion of designing in teams. 254
Thus, team learning requires skill in creating an environment wherein the team can think
together about difficult, frequently ambiguous, perhaps incomprehensible, issues.
TABLE 21. KEY CONCEPT 14: TEAM LEARNING.
251 Norman R. Augustine, “Managing the Crisis You Tried to Prevent,” Harvard Business Review (November-
December 1995): 147-158.

252
Kirkpatrick, Unkown Future Doubtful Present, 58.
253 Senge, The Fifth Discipline, 218-19.
104
ART OF DESIGN
Team Learning
Doctrine FM 6-22 255 In the discussion about team structures, FM 6-22 observes
that “teams are formed to share information and lessons
gained from experience.” Doctrine indirectly acknowledges
the role of team learning in solving problems.
Doctrine FM 5-0 256 “The commander works with the design team to evaluate
ideas and information from multiple perspectives. They
then synthesize their understanding as they work within
the design activities, leaving open for further exploration
those matters that cannot be understood on the basis of
current information.”
Doctrine FM 5-0 257 “Design is also an organizational learning methodology. The
design team organizes critical inquiry by questioning and
discussing their knowledge of the operational environment.
They develop models or hypotheses to compare against the
operational environment. Given higher directives, they
formulate conditions that define a desired end state and
develop approaches that aim to achieve those conditions.
When initial models fail to coherently explain behavior or
events, the design team reframes its understanding of the
situation. This cycle of inquiry, contextual understanding,
and synthesis includes rigorous debate about meaning.
Collaboration affords commanders opportunities to revise
their understanding or approaches so they can execute
feasible, acceptable, and suitable operational approaches to
achieve the desired end state.”
Theory: Senge 258 “Systems thinking requires mature teams capable of
Organizational inquiring into complex, conflictual issues.” Senge claims
Learning that discourse has two components: dialogue and
discussion. Relying on the work of Heisenberg, Senge offers
that the IQ of the team is (potentially) greater than the
individual.
Theory: Lawson 259 “Design cannot be practiced in a social vacuum. Indeed it is
Design the very existence of the other players such as clients, users
and legislators which makes design so challenging.” With
respect to team learning, Lawson shows that “a group,
which acts not just as a collection of individuals, but also in
a manner somehow beyond the abilities of the collective
individual talents.”
256 United Sates, FM 5-0, 3-5.
257 Ibid., 3-6.
258 Senge, The Fifth Discipline, 220-223.
259 Lawson, How Designers Think, 237; 242.
105
ART OF DESIGN
Usage in Schmitt260 “The design team should consist of a relatively small group
Context of key stakeholders with a compelling interest in the
outcome of the situation. The commander is necessarily a
central member because the ultimate responsibility for any
decisions rests with him. In effect, the process exists to
produce in the commander the insight that activates
intuition. This does not mean that the commander is
necessarily the chief designer driving the process and
responsible for originating all the ideas. But he should be a
direct participant, contributing but also learning from the
other designers. The design team should not consist of a
designated, segregated group of “expert designers” who
create a design and hand it down to others for planning and
execution. Rather, it should include those who will have to
live with the result, particularly the subordinate
commanders who will ultimately have to execute the plan.
The team may also include other key military and non-
military partners, as well as functional or other experts. The
design process will almost certainly include a recurring
discourse with the higher authorities to ensure that the
emerging design is consistent with expectations.
Diversity of perspective is a valuable trait in the
composition of the design team. It promotes the competing
ideas and opinions that are critical to a dialectic discourse
and militates against the development of group think.
Giving stakeholder groups representation in the design
team will tend to provide this diversity naturally. Including
“heretics” in the design team can likewise inject creative
tension into the design process.”
260 Schmitt, Systemic Concept for Operational Design, 22-23.
106
ART OF DESIGN
Usage in Weick 261 The need for team learning can be derived from Weick’s
Context description of a developing crisis. “Things seem
inexplicable. And to make it worse, many of our ways of
making sense of the inexplicable seem to have collapsed.
Our weaknesses come rushing to the forefront. The first
impulse is to grasp for some explanation, any old
explanation. And what we get hold of are the automatic
explanations we have lived with longest and invoked most
often. We often find the initial meaning of events by
drawing inferences from how we feel. Since many of us feel
frightened and out of control, then this must “mean” that
whatever we face is something we need to flee from or
fight. Neither explanation is profound. But either
explanation is better than nothing. Either explanation,
oddly enough, is soothing, since the prospects of having no
explanations at all and no ways to cope, are even more
frightening.”
Relationship Discourse Effective team learning enhances discourse.
Relationship Organizing Team learning includes learning how to better organize for
to Learn learning in design (learning to learn).
2.2.4.15. LEADING AND FACILITATING

Design doctrine claims that design teams are best kept small—six to eight individuals at the
core. 262 This implies that the leader simply be proficient in managing the activities of a
relatively small group. Adopting this view understates the task, as it does not represent the
scale of a design effort. Leading a design effort requires that the leader manage the internal
and external relationships necessary to create understanding about a problem situation.
Military organizations do not have formally established and resourced “design teams.” As a
consequence, the design team leader holds an informal position and must rely on informal
leadership. “How do I lead peers, subordinates, and seniors in a team?” becomes a key
question. Leading design requires equal talent in facilitation and interpersonal
relationships, to build networks supporting the team’s work across organizations, as well
as within the organization itself. Ron Heifetz labels leadership in these circumstances as
“mobilizing adaptive work.”263
Karl E. Weick, “Leadership When Events Don't Play By the Rules,” Trying Times series, University of
261
Michigan, (2002): 1.
262 United States, FMI 5-2, 19.
263 Heifetz, Leadership Without Easy Answers, 69.
107
ART OF DESIGN
TABLE 22. KEY CONCEPT 15: LEADING AND FACILITATING.
Leading and Facilitating

Doctrine FM 5-0 264 “Commanders are the central figure in design. Generally, the
more complex a situation is, the more important the
commander’s role is in design. Commanders draw on design
to overcome the challenges of complexity. They foster
iterative collaboration and dialog while leveraging their
collective knowledge, experience, judgment, and intuition to
generate a clearer understanding of the conditions needed
to achieve success. Design supports and reinforces the
application of battle command, supporting the commander’s
ability to understand and visualize the operational
environment.”
Doctrine FM 6-22 265 Informal leadership is commonly characterized as
influential power obtained through knowledge or initiative.
Doctrine FM 6-22 266 Leading design requires the ability to “build trust outside
lines of authority.”
Theory: Heifetz 267 “Formal authority is granted because the officeholder
Informal promises to meet a set of explicit expectations (job
authority descriptions, legislated mandates), whereas informal
authority comes from promising to meet expectations that
are often left implicit (expectations of trustworthiness,
ability, civility).”
Theory: Heifetz 268 Heifetz offers three levels of problems: Type I, II, and III. In
Typology of his scale, problem situations range from technical to
problem adaptive. He defines Type III (adaptive) problems as those
situations in which the “problem definition is not clear-cut, and
technical fixes are not available.” He goes on to say,
“Learning is required both to define problems and
implement solutions.”
Theory: Heifetz 269 In tackling social dilemmas, Heifetz offers that the leader
Mobilizing must distinguish between technical and adaptive problems,
adaptive recognize that an authority relationship can be a constraint
work on the leader’s actions, and direct attention towards issues,
thus disaggregating the intractable adaptive problem into a
series of technical problems.

265 United States, FM 6-22, 3-8 – 3-9.
266 Ibid., 7-21.
267 Heifetz, Leadership Without Easy Answers, 101.
268 Ibid., 75.
269 Ibid., 87-88.
108
ART OF DESIGN
Theory: Schwarz270 Schwarz offers extensive practical advice on how to

Facilitation facilitate the work of groups. He defines a group facilitator
as one “whose selection is acceptable to all the members of
the group, who is substantially neutral, and who has no
substantive decision-making authority diagnoses and
intervenes to help a group improve how it identifies and
solves problems and makes decisions, to increase the
group’s effectiveness.” According to Schwarz, the facilitator,
who manages the process rather than content of the design
discourse, should be someone other than the commander.
Usage in Kirkpatrick 271 “Wedemeyer parceled out aspects of the problem to other
Context officers in WPD [War Plans Division] and elsewhere in the
War Department staff. While many men worked on the
Victory Plan, however, they worked under Wedemeyer’s
guidance, and it was always Wedemeyer who designed the
work and at whose desk the final product took shape.”
Relationship Discourse Leadership and facilitation is required for discourse to
occur.
Relationship Organizing to Leading and facilitating must include organizing the design
Learn team to learn.
2.2.4.16. ASSESSMENT
To begin to understand how to deal with complexity, assessment and interpretation skills
are essential. Complexity cannot be fully understood; however, the designer must work
within a contingent, changing, and ephemeral environment in order to achieve some desire.
Assessment and interpretation are essential initial steps for appreciating the environment,
and judging whether the current design is still relevant.
TABLE 23. KEY CONCEPT 16: ASSESSMENT.
Assessment
Doctrine FM 3-24 272 The purpose of design is to gain greater understanding,
identify proposed solutions, and develop the means to
learn.
270 Schwarz, The Skilled Facilitator, 5.

271 Kirkpatrick, Unknown Future Doubtful Present, 57.
109
ART OF DESIGN
Doctrine FM 5-0 273 “Assessment involves deliberately comparing forecasted

outcomes to actual events to determine the overall
effectiveness of force employment. More specifically,
assessment helps the commander determine progress
toward attaining the desired end state, achieving
objectives, or performing tasks. It also involves the
continuous monitoring and evaluation of the operational
environment to determine changes that might affect the
conduct of operations. Assessment also helps commanders
determining if they need to reframe their original
commander’s visualization.”
Theory: Schön274 Schön opens the door to understanding the role of
Design personal, professional mastery of craft as an element of
Education dealing with the complexity of creativity. Key concept
supporting assessment and interpretation is his discussion
of the “indeterminate, swampy zone of practice.”
Theory: Clausewitz 275 Clausewitz offers a “method” for assessing human action in
Military a complex environment in his chapter “Critical Analysis.”
History: Clausewitz 276 Clausewitz expands on assessment using events from
Military history in his chapter “On Historical Example.”
Theory: Geertz 277 Geertz discusses the need for thick description, and
Anthropology discusses ways to achieve this, while understanding that
interpretation is all contingent, contextual, and ephemeral.
(pp. 28-29)
Usage in Slim278 Slim reflects on his continual reassessment of military
Context actions in the complex theater of China-Burma-India.
Relationship Critical Assessment stimulates critical thinking.
Thinking
2.2.4.17. ITERATION
Multiple attempts to gain understanding of complex systems, combined with the foresight
that one can only gain understanding through multiple interactions with the system,
generates a different knowledge of what actions do to generate understanding. This
iteration can be in virtual worlds of experiment without actual interaction, specific acts of

275 Clausewitz, On War, book 2, chapter 5.
276 Clausewitz, On War, book 2, chapter 6.
277 Clifford
Geertz, “Thick Description” in The Interpretation of Cultures: Selected Essays (New York, NY: Basic
Books, 1973), 28-29.
278 Field Marshall The Viscount Slim, Defeat into Victory (New York, NY: Macmillan, 1986), 111-121.
110
ART OF DESIGN
intervention designed only to increase learning, or a series of actions designed to generate

change, in order to learn.
TABLE 24. KEY CONCEPT 17: ITERATION.
Iteration
Doctrine FM 5-0 279 “Unlike steps in a sequential process, the design method is
iterative, flowing back and forth between understanding
the environment, problem framing, and developing an
operational approach in the operations frame. Hence,
when commanders have an idea arise, they can place it in
the appropriate activity to address the idea, even if the
idea is outside the design team’s current frame.”
Theory: Schön280 For Schön, there is an inevitable and powerful relationship
Design between the experience base of the designers and their
Education skill in practice. He believes, however, that practice can
itself only be gained through the experience of doing
design, while being coached by a more experienced
practitioner. This experience is gained through iteration.
Theory: Lawson 281 Lawson offers several techniques to enhance iterative
Design creativity. He discusses various generators, develops and
presents a Rubik’s Cube of design constraints, which
themselves enhance creative iteration. He also discusses
the generation of alternatives as a form of creative
iteration.
Theory: Gharajedaghi 282 “Iteration is the key for understanding complexity.”
Systems “Successive iterations would yield a greater understanding
and more closely approximate the nature of the whole.”
Theory: Gharajedaghi 283 Gharajedaghi addresses iterative design through his
Systems process steps – searching, mapping, and telling.
Theory: Schön284 Schön believes that iteration includes reflection while
Design acting. To make use of this gained reflective ideation,
Education Schön recommends what he calls reciprocal reflection,
which also requires numerous iterations for effect. He
adds a third component to the iterative process – trust.

281 Lawson, How Designers Think, 89; 106; 209.
282 Gharajedaghi, Systems Thinking, 112-113.
283 Ibid., 132-140.
284 Schön, Educating the Reflective Practitioner, 87-8; 101; 163-7.
111
ART OF DESIGN
Usage in Grant 285 As Grant approaches the Chattanooga area, he reflects,

Context acts, reflects some more, gains new information and
intelligence, acts some more. His approach is that of
iteration.
Relationship Complex Iteration is the source of many complex pattern formation
Systems processes.
Relationship Discourse Discourse is iterative, an unending process of back and
forth.
Relationship Strategic Strategic communication requires continual iteration for
Communication success
2.2.4.18. SIMULTANEITY
Design is conducted not in a strict sequence but in a realm of both internal and
external simultaneity. Internal simultaneity involves disciplined and coherent movement
amongst the cognitive spaces of design in order to generate understanding and concepts.
External simultaneity captures the reality of actual operations, where design, planning,
preparation, execution, assessment are all being conducted at the same time. Both forms of
simultaneity need to be harnessed by the design team.
TABLE 25. KEY CONCEPT 18: SIMULTANEITY.
Simultaneity
Doctrine CACD 286 “Understanding the problem and conceiving a solution are
identical and simultaneous cognitive processes. For example,
if we formulate an insurgency as the result of a failed regional
economy, our solution will be different than if we formulated
the insurgency as the result of poor governance. The
formulation of the problem points in the direction of a
particular solution.”
Doctrine FM 6-0 287 Operations include assessment, planning, preparation, and
execution. We need to add design to this set of activities.
Simultaneity is implied in doctrine, real in actual operations,
and infrequently employed in training exercises. Design needs
to be conducted using aspects of all the activities of
operations in order to generate adequate knowledge and
develop appropriate actions.
285 Ulysses S. Grant, Memoirs (New York, NY: Literary Classics, 1990), 403-421.
286 United States, TRADOC Pam. 525-5-500, 10.
287 United
States, Field Manual 6-0, Mission Command: Command and Control of Army Forces (Washington, DC:
Headquarters, Department of the Army, 2003). 6-1 – 6-32.
112
ART OF DESIGN
Theory: Schön288 In his discussion of the coherence of the simultaneous whole,

Design Schön develops the idea that design functions best when the
Education design team is engaged with all of the instrumental problems
of the challenge simultaneously. If a strictly sequential
approach is taken the design is hampered by artificial
construction of constraints. Keeping all aspects in mind as the
design approach is taken stimulates more effective
understanding of the challenge, and generates better suited
solutions and actions.
Theory: Lawson 289 Lawson describes techniques for moving the design process
Design forward. These are really elements of near-simultaneity, since
narration, conversation, and negotiation occur at the same
time in the design space and in the execution space. This is
particularly true when added to the concept of creating social
organizations as extended design/execution teams.
Theory: Lawson 290 In Chapter 16, Lawson gives details on his models for moving
Design design forward. These are, in essence, all efforts to generate a
certain sense of simultaneous presence in the design,
planning, preparation, execution, and assessment areas.
Theory: Rittel and “For wicked problems, however, this type of scheme cannot
Social Webber 291 work. One cannot understand the problem without knowing
Planning about its context; one cannot meaningfully search for
information without the orientation of a solution concept; one
cannot first understand, then solve… Approaches… should be
based on a model of planning as an argumentative process in
the course of which an image of the problem and of the
solution emerges gradually among the participants, as a
product of incessant judgment, subjected to critical
argument.”

289 Lawson, How Designers Think, Chapter 15.
290 Ibid., chapter 16.
291 Horst W. J. Rittel and Melvin M. Webber, “Dilemmas in a General Theory of Planning,” Policy Science 4
(1973): 162.
113
ART OF DESIGN
Usage in COSSAC 292 The staff of the COSSAC had to deal with simultaneity, but
Context were severely hampered due to a lack of command and
control of the forces needed to act simultaneously with the
designing. This comes out most clearly in the discussion of the
need to prepare shipping and landing craft production quotas
well in advance of execution and the lengthy discussion of the
need to properly develop (execute) airpower operations for
both air command and for interdiction before the actual
invasion (paragraphs 8, 11, 13, 16, and others). Of even
greater interest in understanding simultaneity is their
assessment of the strength of the German ground forces a
year in advance – the design was based on an assessment of
propensity (paragraphs 14, 15, and 35).
2.2.4.19. DRAWINGS
Drawing is characteristic of both the process and the products of design. Drawings are so
essential to design because they show relationships and organize information. Two
levels of understanding are essential here: first is the concept of doing, of making specific,
deliberate, and intentionally developed drawings. These drawings help the designers
establish a reflective conversation with the situation, but they also have real world impacts
– actions, social groupings, and other products are commissioned as a result of design
drawings. The second level of understanding involves the need to characterize the form of
various products based on their outcome desired. SAMS follows Lawson’s categorization of
design drawings, presentation drawings, and production drawings. Both concepts help the
leader of design teams focus both the process and the products of the design team.
292 COSSAC, “Digest of Operation ‘Overlord’.”
114
ART OF DESIGN
TABLE 26. KEY CONCEPT 19: DRAWINGS.
Drawings
Doctrine FM 5-0 293 All three cognitive spaces of design, as well as the final
product of design (the design concept) make use of drawing
to depict systemic relationships.
“The environmental frame is a graphic and narrative
description that captures the history, current state, and
future goals of relevant actors in the operational
environment… The problem frame is a refinement of the
environmental frame that defines, in text and graphics, the
areas for action that will move existing conditions toward the
desired end state… One method to depict the operational
approach is to use lines of effort, but it is not the only way.
Design teams require latitude to portray the operational
approach in a manner that best communicates its vision and
structure. However, it is important that narratives
accompany lines of effort to ensure they are understood…
The design concept is the formal output of the design method
conveyed in text and graphics that informs detailed
planning.”
Theory: Schön294 Discussing various ways to generate creativity, Schön
Design recommends the creation of specific products, for example, a
Education scale drawing, to generate the intellectual, mental, and
emotional tensions that themselves stimulate creative ideas.
He also recommends creating examples to serve the same
end. Of course, for Schön, the very creation of an educational
practicum itself is the creation of a product which enhances
the process of learning.
Theory: Lawson 295 Lawson describes three very useful forms of drawings: design
Design which are generated during the design process as a generator
of ideas; presentation which are created to show the outcome
of the process to the client or others; production which are
generated as the process ends a design cycle in order to
stimulate and inform down-stream planning and execution
efforts. These “drawings” can also be word documents,
PowerPoint presentations, white board sketches, 3-d models
or any form of communication relevant to the design.
293 United States, FM 5-0, 3-10; 3-12; 3-14; 3-15.

294 Schön, Educating the Reflective Practitioner, 158; 161; 170ff.
115
ART OF DESIGN
Theory: Checkland “The complexity of human situations is always one of

Systems and multiple interacting relationships. A picture is a good way to
Poulter296 show relationships; in fact it is a much better medium for that
purpose than linear prose. Hence as knowledge of a situation
was assembled – by talking to people, by conducting more
formal interviews, by attending meetings, by reading
documents, etc. – it became normal to begin to draw simple
pictures of the situation. These became richer as inquiry
proceeded, and so such pictures are never finished in any
ultimate sense. But they were found invaluable for expressing
crucial relationships in the situation and, most importantly,
for providing something which could be tabled as a basis for
discussion. Users would say: ‘This is how we are seeing your
situation. Could we talk you through it so that you can
comment on it and draw attention to anything you see as
errors or omissions?’In making a Rich Picture the aim is to
capture, informally, the main entities, structures and
viewpoints in the situation, the processes going on, the
current recognized issues and any potential ones.”
Usage in COSSAC COSSAC should be considered a narrative of a production
Context planning drawing. It is a useful process to look at this document and
document 297 imagine what the design drawing would look like, and equally
useful to generate an actual presentation drawing from the
document.
Relationship Creative Drawings are a tool for creative thinking.
Thinking
Relationship Systems Because drawings show relationships they are useful for
Thinking systems thinking.
Relationship Discourse Drawings focus design team discourse.
Relationship Reflection Drawings enable a reflective conversation with the situation.
2.2.4.20. REFLECTION
Drawn from Schön and with Slim as an example of doing reflection, this concept focuses the
student on the need to think about what mastery of practice is, how it is done, and the
merits of thinking about doing, both while and after. Reflection, critical thinking, and meta-
thinking are all closely related concepts. Together they enable the reflective practitioner to
master their craft through iterative reflection on action.
296 Checkland and Poulter, Learning for Action, 25.

297 COSSAC. “Digest of Operation Overlord.”
116
ART OF DESIGN
TABLE 27. KEY CONCEPT 20: REFLECTION.
Reflection
Theory: Schön298 Schön’s discussion of the ladder of reflection is the place to
Design start. For Schön, action without thought is not purposeful or
Education useful. The skilled designer must reflect frequently on both
his own actions and the actions of others in the design world.
For Schön, the designer has a double burden of both
execution of task and reflection on task.
Theory: Schön299 A careful, and somewhat obvious, distinction is made
Design between reflection in action and reflection on action.
Education
Theory: Checkland Soft Systems Methodology (SSM) is an example of a reflective
Systems and approach to problem structuring. “This implies what is
Poulter300 probably the key step in really understanding SSM and its
use: grasping that the user…is consciously thinking about his
or her own thinking. This ‘meta-level’ thinking is not all that
common… This lifts the thinking to a level above that of
simply perceiving the complexity. It lifts it to a meta-level,
and makes the user able to inspect their own thinking and
then think about it. It is this shift from stance (a) to stance (b)
which increases the richness of thinking and enables insights
to emerge and formula-driven thinking to be avoided. It is the
(a) to (b) shift which turns a practitioner into a reflective
practitioner and defines SSM as an articulation of reflective
practice.”
298 Schön, Educating the Reflective Practitioner, 114; 88-9.

300 Checkland and Poulter, Learning for Action, 157-158.
117
ART OF DESIGN
Usage in Lawrence 301 The entire chapter by T. E. Lawrence is an example of

Context individual reflection on anticipated actions. This example
does not include group reflection nor does it address the
need to generate the reflection during action required by
Schön. “About ten days I lay in that tent, suffering a bodily
weakness which made my animal self crawl away and hide
till the shame was passed. As usual in such circumstances my
mind cleared, my senses became more acute, and I began at
last to think consecutively of the Arab Revolt, as an
accustomed duty to rest upon against the pain. It should have
been thought out long before, but at my first landing in Hejaz
there had been a crying need for action, and we had done
what seemed to instinct best, not probing into the why, nor
formulating what we really wanted at the end of all. Instinct
thus abused without a basis of past knowledge and reflection
had grown intuitive, feminine, and was now bleaching my
confidence; so in this forced inaction I looked for the
equation between my book-reading and my movements, and
spent the intervals of uneasy sleeps and dreams in plucking
at the tangle of our present.”
Relationship Critical Critical thinking requires reflection.
Thinking
Relationship Narrative Reflection is captured in narratives.
Relationship Leading and Leading and facilitating is more effective when the leader /
facilitating facilitator creates space for individual and group reflection.
2.3. SUMMARY OF DESIGN THINKING

This chapter presented a conceptual framework for design thinking. This multi-level
conceptual framework provided three levels of successively more detailed answers to the
question “what is design?” We compared design with art and science, as well as comparing
the purpose, assumptions, approach, culture, and logic of design with conventional
planning. We confronted the predicament of learning to design, which was resolved by the
five pillars of design education: history, theory, doctrine, philosophy, and practice. This
provided a vision for designing operations within a community of practitioners,
learning to design by doing; reflecting on their doing with coach/mentors; and
reflecting on the relationship between theory and practice. The promise of this
approach is continual improvement of individual professional mastery and the ability to
design in teams, leading to organizational learning and rapid adaptation to future contexts.
The conceptual framework then elaborated four highly interwoven ‘big ideas’ of design:
learning, difference, systems, and social creation. These four ideas highlight the cultural
301 Lawrence, Seven Pillars of Wisdom, 193-202.
118
ART OF DESIGN
shift needed for design thinking to take hold. Design promotes a shift from ballistic “fire
and forget” action and quick fixes to acting to learn; from valuing conformity to
appreciating difference; from reductionism to systemism; and from power leader to
discourse facilitator. As with any cultural change, each of these big ideas presents
significant implementation challenges, but equally significant payoffs for an Army engaged
in extremely complex enduring conflicts.
Last, twenty key design concepts expanded on the themes implicit within the four big ideas.
Each key concept established a connection with the Art of Design and provided pointers to
doctrinal, theoretical, and historical/practical references for the concept. An objective of
the theoretical component of SAMS design instruction is to familiarize students with these
key concepts. For the past five years, the language of design has been in a state of flux, as
new theorists with different lexicons have entered the melting pot of multidisciplinary
design theory. What one author calls a wicked problem, another refers to as an ill-
structured problem, a problem situation, a complex adaptive problem, a complex adaptive
system, or even a mess. While there are important subtle differences between these
phrases, there is also a shared concept that is important to design thinking: a design
problem is different in kind to a crossword puzzle, and cannot be solved using the same
logic. While the language of design will continue to evolve, the concepts will be far more
stable. Identifying the key concepts of design allows us to continue to search for better
ways to educate design theory without compromising coverage of the key concepts.
119
ART OF DESIGN
NOTES
3. FM 5-0: DESIGN
This chapter establishes the fundamentals that guide the
_________
application of design. It defines and explains the goals of design. It
discusses design in context and describes how leaders drive design.
_________
Next, it describes the design methodology that includes framing the _________
operational environment, framing the problem, and developing a
design concept. The chapter concludes with a discussion of _________
reframing.
_________
DESIGN DEFINED _________
3-1. Design is a methodology for applying critical and creative _________
thinking to understand, visualize, and describe complex, ill-
structured problems and develop approaches to solve them. _________
Critical thinking captures the reflective and continuous learning
essential to design. Creative thinking involves thinking in new,
_________
innovative ways while capitalizing on imagination, insight, and
novel ideas. Design is a way of organizing the activities of battle
_________
command within an organization. Design occurs throughout the _________
operations process before and during detailed planning, through
preparation, and during execution and assessment. _________
3-2. Planning consists of two separate, but closely related _________
components: a conceptual component and a detailed component.
The conceptual component is represented by the cognitive _________
application of design. The detailed component translates broad
concepts into a complete and practical plan. During planning, these _________
components overlap with no clear delineation between them. As
commanders conceptualize the operation, their vision guides the
_________
staff through design and into detailed planning. Design is
continuous throughout planning and evolves with increased
_________
understanding throughout the operations process. Design _________
underpins the exercise of battle command, guiding the iterative and
often cyclic application of understanding, visualizing, and _________
describing. As these iterations occur, the design concept—the
tangible link to detailed planning—is forged. _________
3-3. Design enables commanders to view a situation from multiple _________
perspectives, draw on varied sources of situational knowledge, and
leverage subject matter experts while formulating their own
_________
understanding. Design supports battle command, enabling
commanders to develop a thorough understanding of the
_________
120
ART OF DESIGN
operational environment and formulate effective solutions to NOTES

complex, ill-structured problems. The commander’s visualization
and description of the actions required to achieve the desired
conditions must flow logically from what commanders understand
_________
and how they have framed the problem. Design provides an _________
approach for how to generate change from an existing situation to a
desired objective or condition. _________
3-4. Moreover, design requires effective and decisive leadership _________
that engages subordinate commanders, coordinating authorities,
representatives of various staff disciplines, and the higher _________
commander in continuing collaboration and dialog that leads to
enhanced decisionmaking. (Paragraphs 1-31 through 1-36 discuss _________
collaboration and dialog.) This facilitates collaborative and parallel
planning while supporting shared understanding and visualization
_________
across the echelons and among diverse organizations. It is the key
to leveraging the cognitive potential of a learning organization,
_________
converting the raw intellectual power of the commander and staff _________
into effective combat power.
3-5. Innovation, adaptation, and continuous learning are central

_________
tenets of design. Innovation involves taking a new approach to a _________
familiar or known situation, whereas adaptation involves taking a
known solution and modifying it to a particular situation or _________
responding effectively to changes in the operational environment.
Design helps the commander lead innovative, adaptive work and _________
guides planning, preparing, executing, and assessing operations.
Design requires agile, versatile leaders who foster continuous
_________
organizational learning while actively engaging in iterative
collaboration and dialog to enhance decisionmaking across the
_________
echelons. _________
3-6. A continuous, iterative, and cognitive methodology, design is _________
used to develop understanding of the operational environment;
make sense of complex, ill-structured problems; and develop _________
approaches to solving them. In contrast to detailed planning, design
is not process-oriented. The practice of design challenges _________
conventional wisdom and offers new insights for solving complex,
ill-structured problems. While plans and orders flow down the
_________
echelons of command, new understanding may flow up from
subordinate echelons where change often appears first. By
_________
enhancing and improving commanders’ understanding, design _________
improves a higher authority’s understanding of the operational
environment and the problems commanders are tasked to solve. _________
121
ART OF DESIGN
DESIGN GOALS NOTES

3-7. Successfully applying design seeks four concrete goals that,
once achieved, provide the reasoning and logic that guide detailed
_________
planning processes. Each goal is an essential component to
reshaping the conditions of the operational environment that
_________
constitute the desired end state. Collectively, they are fundamental _________
to overcoming the complexities that characterize persistent
conflict. The goals of design are— _________
• Understanding ill-structured problems. _________
•
•
Anticipating change.
Creating opportunities. _________
• Recognizing and managing transitions.
_________
UNDERSTANDING ILL-STRUCTURED PROBLEMS _________
3-8. Persistent conflict presents a broad array of complex, ill- _________
structured problems best solved by applying design. Design offers a
model for innovative and adaptive problem framing that provides
_________
leaders with the cognitive tools to understand a problem and
appreciate its complexities before seeking to solve it. This
_________
understanding is fundamental to design. Without thoroughly _________
understanding the nature of the problem, commanders cannot
establish the situation’s context or devise approaches to effect _________
change in the operational environment. Analyzing the situation and
the operational variables provide the critical information necessary _________
to understand and frame these problems. (Paragraph 1-21
discusses the operational variables. See chapter 2 [in FM 5-0] for a
_________
discussion on the structure of problems.) _________
3-9. A commander’s experience, knowledge, judgment, and
intuition assume a crucial role in understanding complex, ill-
_________
structured problems. Together, they enhance the cognitive
components of design, enhancing commanders’ intuition while
_________
further enabling commanders to identify threats or opportunities _________
long before others might. This deepens and focuses commanders’
understanding. It allows them to anticipate change, identify _________
information gaps, and recognize capability shortfalls. This
understanding also forms the basis of the commander’s _________
visualization. Commanders project their understanding beyond the
realm of physical combat. They must anticipate the operational
_________
environment’s evolving military and nonmilitary conditions. _________
Therefore, design encompasses visualizing the synchronized
122
ART OF DESIGN
arrangement and use of military and nonmilitary forces and NOTES

capabilities to achieve the desired end state. This requires the
ability to discern the conditions required for success before
committing forces to action.
_________
3-10. Ultimately, understanding complex, ill-structured problems is
_________
essential to reducing the effects of complexity on full spectrum
operations. This understanding allows commanders to better
_________
appreciate how numerous factors influence and interact with _________
planned and ongoing operations. Assessing the complex interaction
among these factors and their influences on operations is _________
fundamental to understanding and effectively allows the
commander to make qualitatively better decisions under the most _________
dynamic and stressful circumstances.
_________
ANTICIPATING CHANGE _________
3-11. Applying design involves anticipating changes in the _________
operational environment, projecting decisionmaking forward in
time and space to influence events before they occur. Rather than _________
responding to events as they unfold, design helps the commander
to anticipate these events and recognize and manage transitions.
_________
Through the iterative and continuous application of design,
commanders contemplate and evaluate potential decisions and
_________
actions in advance, visualizing consequences of possible _________
operational approaches to determine whether they will contribute
to achieving the desired end state. A thorough design effort reduces _________
the effects of complexity during execution and is essential to
anticipating the most likely reactions to friendly action. During _________
detailed planning, these actions and sequences are often linked
along lines of effort, which focus the outcomes toward objectives
_________
that help to shape conditions of the operational environment. _________
3-12. Design alone does not guarantee success in anticipating
change—it also does not ensure that friendly actions will
_________
quantifiably improve the situation. However, applied effectively _________
and focused toward a common goal, design provides an invaluable
cognitive tool to help commanders anticipate change and innovate _________
and adapt approaches appropriately. Performed haphazardly and
without proper focus and effort, it may become time-consuming, _________
ineffective, process-focused, and irrelevant. Iterative, collaborative,
and focused design offers the means to anticipate change
_________
effectively in the current situation and operational environment, as
well as achieve lasting success and positive change.
_________
123
ART OF DESIGN
CREATING OPPORTUNITIES NOTES
3-13. The ability to seize, retain, and exploit the initiative is rooted
in effective design. Applying design helps commanders anticipate
_________
events and set in motion the actions that allow forces to act _________
purposefully and effectively. Exercising initiative in this manner
shapes the situation as events unfold. Design is inherently _________
proactive, intended to create opportunities for success while
instilling the spirit of the offense in all elements of full spectrum _________
operations. Effective design facilitates mission command, ensuring
that forces are postured to retain the initiative and, through
_________
detailed planning, consistently able to seek opportunities to exploit
that initiative.
_________
3-14. The goals of design account for the interdependent
_________
relationships among initiative, opportunity, and risk. Effective
design postures the commander to combine the three goals to
_________
reduce or counter the effects of complexity using the initial _________
commander’s intent to foster individual initiative and freedom of
action. Design is essential to recognizing and managing the _________
inherent delay between decision and action, especially between the
levels of war and echelons. The iterative nature of design helps the _________
commander to overcome this effect, fostering initiative within the
initial commander’s intent to act appropriately and decisively when
_________
orders no longer sufficiently address the changing situation. This
ensures commanders act promptly as they encounter opportunities
_________
or accept prudent risk to create opportunities when they lack clear _________
direction. In such situations, prompt action requires detailed
foresight and preparation. _________
_________
RECOGNIZING AND MANAGING TRANSITIONS
_________
3-15. A campaign quality Army requires versatile leaders—critical
and creative thinkers who recognize and manage not just friendly _________
transitions but those of adversaries, as well as the operational
environment. Commanders must possess the versatility to operate _________
along the spectrum of conflict and the vision to anticipate and
adapt to transitions that will occur over the course of a campaign. _________
Design provides the cognitive tools to recognize and manage
transitions by educating and training the commander. Educated
_________
and trained commanders can identify and employ adaptive, _________
innovative solutions, create and exploit opportunities, and leverage
risk to their advantage during these transitions. _________
124
ART OF DESIGN
DESIGN IN CONTEXT NOTES

3-16. The introduction of design into Army doctrine seeks to secure
the lessons of 8 years of war and provide a cognitive tool to
_________
commanders who will encounter complex, ill-structured problems
in future operational environments like in March 2003. Division
_________
commanders of the 101st Airborne (Air Assault), 4th Infantry _________
Division, and 1st Armored Division were ordered to maneuver
their units from Kuwait and into Iraq to defeat the Iraqi Army and _________
to seize key cities and infrastructure. This was a task familiar to
each of them—a structured problem—and they communicated _________
their intent and began to build orders through the military
decisionmaking process. Soon after accomplishing their mission,
_________
they were issued further instructions to “establish a safe and
secure environment” in Ninewa Province, Diyala Province, and
_________
Baghdad. This was a task unfamiliar to them—an ill-structured _________
problem—and each of them realized that they had to first
understand the problem and frame the task before seeking to solve _________
it. These commanders used design intuitively and adapted their
existing processes to gain this understanding. _________
3-17. As learned in recent conflicts, challenges facing the _________
commander in operations often can be understood only in the
context of other factors influencing the population. These other _________
factors often include, but are not limited to, economic development,
governance, information, tribal influence, religion, history, and
_________
culture. Full spectrum operations conducted among the population _________
are effective only when commanders understand the issues in the
context of the complex issues facing the population. Understanding _________
context and then deciding how, if, and when to act is both a product
of design and integral to the art of command. _________
PERSISTENT CONFLICT
_________
3-18. In the 21st century, several global trends shape the emerging
_________
strategic environment and exacerbate the ideological nature of _________
current struggles. These trends present dilemmas as well as
opportunities. Such trends include— _________
• Globalization. _________
• Technological diffusion.
• Demographic shifts. _________
•
•
Resource scarcity.
Climate changes and natural disasters.
_________
125
ART OF DESIGN
• Proliferation of weapons of mass destruction. NOTES

• Failed or failing states.
3-19. The collective impact of these trends makes it likely that _________
persistent conflict will characterize the next century. Persistent
conflict is the protracted confrontation among state, nonstate, and
_________
individual actors that are increasingly willing to use violence to
achieve their political and ideological ends. Conflicts will erupt
_________
unpredictably, vary in intensity and scope, and endure for extended _________
periods. In a dynamic and multidimensional operational
environment, design offers tools vital to solving the complex, ill- _________
structured problems presented by persistent conflict.
_________
EVOLVING CHARACTER OF CONFLICT _________
3-20. Although the essential nature of conflict is timeless, its _________
character reflects the unique conditions of each era. Conflict is
invariably complex because it is fundamentally human in character. _________
As such, conflict is characterized by uncertainty, chance, and
friction. Design provides additional tools necessary to understand _________
this environment and to mitigate the adverse effects of complexity
on full spectrum operations. As modern conflict evolves, it is
_________
characterized by several key factors: _________
• Conducted between and among diverse actors, both state
and nonstate, with the former frequently acting covertly,
_________
and the latter sometimes acting through state sponsorship
or as a proxy for a state.
_________
• Unavoidably waged among the people. _________
• Increasingly unpredictable and sudden, with the potential to
expand rapidly into unanticipated locations and continue for _________
•
unexpected durations.
Increasing potential for spillover, creating regionally and
_________
•
globally destabilizing effects.
Waged in transparency.
_________
• Increasingly likely to include hybrid threats, dynamic _________
combinations of conventional, irregular, terrorist, and
criminal capabilities adapting to counter traditional _________
advantages.
_________
FUNDAMENTALS OF DESIGN _________
3-21. Today’s operational environment presents situations so _________
126
ART OF DESIGN
complex that understanding them—let alone attempting to change NOTES

them—is beyond the ability of a single individual. Moreover,
significant risk occurs when assuming that commanders in the
same campaign understand an implicit design concept or that their
_________
design concepts mutually support each other. The risks multiply, _________
especially when a problem involves multiple units, Services,
multinational forces, or other instruments of national power. _________
Commanders mitigate these risks with collaboration and by
applying the design fundamentals: _________
• Apply critical thinking. _________
•
•
Understand the operational environment.
Solve the right problem. _________
•
•
Adapt to dynamic conditions.
Achieve the designated goals.
_________
Apply Critical Thinking
_________
3-22. Commanders ensure that superiors and subordinates share a
_________
common understanding of the purpose behind intended actions.
Initial guidance provided by a higher political or military authority
_________
may prove insufficient to create clearly stated, decisive, and _________
attainable objectives in complex situations that involve political,
social, economic, and other factors. After commanders conduct a _________
detailed study of the situation, they may conclude that some
desired goals are unrealistic or not feasible within the limitations. _________
These limitations stem from the inherent tension that often exists
among different goals, historical tensions in the local population,
_________
interactions of different actors seeking to improve their own
survivability and position, and limited resources and time available
_________
to achieve the mission. One can never fully understand the _________
dynamics of a conflict in advance. Well-intentioned guidance
without detailed study may lead to an untenable or _________
counterproductive solution.
_________
3-23. Design helps mitigate the risk associated with guidance that
does not fully account for the complexities of the operational _________
environment by using a critical and creative approach for learning,
innovation, and adaptation. Design helps to clarify objectives in the _________
context of the operational environment and within the limits
imposed by policy, strategy, orders, or directives. This does not
_________
imply that commanders can arbitrarily disregard instructions. If,
however, they receive unclear guidance or consider the desired
_________
conditions unachievable, commanders engage in active dialog. _________
127
ART OF DESIGN
Dialog clarifies guidance and enables commanders to offer NOTES

recommendations to achieve a mutual understanding of the current
situation and the desired end state. Design can assist commanders
in leading the top-down/bottom-up approach at all echelons.
_________
Understand the Operational Environment
_________
3-24. Design challenges leaders to understand the impact of their _________
decisions and actions on the operational environment. (See chapter
1 [in FM 5-0].) Gaining a deeper and more thorough understanding
_________
of the operational environment enables more effective
decisionmaking and helps to integrate military operations with the
_________
other instruments of national power. In an environment _________
characterized by the presence of joint, interagency,
intergovernmental, and multinational partners, such _________
understanding is essential to success. In this context, human
variables, interactions, and relationships are frequently decisive. _________
Military force may be necessary to achieve national policy aims,
but, by itself, force proves insufficient to achieve victory in these
_________
situations. More importantly, leaders and Soldiers must recognize
the relationship between the character of conflict and the approach
_________
one takes to effect changes in the operational environment. _________
3-25. Developing a thorough understanding of the operational _________
environment is a continuous process. Even though this
understanding will never be perfect, attempting to comprehend its _________
complex nature helps identify unintended consequences that may
undermine well-intentioned efforts. Deep understanding reveals _________
the dynamic nature of the human interactions and the importance
of identifying contributing factors. Leaders can gain this
_________
understanding by capitalizing on multiple perspectives and varied
sources of knowledge. Intelligence knowledge generated as part of
_________
the intelligence process contributes to contextual understanding of _________
the operational environment. (See FM 2-0.) Design encourages the
commander and staff to seek and address complexity before _________
attempting to impose simplicity.
_________
Solve the Right Problem
_________
3-26. Commanders use design to ensure they are solving the right
problem. When commanders use design, they closely examine the _________
symptoms, the underlying tensions, and the root causes of conflict
in the operational environment. From this perspective, they can _________
identify the fundamental problem with greater clarity and consider
more accurately how to solve it. Design is essential to ensuring _________
128
ART OF DESIGN
commanders identify the right problem to solve. Effective NOTES

application of design is the difference between solving a problem
right and solving the right problem.
_________
Adapt to Dynamic Conditions
_________
3-27. Innovation and adaptation lead to capitalizing on
opportunities by quickly recognizing and exploiting actions that _________
work well while dismissing those that do not. Adaptation does not
rely on being able to anticipate every challenge. Instead, it uses
_________
continuous assessment to determine what works and what does
not. Adaptation occurs through the crucial process of assessment
_________
and subsequent changes in how one approaches problems. In the _________
military domain, adaptation demands clearly articulated measures
of effectiveness. These measures define success and failure along _________
with after action reviews that capture and implement lessons at all
echelons. _________
3-28. Effective use of design improves the ability to adapt. _________
Adaptation in this sense involves reframing the situation to align
with new information and experiences that challenge existing _________
understanding. Through framing and reframing achieved through
iterative collaboration and dialog, design provides a foundation for
_________
organizational learning and contributes to the necessary clarity of _________
vision required by successful commanders.
Achieve the Designated Goals

_________
3-29. If the link between strategy and tactics is clear, the likelihood
_________
that tactical actions will translate into strategic success increases _________
significantly. For complex, ill-structured problems, integrating and
synchronizing operations to link sequences of tactical actions to _________
achieve a strategic aim may prove elusive. Through design,
commanders employ operational art to cement the link between _________
strategic objectives and tactical action ensuring that all tactical
actions will produce conditions that ultimately define the desired _________
end state. As understanding of the operational environment and
problem improves, design adapts to strengthen the link between
_________
strategy and tactics, promoting operational coherence, unity of _________
effort, and strategic success.
_________
LEADING DESIGN _________
3-30. Commanders are the central figure in design. Generally, the
more complex a situation is, the more important the commander’s
_________
129
ART OF DESIGN
role is in design. Commanders draw on design to overcome the NOTES

challenges of complexity. They foster iterative collaboration and
dialog while leveraging their collective knowledge, experience,
judgment, and intuition to generate a clearer understanding of the
_________
conditions needed to achieve success. Design supports and _________
reinforces the application of battle command, supporting the
commander’s ability to understand and visualize the operational _________
environment.
_________
3-31. The practice of design is not exclusive to a particular level of
command. Design can apply to all levels, depending on the context _________
and circumstances. However, given the complexity of the
operational environment, the need for design at lower echelons _________
often increases as brigades and battalions contend with the
challenges of shaping environments and conducting operations
_________
over extended periods. _________
3-32. In leading design, commanders typically draw from a select
group within the planning staff, red team members, and subject
_________
matter experts internal and external to the headquarters. The
commander selects these individuals based on their expertise
_________
relative to the problem. The commander expects these individuals _________
to gain insights and inputs from areas beyond their particular
expertise—either in person or through reachback—to frame the _________
problem more fully. Design serves to establish the context for
guidance and orders. By using members of the planning staff to _________
participate in the design effort, commanders ensure continuity
between design and detailed planning as well as throughout the
_________
operations process. These are purpose-built, problem-centric
teams, and the commander may choose to dissolve them once they
_________
complete the design effort. _________
3-33. Commanders compare similarities of their current situations _________
with their own experiences or history and the design team’s
experiences or history to distinguish unique features that require _________
novel, innovative, or adaptive solutions. They understand that each
situation requires a solution tailored to the context of the problem. _________
Design provides an approach for leading innovative, adaptive
efforts from which to effectively act on and efficiently solve a
_________
complex, ill-structured problem. It fosters thinking and interacting
as commanders develop approaches to resolve the differences
_________
between the current conditions and desired conditions of the _________
environment through the conduct of full spectrum operations.
_________
130
ART OF DESIGN
3-34. Commanders leverage design to create and exploit NOTES

opportunity, not just to ward off the risk of failure. Design provides
the means to convert intellectual power into combat power. A
creative design tailored to a unique operational environment
_________
promises— _________
•
•
Economy of effort.
Greater coherence across rotations among units and
_________
between successive operations. _________
• Better integration and coordination among the instruments
of national power. _________
•
•
Fewer unintended consequences.
Effective adaptation once the situation changes.
_________
3-35. Design requires the commander to lead adaptive, innovative _________
efforts to leverage collaboration and dialog to identify and solve
complex, ill-structured problems. To that end, the commander must
_________
lead organizational learning and develop methods to determine if _________
reframing is necessary during the course of an operation. This
requires continuous assessment, evaluation, and reflection that _________
challenge understanding of the existing problem and the relevance
of actions addressing that problem. _________
_________
DESIGN METHODOLOGY
_________
3-36. Three distinct elements collectively produce a design concept
as depicted in figure 3-1. Together, they constitute an _________
organizational learning methodology that corresponds to three
basic questions that must be answered to produce an actionable _________
design concept to guide detailed planning:
_________
• Framing the operational environment—what is the context
in which design will be applied? _________
• Framing the problem—what problem is the design intended
to solve?
_________
• Considering operational approaches—what broad, general _________
approach will solve the problem?
_________
_________
_________
131
ART OF DESIGN
NOTES
_________
_________
_________
_________
_________
_________
FIGURE 3-1. THE DESIGN METHODOLOGY
_________
3-37. During design, the commander and staff consider the
conditions, circumstances, and factors that affect the use of _________
capabilities and resources as well as bear on decisionmaking. As an
organizational learning methodology, design fosters collaboration
_________
and dialog as commanders and staffs formulate conditions that
define a desired end state and develop approaches that aim to
_________
achieve those conditions. When initial efforts do not achieve a _________
thorough enough understanding of behaviors or events,
commanders reframe their understanding of the operational _________
environment and problem. This cycle of inquiry, contextual
understanding, and synthesis relies on continuous collaboration _________
and dialog. Collaboration—especially with joint, interagency,
intergovernmental, and multinational partners—is fundamental to
_________
success. Collaboration affords commanders opportunities to revise
their understanding or approaches so they can execute feasible,
_________
acceptable, and suitable approaches to achieve desired conditions _________
or objectives.
_________
3-38. Design is essentially nonlinear. It flows back and forth
between environmental framing and problem framing while _________
considering several operational approaches. No hard lines separate
the efforts of each design element. When an idea or issue is raised, _________
the commander can address it in the appropriate element, even if
the idea or issue is outside the current focus. The change in _________
emphasis shifts from focusing on understanding the tendencies and
potentials of actors in the operational environment, to
_________
understanding how they relate to and affect the problem, to _________
understanding their likely contributions toward transforming
132
ART OF DESIGN
existing conditions to a desired end state. As commanders and NOTES

staffs gain new knowledge or begin a new line of questioning, they
often shift their focus among elements of design while building
understanding and refining potential operational approaches to
_________
solve the problem. _________
FRAMING THE OPERATIONAL ENVIRONMENT _________
3-39. Framing involves selecting, organizing, interpreting, and _________
making sense of a complex reality to provide guideposts for
analyzing, understanding, and acting. Framing facilitates
_________
hypothesizing, or modeling, that scopes the part of the operational
environment or problem under consideration. Framing provides a
_________
perspective from which commanders can understand and act on a _________
complex, ill-structured problem.
3-40. In understanding the operational environment, the

_________
commander and staff focus on defining, analyzing, and synthesizing _________
the characteristics of the operational variables. They do so in the
context of the dynamic interactions and relationships among and _________
between relevant operational variables and actors in the
operational environment. Often, learning about the nature of the _________
situation helps them to understand the groupings, relationships, or
interactions among relevant actors and operational variables. This
_________
learning typically involves analysis of the operational variables
while examining the dynamic interaction and relationships among
_________
the myriad other factors in the operational environment. _________
3-41. Understanding the operational environment begins with _________
analyzing the context of the situation in accordance with guidance
and direction from a higher authority. This fosters learning while _________
generating an increased understanding of the operational
environment. Commanders and their staffs review relevant _________
directives, documents, data, previous guidance, and missions.
Commanders inform their higher authority of new information or
_________
differences in initial understanding of the operational environment.
Commanders also confirm the desired end state, if provided by the
_________
higher authority, or propose their own. For the commander, this _________
knowledge clarifies the higher authority’s perspective of the
operational environment. _________
3-42. To achieve a shared understanding of higher directives and _________
policy, the commander and staff—
_________
133
ART OF DESIGN
• Clarify the reasons and expectations to change existing NOTES

conditions.
• Compare current or new instructions with other standing
guidance or policies.
_________
• Identify and resolve conflicting guidance with known facts. _________
• Assess feasibility, acceptability, and suitability of any
directed action for achieving the desired end state. _________
3-43. Commanders apply critical thinking to every aspect of this _________
analysis. Critical thinking leads to a deeper appreciation of the
higher commander’s intent and helps to refine the higher _________
commander’s understanding of the operational environment. This
is an essential step to gain a shared understanding of the situation.
_________
The environmental frame depicts the current state of the
operational environment. Based on higher guidance, it also defines
_________
the desired conditions that constitute a desired end state by _________
examining the tendencies and potentials of relevant actors and
operational variables. _________
Environmental Frame _________
3-44. The commander and staff develop a contextual understanding _________
of the situation by framing the operational environment. The
environmental frame is a narrative and graphic description that _________
captures the history, culture, current state, and future goals of
relevant actors in the operational environment. The environmental _________
frame describes the context of the operational environment—how
the context developed (historical and cultural perspective), how _________
the context currently exists (current conditions), and how the
context could trend in the future (future conditions or desired end
_________
state). The environmental frame enables commanders to forecast _________
future events and the effects of potential actions in the operational
environment. The environmental frame explains the actors and _________
relationships within a system and surfaces assumptions to allow
for more rapid adaptation. The environmental frame evolves _________
through continuous learning but scopes aspects of the operational
environment relevant to higher guidance and situations. _________
3-45. Within the environmental frame, commanders review _________
existing guidance, articulate existing conditions, determine the
desired end state and supporting conditions, and identify
_________
relationships and interactions among relevant operational
variables and actors. They analyze groupings of actors that exert
_________
significant influence in the operational environment knowing that _________
individual actors rarely share common goals. By identifying and
134
ART OF DESIGN
evaluating tendencies and potentials of relevant actor interactions NOTES

and relationships, commanders and their staffs formulate a desired
end state that accounts for the context of the operational
environment and higher directives.
_________
End State and Conditions
_________
3-46. The desired end state consists of those desired conditions _________
that, if achieved, meet the objectives of policy, orders, guidance, and
directives issued to the commander. A condition is a reflection of
_________
the existing state of the operational environment. Thus, a desired
condition is a sought-after future state of the operational
_________
environment. Commanders explicitly describe the desired _________
conditions and end state for every operation. This description
provides the necessary integration between tactical tasks and the _________
conditions that define the end state.
_________
3-47. Time is a significant consideration when developing the
desired end state. How time relates to the desired end state heavily _________
influences not only the expectations of higher authorities but also
how commanders use forces and capabilities to achieve desired _________
conditions. Staffs exercise diligence throughout design to account
for the expected time required to achieve the desired conditions.
_________
They also qualify whether the desired conditions are intended to be _________
lasting or transient in nature. This temporal dimension is essential
to developing effective operational approaches. It impacts the _________
feasibility, acceptability, suitability, and completeness of any
resulting plan. _________
3-48. The characteristics and factors of conditions vary. Conditions _________
may be tangible or intangible. They may be military or nonmilitary.
They may focus on physical or psychological factors. They may _________
describe or relate to perceptions, levels of comprehension,
cohesion among groups, or relationships between organizations or
_________
individuals. When describing conditions that constitute a desired
end state, the commander considers their relevance to higher
_________
policy, orders, guidance, or directives. Since every operation _________
focuses on a clearly defined, decisive, and attainable end state,
success hinges on accurately describing those conditions. These _________
conditions form the basis for decisions that ensure operations
progress consistently toward the desired end state. _________
_________
_________
135
ART OF DESIGN
Relevant Actors NOTES

3-49. Commanders use the environmental frame to understand and
explain behaviors of relevant actors in the operational _________
environment. An actor is an individual or group within a social
network who acts to advance personal interests. Relevant actors
_________
may include states and governments; multinational actors such as
coalitions; and regional groupings, alliances, terrorist networks,
_________
criminal organizations, and cartels. They may also include _________
multinational and international corporations, nongovernmental
organizations, and other actors able to influence the situation _________
either through, or in spite of, the appropriate civil, religious, or
military authority. _________
3-50. A diagram illustrating relevant actor relationships is a _________
valuable tool for understanding and visualizing the operational
environment. However, such diagrams may become so complicated _________
for more complex situations that they impart only limited insight
and inhibit critical and creative thought when viewed in isolation.
_________
The environmental frame’s narrative captures a more detailed
understanding of the relevant actors and their interactions and
_________
relationships. Often relationships among actors are multifaceted _________
and differ depending on the scale of interaction and their temporal
aspects (history, duration, type, and frequency). Clarifying the _________
relationships among actors requires intense effort since
relationships must be examined from multiple perspectives. _________
Commanders can also depict relationships by identifying and
categorizing their unique characteristics.
_________
Tendencies and Potentials
_________
3-51. In developing understanding of the interactions and _________
relationships of relevant actors in the operational environment,
commanders and staffs consider natural tendencies and potentials
_________
in their analyses. Tendencies reflect the inclination to think or
behave in a certain manner. Tendencies are not considered
_________
deterministic but as models describing the thoughts or behaviors of _________
relevant actors. Tendencies identify the likely pattern of
relationships between the actors without external influence. Once _________
identified, commanders and staffs evaluate the potential of these
tendencies to manifest within the operational environment. _________
Potential is the inherent ability or capacity for the growth or
development of a specific interaction or relationship. Not all
_________
interactions and relationships support achieving the desired end
state. The desired end state accounts for tendencies and potentials
_________
136
ART OF DESIGN
that exist among the relevant actors or other aspects of the NOTES
operational variables in the environmental frame.
_________
FRAMING THE PROBLEM
_________
3-52. Problem framing involves understanding and isolating the
root causes of conflict—defining the essence of a complex, ill- _________
structured problem. Problem framing begins with refining the
evaluation of tendencies and potentials and identifying tensions _________
among the existing conditions and the desired end state. It
articulates how the operational variables can be expected to resist
_________
or facilitate transformation and how environmental inertia can be
leveraged to ensure the desired conditions are achieved. The staff
_________
relies on text and graphics to articulate the problem frame. _________
The Problem Frame _________
3-53. The problem frame is a refinement of the environmental
frame that defines, in text and graphics, the areas for action that
_________
will transform existing conditions toward the desired end state. _________
The problem frame extends beyond analyzing interactions and
relationships in the operational environment. It identifies areas of _________
tension and competition—as well as opportunities and
challenges—that commanders must address so to transform _________
current conditions to achieve the desired end state. Tension is the
resistance or friction among and between actors. The commander _________
and staff identify the tension by analyzing the relevant actors’
tendencies and potentials within the context of the operational
_________
environment. _________
3-54. The commander and staff challenge their hypotheses and
models to identify motivations and agendas among the relevant
_________
actors. They identify factors that influence these motivations and _________
agendas. The commander and staff evaluate tendencies, potentials,
trends, and tensions that influence the interactions among social, _________
cultural, and ideological forces. These may include political, social,
or cultural dispositions in one group that may hinder collaboration _________
with another group.
_________
3-55. In the problem frame, analysis identifies the positive, neutral,
and negative implications of tensions in the operational _________
environment given the differences between existing and desired
conditions. When the commander and staff take action within the
_________
operational environment, they may exacerbate latent tensions. _________
Tensions can be exploited to drive change, so they are vital to
137
ART OF DESIGN
transforming existing conditions. If left unchecked, other tensions NOTES

may undermine transformation and must be addressed
appropriately. Because tensions arise from differences in
perceptions, goals, and capabilities among relevant actors, they are
_________
inherently problematic and can both foster and impede _________
transformation. By deciding how to address these tensions, the
commander identifies the problem that the design will ultimately _________
solve.
_________
Identifying the Problem
3-56. A concise problem statement clearly defines the problem or

_________
problem set to solve. It considers how tension and competition _________
affect the operational environment by identifying how to transform
the current conditions to the desired end state—before adversaries _________
begin to transform current conditions to their desired end state.
The statement broadly describes the requirements for _________
transformation, anticipating changes in the operational
environment while identifying critical transitions. The problem
_________
statement accounts for the time and space relationships inherent in
the problem frame.
_________
_________
CONSIDERING OPERATIONAL APPROACHES
_________
3-57. Considering operational approaches to the problem provides
focus and sets boundaries for the selection of possible actions that _________
together lead to achieving the desired end state. The staff
synthesizes and reduces much of the information and products
_________
created during the design to create the design concept and a shared _________
understanding of a rationale behind it. The staff converges on the
types and patterns of actions determining how they will achieve the _________
desired conditions by creating a conceptual framework linking
desired conditions to potential actions. The entire staff considers _________
how to orchestrate actions to solve the problem in accordance with
an operational approach.
_________
The Operational Approach _________
3-58. The operational approach is a broad conceptualization of the _________
general actions that will produce the conditions that define the
desired end state. In developing the operational approach, _________
commanders consider the direct or indirect nature of interaction
with relevant actors and operational variables in the operational
_________
environment. As commanders consider various approaches, they _________
evaluate the types of defeat or stability mechanisms that may lead
138
ART OF DESIGN
to conditions that define the desired end state. Thus, the NOTES
operational approach enables commanders to begin visualizing and
describing possible combinations of actions to reach the desired
end state given the tensions identified in the environmental and
_________
problem frames. As courses of action are developed during detailed _________
planning, the operational approach provides the logic that
underpins the unique combinations of tasks required to achieve the _________
desired end state.
_________
3-59. One method to depict the operational approach is by using
lines of effort that provide a graphic to articulate the link among _________
tasks, objectives, conditions, and the desired end state. (See
appendix B [in FM 5-0] for more detailed guidance on developing _________
lines of effort.) Design offers the latitude to portray the operational
approach in a manner that best communicates its vision and
_________
structure. Ultimately, the commander determines the optimal
method to articulate the operational approach. However, it is
_________
important that narratives accompany lines of effort to ensure _________
Soldiers understand the operational approach.
Operational Initiative
_________
3-60. In developing an operational approach, the commander and
_________
staff consider how potential actions will enable the force to _________
maintain the operational initiative. The operational initiative is the
setting or dictating the terms of action throughout an operation _________
(FM 3-0). The staff evaluates what combination of actions might
derail opposing actors from achieving their goals while reinforcing _________
their own desired end state. This entails evaluating an action’s
potential risks and the relevant actors’ freedom of action. By
_________
identifying the possible emergence of unintended consequences or
threats, commanders consider exploitable opportunities to create
_________
effects that reinforce the desired end state. The staff explores the _________
risks and opportunities of action by considering exploitable
tensions. This includes identifying capabilities and vulnerabilities _________
of the actors who oppose the desired end state. The commander
and staff can then formulate methods to neutralize those _________
capabilities and exploit such vulnerabilities.
_________
Resources and Risks
_________
3-61. When creating the broad recommendations for action, the
commander and staff consider resources and risks. The staff _________
provides an initial estimate of the resources required for each
recommended action in the design concept. Rarely does one _________
139
ART OF DESIGN
organization directly control all the necessary resources. However, NOTES

to create lasting changes in conditions, the effort may require
substantial resources. Creative and efficient approaches can greatly
amplify the limited resources directly controlled by the
_________
commander. Detailed planning determines the exact resources _________
required.
3-62. The initial planning guidance addresses risk. It explains the

_________
acceptable level of risk to seize, retain, or exploit the initiative and _________
broadly outlines risk mitigation measures. Planners identify and
consider risks throughout the iterative application of design. _________
Collaboration, coordination, and cooperation among multinational
military and civilian partners are essential to mitigating risk, _________
conserving resources, and achieving unity of effort. These are
easier to achieve if military and civilian partners participate in
_________
design from the outset to build trust and confidence in the effort
and one another.
_________
_________
FORGING THE DESIGN CONCEPT
_________
3-63. The design concept is the link between design and detailed
planning. It reflects understanding of the operational environment _________
and the problem while describing the commander’s visualization of
a broad approach for achieving the desired end state. The design
_________
concept is the proper output of design, conveyed in text and
graphics, which informs detailed planning. It is articulated to the
_________
planning staff through the— _________
• Problem statement. _________
• Initial commander’s intent.
• Commander’s initial planning guidance. _________
•
•
Mission narrative.
Other products created during design.
_________
3-64. Products created during design include the text and graphics _________
of the operational environment and problem. Diagrams
representing relationships between relevant actors convey
_________
understanding to the planning staff. The problem statement
generated during problem framing communicates the
_________
commander’s understanding of the problem or problem set upon _________
which the organization will act.
_________
3-65. The initial commander’s intent and planning guidance
visualize and describe the desired end state along with implications _________
140
ART OF DESIGN
for further planning. The design concept organizes desired NOTES

conditions and the combinations of potential actions in time, space,
and purpose that link the desired end state to the conduct of full
spectrum operations. The planning guidance orients the focus of
_________
operations, linking desired conditions to potential combinations of _________
actions the force may employ to achieve them. Other information
provided in the initial planning guidance includes— _________
• Information integration. _________
• Resources.
• Risk. _________
3-66. The mission narrative is the expression of the operational _________
approach for a specified mission. It describes the intended effects
for the mission, including the conditions that define the desired end _________
state. The mission narrative represents the articulation, or
description, of the commander’s visualization for a specified
_________
mission and forms the basis for the concept of operations
developed during detailed planning. An explicit reflection of the
_________
commander’s logic, it is used to inform and educate the various _________
relevant partners whose perceptions, attitudes, beliefs, and
behaviors are pertinent to the operation. It also informs _________
development of supporting information themes and messages for
the mission and serves as a vital tool for integrating information _________
engagement tasks with other activities during execution.
_________
3-67. In applying design, the commander and staff may draw on the
elements of operational design relevant to the situation. (See FM 3- _________
0) The design concept promotes mutual understanding and unity of
effort throughout the echelons and partner organizations. Thus, the
_________
design concept is the rationale linking design to detailed planning. _________
From the design concept, planners determine how to apply forces
and capabilities to achieve the desired end state. _________
REFRAMING _________
3-68. Reframing is a shift in understanding that leads to a new
_________
perspective on the problems or their resolution. Reframing
involves significantly refining or discarding the hypotheses or
_________
models that form the basis of the design concept. At any time _________
during the operations process, the decision to reframe can stem
from significant changes to understanding, the conditions of the _________
operational environment, or the end state. Reframing allows the
commander and staff to make adjustments throughout the _________
141
ART OF DESIGN
operations process, ensuring that tactical actions remain NOTES

fundamentally linked to achieving the desired conditions.
Commanders must retain this versatility and agility while
exercising battle command.
_________
3-69. Because the current operational environment is always
_________
changing and evolving, the problem frame must also evolve.
Recognizing when an operation—or planning—is not progressing
_________
as envisioned or must be reconsidered provides the impetus for _________
reframing in design. Reframing criteria should support the
commander’s ability to understand, learn, and adapt—and cue _________
commanders to rethink their understanding of the operational
environment, and hence rethink how to solve the problem. _________
Generally, reframing is triggered in three ways: a major event
causes a ―catastrophic change in the operational environment, a
_________
scheduled periodic review shows a problem, or an assessment and
reflection challenges understanding of the existing problem and the
_________
relevance of the operational approach. _________
3-70. During operations, commanders decide to reframe after
realizing the desired conditions have changed, are not achievable,
_________
or cannot be attained through the current operational approach. _________
Reframing provides the freedom to operate beyond the limits of
any single perspective. Conditions will change during execution, _________
and such change is expected because forces interact within the
operational environment. Recognizing and anticipating these _________
changes is fundamental to design and essential to an organization’s
ability to learn.
_________
3-71. Reframing is equally important in the wake of success. By its
_________
very nature, success transforms the operational environment,
creating unforeseen opportunities to exploit the initiative.
_________
Organizations are strongly motivated to reflect and reframe _________
following failure, but they tend to neglect reflection and reframing
following successful actions. _________
_________
_______________________________ _________
_______________________________ _________
_______________________________ _________
_______________________________ _________
142
ART OF DESIGN
4. LEADING THE REFLECTIVE PRACTICE OF DESIGN

Officers who find themselves in charge of a design group frequently experience a series of
challenges, often in a similar sequence. This chapter offers advice for a functional approach
to working your way through these challenges, with specific guidance on how to lead your
way to success. Although specifically focused on the leadership challenges expected of
AMSP graduates, this chapter can also be used as both an aide memoire for the design team
leaders and as a forum for professional development of the junior members of the team. 302
The most significant challenges are in two different areas – intellectual (cognitive)
challenges and organizational (social creation) challenges. The intellectual challenges
include leading learning, then leading innovation – the creation of novel ideas. Perhaps the
most difficult of the intellectual challenges is to lead the design of the social creation
throughout an organization, and its coalition of actors, necessary for effective design and its
implementation. The organizational problems include coaching iterative work amongst all
three design spaces, sorting out how best to integrate the design understanding, including
the use of assessment, with the other elements of the staff, subordinate and senior
organizations – the operationalization of design. Above all, the design team leader must
maintain intellectual and social adaptability and be able to lead reframing. 303
FIGURE 12. MIND MAP FOR CHAPTER 4.
4.1. LEADING LEARNING
302 The techniques in this chapter are drawn from doctrine and from three of the basic texts used in the
design course at SAMS. The doctrine includes United States, FM 5-0, The Operations Process. The reader is also
referred to the out of date United States, FMI 5-2, Design (Draft) dated 20 February, 2009 for further ideas,
especially terms useful in environmental and problem framing. The design texts are Lawson, How Designers
Think; Schön, Educating the Reflective Practitioner; and Gharajedaghi, Systems Thinking.
303Reference will be made to two student monographs from SAMS. The first, useful primarily as a source of
helpful terminology is Hayward, “Planning Beyond Tactics.” The second, useful for ideas of how to execute
design as a cognitive tool is Colonel John Marr’s “Learning Over Time: Using Rapid Prototyping, Generative
Analysis, Experts and Reduction of Scope to Operationalize Design,” (Monograph, School of Advanced Military
Studies, U.S. Army Command and General Staff College, 2010).
143
ART OF DESIGN
...the Army’s approach to design needs to consider that the concepts behind [it] are more
important than the specific design methodology itself. The Army design approach should focus
on teaching concepts such as Gharajedaghi’s systems and iterative thinking, Jullien’s
propensity and potential, Bar Yam’s competition and cooperation, and White’s discourse and
narrative.
—Major Rick Finfera
The first challenge is how to open the minds of the team members to the intellectual,
emotional and moral challenges of thinking critically about complex issues. The design
team leader assists environmental understanding, innovation, adaptation, and solution
creation through an approach using the three cognitive spaces of design. Following Peter
Peverelli, we define a cognitive space as “an association of any number of actors bound by a
certain shared cognitive element.” 304 A cognitive space has a social element and a cognitive
element. Cognitive spaces trigger organizing processes. In design, the environmental space,
problem space, and solution space are three cognitive spaces that help to organize
information about the environment, the problem, and the solution. The cognitive spaces
will be used continually throughout this chapter to structure the design inquiry. However,
they are also discussed in detail in Sections 4.3.3 – 4.3.5.
The first space, and the place most design teams start, is the understanding of the context,
the environment. The second space is to sort through the statement of the problem, and the
final space is to propose iterative solution steps. However, these spaces are not
independent. True, deep understanding of a complex situation requires near-
simultaneous movement in all three spaces.305 The challenge of organizing this work is
for the leader to stimulate ideas while protecting the team from both outside interference
and internal dissension.
One of the greatest challenges for the team leader is to manage the tension between the
design team’s need for time and the commander’s desire to initiate action quickly. Action
without a preliminary understanding of the environment can waste resources or stimulate
unforeseen and unwanted reactions. One technique to alleviate this conflict between
the commander’s desire to act and design team’s need to reflect is to generate
sensing or learning actions – blue acts designed to learn about the environment,
rather than to immediately achieve the desired conditions. This type of action must be
carefully considered by the team leader before they are recommended to the commander,
but their judicious use is important to both creating understanding and providing a form of
action for the commander and the larger organization306 (see also Sections 4.2.2 and 4.5).
This section has three parts – organizing the team for effective learning, approaches to
Peter J. Peverelli, Creating Corporate Space: In Search of Chinese Corporate Identity, Serie research
304
memoranda, 2004-20 (Amsterdam: Vrije Universiteit, 2004).

305 Schön, Educating the Reflective Practitioner, 163ff.
306 Marr, “Learning Over Time,” 30.
144
ART OF DESIGN
learning about the other in the environment, and techniques for creating common shared
understanding.
There are several general techniques for stimulating learning. Team leaders should
encourage holistic thinking among the designers. It may be useful to organize some of the
work into three areas of exploration – asking what is the structure of the environment,
what are the functions of nodes and agents, and what are the purpose of actors, agents, and
organizations. 307 Organizing the asking of questions around these three larger questions
will stimulate ideas and inquiry.
Helpful to the encouragement of learning within the team is the expressing the challenge
facing the team as an instrumental problem. By this, we mean that the problem should
simultaneously be seen as fundamental and concrete – the problem can be manipulated
through praxis. When the team leader discusses the path forward inside the design
approach, it is couched in terms of a practical, executable set of actions with foreseeable (if
not predictable) results. 308 The very specific nature of actionable outcome from design, the
practical nature of the challenge, is a great stimulant to learning. The team leader must
carefully, and frequently, point out to the design team that specific outcomes are required –
generic, formless discussion without substantive outcome can be a waste of effort.
Another method for organizing the learning is to think operationally – asking what are the
dynamic behaviors, and then asking how they can be mapped during the inquiry. 309 The
actual nature of a problem, the concept that there is something in the environment
contrary to the desires of the national policy or regional strategy, is helpful for the design
team leader, who can use this discomfort, or tension between the current and the desired
set of conditions to harness the creativity of the design team, as explained next.
Schön outlined three issues for designers as they approach learning how to learn. For him,
the single key to effective learning is to embrace the complex challenge confronting the
team as a stimulating issue. In other words, the very complexity of the environment, the
very nature of its intellectual challenge, if accepted by the team and not denied, will be the
greatest single stimulator of learning. Another helpful challenge is the substantive nature of
the problem. Understanding that the problem has concrete knowable factors, a difficult
transition from the current state to a future state, and the need to have an
operationalizable way forward as an outcome of the design approach is also an effective
stimulator of learning. Finally for Schön, the very need to operationalize the design
outcome as specific forms of action, as concrete things, is an exceedingly effective tool for
learning. 310 Key to using these three characteristics to stimulate thinking is to avoid denial
307 Gharajedaghi, Systems Thinking, 108ff.

145
ART OF DESIGN
of them, to encourage the team to embrace the difficult intellectual challenge of the design
tasks, and to involve those who enjoy intellectual challenges.
4.1.1. ORGANIZING TO LEARN

In theaters like Afghanistan where other agency elements are crucial to mission success,
personnel outside of the JFC staff must be integrated into the design process. Failure to
include other government and even NGO actors in the design process results in an incomplete
or even inaccurate final design deliverable.
—Tim Cunningham, AMSP Officer
The design team leader allows his team to move in and out of the three cognitive spaces of
design, with clear intent, careful appraisal of outcomes achieved, and a disciplined yet
flexible approach. 311 While moving amongst the spaces, the team leader carefully creates a
free learning environment, encouraging all team members to engage in discussion,
maintaining a low-risk atmosphere 312 (see Sections 4.2.2.1 and 4.4.2). Divergence in
opinion is encouraged and is essential for the creation of new ideas. Regulating
movement between the three spaces requires meta-cognitive awareness – thinking
about the way the team is thinking. The six thinking hats method in Appendix B offers
one framework for doing this. So-called “blue hat thinking” requires the design team to
jointly engage in meta-thinking and meta-questioning – questioning the current line of
questioning.
The team leader must, at all costs, establish and maintain an atmosphere of trust within the
design team. 313 To facilitate trust, the leader should encourage comments from all,
restricting the discussion in terms of outcome needed, but not in terms of individual
restrictions. One form of control of the discussion in the team is to establish shared rules
and conventions inside the team (see 4.2.2).
To be effective, design must be a team effort. The team leader must encourage wide
engagement amongst all members of the team, and should avoid over-reliance on
individuals, especially his or her own ideas. The team leader is both an active facilitator of
the team and of the process – he watches and engages individuals on the team to produce
creative thought while skillfully monitoring and orchestrating where the inquiry is
going.314 The design team leader is responsible for recognizing when the team has achieved
synthesis, and guide the evaluation of new creations. The team leader must be strong and
secure enough to be practically invisible to the design inquiry while maintaining control
311For a discussion of the three cognitive spaces, see FMI 5-2, 13. For a very brief discussion, see United
States, FM 5-0, paragraphs 3-36 through 3-38.
314 Lawson, How Designers Think, 235, 237.
146
ART OF DESIGN
over the design timeline and the resulting products. The following quote, attributed to Lao-
tzu, who is regarded as the founder of Taoism, shows the enduring significance of this ideal.
To lead people, walk beside them … As for the best leaders, the people do not notice their
existence. The next best, the people honor and praise. The next, the people fear; and the
next, the people hate… When the best leader’s work is done the people say, ‘We did it
ourselves!’
Rick Swain, who has frequently mentored SAMS students during design practica, provides
keen insight and practical advice into how to organize design team learning.
To lead collaborative learning in design teams, a commander must do three things. First, he
or she must make it clear that disagreement is invited, indeed considered a duty, for each
member of the design group. Second, the commander must demonstrate that this is so by
the way he or she responds when his or her understanding is challenged. Finally, it is
helpful if the commander, or group leader, remains in the middle distance from the process
itself, what Harvard Kennedy School of Business professors Ronald A Heifetz and Marty
Linsky call “taking the balcony perspective,” giving broad guidance, organizing the learning
group, and then standing outside the process of learning and observing how the group
works, intervening only by exception as the learning process unfolds…
There are two major parts of the design learning process. One is a research effort—seeking
information from whatever sources are available. The second part involves evaluating the
role that specific information plays in creating a provisional but comprehensive
understanding of the situation at hand, teasing meaning from factual data, and accepting
that the total available data are always incomplete and subject to revision. While some
design proponents believe only the interpretive function matters, it is more logical to
believe that more facts, well understood, are more likely to provide the desired, nuanced
understanding of the situation than a much smaller number of facts exquisitely tortured for
understanding. One of the most important qualities of a design effort is the extent to which
it draws on multiple perspectives and sources of expert counsel. On the other hand, the
design team must balance the desire for the greatest possible store of data with the need to
conduct an adequate cross-examination of the data it already possesses.
The learning process itself must be self-conscious and reflective. The design team must
organize its campaign of learning deliberately, in light of what it knows to begin with about
the nature of the situation and the commander’s requirements. Participants must frequently
pull back and take an introspective view of how their approach is working and how well the
members are collaborating. Then they must adjust their behavior as required. As new
information is developed, new lines of relevant inquiry will suggest themselves, and the
team should be reorganized to pursue them by either breaking off an inquiry team or
bringing in new experts. Sometimes just reorganizing subgroups will generate new
perspectives on stalemated problems. Periodically, the whole team must get together to
share its learning and test the findings of one group against the perspectives of others. At
the end of the day, time should be reserved to evaluate how the learning process itself is
going, identify required information, and develop a plan for continuation the next day. The
group should be self-critical, insisting on participation and contribution by all members and
on demeanor that respects the person while disagreeing, sometimes intensely, with the
147
ART OF DESIGN
understanding. Groups progress best that keep a running narrative, employed self-critically
to sharpen the logic of group conclusions. 315
SAMS Seminar 6, academic year 2008-09, emphasized the running textual narrative and
organized their design team effectively. Their after-action review recognized the benefits of
‘strategy control’ to enable cooperative creation, and identified several key design team
roles. Seminar 6 borrowed the phrase ‘strategy control’ from Chris Jones’ classic book
Design Methods, to mean a style of leadership where “the team leader loosely controls the
creative methodology through requirements for production.”316 The role of strategy
control focused on process rather than content, similar to the role of a facilitator in
effective meetings. In Seminar 6, the strategy controller monitored group tensions, looked
for dysfunctional behaviors, and reorganized the sub-teams seven times in six weeks to
maintain team effectiveness. Other team roles Seminar 6 created to structure their learning
included: narrative recorder, systemic designer, contextual work group member, and
observer/controller (OC). The narrative recorder writes a running narrative that “captures
knowledge; is a tool to achieve shared understanding; is an anchor for further exploration;
and either demonstrates completeness of logic, or reveals inconsistencies.” 317 The systemic
designer role is to sit outside the detailed working groups to focus on the overall system –
“to keep the forest in view while studying the trees.” 318 A systemic designer asks meta-
questions, encourages synthesis, and develops overarching hypotheses that are shared
with the research teams. The contextual work group member conducts focused research to
fill identified gaps in knowledge. The OC stays in the background, observes and takes notes
on the design process, and leads the after-action review.
In his monograph on design team organization, Brad Gill identified seven roles within a
design team. 319 They are: designer, designer (liaison officer), Subject Matter Expert (SME),
discourse leader, team leader, scribe, and senior leader. The designer conducts research,
engages in discourse, develops strategies for action, and reflects on the design activity. The
liaison officer, in addition to being a designer, interfaces between the design team and
planners or other important external agencies and partners. An SME provides deep
knowledge on a relevant topic, but is not a permanent member of the design team. The
discourse leader “facilitates group learning and critical thinking as they relate to
understanding the system.” The team leader has the same responsibilities as the discourse
leader, but also manages external interactions. The scribe records and manages all
guidance, sources, narratives, graphics, questions, issues and artifacts generated during
design. The senior leader initiates the activity and provides guidance. Each role may be
played by one or more persons; and one person may perform more than one role. A larger
315 Swain, Fundamentals of Operational Design, 17.

316 Bullock, “Engineering Design Theory,” 2009.
317 Seminar 6 AAR Presentation.
318 Ibid.
319 Brad Gill, Enabling Design, AMSP Monograph, 2009.
148
ART OF DESIGN
design team might be expected to identify more specialized roles than a small design team.
However, this is not a necessary condition. Team roles should be structured by the nature
of the problem situation, rather than by the size of the team or any other a priori factor.
Other seminars structure their learning with similar roles to those considered above, often
using simpler terminology. A typical SAMS design team includes at least the following five
roles:
• Commander
• Design team leader
• Deputy design team leader
• Recorder
• Observer / Controller.
In addition, almost all SAMS design teams use focused SME injects to augment the
knowledge and experience resident within the core design team.
In the social psychology literature, one useful and popular classification of informal small
group roles divides members into three groups: those facilitating the accomplishment of a
particular task, those of building and maintaining the group, and those which satisfy
entirely individual needs. 320
The first category, task roles, is the set of roles that help to get the job done. The roles have
self-explanatory titles, such as initiator/contributor, information seeker, opinion seeker,
elaborator, coordinator, energizer, and evaluator/critic. Often, these roles require tough,
single-minded individuals to maintain focus on their role. These roles provide the rationale
for the group’s existence.
The second category, maintenance roles, is the set of roles that maintain the social cohesion
of the group. Example roles include supporter/encourager, harmonizer, tension reliever,
feeling expresser, and follower. These roles tend to the emotional life of the group, improve
the way it works, and consider the needs of individuals. Not only do maintenance roles
improve cohesion, they also open up the channels of communication within the
group, which is essential to generating new ideas and shared understanding within
design.
The roles within the last category that satisfy purely individual needs are considered to be
dysfunctional, since they disrupt the group and weaken cohesion. Examples of
dysfunctional roles include the blocker, who takes a negative stand on all issues, the
deserter, withdraws into irrelevant side conversations, and the dominator, who
monopolizes the conversation. Awareness of dysfunctional group roles can enable design
team members to police their own behavior and avoid destructive patterns of interaction.
320 Kenneth D. Benne and Paul Sheats, “Functional Roles of Group Members,” Journal of Social Issues 4, no. 2
(1948): 41-49.
149
ART OF DESIGN
To create a learning system within design, all team members must pay attention to
both the formal and informal roles within the design team. Checkland’s soft systems
methodology provides a useful framework for identifying and improving the group
dynamics within a design team. 321 Using soft systems methodology, it is possible to
document formal and informal roles, the associated norms and values, and the politics of
how power is distributed. The use of rich pictures and purposeful activity models can
identify tensions and surface different worldviews. This gives the design team a better
understanding of the current distribution of roles, as well as guiding practical action to
improve the group dynamics.
4.1.2. LEARNING ABOUT THE OTHER

It is important to establish the design team’s identity early in design inquiry. It is easy to
assume that the team implicitly knows the answer to the question “Who are we?”
Experience shows that this is often one of the hardest questions to answer beyond the
obvious and the superficial. Individual egocentrism and cultural ethnocentrism inhibit
gaining the perspective needed to address this question. Often, the best insights into who
we are can be gained by reflecting on who we are not. What beliefs and behaviors
would we most strongly reject? Why? At multiple levels, where do we draw the boundary
between us and the other? Why? What does this tell us about our identity, values, and
morals? What can we control? What can we influence? What lies outside the boundary of
our influence and control? Questions of identity are inextricably linked with questions
about the other.
If the challenges of understanding self stem from a lack of perspective, the challenges of
learning about the other derive from the difficulty of understanding a different logic. Or as
Henrotin and Struye de Swielande phrase it, “we fail to penetrate the rationality of the
adversary, never fully understand his Weltangschauung [worldview].”322 If we are to learn
about the other in design, then we need to find ways to penetrate rationalities and surface
worldviews.
The level at which we choose to distinguish between self and other will have the biggest
influence on the understanding that is generated. What levels are appropriate depends
mostly on the specific context of the design team and the problem situation. However, it is
almost always necessary to ask this question at more than one level based around more
than one identity. For example, it may be fruitful to ask about the boundary between self
and other at the following levels and their implied perspectives:
• The design team and the rest of the headquarters staff;

• The unit and the U.S. military command;
• The deployed U.S. forces and the supporting / generating force;

322 Henrotin and Struye de Swielande, “Ontological-Cultural Asymmetry,” 10.
150
ART OF DESIGN
• The U.S. forces and the U.S. population;

• The U.S. forces and the coalition;
• The coalition and the adversary; and
• The coalition and the population.
There are levels below, above, and between those suggested here that offer other valid
perspectives. The point of this list is that because there are always multiple levels and
multiple identities, there are multiple ways to define the other. The other is a concept that
is much broader than traditional concepts of enemy, although of course the enemy remains
an essential consideration in war.
Once the level of inquiry has been selected, the first step is to acknowledge that there is
indeed a logic underlying the narratives and actions of the other. Because conflict in
general, and war in particular, is bound up in hatred, discourses that demonize the other
abound that act as a barrier to learning about the other. The political rhetoric between the
U.S. and Iran illustrates demonizing discourse on both sides. Since 1979, the countries have
constructed two ‘grand images’ of evil and irrational actors: Great Satan and the Mad
Mullahs.323 In his analysis of this discourse, William Beeman writes:
When confronted with individuals whose actions are incomprehensible, the natural human
tendency is to assign them to a “residual” category within the culture. “Crazy,” “irrational,”
“evil,” “incompetent,” “moronic,” and “incomprehensible” are just a few of these
categorizations.
Of course, the incomprehensible actions of any person or group can be made

comprehensible with the right information and conceptual tools for understanding. What
seems crazy becomes rational in light of historical circumstance, medical history, cultural
practice, or individual motive. One must only search for the correct logical framework
among many to give clarity to a murky situation. 324
The conceptual tools needed to penetrate the rationality of the other are most mature
within the discipline of anthropology. In his classic text on anthropology, Clifford Geertz
provides an enduring metaphor for the task of understanding the other:
The concept of culture I espouse… is essentially a semiotic one. Believing, with Max Weber,
that man is an animal suspended in webs of significance he himself has spun, I take culture
to be those webs, and the analysis of it to be therefore not an experimental science in search
of law but an interpretive one in search of meaning. 325
323William O. Beeman, The “Great Satan” Vs. the “Mad Mullahs”: How the United States and Iran Demonize Each
Other (Chicago, IL: University of Chicago Press, 2008).
324 Ibid., 69.
325 Geertz, The Interpretation of Cultures, 5.
151
ART OF DESIGN
As a semiotic endeavor, understanding the other requires interpreting the meaning of

symbols. Geertz describes this as creating “thick descriptions” of the significance of actions,
conversations, and artifacts that comprise the culture of a society or human group.
To rationalize the logic of the other, it is not sufficient to merely highlight superficial
differences between cultures. Rather, it is important to explain the underlying dynamics
that perpetuate a different rationality. Seminar 5 from SAMS AMSP 2010 captured their
understanding of the system of opposition in Afghanistan in the presentation drawing
depicted in Figure 13. This depiction applies theoretical concepts from design education to
explain the observed patterns of behavior that oppose achievement of the friendly desired
system. Theoretical influences for this explanation include Thucydides’ trinity of fear,
honor and interest; Bar-Yam’s multi-level competition and cooperation; Clausewitz’s
trinity, represented in the center of the Afghan system of control; and Senge’s reinforcing
feedback loop that perpetuates a cycle of violence.
FIGURE 13. SEMINAR 5, SAMS AMSP 2010: MAPPING THE LOGIC OF THE OTHER.
152
ART OF DESIGN
4.1.3. REACHING SHARED UNDERSTANDING

Many see this as a G2 problem... the comment “isn’t this already captured in the Annex B?...
Don’t we already have this information? Somebody in the command knows this!” were
frequent. The “monograph/thesis/dissertation example” proved helpful here... I pointed out
that most people assembled known knowledge in the “library phase” (analysis). Our next step
is to “write the thesis” in the synthesis phase. We’re taking known knowns and assembling
them to develop new understanding. Surprisingly, most of the group “got that.”
—Major Dave McHenry
Teams are not organized as one unitary body, but are organized into factions, re-organized
on the fly, and engaged in different pursuits at different times, all at the initiative of the
design leader. Although the goal is a common shared understanding within the team
and the larger organization, the team is not monolithic and static.
Team leaders must be aware of natural factions arising within the team, and then use them
skillfully for the benefit of learning and creation. 326 Factions are particularly useful since
they generate cognitive competition between groups. These factions should be allowed to
prosper, as long as they positively contribute. A faction that begins to be non- or counter-
productive must be re-organized to benefit the larger team. Factions, the natural groupings
of like-minded individuals, or people with similar agendas, help stimulate wide-ranging
discussions. Factions can themselves be stimulated by bringing individuals into the team,
who represent specific influential agendas, sub-organizations or stakeholders.
Often, the team leader will choose to divide the team into small groups, and then
progressively combing groups until the whole design team is together. In 2010, Seminar 5
used this to great effect during their environmental frame. The OC presented the slide in
Figure 14 during their AAR. Initially, small teams and individuals were given specialized
topics to “deep dive” on. Team members were differently enabled by the different
knowledge they gained from individual research. The teams were then reorganized into
groups of three or four individuals to look at the same situation through three different
filters: enemy, friendly, and population perspectives. Next, the Seminar split into two teams
who were given exactly the same task in parallel, to map the current and desired systems.
Finally, the group synthesized the ideas generated by the parallel efforts to produce their
environmental frame. The Seminar found that this was effective in transforming deep
individual understanding into shared team understanding. They also noticed that as they
formed into larger groups, their products became simpler, which helped the transition
from design sketches to presentation sketches (see below).
153
ART OF DESIGN
FIGURE 14. SEMINAR 5 SAMS AMSP 2010:

AAR COMMENTS ON MOVING FROM SMALL TEAMS TO LARGE TEAMS.
Leading a particular organized approach to thinking can also be helpful. Taking an idea
from Gharajedaghi, the team can approach developing understanding through holistic
thinking.327 Holistic thinking, according to Gharajedaghi, consists of four aspects:
structure, function, process, and context/purpose. These four aspects of a system are
considered iteratively, with a pause for reflection and learning after every cycle. Since
structures exist to perform different functions, there is a link between function and
structure. There is also a link between structure, function, and process in any system.
Assessing the context, or purpose of activity will generally provide a synthesis of the other
three elements. However, the critical point is to evaluate these four entities, then reflect on
what you have learned about the entire system through the assessment. This process then
continues for as much time as you have available, in a cyclic and iterative fashion.
Lawson points out, quite correctly, that the design team leader must not lose the rapport
with and within the team. 328 Effective design cannot be accomplished if the team fails to

154
ART OF DESIGN
work together as a professional group. The team leader must make every effort to lead the
team with a positive and professional attitude despite the inevitable stress of the
environment.
Arguably one of the best techniques for stimulating shared understanding is the
construction of organized and purposeful discourse. Frequently organized around a
conceptual drawing or rich picture, the team leader uses these directed conversations as a
way to both stimulate new ideas and to share the current level of understanding amongst
the team as a whole. These conversations about a concept result in common language,
commonly understood concepts, and a common vocabulary – all critical steps toward a
common shared understanding.329 The conversation becomes one element of the team’s
shared experience.
An example of conversation organized around the rich picture is given in Figure 15 was
exhibited by Seminar 4 in 2010. Through discourse, it was recognized that the Joint Inter-
Agency Task Force–South was uniquely positioned to be the focusing lens for the Inter-
Agency. This recognition provided the persistent theme (which Bryan Lawson would call
the primary generator) for the entire campaign design.
FIGURE 15. SEMINAR 4 SAMS AMSP 2010: PRESENTATION DRAWING OF THE DESIRED STATE.
155
ART OF DESIGN
The Seminar documented the process of coming to this understanding, which is given by
the narrative in Table 28. The evolution of terms and labels – naming and framing –
demonstrates the development of common understanding within the design team.
TABLE 28. SEMINAR 4 SAMS AMSP 2010: NARRATIVE OF LEARNING THAT LED TO FIGURE 15.
During the past year Seminar 4 was fortunate to have Joint Interagency Task Force-South located in
Tampa, Florida as our strategic sponsor for almost all of the design practicums and exercises.
At the beginning of the year we saw JIATF-S and their mission as a complicated drug problem. As
Axelrod and Cohen would describe, we saw a system that had a lot of moving parts but was not
complex.
Even after spending the first ten to fifteen minutes every class period on studying the topic of illicit
drugs we remained fixed on the complicated nature of production, distribution, and financial
returns of primarily cocaine in South America.
Returning to the products from design practicum I and II we concluded a need for JIATF-S to shift
its operational mindset to the offense.
• We recommended the command develop operational plans that accomplish strategic ends
by identifying the appropriate operational means.
• We created Lines of Effort to operationally focused intelligence to identify drug trafficking
organizations threats and trends.
• And by the end of DP II we assessed that JIATF-S should retain the operational offense
allowing JIATF-South, in accordance with its partners, to increase regional security and
reduce DTO operations.
Then we were invited by Rear Admiral Lloyd to visit his organization to further refine our design
and build the foundations for their unit’s campaign plan.
Seminar 4 packed up our bags and, tongue in cheek, reluctantly headed to Tampa, Florida amidst a
blizzard in Kansas to solve JIATF-S problems…
Upon our arrival we realized several real world impediments to our lofty advice given in Practicum
I and II. First we were not facing a complicated system but a complex system composed of
interacting agents, strategies, and elements in dynamic relationships. Each actor with its own
artifacts and environmental factors driving them to respond to goals and strategies in different
manners.
Along with Axelrod and Cohen, we attempted to harness the complexity of JIATF-S but first we
needed the life preserver of Mary Joe Hatch to understand the organizational structure of what
JIATF-S really was.
In previous DPs we defined the problem primarily as a drug issue but after exploring all facets of
the environment and dealing with multiple interagency partners Seminar 4 redefined the problem
as Illicit trafficking organizations or ITOs defined as any organization profiting from multi-
cargo, multi-modal illegal traffic.
Bottom line: “It’s all about the money.”
As depicted on the slide displayed, the desired end result is a drastic decrease of the profitability of
156
ART OF DESIGN
these ITOs operating from South America to the rest of the world. This slide generated a visceral
reaction from the JIATF-S staff.
Another change in the design came from understanding how JIATF-S is uniquely positioned in the
interagency world. All partners are invited to participate as knights at the round table but are not
forced to sit there.
• Agents from multiple U.S. and multinational agencies come to JIATF-S because they are the
focusing lens for the IA.
• JIATF-S is the organization that holds the collective ability of the joint and interagency
community to disrupt ITO profitability through what we coined as interdiction power.
• Again this is the persistent theme through which the campaign plan framework was
designed.
Therefore, upon the completing DP III we realized, as Bar-Yam says, the organization had to be as
complex as the situation.
• It was no longer sufficient for JIATF-S to focus only on measuring metric tons of cocaine and
drug money seized in the air and maritime environments.
• The approach had to center on a holistic understanding of the illicit trafficking system.
• By changing the effectiveness, efficiency and scope of the organization’s support to
interdiction operations and become a learning organization with a long-term strategic
focus, capable of synchronizing a whole of government and international effort JIATF-S
could better disrupt ITO’s profitability across the continuum of illicit trafficking.
• The goal of this synchronization was to focus resources and capabilities to generate
Interdiction Power across the “cradle to grave” spectrum of case initiation, detection and
monitoring, law enforcement endgame, and legal prosecution.
By the end of DP III the Operational approach:
1. Expanded the focus of detection and monitoring to include entire Illicit trafficking continuum
2. Developed a long term planning strategy that synchronizes Interagency and Partner Nations
operations
3. Developed new Measures of Effectiveness and Performance relevant to the stated mission
4. Implemented partnership initiatives focused on endgame, stability, and academic learning
By the end of the year Seminar 4 faced an adaptive challenge to refocus and reframe the narrative
and overall campaign plan of one of the largest interagency organizations in the United States.
157
ART OF DESIGN
4.2. LEADING INNOVATION

...the Army must realize that design is an attitude. It is a mindset. It is the creative, inquisitive
nature of an individual and a team. The practitioner must be comfortable with knowing he
does not have all the answers at any given time. Through experimentation, a flexible, iterative
approach, and a never-ceasing contemplation of the higher-order effects of his injection into
the complex adaptive system, the practitioner’s cognitive agility and organizational flexibility
will allow him to get inside the enemy’s OODA loop, seek resolution to the right problems, and
set the conditions for lasting and favorable system stability.
—Major Sean “Stick” Slaughter, USAF
The second intellectual challenge is to generate new ideas, in all three areas of design –
understanding the environment, problem identification and solution creation. Although
seemingly difficult, if not impossible, to be creative “on demand,” the creation of new ideas
can actually be stimulated with several relatively simple techniques. This section discusses
techniques for generating ideas. Subsection 4.2.2 centers on putting design into action,
from the cognitive perspective, including reflection, leading critical thinking, and critical
listening techniques. Two following subsections address “leading up” – the critical need for
effective discourse with your commander and his bosses – and the difficult task of
communicating understanding once achieved.
4.2.1. IDEA MAKING

Just starting is the hardest part. The Dan Roam book says to “just draw a circle,” that advice
proved helpful. The discussion of “how” is nearly endless though. 330
There are many valid techniques for generating ideas. Being explicit about known
information; generating ideas by changing the various forms of illustrating; capturing
initial large ideas and then manipulating them; using the input from outsiders as
constraints or liberators; and using pre-established intellectual frameworks for idea
stimulation are all effective methods discussed here. Brainstorming, affinity diagrams,
reversal, fractionation, analogies, sentence completion, options generation matrix, and
SCAMPER (which stands for Substitute, Combine, Adapt, Modify, Put to other purposes,
Eliminate, Rearrange) are further techniques summarized in Appendix B.
Making explicit what you already know, and then using the explicit identification and
characterization as a stepping stone forward, is very effective. Frequently, a design team
will assume knowledge, or even assume other team member’s knowledge without really
understanding what is known. By rendering absolutely explicit, for the whole team, in small
Dan Roam, The Back of the Napkin: Solving Problems and Selling Ideas with Pictures (New York, NY:
330
Portfolio, 2008).
158
ART OF DESIGN
groups, or as individuals, particular aspects of known ideas, further exploration results in

the generation of new ideas, and new levels of knowledge331 (see also Section 4.3.2.1).
Altering the medium of your expression of knowledge also can generate new
perspectives and creative thoughts. Simply moving from a drawing to a narrative, or
from a Word document to a PowerPoint presentation, or from a rich picture to a discussion,
can generate new ideas. Frequently, illustrating a point of view requires the illustrator to
gain new insights – drawing a perspective captures more nuances than simply describing it
verbally, for example. 332 Producing new perspectives and the creation of novel approaches
are the goal of creativity - using these new perspectives, even if seemingly forced or
awkward, will generate new ideas, and eventually assist in building novel approaches to
the environment at hand.
A good example of changing media is one of the in-class practical exercises from the design
instruction. The exercise involves constructing the influence diagram implied by two
paragraphs of an article by Captain Brad Fultz. The corresponding influence diagram is
shown in Figure 16.
What does security mean in a small war?
There is a popular axiom in the combat arms community: Fire without movement is wasted
ammunition, and movement without fire is suicide. This adage drives home the lessons of
fire and maneuver to the small unit leader. Similar to this is another proposed moral of
small wars: effective governance without established security is impossible, and
establishing security without effective governance is a waste of time and unnecessary risk
to combat troops lives. Security in small wars is directly connected to governmental
progress. The two are inseparable. Security establishment, at all levels of operations, from
the squad to the brigade must directly support the goal of establishing effective governance.
Security in a small war means that institutions are able to conduct business in a manner
that contributes to effective governance in accordance with local norms. To accomplish this,
institutions must be developed at the local level with local support. Providing the ability for
local governance to take place is the true measure of security in small wars. By using the
limited resources at hand of the US military it is essential that security is established at the
grassroots level, just like governance must be established at the grassroots level. The top-
down method of governance and security establishment is antithetical to the realities of the
traditional societies in which the US is currently conducting operations, and is a massive
waste of resources. Only when security and governance are established at the local level,
can these successes be transferred to centralized control, and not the other way around.
Recommendations
1) Counterinsurgency elements, be they military or administrative, must find local answers

to local security and administrative problems. By propping up government forces that lack
legitimacy, we are essentially weakening the institutions we are indeed attempting to

159
ART OF DESIGN
create. We are preaching responsible governance, civic participation and security.

Simultaneously US forces have to explain rigged elections, corrupt officials and bribe
demanding police. This places both military and State Department officials in an incredibly
precarious position. We are simply seen as the strong arm of a broken, corrupt system. It is
essential we find traditional local methods to establish a system that is unfriendly to
insurgents and supportive of local stability. Additionally it is necessary these institutions of
governance and security have local legitimacy so as those participating will display loyalty
to its institutions.
FIGURE 16. INFLUENCE DIAGRAM IMPLIED BY FULTZ’ SMALL WARS ARTICLE.
The influence diagram in Figure 16 is drawn according to the symbolic conventions given
in Appendix B. Rectangular boxes indicate decision variables, Rounded rectangles are
derived variables, circles are chance variables, and hexagons are measurable objective
variables. The first point this exercise draws out is that even two paragraphs of text can
make a large number of claims about the causal and influence network between variables
in the operational environment. Second, every team will generate a different influence
network, given exactly the same instructions, tools, and text. This shows that translating
between mediums is not an automatic task, but requires critical thinking and making
choices that frame what is shown in the influence diagram. Third, this demonstrates that
written text is often ambiguous in precisely what claims it makes about relations between
cause and effect. Laying out an argument in graphical form can clarify these relationships,
which can improve the quality of discourse. Last, seeing the argument in a different
medium will lead to different questions and different insights. For example, the methods
used by the counterinsurgent is a decision variable, yet the article only explores local
methods. Seeing the article in graphical form naturally leads to the question of what other
160
ART OF DESIGN
methods are available to the counterinsurgent. Graphical depiction of narrative can help
identify what relationships and variables are missing from the text. Conversely, writing a
narrative to accompany a design drawing forces the design team to tell the story that
animates the relations between parts of the system, and to develop the moral – the insight
or the ‘so what’ – that makes the drawing meaningful.
In every design challenge, an initial large idea, even if flawed, serves to generate additional,
more sophisticated ideas downstream. These initial ideas are referred to as primary
generators. 333 By deliberately using these initial ideas, the design team leader identifies
focal points for further discussion, creates discourse on the new ideas that refines
knowledge and understanding, and generates new concepts and creative ideas throughout
the design approach. Although these initial ideas frequently do not survive either energetic
discourse, or first contact with the actual environment, they are still powerful tools to force
the generation of new ideas better suited to increased understanding.
One likely source of primary generators are the ideas of outside agents – in the military
world frequently subordinate commanders or staffs, adjacent units, or senior officers. 334
The precise nature of primary generators from higher headquarters will often not emerge
until initial discourse with the higher commander (see section 4.23 above). Discourse with
the commander of the organization doing design is frequently an excellent source of ideas
that serve as generators. Joint and service doctrine can also be sources of initial generators.
Although doctrine and commander’s initial concepts may also be constraints, even
constraints serve as initial generators of ideas as the team attempts to work around the
impact of the constraints. 335
Another useful generator is the conflict of time with desired state. Frequently, the design
team leader can formulate an awareness of the passage of time, linked to some internal or
external time line, or discrete events, which then generate effective creative thinking about
boundaries, constraints, and enablers. An example is Admiral Sandy Woodward during the
Falkland Islands campaign. 336 Confronted with oncoming winter, limited time between
significant maintenance failures on his ships, and the need to conduct several lengthy
preparatory operations, he generated a series of strips of paper each depicting the
challenges of passing time. With these strips of paper, he then sequenced activities, and
relayed his concept to political authorities for approval, all based on the influence of time
on his operational ideas.
333 Lawson, How Designers Think, 46-47.

334 Lawson, How Designers Think, 89 for a civilian example.
336Admiral Sandy Woodward, One Hundred Days: The Memoirs of the Falklands Battle Group Commander
(Annapolis: Naval Institute Press, 1992), Chapter 4.
161
ART OF DESIGN
Other primary generators useful to the military design team are doctrinal concepts such as
METT-TC and PMESII-PT, or other pre-existing frameworks. 337 By using these intellectual
frameworks, the design team leader can "force" the formation of conceptual new ideas,
which although they will require alteration through the process, serve to generate further
concepts and ideas, usually as part of internal or external discourse. An example of how the
MIDLIFE framework was used to create an environmental frame is shown in Figure 17.
This sketch was created by Seminar 6 in 2010 and has been modified for this text to
improve readability in print format. MIDLIFE categorizes the environment by Military,
Intelligence, Diplomatic, Law Enforcement, Infrastructure, Finance, and Economic
variables. It is important to note that in Figure 17, the relationships between these
concepts are just as important as the categories themselves. Injects and flows from outside
the system are not considered separately, but how they impact the whole system.

MAP OF THE CURRENT SYSTEM ORGANIZED BY THE CATEGORIES MIDLIFE.
The design team leader, however, is warned that the use of pre-existing templates and
analytic or synthetic constructs may present the challenge of trying to fit a system into a
337 United States, FM 5-0, paragraph 1-21.
162
ART OF DESIGN
framework initially designed within a completely different system. Due care must be
exercised that the unique nature of the system is accounted for – any effort to cram the
existent system into a pre-existing analytic tool must be avoided.
An alternative to viewing a unique operational environment through an a priori set of

categories is to use two of the design methods in Appendix B, brainstorming and affinity
diagrams. First, the design team can brainstorm all of the issues observed in the problem
situation, placing each issue on a sticky note. Next, they use the affinity diagram process to
sort place similar sticky notes together, replicating sticky notes that belong in more than
one place. When the team has finished moving the sticky notes, they label each cluster of
sticky notes, even if a cluster only contains one loner sticky note. This provides the design
team with emergent categories that are not imposed, but are generated by the team’s
understanding of the relationships between issues in the environment.
4.2.2. DESIGNING IN ACTION

Doing design requires near-simultaneous willful movement of the team through the three
cognitive spaces of design (see Sections 4.1.1, 4.2.2.1, 4.3.3 – 4.3.6, and 4.4.2). Before
investigating techniques for work inside each space, general ideas for the handling of
design are in order. Although design is done to allow free thinking to create better
understanding, the design team leader needs to understand several practical frameworks
for his/her active leadership of the team.
Some of these frameworks, or in Schön’s terminology, rituals of practice, include the

understanding and promulgation of rules for the team, establishment of team conventions
and constraints, the agreement upon certain language components of the team, and general
understanding of the roles of individual’s repertoires in the team. These rules, conventions,
and agreed upon practices can be used in virtual worlds, by using Gharajedaghi’s three
forms of activity, and through Lawson’s five distinct techniques for creating
understanding. 338 Gharajedaghi discusses three forms of activity in what he calls
“formulating the mess.” They are searching – the effort to gather knowledge and
understanding; mapping – the placement of actors, entities, and things in relation to
each other; and telling the story – the addition of narrative meaning into the
understanding of the system. Lawson’s five techniques are moving, representing,
formulating, evaluating and reflecting. These are all guides for thinking and teaming;
however, all team members must also reflect in action and reflect on action (see Section
4.2.2.1 below).
The leader establishes rules in discourse with the team. Rules are followed early in the
design approach when there is little firm knowledge in any of the three cognitive spaces.
These rules give the team a place to start, and a set of conventions to change or modify as
knowledge increases. Rules provide constraints on design inquiry and structure the
338 Schön, 34-42, 75; Gharajedaghi, Systems Thinking, 132-140; Lawson, How Designers Think, 291-301.
163
ART OF DESIGN
learning. Functional rules can include rules for data gathering, for creating inference and
meaning, for hypothesis testing, and for resolving disagreements. According to Schön, rules
govern inquiry for professionals, especially when dealing with routine issues. However,
rules are also useful when dealing with non-routine, or complex issues. Rules, combined
with reflection, provide new understanding of the complex issues which face designers.
Without rules, reflection would be very difficult to achieve, and nearly impossible to
communicate effectively. 339
Rules include guides to the practice of design, accepted and understood conventions,
constraints, the specific language of the design team, the tools in individual repertoires, and
patterns of behavior and inquiry. 340 Since the design team inevitably works in an artificial
world, rules help in bounding the inquiry, empower individuals in the team, and assist in
moving amongst the three spaces of design with effect and purpose. Design cannot be
unbounded, or there will be no progress. One of the critical tasks of the team leader is to
assess the bounds – the rules – of the team and change them as the situation
requires. Rules must also always be part of the common shared understanding of the team.
One of the more effective gatherings of the design team is to periodically reassess the rules
in effect at any particular juncture of design. The discussion which emerges from
disagreement over rules frequently generates new perspectives on the design itself. An
example of the rules of discourse adopted by Seminar 9 in 2009 is given in Table 29. These
rules were posted by the door as a constant reminder to the design team. Note that
Seminar 9 referred to their team leader as the Chief of Plans.
TABLE 29. SEMINAR 9 SAMS AMSP 2009: RULES OF DISCOURSE.
Rules of Discourse
• Chief of Plans will moderate!
• Speaker presents argument and reasoning.
• Assume that everyone, like you, is seeking truth. Listen in a spirit of humility so you
can learn from others, painful though that process may be. One technique to try is to
honestly ask yourself “what if what I believe about this really is wrong, and his/her
perspective really is right?” Keep this question in mind to help you non-defensively
consider others’ ideas.
• Every person is treated with respect. No personal attacks or comments. Say “I don’t
understand how those ideas relate” rather than “You can’t really believe that.” Ask
clarifying questions rather than making judgments about people.
• Listen carefully to each other – if you are thinking about how you’re going to
respond, you are probably not listening.
• No interruptions. To respond to someone speaking, raise your hand and the
discussion leader will note that you will speak next. When many hands are raised,
the leader will choose those who have not yet spoken to continue the discussion.
• Big Boy Rules are in effect. Keep this in perspective. Discourse, Murder Boards,

164
ART OF DESIGN
Black Hats–it is what it is and it serves an important purpose.
The “power leader” who tries to dominate the discourse can harm group dynamics in a
design team. Agreeing to and abiding by rules of discourse limits the ability of any one
individual to dominate discussions. This ensures multiple viewpoints can be expressed and
harnesses the collective intellect of the design team.
Conventions include the manner in which the team will agree to bound their inquiry,
including standard procedural matters and limits to authority or responsibility for certain
actions, events, or outcomes. In particular, issues that others may be relied upon to solve,
or concerns that are of interest, but are not deemed critical to forward progress, may be
acknowledged and then noted as outside the scope of the current design inquiry. Again, the
very discussion of these terms and concerns can generate significant insight.
Constraints are very useful for establishing rules. No design team can function without
effective limits on their effort. Constraints assist the team in providing left and right limits,
or boundaries, to their inquiry. The team leader, in concert with the commander,
continually assesses the value, and the limiting effect, of constraints on the team. His/her
efforts to rationalize the effective constraints are critical for team success, since improperly
imposed constraints will inhibit effective understanding, and unlimited work will not
effectively provide understanding. The team leader should initially develop, with the team,
a framework for identification of constraints – some form of shared understanding of what
are considered constraints, and why they are constraints. 341 Asking and answering the why
of constraints can itself be very liberating for the team. Design teams are always in search
of things they do not need to worry about. In this case constraints can take things off the
plate of the design team.
The rules of language assist the team in agreeing on how they will name developing
concepts or emergent ideas about the system. In the naming frequently are perspective
shifts, changes of insight, and generation of new conceptualizations. Naming, and the
use of specific terms, must be disciplined by the team leader – sloppy use of language and
terming may generate ideas, but they will frequently not be supportive of the team’s goal of
increased shared understanding. The challenging boundaries technique in Appendix B is
often useful for testing the boundaries implied by the use of language. It helps to clarify the
meaning of terms and consider whether the current language bounds the problem too
narrowly or too broadly.
Individuals bring specific, identified, and commonly understood tools to the design team.
Agreeing upon the identity of the team members, in other words, having the team agree
that some individuals are strong in certain skills, that they represent certain agendas and
external organizations, that the team can rely on them for certain tasks, empowers all
members of the team. One of the earliest tasks for the team leader is gain consensus on the
165
ART OF DESIGN
identities and representation of the members of the team. This is sometimes obvious, for
example the liaison officer from 2d brigade represents the agenda of the 2d brigade, but at
times roles may be challenging to identify and agree upon. The team leader also modifies
these repertoires as the team matures and develops, but must keep current a common
shared understanding of the formal and informal roles of each member.
Rituals of practice for a design team include routine meeting times, relatively stable core
membership in the team, a sequence of events inside each meeting of the team, agreed
upon outcomes for design sessions, usually decided at the beginning of the team meeting,
and established systems for external and internal communication.342 If all things for the
design team are in flux, if nothing has any degree of certitude, there is little chance of
effective designing. All rituals of practice are open to criticism, reevaluation, and generating
a new approach, but these must be agreed upon in group session. The team leader has
particular responsibility for moderating changes in the rituals of practice. He/she must be
self-critical and self-aware of the positive and negative impacts on the design team of
changing things as simple as times of meetings. Ritual of practice is particularly important
in developing the proper respect and trust internal to the design team. Willful but
thoughtless changing of rituals of practice is very disruptive of team cohesion. On occasion,
the team leader may want to generate disruption if the team has stagnated, but this must
be a careful and deliberate decision.
The design team should use virtual worlds as a method for generating ideas. Better known
as simulations or wargaming, virtual worlds enable the team to experiment with both the
substance of their environment, and with their own rituals of practice. 343 This two-fold
utilization is critical to team success. Adopting virtual worlds, which can vary from
elaborate computer simulations to something as simple as a chalk-talk on a
whiteboard, is a key technique for design. By creating what Colonel Jack Marr calls
“rapid prototyping,” the design team simultaneously generates options to consider and
new ideas stimulated by the need to create the prototypes. 344 Prototyping or using virtual
worlds in design should be characterized by rapid, frequent, disposable prototypes – the
goal is to generate discourse as the prototypes are designed, then to test their action in the
environment, either virtually or real. Prototypes should be tangible solutions to portions of
the environmental challenge. In the scoping or scaling the work, and in the discussion
about the boundaries of a particular prototype, rests greater understanding by the team.
The team leader calls for the creation of prototypes in a methodical, deliberate, and willful
manner, in an effort to move the design process forward. As tangible solution options are
generated, the team develops deeper understanding of the specific area of the environment
the prototype is designed against, and they learn to ask new questions of the remainder of
the environment. Prototypes can also result in real action by the organization. Real actions

343 Schön, Educating the Reflective Practitioner, 75. Also see Marr, 31-36 on rapid prototyping.
166
ART OF DESIGN
in the environment can be an extension of the virtual work done by the design team.
Obviously more labor-intensive than virtual activities, real actions result in direct live
learning from the environment. The use of rapidly developed virtual worlds, combined
with real actions, leads to effective design (see Section 4.3.6). The virtual walkthrough
design method in Appendix B provides one method for doing this. Table 30 shows an
example of part of a wargame that Seminar 5 in 2010 used to test the efficacy of their
design concept.
TABLE 30. SEMINAR 5, SAMS AMSP 2010: EXAMPLE OF WARGAMING
THE PROPOSED ACTIONS WITHIN THE BASIC SERVICES LINE OF OPERATION.
LOOs Effect Consequences (Intended /Unintended)
Positive Negative
Basic • Sustainable • Needs of populace • Decentralized approach leads to
Services projects are meet through slow development which
• District / taking a negatively affects the view of the
Qawm focus decentralized government.
enhances the approach. They • Led to feuds over who is getting
legitimacy of determine where the focus on the resources
the eyes of the projects need causing security problems
the people to be focused. • Inter-Qawm rivalry over where
(governance) • The environment resources are placed. Could lead
fosters the to conflict and decrease in
necessary security security and legitimacy of
to enable project Afghan Government.
development. • Basic services provide a target
• District and local for insurgents and if government
level elections does not provide security it
hold the could serve to further
government delegitimize the Government.
accountable to the • Potential to hyper-inflate the
people and economy with without it being
facilitates project sustainable once the donor
development. nations stop support the efforts.
• As security and • Projects could empower the
basic services wrong individuals and
increase Donor delegitimize the Government.
nations might be • Could make the Afghan economy
willing to completely dependent upon the
reinforce success. IC.
An extension of the techniques of virtual worlds can be found in the ideas of Gharajedaghi
on the techniques for dealing with a complex system. He posits three general techniques –
searching, mapping, and telling a story. 345 Searching is the initial efforts toward
167
ART OF DESIGN
understanding. In searching, the design team evaluates how the system is currently
working, what obstructions exist in the system that interfere with achieving the desired
state, and develop an initial understanding of the interrelationship of the manifold actors in
the system. This is an iterative effort, with understanding increasing with each cycle of
searching. Of course, searching can be combined with the use of virtual worlds to increase
understanding. As in all things associated with design, the amount of time available for the
design team determines the depth, complexity, and specificity of understanding. A major
outcome of searching is the development, in discourse, of the key hypotheses and
assumptions of the design team. These must be explicit and periodically reviewed by the
team led by the team leader 346 (see Sections 4.3.3 and 4.4).
In mapping, the design team begins to classify individual phenomena into groups that share
motivations, essential characteristics, or common behaviors. Attempts are then made to
identify themes which bind groups – looking especially to determine the existence of
essential characteristics of the system and the emergent properties of the system. Key to
understanding any system is the awareness of grouped actors, or assemblages of shared
interests or motivations347 (see Section 4.3.3). According to Gharajedaghi, mapping
identifies the “second order machine,” the emergent properties of the current
system that create inertia and frustrates efforts to improve the system. The second
order machine must be recognized and dismantled before the system can be transformed.
In telling the story, the design team moves from developing its common shared
understanding to communicating this, in a compelling and credible story, to a wide group
of stakeholders both inside and outside the organization 348 (see Sections 4.2.4 and 4.5.2).
An example of using Gharajedaghi’s searching, mapping, and telling approach in design is

given by Seminar 6 in 2010. The following narrative tells the story of how power is
perceived in India. Seminar 6 search, map, and tell this story in order to improve the
efficacy of U.S.–India relations from the perspective of USPACOM. The accompanying
graphic in Figure 18 shows the photo referred to in the narrative, taken from the front
cover of Pavan Varma’s Being Indian. 349
“Power is an end to itself.” This one statement singularly best captures the narrative of the
Indian’s second order machine.
While the above seems contradictory to the Western view of logic, for Western minds,
power is a means to an end—it does succinctly capture the idea that the Indian’s personal
and national quest for power is what defines the way in which he/it both sees and acts.

347 Gharajedaghi, Systems Thinking, 135-140. Assemblage theory is discussed in Hayward, 40-45.
349 Pavan K. Varma, Being Indian: Inside the Real India (London: William Heinemann, 2005).
168
ART OF DESIGN
The first element of the photo you focus on is the tattoo. The tattoo is clearly of India. But
look closer… not only do you see India, you also can see in the Northwestern corner of the
tattoo the inclusion of Kashmir (Pakistani and Indian sides). The significance of that cannot
be overstated. Widen your gaze to include the rest of the arm. That arm is the landscape of
the Indian—notice the smallpox scar… moving down from there you see young, but
muscular arm that rests upon the hands… clearly the man’s arms are crossed in a
provocative, self-assured manner. On the fingers you can see multiple rings…gold, silver,
diamonds—clearly the trappings of wealth. Widen your gaze a bit further to see the man’s
shirt—a bit wrinkled, cut-off sleeves, saffron in color. The man is clean-shaven, and wears a
gold necklace—perhaps a mid-twenties male who so far might look comfortable in an
upscale bar discussing the frailties of Westerners’ understanding of international relations
theory as applied to South Asia—or the alley out behind it? Please, pay no attention to the
unfocused scene you can see in the background. Streets that have not been swept. A
shoeless boy peers out from around a doorframe. He’s on a smoke break, coming out for
“fresh air.” Behind that door is a sweatshop where he makes pirated DVD’s of Bollywood
movies. His sister works two doors down, a seamstress making fashionable undergarments
for an upscale American lingerie retailer. Slumville. The boy and his unseen sister are both
Dalits—the lowest caste. Of course the caste system was outlawed years ago. Again, pay no
attention to the fuzzy background—pay strict attention to the power and bravado the man
in the foreground is trying to project. The boy is not even worth talking about—considering
the man in the foreground clearly is more powerful than the boy. Outside of the camera’s
field of view is the fact that the man seen here is looking toward his patron, wondering if he
still retains enough power to be deserving of transitory loyalty.
Referring back to the quote: The pursuit of power is acceptable. Those who have it deserve
loyalty, but not out of moral compunction. As soon as you transmit your relative lack or
waning power base, it is time to switch allegiance so as to climb up another rung on the
ladder.
The question in every Indian’s mind—and in India’s “mind” as a whole—who can and
should it pick to align itself? (For now).
169
ART OF DESIGN
FIGURE 18. SEMINAR 6, SAMS AMSP 2010:

SEARCHING, MAPPING, AND TELLING A STORY ABOUT INDIA’S SECOND ORDER MACHINE.
The very essence of complex problems faced by any design team generates another set of
perspectives useful for design. According to Lawson, four fundamental considerations
guide design – and the team leader should refer to these fundamentals frequently. 350 These
fundamentals are particularly useful when stuck, when the team reaches a point of
cognitive exhaustion and is out of steam. The first fundamental is to define your design
problem – not the problem of the environment, but the challenge the design team faces.
This presents a continual challenge for the team leader, since there exists a tendency to
want to understand every facet of the environment, and then try to develop solutions for
every problem. The design team must focus, instead, on those aspects of the environment
which are only contradictory to the desired conditions of ‘blue.’ However, blue may change
its desired conditions as the environment changes, so even blue’s desires can never be
comprehensively fixed.
170
ART OF DESIGN
The second fundamental is that nothing the design team does, from environmental framing
through assessment can ever be comprehensively stated. All communications are
approximations of the reality, so the team leader must modulate the desire to achieve
comprehensive understanding with the reality of its impossibility. This is a critical issue for
the design team leader – he/she must always keep in mind the approximate nature of the
team work, and should not attempt to further refine something that is already at a usable
level of awareness. Also critical to understanding the design approach is the awareness that
much understanding of the environment will not be attained until solutions are identified
and attempted. In iteration is the progress to the desired conditions, not in some form of
miraculous initial understanding, which is impossible.
The next fundamental is that all of the work of the design team is in essence a subjective
interpretation of reality. Additionally, linked to the concept that understanding emerges
from stimulating the environment through action, or identifying and attempting to
implement solutions, is that even then, awareness and satisfaction with action is a
subjective evaluation. There are no objective realities in design, or in complex
systems. Perspective yields different understanding, and this changes with changing
events and the passage of time.
The final fundamental is design problems tend to be organized hierarchically, and the team
leader should take full advantage of this characteristic. The advantage of hierarchical
organization, in other words, echelons of both different understanding and different
statements of desired conditions, is that the team leader can adjust the focus of the design
team, moving up and down the echelons of command or responsibility, to better
understand the complex environment. Taking advantage of essential characteristics of
complexity is frequently the way out of stagnation. (This fundamental is linked to the
ladder of refection discussed in Section 4.4.2; also see Section 4.3.5 for a discussion of
Lawson’s solutions.)
4.2.2.1. LEADING REFLECTION

Perhaps the most fundamental technique of design is reflection. Schön describes two
types of reflection helpful in design – reflection in action and reflection on action. 351
Reflection in action is the more useful of the two concepts, although the team leader needs
to use the technique of reflection on action – expressed as post-design AARs with the
design team, and enhanced by assigning the role of OC to a design team member. Reflection
in action requires all members of the design team to think about their interpretations, and
their actions, as they go through the design approach. “In action” means this is done during
the active work of design. Members of the design team should reflect on their
interpretations, and then make those reflections public knowledge in larger group
discourse. This can be done as an integral part of every design team meeting, or may be
done with periodic AARs conducted during the execution of design. According to Schön,
reflection in action is often triggered by surprise. Whenever unexpected events occur
171
ART OF DESIGN
while designing, these should not be dismissed but closely examined as

opportunities for reflection and learning. The team leader needs to modulate his/her
desire to have team members discuss their reflection with a desire to move the approach
towards its outcomes. However, if no time is allocated for individual reflection, nor public
discourse on reflection planned, it is likely the team will not be doing reflection in action.
Without reflection in action, the learning of both the team as a group and as individuals is
severely restricted.
Reflection on action happens when the design is completed, or when a significant aspect of
the approach is thought to be complete. This is not as critical to the generation of a single
design approach, but it is arguably just as critical for the growth of the design team. Since
the core members of the team should be utilized for the next design effort, doing post-
design AARs as reflection on action will markedly improve the capability of the team, and
also the self-awareness of the team leader. Recording the designers’ expedition of learning
in writing can contribute to wider organizational learning within the design community of
practice.
A good example of reflection on action is provided by SAMS graduate Major Robert

Schexnayder, who led a design team that initiated the Army Advisory and Assistance
Brigade concept, tailored for training and mentoring Iraqi security forces.
TABLE 31. REFLECTION ON ACTION:
MND-C DESIGN CONCEPT FOR ARMY ADVISORY AND ASSISTANCE BRIGADES.
In August 2008, Iraq’s Multinational Division-Center (MND-C, now called United States
Division-South) formed a design team to address a specific strategic question. The question
posed by Major General Michael Oates, then the Division Commander of 10th Mountain
Division and MND-C, was “What should strategic partnership and transition teams in Iraq
in the summer of 2009 look like?” This short and concise question started a chain of events
that eventually led to the creation of the current Army Advisory and Assistance Brigade
(AAB). However, at the very beginning of this process was a seven officer design team that
used the theory of Systemic Operational Design (SOD) to help frame the problem and
recommend a plan of action. What follows is a brief summary explaining how this design
team was created, the methodology we used, and the course of events that followed…
One of the processes going on at the time was a meeting called “Choir Practice.” This was a
meeting sponsored by the CG, MG Oates, which involved a number of staff majors, the G3,
Effects Coordinator, Chief of Staff, Assistant Division Commanders (ADCs), and the
Commanding General. The meetings were held once every two weeks, in a very informal
setting, and discussed different topics in an open forum. Usually the topics were related to
information operations, but not always. I attended one of these sessions and immediately
made the observation that this was design in action! I thus recommended to the G3, Colonel
Jay Gordie Flowers, that we create a design team and use SOD as its methodology. Shortly
thereafter, because of the upcoming Status of Forces Agreement (Security Agreement),
upcoming US Presidential Elections, renewed US focus on Afghanistan, and the current
environment in Iraq, the Commanding General asked to look at the strategic problem of
“What should strategic partnership and transition teams in Iraq in the summer of 2009
172
ART OF DESIGN
look like?” The G3 assigned me to lead this project and recommended that I use SOD in the
process. He also gave me the latitude to pick my own team from across different sections.
The first thing I did was seek out professional help. I was not a member of the 2nd
Semester Design Seminar at SAMS, but Major Luis Fregoso (SAMS 2008), a USMA and SAMS
classmate of mine, was and he was working right down the street at Multinational Division-
Baghdad (MND-B, 4th ID) Headquarters. I met with him to discuss the project I was
working on and asked for advice. He gave me much useful information, especially advice on
the use of assemblages and reframing. I also re-read as much SAMS literature as I could. I
decided to use the SOD Seven Discourses as our template and then went about picking the
team.
I had already sent out information about Design and SOD through friendly e-mails to
members of both G3 FUOPS and G5 Plans. As expected, some officers were interested and
some vehemently disagreed with the theories and principles behind it. I ensured I picked
officers with opposing viewpoints to be members of the team. Even though some disagreed
with Design and SOD, they were all willing to participate on the team. I gave the team a
quick initial brief on SOD and then we went to work.
We were on a very short timeline—two weeks—and most of the team did not have any
formal education in SOD. Additionally, there were two large unknowns—the US
Presidential elections of 2008 and the signing of the Iraqi Security Agreement, both had not
happened yet. We knew we had to take these into account in our design. We met 8 times for
2 hour sessions each, usually late at night, since we still kept our normal day jobs. In
between sessions, members of the team were given homework assignments to research
information for the upcoming session and were given essays about SOD to read in
preparation for the session. As a result, these officers were getting educated on SOD as we
developed our design. We met twice during this two week period to discuss our progress
with Colonel Flowers. While much of the team’s work still remains classified, Enclosure B
shows the declassified model of the Seven Discourses the team used.
At the end of the two weeks, the team attended choir practice and discussed our results
with the Commanding General, ADCs, Chief of Staff, G3, and Effects Coordinator. It was a
very good, open discussion about the Design Narrative we created. In the end, the
Commanding General decided agreed with most of our findings and decided to move the
project forward. He tasked the G5 Section with developing a plan for this new brigade and
work out the details. In the end, the Army agreed upon the current AAB structure that is
currently deploying to Iraq.
In conclusion, this Design effort was extremely useful in helping to develop a much needed
capability for the Army that is currently now deploying to Iraq. All members of the team
learned about SOD and design and all agreed that it gave them a better understanding of
the problem. Unfortunately, due to a myriad of reasons, neither design nor SOD was used
again in MND-C while the 10th Mountain Division was in charge.
Effective individual and group reflection also enhances the repertoire of the individual and
the group. 352 As team members learn from their individual reflection and participate in
173
ART OF DESIGN
group discourse and AARs, each individual increases the skills in their repertoire. The
repertoire of the team increases as well.
4.2.2.2. LEADING CRITICAL THINKING

In one instance, a class suffered 11 failures in the STAR land navigation exercise conducted
during the tactics phase of training. Instead of asking “why do Soldiers fail STAR land nav?” or
“Does success or failure at land nav have any correlation to success in later phase of the
SFQC?” the assumption was made that land nav increases attrition and is therefore bad. The
“solution” was made to conduct more pre-training and eliminate the STAR as a performance
standard. Attrition due to failing land navigation has dropped, but now we have students
struggling later during the tactics phase because they get their squads lost during a patrol, or
quitting later in the course because they lack the commitment and drive to persevere in the
face of a challenge. This trend towards doing more (measures of performance) and
eliminating the methods to evaluate the effectiveness of the efforts (measures of effectiveness)
is all too common.
—Major David Wise
The outcome of the design team is only as effective as the quality of critical thinking
exhibited by the group. For Lawson, there are three useful concepts for critical thinking,
and three necessary skills. 353 Concepts helpful to critical thinking include the willful
manipulation of information to suit the purpose of the design team. Designers take existing
conditions, understand the interrelationship of the parts of a complex system, define a set
of desired conditions, and then manipulate parts of the system in an effort to achieve those
desired conditions. This manipulation of the system in turn aids understanding of the
system as it reacts to the manipulation, which iteratively helps refine subsequent actions.
Another useful concept is to conceive of the design effort as creating a coherent set of ideas
or beliefs. These beliefs emerge from the iterative cyclic of assessment, beginning with
analysis of the system, moving on to manipulation of the system, and adds synthetic
understanding of the relationships in the system with each iteration of action, reflection,
and understanding. Each cycle adds to the designer’s belief structure – using
Gharajedaghi’s fourfold holistic thinking (see Section 4.1.3 above) or some other system of
design synthesis. The value of the manipulated information and the coherency of the belief
set are tested through willful construction of a new reality. Often tested in virtual worlds,
the iterative cycle of manipulation and restructuring of the belief set eventually increases
the level of understanding of the system (see Sections 4.3.3 and 4.4).
The necessary skills, which the team leader must carefully cultivate, are technical
knowledge, imagination, and an aesthetic sensibility. Technical knowledge is self-
explanatory, but it should be clearly expressed in open discourse in the team. Each
individual should be acknowledged as an expert in some aspects of the design approach
353 Lawson, How Designers Think, 4, 13, 14.
174
ART OF DESIGN
and the system of interest. Each individual’s agenda should also be discussed openly, so the
team best understands each member’s authority and responsibility within the team.
Imagination is the goal of the team leader – he/she must approach the team in a manner
selected to maximize imagination and creativity. Aesthetic sensibility seems like a foreign
concept to most groups of military officers, at least when it comes to professional skills,
knowledge and attributes. However, for the design team, aesthetic sensibility is essential
for forward progress. For a military design team, this aesthetic sensibility is frequently an
expression of “it feels right.” Using intuitive feelings of rightness is a step, although it must
be carefully evaluated against the known understanding of the system and the desired
conditions for validity. Without an aesthetic sense of rightness, there are few guides to
correcting the team’s understanding of the system. The importance of aesthetics in design
is that it can produce resonance that leads to a cascade of positive side effects. Iconic
designs like the Golden Gate Bridge or the Sydney Opera House generate many positive
externalities. By adding to the cultural wealth of a city, these designs attract talented and
creative residents, stimulate investment, and are a magnet for tourism and trade. An
aesthetically elegant military design generates good press, is studied and emulated by
others, and can have far reaching influence beyond its immediate effects. T. E. Lawrence
created an operational design with such aesthetic appeal that it united rival tribes with a
shared vision for Arab freedom and made victory appear inevitable.
4.2.2.3. LEADING CRITICAL LISTENING

The team leader must actively encourage discussion and discourse in the team. His own
active listening, the skill to actually listen to what is being said, and try to understand the
motivations and the why behind the said language, is a critical skill. Since design can only
be learned through doing design, every time the design team meets is an opportunity for
the team leader to improve the skills of every member of the team. 354 Valid techniques for
critical listening include the obvious positive leadership acts of not interrupting, not
demeaning individuals, always accepting input in public, repeating back to the speaker the
essence of a comment, and then asking for clarification and/or extension of a thought.
Simple leadership skills like these are essential to the progression and development of any
design team. Negative leadership traits – the opposite of these positive traits – will quickly
destroy the coherence, trust, and teamwork of a design team.
A design team leader should be comfortable switching between multiple leadership

styles to suit the circumstances. Active listening can be promoted by adopting a
leadership style that is more akin to facilitation. Alternatively, the leader can choose to
appoint a member of the design team to facilitate discourse, freeing the design team leader
up for other roles. Through their listening, questioning, and methods of facilitation, a
facilitator can improve the quality of discourse, even if they are not an expert in the topic of
the discourse. Roger Swartz identifies the main task of the facilitator. “The facilitator’s main
task is to help the group increase effectiveness by improving its process and structure…
354 Lawson, How Designers Think, 7. See also Schön, Educating the Reflective Practitioner, 16.
175
ART OF DESIGN
Underlying the facilitator’s main task is the fundamental assumption that in-effective group
process and structure reduces a group’s ability to solve problems and make decisions.” 355
The model for facilitation advocated by Swartz is a diagnosis-intervention cycle containing

six steps. 356 The first three steps of diagnosis are conducted privately by the facilitator.
First, the facilitator observes behavior during discourse. Second, the facilitator infers
meaning from the observed behavior. Third, the facilitator decides whether, and how, to
intervene. The next three steps describe the intervention between the facilitator and the
group. Step four of the diagnosis-intervention cycle describes the observed behavior to the
group, and importantly, tests for different views. Step five shares the facilitator’s inference
with the group, once again testing for different views. Finally, in step six, the facilitator
helps the group to decide whether and how to change its behavior. The facilitator tests for
different views one last time to ensure the group remains open to inquiry and alternative
perspectives. Assuming the group decides to change its behavior, the cycle then repeats.
The reader should reflect on the difference between a facilitative approach and a “power
leadership” model that assumes that the leader has the best intuition, the most experience,
and the deepest knowledge of the problem situation. There certainly are many situations
where these assumptions do hold. However, familiarity and practice with the techniques of
facilitation enables a leader to effectively harness corporate intellect in situations where
these assumptions no longer hold. Because design is intended for novel, complex, and ill-
structured problem situations, a design team leader should be able to facilitate effectively
in situations where they do not personally have the answers. First and foremost, this
requires the ability to lead critical listening.
4.2.3. LEADING UP
Here is my take on how this works. 1. The commander and staff both develop their
understanding of the problem. When the staff briefs their mission analysis to the commander,
they are briefing their “thesis” or narrative of the problem. The commander already has his
“thesis” or narrative of the problem in his head when he comes to the briefing. 2. If the two
“thesis’” or narratives are the same, then they have perfect mutual understanding…if not, then
their “thesis’” become the antithesis to the other which forces the discourse to take place.
Within this discussion the commander and staff help to fill in the missing elements of each
other’s “frames” or to confirm elements of the frames. Through this process, the real frame
emerges….i.e. the thesis-antithesis-synthesis process. This happened the other day with our CG.
We had been working on a project for two weeks. As we briefed him it became apparent that
he didn’t agree. So we began to deep dive on different aspects of our problem framing…we
found out info that our commander had gathered during a command visit that we didn’t have
any knowledge of. At the same time, we had intel that our commander had not seen and thus
we provided key info to help complete his frame. Out of this we all reached common
355 Swartz, The Skilled Facilitator, 5-6.

356 Ibid., 137.
176
ART OF DESIGN
understanding…and all in less than an hour with the commander. I don’t think this process is
new. I think it is the staffing process that has always been used…but now we need to formalize
it as a key element of developing understanding.
—Major Derek Jones
In hierarchical organizations, “leading up” can be an uncomfortable subject. 357 The idea of a
subordinate telling military and civilian superiors how to think about a problem situation
requires suspending assumptions about how large organizations function and how senior
leaders gain shared understanding. Discourse between the commander and staff, with
commanders up the chain of command – and outside the military chain of command – must
occur to identify disagreements, to create a shared understanding, and to communicate the
learning from each of the three spaces that is essential to design.
Army doctrine identifies formal and informal leadership as two forms of team
leadership. 358 Leadership doctrine acknowledges the concept of shared leadership, which
occurs more frequently at the organizational and strategic level. 359 Informal leaders can
create and lead “chains of learning” that support the commander’s formulation of an
operational approach. Exercising informal leadership takes professional tact and
interpersonal skills. As discussed in the previous section, orchestrating a design effort
requires good facilitation skills to transfer knowledge gained through exploration and to
manage discourse among non-peers.
Commanders have an essential role in creating an open atmosphere for discourse – what
Heifetz termed a “holding environment” – so that “addressing difficult issues” or
accommodating “wide value differences” does not lead to divisive exchanges, ultimately
defeating the purpose of discourse. 360 Early discussion of design in a military context
recognized this need:
Commanders must teach and encourage subordinates to “Lead Up.” 361 That is to say,
commanders should be transparent with subordinates and convince them that their views,
ideas, and perspectives are invaluable to the success of the organization. The main
inhibitors of Design are stove-piping, micromanagement and a herd-mentality within the
command. The commander must take care to avoid organizational obstacles and be willing
to share the work of command, including allowing subordinates and staff officers to
exercise healthy initiative and experimentation…. None of this is new, of course. Good
357For a case study approach to the concept of leading up, see Michael Useem, Leading Up: How to Lead Your
Boss So You Both Win (New York: Three Rivers Press, 2001). Useem drew three examples from senior military
commanders’ experiences.
358 FM 6-22, 3-8.
359 FM 6-22, 3-9
360Ronald A. Heifetz and Marty Linksy, Leadership on the Line: Staying Alive through the Dangers of Leading
(Boston: Harvard Business School Press, 2002), 102
361 LTG (P) Martin Dempsey, SAMS Graduation, 22 May 2008.
177
ART OF DESIGN
commanders have done it for years. The point here is that these conditions are essential for
the practice of Design. Where they are absent, Design simply won’t work. 362
The commander allows and encourages the free and open exchange of ideas to
create the understanding necessary for design. As recognized by this passage, design
can involve uncomfortable and oftentimes contentious issues and beliefs. Identifying
disagreements amongst stakeholders is a necessary and essential part of design. This
identification aids creative approaches. The tension amongst stakeholders, especially most
senior officials, is a great aid to moving forward – in both the identification and the
resolution of these tensions lies greater understanding. Understanding sources of tension
can aid in managing the interaction among the design team. Tensions do not solely arise
from individual participants. One perspective on stakeholders comes from Brian Lawson.
Lawson named four “generators of design constraints”: the designer, the client, users, and
legislators. 363 Lawson further differentiated constraints into internal and external forms,
and he classified them as radical, practical, formal, and symbolic constraints. 364 Lawson
then combined the generators, domains, and functions of constraints into a three-
dimensional model.365 Knowledge of this model can assist the team lead.
Practical guides to managing the relationship between the design team and the system of
stakeholders exist. John Kotter identified the social nature of modern organizations in
Power and Influence. Kotter outlined the management of relationships in three dimensions:
laterally (outside the chain of command), downward (with subordinates), and upward
(with superiors). Of note is the active role the subordinate must take “to get the support,
information, resources, and help needed from the boss to perform a difficult leadership job
in an effective and responsible manner….” 366 In a more recent collaborative piece, authors
Gabarro and Kotter used “Managing Your Boss” to mean “the process of consciously
working with your superior to obtain the best possible results for you, your boss, and the
company.” The boss-subordinate relationship is a two-way system involving mutual
interdependence between two fallible human beings. The authors say that
management theorists pay little attention to this necessary aspect of being a member of an
organization. While most management texts focus on the top-down aspect of management,
the authors contend, at a minimum, that one must appreciate the boss’s goals and
pressures. 367
362 SAMS Student Text, Version 1.0, 24 September 2008, 41-42.

364 Ibid., 93-107.
365 Ibid., 106.
366 John P. Kotter, Power and Influence: Beyond Informal Authority (New York: The Free Press, 1985), 100-101.
367 John J. Gabarro and John P. Kotter, “Managing Your Boss,” Harvard Business Review (January 2005): 92-99.
178
ART OF DESIGN
4.2.4. COMMUNICATING UNDERSTANDING

Communicating understanding derived from the design team’s work demands that the
team view the design from the perspective of one unfamiliar with the team’s detailed work.
The transition from design drawings to a presentation requires planning and rehearsal.
The single most effective technique for creating useful presentations is to storyboard
the effort. Drawn from the storyboarding introduced by William Cameron Menzies for the
1939 film Gone With the Wind, storyboarding requires the leader to make early decisions
about the intent and structure of presentations. 368 Given a limited amount of time for the
engagement with the commander, or any audience, the design team should discuss the
number of slides appropriate to the engagement, the desired communication outcome, and
then produce a sketch of how the sequence and material of slides will generate that
outcome. This discussion can be done by the team leader as individual work, or as small
group, but should then be discussed in large group forum, taking input from all members of
the team. It is important to listen to all team stakeholders when discussing the content and
method of presentations. It is also important that a narrative is developed to accompany
the presentation. This provides the benefits of altering the medium of expression described
in Section 4.2.1; ensures the presentation has a coherent beginning, middle and end; and is
a forcing function for ensuring the presentation has a moral or meaning. In 2010, SAMS
AMSP Seminar 3 used the storyboarding technique to create an overview of the design
methodology as they practiced it at SAMS, which is shown in Figure 19.
368 See Wikipedia for references to Menzies. http://en.wikipedia.org/wiki/William_Cameron_Menzies
(accessed May 17, 2010).
179
ART OF DESIGN

STORYBOARD OUTLINE OF THE DESIGN METHODOLOGY.
Although Seminar 3 did not create a full narrative, they did provide notes to explain the
progression through seven builds of the storyboard from left to right, with three builds in
the first row and four builds in the second row. The notes are provided in Table 32.
TABLE 32. SEMINAR 3 SAMS AMSP 2010: NOTES ACCOMPANYING DESIGN STORYBOARD.
This slide is a simplified representation of the design process.

Build 1: The designer is confronted with a problem situation that requires design. The
problem in this example involves two actors whose relationship or interaction has become
undesirable. The problem is complex and cannot be solved easily.
Build 2: The designer must define the observed system and determine the desired system.
An initial analysis of the actors and artifacts associated with the central actors may result in
a very complex system of actors, artifacts, and interacting systems.
Build 3: The designed must then attempt to define the relevant actors within the system, to
narrow the scope of the study. An understanding of the observed system is shaped by
examining relationships using DIME, PMESII, and other tools. The desired system is shaped
by policy and national interests.
180
ART OF DESIGN
Build 4: This helps to bound the system.

Build 5: Once the system has been bounded, the relationships and tensions between actors
can be further explored to determine the nature of the relationships: What are the
tendencies of actors in relation to the desired system without outside interference? What
are the potentials to shape an actor’s tendencies if an outside actor attempts to act or
interfere within the system? Exploring these tensions, tendencies and potentials helps the
designer to gain an understanding of the observed system. This also helps the designer to
gain an understanding of the system’s capacity to move toward the desired system. The
difference between the observed and the desired system helps to identify the problem.
Build 6: The identified potentials provide the designer areas to affect the system and
actions that will shape the design concept. It provides a vision of how to manage the
problem within acceptable levels of tolerance as we attempt to move toward the desired
system.
Build 7: But are the identified potentials really opportunities to effectively manage the
problem? Will the identified actions be relevant within the system? Are we treating the
symptom or the problem? Are our conclusions based upon descriptions of the system or an
explanation of the system that provides understanding?
4.3. LEADING DESIGN TEAMS

This is not a “Command Centric” Process. We built a team of minds that often met at the end
of the day in our Plans Shop while deployed. They were not all planners – they were people
that were intelligent, motivated, in tune with world events, and could look at problems
differently.
—Major Jeffrey Powell
…the commander HAS to be involved and accepting of the concepts or only a few insights will
make their way up the Chain of Command – and many political and other pressures will derail
most "Design" insights.
—Major Grant Martin
The social creation challenges are more difficult than the intellectual challenges associated
with your small design team and their relationship with the organization’s commander. In
the realm of social design, the team leader is required to construct functional relationships
with people and organizations that do not work directly or even indirectly for your
commander, develop relationships with organizations foreign to your concerns, and work
well with others when you have very little in common. The specific challenges facing the
design team leader are leading the team itself, leading repetitive and iterative work in all
three design spaces, integrating the work of his/her own team and the work of others, and
sorting out how to do the essential continuous assessment (see Section 4.4 for iteration and
Section 4.5 for adaptation and assessment).
181
ART OF DESIGN
When the team leader begins the process of social construction, both of the immediate
design team, of SMEs who will inform the team, and of both personnel organic to the
organization, as well as the larger circle of coalition organizations, agencies, and entities,
he/she must be deliberate and willful in the construction. Membership and communication
of beliefs must be deliberate and not left to pre-existent groups or alignments. Each design
effort requires new and novel approaches to social organization – frequently the
most critical step of design is to organize, structure, and empower the various teams
for design. 369
As the team leader builds the concentric circles of design teams and their affiliates, he/she
must pay particular attention to the initial structuring of group dynamics, and then
continue to re-assess group dynamics as the design work progresses. This is not a matter
left to chance, but is deliberately assessed, analyzed, and corrected throughout the design
process. 370 An essential part of this group dynamics assessment is for the team leader to
assess his/her own leadership skills and correct his/her leadership deficiencies as the team
progresses.
The team leader must also continually appraise the team’s perception of goals, assess the
functional and dysfunctional characteristics of the design group, work on developing team
norms (rituals of practice), and then lead the team through understanding and use of these
norms. 371 Seminar 7 from SAMS AMSP 2010 captured their top four best practices from
three design practica, shown in Table 33. It is interesting that three of four best practices
relate to issues of social creation. (Only their third lesson – keep asking why – did not
directly relate to group dynamics.) First, proximate designers, or SMEs outside the core
design team, were found to contribute best when they were included from the beginning of
design. Second, the relationship between the design team and the commander is probably
the most important relationship for the success of design. Last, functional teaming,
involving the forming and reforming of small and large groups within the design team, is
essential to maintaining team productivity and effectiveness.
TABLE 33. SEMINAR 7 SAMS AMSP 2010: BEST PRACTICES.
SAMS Seminar VII Best Practices

1. Proximate Designers. Design teams must include proximate designers early in the
process. Proximate designers provide the necessary expertise to create the
environmental frame. Failure to introduce the proximate designers early in the
process could result in an incomplete environmental frame leading to an early
reframe.
2. Commander. Design teams must have access and interact (discourse) with the
commander. The discourse between the design team and commander facilitates a
common understanding of the environment and further formulation of the design

370 Lawson, How Designers Think, 242ff.
182
ART OF DESIGN
concept. Commander participation is critical for design to be successful, but more

critical may be the design team’s ability to engage with the commander on a
frequent basis.
3. The constant questioning of “Why.” A key purpose of design is to identify the right
problem. By asking the meta-question of why, the team was able to develop a more
in depth understanding of the environment a truer identification of the problem and
how best to transform it. The constant quest for causality was critical.
4. Functional Teaming. The design team benefited from organizing into functional
teams. Functional teams conducted separate breakout planning sessions to gain a
basic understanding of new problem sets. Following small group learning, the large
group rejoined to gain a holistic understanding of the environment.
4.3.1. FACILITATING DISCOURSE

Arguably the most essential characteristic of a functional design team is the ability of
the team to conduct useful holistic discourse. Discourse is much more than mere dialog
or discussion. Discourse is the open and living movement of ideas in free conversation
amongst the members of the team. The team leader must also make every effort that open
discourse also occur with the team’s commander, higher commanders and leaders,
subordinate design entities, and design teams in parallel organizations. Without discourse,
there will be little chance of developing iterative understanding, since iterative
understanding relies on the free exchange of ideas, where individuals are entrusted and
empowered to use their skills in support of the team understanding.
Discourse is not just what is said, but also includes the actions and products of the
design team. Klaus Krippendorff identifies five features of discourse as a design
problem:372
1. A discourse surfaces in a body of textual matter, in the artifacts it constructs and

leaves behind;
2. A discourse is kept alive within a community of its practitioners;
3. A discourse institutes its recurrent practices;
4. A discourse draws its own boundary; and
5. A discourse justifies its identity to outsiders.
From this definition, we can see that discourse extends beyond dialog into all of the texts
and artifacts produced by design. Discourse requires a community of practice who are
actively reading, writing, and communicating with each other to improve the way they
design. Discourse habitually repeats its recurrent practices, which are simply the rules and
norms discussed in Section 4.2.2 above. A discourse draws its own boundary, meaning that
it defines what problems it solves, who belongs to the design community, and what are the
372 Klaus Krippendorff, The Semantic Turn: A New Foundation for Design (Boca Raton, FL: CRC/Taylor &
Francis, 2006), 23-24.
183
ART OF DESIGN
paradigmatic examples of good design. Lastly, a discourse must have a story justifying its
identity. The knowledge, values, and expertise of its practitioners provide justification to
outsiders of the success of a particular discourse. From a practical perspective, this broad
definition of discourse implies that the design team leader must pay attention to all five
features of discourse. They must be aware that the references the design team uses, the
communities of practice with which they interact, and even the room in which the
discussion takes place will all affect what is said and what it is interpreted to mean.
Discourse involves not just the dialog within the team but also the elevator speech that
team members can give to outsiders to explain what the designers are doing and why this
is of value.
Discourse is encouraged by active listening, good basic team leader leadership skills, the
positive group dynamics of the team, encouragement of different skills in each member of
the team, and empowering team members to engage in the discourse. The team leader can
use several techniques for empowering discourse. These techniques include asking team
members to demonstrate their current knowledge of the system through some
manipulation of the system in a simulation, and then ask the team to comment
constructively on the demonstration. The leader can also personally provide a movement
or an action that could be tested against the assumptions of the team, although the team
leader must exercise caution in providing his own belief structure as the final structure –
his/her thoughts are no more valuable or accurate than those of any member of the team.
The team leader could also encourage the use of telling part of the understanding of the
system, then encourage open questioning of the belief, adding other ideas from members of
the team as they develop and emerge. Perhaps the most effective discourse, either in
the team or with external entities, is a combination of telling, listening,
demonstrating, and moving elements of the system to encourage new ideas on how
the system operates and how the organization can influence the system toward the
desired goals. 373 Lawson agrees, discussing design in terms of selection of awareness
focus, combining ideas about the system, creating new interpretations, and pursuing
innovative solutions, all in the context of group discourse to stimulate deep, innovative
understanding. 374
The following example of design discourse took place during the main two week phase of
Exercise Omni Fusion 2009. A nine person375 stand-alone design team within the division
headquarters is attempting to design the division’s response to a fictitious conflict scenario
involving the imaginary countries of Elis and Attica. Coalition forces have successfully
repelled Attican forces involved in a hostile incursion into sovereign Elisian territory.
373 Schön, Educating the Reflective Practitioner, 102ff, 107ff, and 111.
374 Lawson, How Designers Think, 5. Also see his design process map on 37-38 for more information.
375The design team had six core United States team members (one with expertise in each of the PMESII
variables) and three multinational Army designers representing Australia, Canada, and the United Kingdom.
Although a majority of design discourse occurred between these nine designers, other participants included
the CG, Deputy CG, G3, G5, G2, and the six members of the joint interagency coordination group.
184
ART OF DESIGN
However, remnants of the aggressor’s conventional force remain in theatre; Attica has a
nuclear program that threatens regional stability; the Elisian government is weakened and
has issues with perceptions of its legitimacy; tribal tensions have flared in the wake of the
invasion; and several tribes are known to have conducted terrorist activities, cross-border
smuggling, human trafficking, and are promoting separatist ideologies. The Commanding
General (CG) engages actively with the design team several times per day. He looks to his
design team for deeper understanding of the operational environment and engages in
discourse to help shape his strategy and to articulate his planning guidance. In this
discourse at the beginning of day three of the exercise, there are four active participants,
who we will call John, Paul, George, and Ringo.
John: We need to have a discourse on the operational approach. Paul, can you show
us your problem frame graphic on the whiteboard?
FIGURE 20. COPY OF THE OMNI FUSION 2009 PROBLEM FRAME

GRAPHIC.
Note that GoE = Government of Ellis
Ringo: The population is missing from both the graphic of the problem frame and the
narrative.
185
ART OF DESIGN
Paul adds the population to the graphic as a bubble surrounding the Elisian
actors
John: So what is the real problem here?
George: This was the CG’s guidance: I need you to clean up and prepare for entry of
Attica.
Paul: Is 7 Division expected to be required to stabilize before Attica attack?
George: Yes, phase 2D has stability functions. Phase 2 to phase 3 depends on UN
Security Council Resolutions.
Paul: Phase 3 will kick our arse [sic]. None of phase 2 will unless we’re here for 5
years. This is a bifurcated problem: prepare for future operations South of the
border; or focus on caretaker actions to improve our AO. Whatever problem we
choose to address, the CG needs to accept this risk.
George: None of these tensions have come out previously in the design. It is the
difference between 90 days of stability or 5 years.
Paul: Does the PMESII framework bias us towards stability rather than major combat
operations?
John: Yes. It did a great job of informing our comprehensive analysis, but we
deliberately left off the variable of time. We were told not to go South of the
border, so we constrained our analysis to our AO. Also, we truncated the
environmental frame and the problem frame.
George: I’m responsible for the Military variable, this was my oversight. I failed to look
beyond phase 2D. I did not consider the temporal dimension.
Paul: So what are the required deliverables? We need to write up the risk assessment
for the CG to decide on the Corps bifurcation point. We need to revise the quad
chart overview. And we need to convert the whiteboard graphic into a
PowerPoint slide.
There are a number of insights on the nature of design discourse contained in this dialog.
1. Design drawings provide a focus for discourse. This particular design team had
resisted drawing early in their design work. Omni Fusion 2009 was interested in the
value of design in a time constrained environment, and it was felt that drawing –
starting from a blank slate – would waste valuable time. In spite of this initial
resistance, when Paul began sketching out the relationships to aid his own
understanding, the design team leader, John, asked him to share it with the group.
The problem frame was no work of art, but it provided focus for the discourse. It
prompted Ringo to notice what was not represented in the diagram. It also led to the
asking of new questions that had not been asked in the first two days of design
discourse.
2. The real problem can emerge unexpectedly at any time. In this passage, Paul
introduces new language to describe his new appreciation of the problem: “This is a
bifurcated problem.” Prior to this point, the design team had been more focused on
the immediate symptoms of the conflict, such as border issues, insurgent activity,
and tribal tensions. Prompted by the design drawing, the design team realizes that
the real problem they need to address is to decide whether the main effort is to
186
ART OF DESIGN
prepare for conventional operations or to provide stability within the current AO.
Until the nature of the campaign they are fighting is established, the operational
approach cannot be determined, and the priority for addressing current and
potential crises cannot be set. Other members of the design team express surprise at
this new appreciation. As we have noted above, surprise is a key emotion in
design, because it triggers reflection in action. John blames the initial framing of
the environment and the problem, which in hindsight appears to have been overly
constrained by the PMESII operational variables, geographical limits on the
environmental frame based on the uncritical acceptance of guidance, and short cuts
taken in the time-compressed design approach. George assigns blame to the analysis
within the military variable of PMESII, for not adequately considering the temporal
aspect of the military problem. Of course, it is unnecessary to assign blame when
one realizes design is not a linear process. It is more important to continue to
provide opportunities for discourse than to expect to identify the ‘real problem’ up
front.
3. Reframing can be caused by changes to understanding as well as real world events.
Omni Fusion programmed in two intentional reframing events to analyze how the
design team would respond. Ironically, the design team understood the scenario so
well that neither reframing event was a surprise. The understanding of the problem
expressed above caused a more significant ripple in the design team’s products and
approach than any real world event.
4. Discourse is freewheeling. The stated purpose at the beginning of discourse was to
determine the operational approach. Yet the outcome of this session was an
articulation of the risk of the birfurcated problem, requiring the CG to take a
decision; changes to the quad chart summary of the design to reflect the new
appreciation of the problem; and the creation of a presentation drawing to
communicate the insights of the design drawing to the CG. While it is essential to
impose structure on discourse to ensure progress, it is equally important to allow
unanticipated avenues to be explored and encourage meta-questioning that may
revisit earlier stages of the design methodology.
According to Schön, discourse includes the freedom in the group to conduct, without fear of
reprisal or silencing, hypothesis testing by all members of the team. 376 Since the team
developed the initial hypothesis as a team, the team discourse is the opportunity for all
reappraisals of the baseline hypothesis (see Section 4.3.3 for the use of hypotheses in
environmental framing).
NATO Training Mission – Afghanistan (NTM-A) / Combined Security Transition Command

– Afghanistan (CSTC-A) currently have several staff with a deep understanding of the
design methodology. This includes, Dr. Jack Kem, who serves as Deputy to the Commander,
and who is the primary author for FM 5-0 Chapter 3 on design. In a recent meeting, Kem
stated that design was “tailor made” for the collaborative environment required for
187
ART OF DESIGN
running an Operational Planning Team with representatives from 46 countries, multiple

non-Governmental organizations, and the United Nations. 377 There is also an informal
Inter-staff Initiatives Group (IIG) that provides design-like products to provide the CG with
an alternative perspective on some longer term challenges (for further discussions from a
SAMS graduate within this group, see Section 4.5.4 below). An example product generated
by the IIG is shown in Figure 21. Here, it can be seen that the group is using discourse to
surface commonly held assumptions for the purpose of hypothesis testing. The
implications of their discourse are that when it comes to recruiting for the Afghan National
Police, quality is more important than quantity. Moreover, even quality recruits may end up
working against the desired state if there are structural and cultural issues that incentivize
harmful patterns of behavior.
FIGURE 21. NTM-A/CSTC-A INTER-STAFF INITIATIVES GROUP TESTS THE HYPOTHESIS

THAT NEW POLICE RECRUITS CONTRIBUTE TO STABILITY IN THE CURRENT CONTEXT.
377 Jack Kem, Friends of Design Meeting, Fort Leavenworth, March 2010.
188
ART OF DESIGN
Discourse may be freewheeling, but it is also purposeful. Often, it is useful to provide some
shape to the design discourse. In a Military Review article, Major Xander Bullock and Major
Bruce Vitor describe how to structure discourse within a broad framework of divergence,
transformation and convergence.
Divergence occurs when a team receives guidance and begins by tearing apart a problem or
situation to develop a more complete understanding. Divergence includes asking questions
and creating an understanding of the operational environment by looking at known facts
and assumptions with skepticism. In this divergent phase, it is important not to limit the
expertise to the field that seems most applicable. Divergence seeks transformation.
Transformation is the spark of insight, which illuminates the way forward for the designing
organization. It is common for teams to become stuck in the divergent phase because they
lack or have not developed the creative spark that will form the solution.
The transformative phase starts with a mass of divergent information and contrasts it with
the current problem understanding to determine possible outcomes. The design team is
ready to move forward from the transformative phase to the convergent phase in the form
of a “design concept” once a series of unifying ideas and concepts have been developed and
agreed upon.
The convergent phase is the one most familiar to the Army culture. In convergence, the
design team must be intentionally reductionist and cast aside much of the information and
products created during design creation to converge on a product and a singular
understanding of a situation. Lacking any one of these cognitive phases, a design will not be
complete. 378
The distinction between divergence, transformation and convergence was first introduced
by J. Christopher Jones in his classic book Design Methods. 379 This general schema maps
onto almost any design methodology, including the one used by SAMS. The terminology of
divergence, transformation and convergence was also used in the outdated FMI 5-2.
Students may find this to be a useful tool for guiding discourse throughout the three
cognitive spaces of design.
4.3.2. LEADING PRACTICE

Much of design theory centers on the requirement to learn by doing design. This is not possible
through the introduction of another document into the Army publishing website. The practice
sessions under knowledgeable coaches required to internalize the concepts and techniques
are not transferrable through the pages of doctrine alone.
—Major William "Yogi" Maher, USAF
Major Xander Bullock and Lieutenant Colonel Bruce Vitor, “Design: How, not Why,” Military Review
378
(March-April 2010): 104-105.

379 J. Christopher Jones, Design Methods (New York, NY: Van Nostrand Reinhold, 1992).
189
ART OF DESIGN
The actual practice of design is learned by the team as they do design. The team leader,
even if a very experienced designer and leader, cannot simply lead the team into
understanding – he/she must have the team engage in design activities in order to increase
their understanding of both the subject of study and the actual practice of design. Design is
learned by doing design as a team – there is no substitute for this experience,
complemented with reflection on the other four pillars of design. 380
4.3.2.1. MODULATING THE WORK

USARAF is a relatively “flat” organization (roughly 10 COL/O6 level directorates in a 300PAX
staff). Therefore, each “rice bowl” owner wants a seat at the Design Table. Plus, there’s a
requirement to balance with the Navy, Air Force, Marines, and various OGAs (not just super
secret squirrel groups... DoS, USAID, etc.). Thus, the “core” Design group is numbering around
40PAX. Organizational dynamics, informal leadership, and knowledge management issues
abound.
One of the most useful ideas for a team leader is to modulate the work of the team. 381 Some
work needs to be done by all members of the team engaged in discussion, other elements of
work can best be accomplished by a small sub-group of the team, and some work can best
be accomplished by individuals. The team leader must deliberately decide when to use
which technique, and he must be flexible to alter his decisions as the situation changes.
Large group work is optimal for shared understanding, and although slow at times, it is
essential that the large group be called together periodically to share their understanding
and exchange ideas about future progress.
Small group work, also deliberately modulated by the team leader, is used when the large
group has too many issues to sort through, or the expertise of all members of the group are
not needed for a particular inquiry or activity. The team leader must bear in mind that the
work of small groups is always subject to criticism by non-present SMEs. All the work of
small groups should be vetted in large forum, with all SMEs present. This not only provides
a chance for all to comment, but also shares understanding and provides an opportunity for
the team leader to construct "buy-in" by all members of the team.
Individual work is useful when a road block has been encountered, and the large group or
small groups are challenged to move beyond the blockage. Individual work is frequently
done by either the team leader or by trusted agents – those he can trust to carry a
significant work responsibility without unduly biasing their work. The best use of
individual work is to conduct reviews of work progress and develop schemes for forward
movement. These schemes should be presented to the large group as options, not as a fait
accompli. Individual work can also provide useful guidance for presentations, engagements,

190
ART OF DESIGN
and planned meetings of the team. Like small group work, individual work must be vetted
with all members of the team.
4.3.2.2. SKETCHING TOWARDS UNDERSTANDING

Another excellent and useful technique for developing forward progress in the team is to
focus, on occasion, deliberately on a specific form of drawing or sketch. There are generally
three forms that can be used – the design drawing, the presentation drawing and the
production drawing.382 The design drawing is frequently the emergent sketch from the
actual work of designing – frequently multiple sketches presented by factions or sub-
groups to a common shared understanding discussion by the larger group. Individuals may
also provide specific design sketches of work they were assigned. An example of an
individual design sketch is shown in Figure 22.
FIGURE 22. MAJOR DAVE RAPONE, SEMINAR 5 SAMS AMSP 2010:

DESIGN SKETCH OF CHATTANOOGA.
191
ART OF DESIGN
Major Rapone’s design sketch emphasizes relationships between actors in the Battle of
Chattanooga. In developing his “Cracker-line” Campaign, General U. S. Grant first examined
activities in 1863 in the larger context of the war. He described in his Memoirs how he
reflected on previous military events and ongoing operations. He then took those
considerations, along with specific guidance he received (designing constraints), and
designed his campaign. A historical review illustrates how he proceeded through what
today we call an environmental frame, a problem frame, and a design concept. He then
moved on to specific tasks and execution, but he remained cognizant of the larger issues
evolved from his design understanding. The design sketch in Figure 22 is an attempt to
capture the richness of this situation.
Major Rapone’s rich picture shows connections between individuals, such as Grant and
Thomas; organizations, such as the Military Division of the Mississippi and Army of
Tennessee; physical entities, such as the river and the railroad; as well as conceptual
factors, such as ‘loss of faith in Generals’ and the psychological impact of Chickamauga. The
use of a drawing discipline means that these factors are represented with different
symbols, and all relationships are labeled with descriptive text. The use of colors and icons
(flags, military graphics, and caricatures of the individuals) adds further richness to the
information depicted in the sketch. The quote on the bottom of the page says “confused
complexity to profound simplicity.” This drawing is not intended for an external audience.
Rather, it is the first step in mapping the complexity in order to have a reflective
conversation with the situation. The process of acknowledging and mapping the complexity
helps generate the insights of profound simplicity.
The presentation sketch is generally used to present understanding of the design team to
an outside-the-team individual, frequently the organization’s commander or more senior
commanders. These are difficult sketches, but in the challenge of creating understanding in
a person not in the design team, the team itself frequently hones its own understanding of
the issues at hand. The key principles to effective presentation sketches include using
commonly understood, doctrinal terms to describe the understanding. Using words
only understood by the design team will not aid the understanding of those not intimately
involved in the design itself. Another principle is to red-team the presentation with
personnel who have not been engaged in the design to gauge their increase in
understanding. Figure 23 is a good example of a presentation drawing, because it focuses
on the “so what?” of the understanding developed in the environmental framing.
192
ART OF DESIGN
FIGURE 23. SEMINAR 8 SAMS AMSP 2009: PRESENTATION DRAWING OF THE ENVIRONMENTAL
FRAME IDENTIFIES THE ACTORS, FLOWS, AND IMPLICATIONS OF THE CURRENT SYSTEM.
The production sketch, likened to a blueprint or a contractor’s drawing, is the tool used to
transfer action to members of the organization outside the design team. In a manner
similar to the presentation sketch, the creation of a production drawing will frequently
hone the design team’s understanding of the issues. It is sometimes difficult to generate an
effective production sketch since the members of the design team may know the situation
so well that they are challenged to articulate it in enough detail for those outside the
design. In this case, it is frequently helpful to bring in an individual or a small group from
outside the design team to act as a "sanity check" on the creation of the production
drawing. Figure 24 illustrates the difference between a production drawing and a
presentation drawing created by Seminar 1 in 2009.
193
ART OF DESIGN

PRODUCTION DRAWING COMPARED WITH PRESENTATION DRAWING
Another useful technique, helpful in these three drawings, and helpful elsewhere as well, is
to alter the media of the drawing effort. 383 If the team has been using a free hand drawing
on a whiteboard, simply altering the sketch to a map, or a PowerPoint slide format, can
generate new understandings and help identify additional issues of interest. Similarly,
reproducing a sketch or drawing as a narrative word document can generate new
perspectives. Design leaders are encouraged to alter the media of team products whenever
the team is blocked – a useful technique for generating new perceptions. The rich picture
table of contents above provides an example of how moving from a sketch to a PowerPoint
graphic prompted new perspectives, such as the importance of depicting reframing as an
integral part of the design doctrine.
4.3.2.3. USING FUNDAMENTAL PRINCIPLES FOR DESIGN

There are as many different lists of design fundamentals as there are design practitioners
and theorists. However, Lawson offers five clear and useful fundamentals for a model
approach to design. For Lawson, formulating, moving, representing, evaluating, and
reflecting are the key components of effective design.384 They are useful for a military
design team leader as well.
Formulating includes efforts to understand the nature of the system, assisted by naming or
identifying components of the system, and by framing the system within certain, created
boundaries for focused understanding. 385 (Gharajedaghi’s fourfold iterative understanding
384 Lawson, How Designers Think, summary on 290-301.
194
ART OF DESIGN
concept is useful here – see Section 4.1.3; also see discussion of environmental framing in
Section 4.3.3.)
Moving, the making of alternatives, is the second powerful fundamental of design. To move
is to create a new understanding – which is then tested against the initial hypothesis of
understanding. In moving, the design team looks to its initial big idea, tests that against the
current understanding, and then interprets the actions of the system against this new form
of understanding. The team leader can also use developmental moves. These are
experimental novel approaches, identified and named, discussed in team meetings, and
then tested against the existent understanding to judge value and effectiveness.
Developmental moves can also be derivative from earlier moves, or from an emergent
understanding. The key to successful use of moves is to do many of them – if there are too
few, team members may become fascinated with one they generated, and involve their ego
in the maintenance of a particular move. All moves must be considered disposable –
their only function is to generate discourse and improve understanding. A design
method from Appendix B that is particularly useful for testing moves is a decision tree. This
method has been used in the field by Major Jason Pape to think through possible sequences
of actions and reactions in Korea.
After formulating and moving, representing – the making of design propositions – aids the
discourse by converting the discussion into a conversation about meaning. Bringing
together the ideas generated through multiple moves and through multiple iterations of
formulating, representing helps focus the discourse of the design team on the nature of the
system itself, and on the transformation(s) required to achieve the desired state(s). The
team leader plays a key role here, usually assisted by a small group of trusted agents, in
selecting several emergent understandings to represent for the team. However, the team
leader must also allow room for emergent representations to come from any team member
at any time, as well.
After formulating, moving and representing, the team develops a new holistic
understanding, relevant to this iterative cycle of understanding. This phase is evaluating. In
evaluation, previous awareness is compared to team criteria and team judgment for
validity of both the novel ideas and of the previous understanding of the system. Not all
new ideas are judged acceptable or useful – frequently this cycle results in the
abandonment of a particular train of thought. Yet even conceptual dead ends can result in
increased understanding of the system amongst the team. The judgment of the team is both
subjective and objective, with team members engaged I active discourse of both types of
awareness.
Reflection is the critical component of this phase of design development. The team leader
must oversee reflection, but his/her main role is to encourage and require all team
members to engage in reflection. This is not the team lead’s reflection – it is the reflection
of the entire team, generated by individuals who then narrate their reflection for the team.
Figure 25 shows two slides from 1ID that attempt to build double loop learning into the
195
ART OF DESIGN
assessment activity in the operations process. This slide demonstrates both evaluation and
reflection on the 1ID campaign design by Major Jason Pape.
196
ART OF DESIGN
FIGURE 25. 1 ST INFANTRY DIVISION: REFLECTING ON CAMPAIGN DESIGN BY BUILDING

DOUBLE LOOP LEARNING INTO THE ASSESSMENT ACTIVITY IN THE OPERATIONS PROCESS.
4.3.2.4. PROTECTING FROM ERROR

The ACTO level discussion and discourse is great, and when we do get an O-6 or two to attend
planning meetings, they get on board pretty quick. Otherwise, I have to visit the O-6’s
individually and separately to get buy in because they go straight to the GO’s with their own
interpretation of problems and solutions. A very difficult and ineffective process as the O-6’s
only expect briefings and don’t really like to sit around during long discussions unless a GO is
present. The committees each consist of about 15-30 individuals, mostly O-6’s and above. It is
NOT conducive to good discourse and every trap you’d expect a group like that to fall into,
they do and don’t even realize it. Facilitating such discussions is a bit of a challenge.
—Anonymous
The design team is subject to many errors in the progress of design. The team leader must
be sensitive to these likely errors or faults, and be prepared to correct them, encourage the
team to learn from them, and move forward. 386 Errors include procrastination, non-
197
ART OF DESIGN
commitment, and the creation of throw-away ideas. Procrastination is usually evident

when team members refuse to engage in conversation, or refuse to meet suspense. This is
either through intimidation, which must be moderated by the team leader, or due to mental
fatigue from too rigorous a work schedule. Non-committal is evidence of past public
humiliation, or a lack of trust by the team members. Throw-away ideas are a waste of
everyone’s time, and must be discouraged, without bringing on procrastination or non-
commitment.
Various traps also await the design team. 387 Teams are frequently seduced by the use of
too-cute categories where they are trapped into thinking they have defined exactly right
categories for each of the actors or events in a system, and they are complete with their
understanding long before they actually have an effective understanding. Some teams will
endeavor to turn the systems understanding into a puzzle solution – where there is a right
answer, and they will refuse to come back from the pursuit of the right answer to return to
developing better understanding. Other teams will decide that their answer lies in
quantitative assessment to the exclusion of qualitative awareness – a trap sometimes
encouraged by the use of computer simulations and/or an over reliance on Operations
Research / Systems Analysis (ORSA) data collecting. Other design teams fall in love with a
particular set of solutions, because of their elegance, because they believe the commander
will like the solution, or because they are simply exhausted. For whatever reason, this
collective agreement on an iconic solution stops the development of real understanding.
Teams sometimes also confuse enthusiasm for an idea with the capability of the
organization to actually do something about the idea. All design teams need to be cautioned
to bound themselves within a reasonable, and clearly articulated, set of capability
limitations throughout the design approach.
4.3.3. ENVIRONMENTAL SPACE 388

I served in the G3 for 1st Cav. Division who was serving as Multi-National Division Baghdad. I
did use my design experience to help "re-design" our division targeting process… one key
component was our "network map" that we used to graphically depict how AQI was
influencing Baghdad at the time. Essentially it was an "environmental frame" drawn as a
cartoon or concept sketch.
—Major Mark Huhtanen
Working in the environmental space is fundamentally initial exploration of the

environment, its various actors, their interrelationships, and establishing a starting
hypothesis for further testing and refinement. 389 Current doctrine is not explicit on the
387 See Lawson, How Designers Think, 220-229.

388United States, FM 5-0, paragraphs 3-39 through 3-51 discuss the environmental frame. FMI 5-1, footnote
on page 21 has a useful discussion of terminology for the environmental frame.
198
ART OF DESIGN
methods for working in this space, so reference will be to the FMI 5-2 and various theorists
of design.
The goal of environmental framing is the creation of an environmental drawing and an

environmental narrative. The design team leader needs to organize the work carefully in
this stage, since this is usually the starting frame for design. From the start, it is
recommended a small group of the design team be assigned to work within the problem
space, and another to work in the solution space, both sub-groups working in careful
synthesis with the bulk of the team working in the environmental space. The purpose of
working in all three spaces simultaneously is to develop integrated understanding of
the relationships of environment, problem, and solutions.
In the environmental space, work begins on the sketch and the narrative simultaneously. It
is an error to hold off work on one of the two until later – the crafting of both the sketch
and the narrative help generate useful questions, and answers, from the team. The choice of
where to begin is important for the team leader, but it is not as critical as ensuring there is
reflection in the activity of the environmental space, and that understanding is built
iteratively around a series of large-scale questions. The team leader should be methodical
in his positing of these large-scale questions, with deliberate efforts to share emerging
answers with the team, post developments in some common space, and convene periodic
discussions of progress made in understanding.
It is usually helpful to engage the commander as early as possible in this space, to receive
his constraints and initial guidance. However, the team leader needs to acknowledge that
as understanding develops, the initial guidance from the commander may be supplanted or
replaced with new and better understanding. The team leader should also engage with
other members of the organization’s staff, higher and lower headquarters, and other
members of the wider design community of practice. This wider engagement is to identify
subject matter experts who should be brought into the design team, as well as identify any
useful pockets of understanding or intelligence amongst the coalition.
Inside the design team, the team leader should discuss the constraints and boundaries of
the initial limits for the required environmental understanding, the organization for work,
timelines and limits on cooperation, if known. The team should begin its ritual of practice,
as discussed earlier. All members of the team should be kept informed of all changes of
both external guidance or input and internal developments from the design team.
Initiation of work can begin with the team developing its understanding, by using the
products of the sketch and the narrative to identify relevant actors in the environment,
their motivations, and the apparent connections amongst the actors. Part of this
assessment is the existence and potency of interior relationships amongst actors in the
system, and any effective relationships which appear to extend exterior to the bounds of
the system. Iterative movement helps develop more coherent understanding if this is not
done sequentially but simultaneously. It is critical that the team leader carefully modulate
the work effort, ensuring sharing of understanding, but also pacing team members in
199
ART OF DESIGN
competition with each other to stimulate understanding. As information becomes known,

the team leader also must moderate the updating of the narrative and the sketch – working
carefully to ensure updates do not distract from adding new information, but also ensuring
that updated information then generates new requests for information. This is all iterative
and cyclic.
As actors and their relationships are identified, attention must be paid to the boundary
conditions of the frame. Some important actors will have connections external to the initial
limits of interest, and the team leader must negotiate with the commander for expansions
or contractions of the boundary. The team leader must also discuss with the commander,
either individually or with the team present, the commander’s understanding of the
desired state from the perspective of U.S. or coalition policy, strategy, or objectives. All
discussions in the environmental space are prone to develop assumptions about
meaning, boundaries, and conditions, both extant and desired. These assumptions
must be carefully articulated, discussed in large team meetings, and verified both with the
commander, and his higher, and with virtual worlds simulating the environment. This must
be methodical and rigorous. The team leader is advised to make this absolutely explicit, and
an integral part of the ritual of practice.
A useful product from this frame starts with a narrative discussion of the meaning of the
relationships inside the environment. This is usually included in a larger discussion of the
historical, cultural, geographic, and other aspects of the current system, as well as a
forecast of the likely evolution of the system for a certain time into the future. This
statement must include an extensive discussion of the why of the system – why is it doing
what it is doing, and why will it go to some future state. Part of this narrative is the
tendency of the system – its likely future state and the potential(s) of the system – where it
could go given likely inputs from inside and outside actors. 390 The narrative and sketch also
includes discussion of alignment of actors into communities of interest or practice. 391
Additionally, there should be a discussion of the tensions in the system, both tensions in
support of the tendency, and tensions amongst elements of the system that could be used
to gain traction towards the desired state.
Tensions are fundamental to the characteristic of successful leaders Roger Martin calls
integrative thinking. An integrative thinker has “…the predisposition and the capacity to
hold two diametrically opposing ideas in their heads. And then, without panicking or
simply settling on one alternative or the other, they’re able to produce a synthesis that is
superior to either opposing idea”. 392 Just like opposable thumbs, Martin’s metaphor of the
opposable mind is proposed as an explanation for how constructive tension between
conflicting ideas can be a generator of synthesis. Tensions should not be seen as

391 Sometimes referred to as assemblages. For a discussion of this, see Hayward, 40-45.
392Roger Martin, The Opposable Mind: Winning Through Integrative Thinking (Boston, MA: Harvard Business
School Publishing, 2009), 6.
200
ART OF DESIGN
undesirable in design, but rather as a source of creativity. Martin offers insight into six
features characteristic of integrative thinkers, capable of leveraging constructive tension:
Stance about the world
1. Existing models do not represent reality; they are our constructions.
2. Opposing models are to be leveraged, not feared.
3. Existing models are not perfect; better models exist that are not yet seen.
Stance about self
4. I am capable of finding a better model.
5. I can wade into and get through the necessary complexity.
6. I give myself the time to create a better model. 393
The most challenging aspect of the environmental frame for the team leader is to
acknowledge that the work will never get beyond a certain point of understanding, usually
a point well short of commander and design team members’ expectations. Additionally,
there is usually an expectation of a finite, finished product from the environmental frame,
but complex systems cannot be understood, even incompletely, until they are acted upon.
This is a critical point of reference – until the problem and solution spaces are cognitively
populated by design team members, and until the organization begins, at least virtually, if
not actually, to act on the environment, the narrative and sketch of the environment are, at
best, incomplete, and more likely just wrong. It is essential that the narrative and the
sketch both clearly identify the meaning relevant to the system, and the structures of
meaning relevant to the actors in the system. 394
A critical, but exceedingly difficult task for the team is to identify, and use, criteria for
relevancy. This is essential since any system generates a practically infinite number of
actors and interrelationships. Some form of relevancy test must be continually
administered to bound the work of the design team. It is most useful if relevancy is
determined in broad discourse of all the design team, to include the sub-groups working in
the problem and solution spaces. Meetings to discuss the criteria of relevance are arguably
the most important meetings for the environmental space. It is recommended that
negotiations on relevancy criteria include the commander and senior members of the staff,
especially early on in the process. 395 This is the most effective way to bound work, but it is
also very dangerous – if done incorrectly, the design will exclude some critical, perhaps
essential, actors from consideration.
4.3.3.1. LEADING THINKING ABOUT THE SYSTEM

I have this project and we’ve studied the environment and are now proposing a draft solution
to the immediate problem we are focused on solving. The proposed COA’s make perfect sense
from a planning team perspective. BUT, the committees have target fixation where they think
393Ibid., 115-116.
394See Lawson, How Designers Think, for a discussion of narrative, meaning, and naming of actors and
relationships, 267-269.
395 Lawson, How Designers Think, helpful in describing negotiations over meaning, 272
201
ART OF DESIGN
the solution only needs to solve the immediate problem (even though they somewhat
recognize there are sequels to this problem). Some of the solutions our planning team is
proposing is because we understand the context for which the problem exists, and we also
understand that there is tremendous opportunity that our solution (or solutions) to the
immediate problem could help set the conditions to solve the sequels and network into other
command initiatives, but it would require a more comprehensive plan to leverage
opportunities and find ways to mitigate other potential challenges. But the committees don’t
seem to be interested in anything that goes beyond solving the immediate problem or taking a
more comprehensive/holistic approach to connect the problems and solutions together, nor is
any one planning team able to capture and present such proposal. They are falling into a trap
of establishing planning committees (several so far) that compartmentalize problems and
solutions that do not understand networked connections and that fail to connect problems
and solutions that exist at different times.
—Anonymous
By choosing to view the operational environment as a system, the design team emphasizes
the interconnected and interdependent nature of actors, goals, problems, and events. The
systems view encourages integrative solutions that account for complex interactions
between parts of the system. It would be much simpler if instead of taking a systems
approach, we could consider different problems and sub-problems as independent. Then
we could break them down, solve them in isolation, and expect cumulative progress
towards the desired end state. Unfortunately, for complex ill-structured problems, this
approach does not work. Initial progress towards the desired end state is soon
overwhelmed by the unintended side effects and long term effects of ignoring
interdependencies.
The first concept required for a systems approach is feedback.

Feedback is a fundamental concept because it marks the difference between linear and non-
linear systems. Whereas outputs are always proportional to inputs in linear systems, non-
linear systems magnify some inputs (positive feedback) and counteract others (negative
feedback). Because feedback creates interdependence, it is a source of complexity. Feedback
is also the underlying cause of emergence, self-organisation and attractors. For many
centuries, most scientists approximated non-linear systems using linear methods, a very
useful simplification, but one that only works up to a point. 396
Recognizing positive feedback loops within a system allows designers to identify areas of
leverage, where comparatively small injections of energy can lead to large changes in
patterns of behavior. In contrast, negative feedback loops provide stability and diminishing
returns on injections of energy in other regions of the system. Negative feedback loops are
essential for regulation and stability, because they require so much more energy to
overcome. Most situations contain a mixture of positive and negative feedback: of change
396 Alex J. Ryan, “The Foundation for an Adaptive Approach: Insights from the Science of Complex Systems,”
Australian Army Journal VI, no. 3 (2009): 71-72.
202
ART OF DESIGN
and stability. Thinking about the mix of positive and negative feedback loops within a
system encourages designers to consider the underlying sources of the observed patterns
of behavior in the operational environment.
Senge calls recurring structures of positive and negative feedback “systems archetypes.” 397
The systems archetypes reveal an incredibly elegant simplicity underlying the complexity of
management issues. As we learn how to recognize more and more of these kinds of
archetypes, it becomes possible for us to see more and more places where there is leverage
in facing difficult challenges, and to explain these opportunities to others. 398
One of these archetypes is ‘shifting the burden.’ The shifting the burden archetype arises
when an underlying problem generates symptoms that demand attention, yet the root
cause is difficult to address. 399 Decision makers look for quick fixes, which mask the
symptoms but leave the underlying problem untreated. As a consequence, the problem
actually gets worse, and will inevitably resurface. Shifting the burden is a pattern of
behavior caused by two negative (stabilizing) feedback loops. Changes in the severity of the
problem symptom can be balanced out by the two stabilizing loops – the quick fix and the
fundamental solution. The difference: the quick fix operates immediately but only
temporarily, while the fundamental solution solves the problem, but there is a time delay
before the symptoms are affected. An over-reliance on the quick fix can make it appear as if
the problem has gone away, reducing the pressure to implement the fundamental solution.
The shifting the burden pattern is worse if the quick fix has side-effects. The side effects
create a third feedback loop between the symptoms, the symptomatic solution, and the
fundamental solution. However, this is a positive (reinforcing) feedback loop. In this
situation, relying on the quick fix solution triggers a viscous cycle that actually erodes the
effectiveness of fundamental solutions at an accelerating rate.
Jim Baker applied Senge’s concept of systems archetypes to counterinsurgency. 400 He

developed increasingly elaborate models of counterinsurgency based on several key
feedback loops between popular support for insurgents, security, and the rule of law. One
model demonstrates the dangers of shifting the burden. 401 For the case that the insurgent
cause is driven by perceived injustices, the fundamental solution requires addressing
grievances and demonstrating just and legitimate rule of law. However, there is usually a
considerable time delay before population perceptions of Government legitimacy shift. A
more immediate solution is to crack down on the insurgents with military action (although
there is still some delay). The problem with the quick fix of increasing security measures is
398 Ibid.
399 Ibid., 103.
400 Jim Baker, “Systems Thinking and Counterinsurgencies,” Parameters (Winter 2006-07): 26-43.
401 Ibid., 35. The description and graphic here are adapted from Baker’s Figure 6. We have simplified this
discussion by ignoring an additional loop involving ‘poor intelligence,’ which has the same effect as the
‘provide security’ – ‘indiscriminate measures’ – ‘feelings of resentment’ loop.
203
ART OF DESIGN
the side effects generated by the indiscriminate use of force. This fuels resentment within
the population, which undermines the perception of Government legitimacy. Baker’s
model, depicted in Figure 26, is a simple example of how systems thinking can identify
feedback loops that explain one of the dilemmas of fighting a counterinsurgency. Security is
an essential precursor to the just rule of law, yet applied indiscriminately, it risks
undermining the legitimacy of the very Government it is intended to support.
FIGURE 26. THE “SHIFTING THE BURDEN” SYSTEM ARCHETYPE

FOR COUNTERINSURGENCY, ADAPTED FROM BAKER.
Systems archetypes provide useful building blocks for thinking about systems, because
they are inherently nonlinear (the building blocks are loops). However, most operational
environments are extremely high dimensional. They have hundreds of variables that
interacting through weak causal chains that are constantly evolving. In contrast, our
description of Baker’s model contained just five variables: ‘popular support for insurgents,’
‘provide security,’ ‘indiscriminate measures,’ ‘feelings of resentment,’ and ‘rule justly.’ If we
want to understand more realistic models of reality as networks of positive and negative
feedback loops, we need to be able to build dynamic graphic representations of the
operational environment as a system. Appendix G includes reviews of software tools for
modeling complex systems.
Several SAMS AMSP seminars have developed more extensive influence diagrams or
system dynamics models in order to better understand the operational environment as a
system. In Figure 27, Seminar 3 from 2009 used an influence diagram to highlight sources
204
ART OF DESIGN
of instability. In the same year, Seminar 6 considered both positive and negative feedback
to identify balancing and reinforcing loops in the SOUTHCOM area of interest, which is
depicted in Figure 28. In October 2009, U.S. Navy Pilot Captain Brett Pierson from the
Warfighting Analysis Division of J8 in the Joint Staff presented a system dynamics model of
Afghanistan at SAMS. The full model is shown in Figure 29. This model has been briefed on
hundreds of occasions, including to the Commander, International Security Assistance
Force (ISAF) General Stanley McChrystal. It has been widely discussed in the blogosphere
and even parodied on Jon Stewart’s The Daily Show and The Colbert Report. To the lay
person, the only meaning conveyed by this “spaghetti diagram” is that Afghanistan is
complex.

SYSTEM DYNAMICS MODEL OF DESTABILIZING FACTORS.
205
ART OF DESIGN

SYSTEM DYNAMICS MODEL OF THE SOUTHCOM SYSTEM.
206
ART OF DESIGN
FIGURE 29. JOINT STAFF SYSTEM DYNAMICS MODEL OF AFGHANISTAN.
The model pushes the application of system dynamics to its limits by attempting to display
the full complexity of Afghanistan as an interdependent whole. In spite of its complexity, it
still falls well short of the true complexity of Afghanistan. The variables are aggregated to
the national level, so no distinction is made between villages, districts, or provinces. Cross
level effects (bottom-up influences from the districts or top-down pressure from the
international community) cannot be easily accounted for in this model. The interactions
with neighboring countries are not represented, and the international community is
aggregated to several variables focused mostly on the U.S. Mental, moral, and physical
factors are all idealized as either stocks or flows. The flows represent causal links between
variables, so they cannot account for other kinds of relationships (such as semiotic links).
The choice of variables frames the system from a very Western perspective. The flows
between variables represent hypotheses that are difficult to validate individually, and
impossible to validate collectively. Because of the high dimensionality of this model, the
underlying equations are inherently unstable, meaning that even if the model was perfectly
accurate, it would tell us very little about the time evolution of the system. Although the
model represents dynamics, there is no novelty and no adaptation in this system – the
feedback loops themselves never change.
207
ART OF DESIGN
What, then, is the value of such an elaborate model? One advantage over traditional
approaches is that many people who are working pieces of the problem may not be aware
of their impact on other parts of the system. Such an overarching model provides a way to
trace potential pathways of unintended consequences. Captain Pierson coined the term
“loops of operation” to show how seeing lines of effort in the context of the whole system.
Another advantage is that having a systems model allows a more sophisticated approach to
assessment, capable of accounting for nonlinearities and time lags. As with Senge’s more
simplified systems archetypes, Pierson’s model suggests high leverage points of
intervention. There may even be some utility in showing people such an intricate model of
Afghanistan, as an antidote to simplistic linear solutions accompanied by the illusion that a
single individual is capable of understanding how Afghanistan really works.
While designers would find the model in Figure 29 of interest for potential insights it may
shed on the operational environment, they would never construct this kind of systems
model themselves. That is because the purpose of building systems models in design is not
to mirror reality as accurately as possible, but rather to have a reflective conversation with
the situation. Systems models also serve as an excellent source of questions to focus
discourse. For these purposes, simple models that can be easily discarded are more
conducive to creative designing. A design team would build a much simpler model of
Afghanistan at the national level, but they would also build multiple models at different
levels and from different perspectives, to allow zooming in and out. These models would be
classified as design drawings, for the internal understanding of the design team, rather
than for external consumption.
A nice example of a systems model created by designers is provided in Figure 30. The
model is considerably simpler to understand compared with Figure 29, yet in some ways it
is more comprehensive. It uses the vertical dimension of the drawing to represent four
levels within the system. Key actors at each level are shown, as well as relationships,
coordinating mechanisms, and tensions within the system. By distilling the system down to
the essential actors for expanding the Qawm, this graphic works as a presentation drawing,
capable of communicating insights to external audiences. Although this individual frame is
not dynamic, it is one of several slides that explores the dynamics of expanding the Qawm,
including the new tensions the desired expansion could create.
208
ART OF DESIGN

MAP OF THE ACTORS IN THE SYSTEM AT MULTIPLE LEVELS.
Several other key systems concepts are useful for understanding the operational
environment as a system. Insights from complex systems science emphasize bottom-up
sources of order. For designers, this translates to considering informal as well as formal
mechanisms of control and influence. The source of patterns observed within the system
may be self-organizing from the bottom-up, not just planned and executed from the top-
down.
In contrast to systems dynamics models that seek to represent reality as composed of

systems, Soft Systems Methodology (SSM) makes no assumptions about the composition of
the operational environment. Instead, SSM provides a systemic approach to learning about
problematical situations. 402 SSM surfaces conflicting worldviews that exist within
purposeful activity systems. This promotes seeing the operational environment from
multiple perspectives, with a view towards taking action to improve the system that is
desirable and culturally feasible from different worldviews. SSM is possibly the closest
209
ART OF DESIGN
analog of military design in the civilian sector, and has a wide and accessible literature on
how to use a systems approach to structure problems.
4.3.3.2. LEADING THINKING ABOUT YOUR OWN SYSTEM

Failure to frame ourselves in the environment, problem, and solution space… What I
have now observed is that strategic and operational concept plan (CONPLAN) development
rarely has assigned/allocated forces known from the start. Because of this, they are not
framed in the environment or problem frame, but are included in the solution space as the
“means” that support the “ways” or the theory of action. What I have now come to realize is
that framing “a wish list” into the solution space is unrealistic, especially for the US with
multiple contingencies and few actual assigned forces. So inherently, the initial resourcing, i.e.
the wish list, used in the solution frame and theory of action will likely not be supportable by
the forces that are actually “apportioned.” This tension automatically leads to the
requirement for a complete reframing to find a viable theory of action. So in this sense, you
can frame the problem, but you cannot frame the solution until you know what forces you will
have.
Systems thinking applies equally to self as to the operational environment. Moreover,

because we have so much more control over self compared with the environment, insights
about our own system should in theory be easier to implement.
The biggest lesson from systems theory is that the way to cope with complexity is through
adaptation. Adaptation allows a system to improve its fit with its environment, so it is most
applicable to your own system. However, a corollary of the need to improve our own ability
to adapt is the desirability of disrupting the adversary’s adaptive cycles.
Adaptation is a process variation and selective retention. 403 Biological evolution, human
learning, machine learning, and cultural evolution are all examples of adaptation. Without
an internal or external source of variation, there is no possibility of change, so variation is
an essential prerequisite for adaptation. Selective retention inhibits some variants
(negative feedback) and reinforces others (positive feedback) with a bias towards retaining
fitter variants. In simple terms, adaptation is nothing more than a principled and sustained
application of trial and the elimination of error.
However, there are many ways this simple algorithm can be implemented within the
design of operations. Tradeoffs exist because there is no one right way to organize your
own system. The best way to organize depends on the context, which is in constant flux.
There are a number of tradeoffs that have been identified within complex systems science,
403 Donald T. Campbell, “Blind variation and selective retention in creative thought as in other knowledge
processes,” Psychological Review, 67, 1960, 380-400.
210
ART OF DESIGN
listed in Table 34. Adaptation can be used to manage these interrelated systems tradeoffs
at multiple levels within your own system.
TABLE 34. DESIGN TRADEOFFS TO CONSIDER FOR THE DESIGN OF YOUR OWN SYSTEM 404
Tradeoff Description
Adapted Adaptability Adapted to current context or adaptable to
future contexts
Exploration Exploitation Exploit the current best strategy or explore
alternatives
Competition Cooperation Agents compete to achieve individual goals or
cooperate to achieve a shared goal
Independence Interdependence Agents separated to maintain independence or
connected to create interdependence
Innovation Integration Organizational orientation towards innovation
and creativity or integration and control
Bottom up Top down Decision making and change initiated from the
top of the hierarchy down or from the bottom up
Decentralized Centralized Control is centrally coordinated or
independently implemented in parallel
Specialization Multitasking Agents are heterogeneous and highly specialized
or homogeneous and able to perform multiple
functions
Induction Deduction Agents act on rules generalized from past
experience or by deducing logical consequences
of assumptions
Deterministic Random The system’s behavior is completely determined
by the input or uniformly random regardless of
the input
Chaos Order System is unstable and changes quickly or
system is stable, ordered and robust to
perturbation
Bar-Yam uses case studies from across military conflict, ethnic violence, international
development, engineering, health care, and education to explore the application of complex
systems insights to real world problems. His book Making Things Work provides many tips
for how to organize your own system in response to a complex environment. 405 Bar-Yam
focuses on evolutionary forms of adaptation to cope with environmental complexity. Some
of the most relevant advice to military organizations includes:
• Before complex problems can be addressed, we have to give up the idea of

centralizing, controlling, coordinating and planning in a conventional way (p. 260).
404 This table also appears in Ryan, “Foundation for an Adaptive Approach,” 83.
405 Bar-Yam, Making Things Work.
211
ART OF DESIGN
• The first step to reducing the likelihood of failure in a complex task is to simplify the
objectives as much as possible (p. 228).
• Five ways to reduce the likelihood of errors: feedback correction, eliminating steps,
redundancy, automation, and reducing the local complexity of the task (p. 137).
• Specialization is an important and effective technique for reducing complexity (p.
152).
• Teams can handle much more complexity than individuals can (p. 155).
• Systems should be networked only when the demands on different parts of the
system are linked, and not otherwise. There are benefits to connections but also to
subdivisions between parts, depending on the environment (p. 49).
• Systems designed for large scale, repetitive tasks have a very different structure
than systems designed for high complexity, fine scale tasks (p. 106).
• Partitioning the system into large scale, repetitive tasks that can be solved
efficiently, and fine scale complex tasks that require tailored treatment, improves
overall system effectiveness (pp. 124-125).
• Large scale, uniform approaches to complex problems can produce some initial
success, but fail over time in the details, piece by piece (p. 185).
• Evolution, involving competition and cooperation over multiple levels, is the basic
mechanism for improving the fit between a system and its environment (pp. 71-85).
• An evolutionary process can be designed by creating an environment that fosters
continuous innovation in the system itself, which explores possibilities as rapidly as
possible (p. 230).
• In complex systems, the main role for management is to create the environment in
which the systems create themselves (p. 159).
• The more complex the system, the more valuable individual differences and
variation become (pp. 166, 181).
• In highly complex systems, effective change should arise from local experiments (p.
158).
• Evolutionary processes always try multiple paths to success, rather than relying on
a single global plan (p. 215).
• Use multiple criteria for success, to ensure that evaluating success and failure
encourages many different ways to be successful. Allow for different rates of
learning, broaden what counts for assessment, and allow selection pressures to
operate as a force for change. (pp. 189-194).
• Sustainable development has to be “natural,” it must fit within the history and
context of the system (p. 209).
• Redundancy plays an important role of achieving reliability and security in a
complex and dynamic environment (p. 234).
• Systems with smaller, independent parts innovate faster, but cannot perform all the
functions that larger scale integrated systems can perform – there is a tradeoff
between innovation and integration (p. 237).
• Evolutionary processes can be accelerated by simulation or through virtual worlds
(p. 237).
212
ART OF DESIGN
• Negotiating new boundaries can reduce patterns of conflict and violence within a
system (p. 257).
• The complexity of the organization must match the complexity of the tasks it is
required to perform (p. 259).
Bar-Yam summarizes with the following advice for organizing your own system:
When large scale tasks are identified, then one can adopt the traditional approach of
centralizing authority, instituting standards, imposing uniformity, planning upgrades and
improving efficiency. When complex tasks are identified, then one should adopt the complex
systems evolutionary approach of distributing decision, action and authority, setting
functional goals and directions for improvement, supporting individual initiative,
measuring effectiveness in the field, instituting redundancy, forming cooperative teams, and
creating rules that promote competition with performance feedback at the functional team
level. 406
4.3.4. PROBLEM SPACE 407

We have been working on a proposal that required GCC approval. The combatant
commander’s staff is divided on whether they support the proposal or not. So they have
developed three other COAs in addition to ours to brief the GCC commander. We were
reviewing their slides with our CG Friday morning and he was getting frustrated because
there seemed to be something missing…in this case, a problem frame. There were four
solutions, but it seemed like no one agreed upon the problem. So I quickly framed the problem
with a strategic and theater problem, facts, assumptions, and forces available. Once I got this
done, it quickly became apparent that only two of the COAs were feasible, acceptable, and
suitable for the problem. The other two answered the wrong problem.
When the team leader and/or the commander decide to shift priority effort to the problem
space, and the bulk of the design team moves into the problem space, they should be
introduced to the space by those members of the team who have been working there from
the start. The team leader must ensure the sub-group active in the problem space is linked
with the discourse in the environmental space, and kept aware of all changes in the
environmental narrative and sketch. As the team settles into discussing the nature of the
problem, a small element should be left in the environmental space to continue to update
those products.
In the problem space, the focus is on making specific the areas where transformation of the
existing, or forecasted future conditions, into desired conditions can occur. Much of the
work in the problem space is concerned with the tensions in the system, both
406 Ibid., 262-263.

407 United States, FM 5-0, paragraphs 3-52 through 3-56.
213
ART OF DESIGN
positive and negative. Figure 31 shows the tensions between the observed and desired
system for Seminar 8 in 2009. The graphic clearly lays out the relationship between the
observed system, the desired system, and the tensions, which leads to a problem statement.
FIGURE 31. SEMINAR 8 SAMS AMSP 2009: DIFFERENCES BETWEEN THE OBSERVED SYSTEM AND
THE DESIRED SYSTEM GENERATES TENSIONS, WHICH INFORM THE PROBLEM STATEMENT.
A useful concept from obsolete doctrine is limits or zones of tolerance. Although not
discussed in FM 5-0, FMI 5-2 added the very useful concept of zones of tolerance to the
language of design. 408 Zones of tolerance are depictions, in sketches or text, of the
acceptable limits of a system’s future state from the perspective of various potent actors, to
include the friendly organization. By scoping the nature of the problem in terms of a range
of outcomes all of which are acceptable, the design team is enabled to generate actions in
the solution space with less concern for precise future outcomes. Another advantage of the
use of zones of tolerance is the often very informative discourse with higher commanders
about the nature of the zones of acceptability. In these engagements, the commanders and
408 United States, FMI 5-2, 24.
214
ART OF DESIGN
designers tend to learn significant insights into the range of acceptable outcomes, insights
that would not be gained through a simpler discussion of end states or desired objectives.
In 2010, SAMS Seminar 3 developed a useful articulation of how they framed their problem.
The first part of Figure 32 shows a graphical depiction of the problem and a concise
problem statement, which identifies perceptions of trust as the important issue.
215
ART OF DESIGN
FIGURE 32. SEMINAR 3 SAMS AMSP 2010: FRAMING THE PROBLEM BY UNDERSTANDING THE
SOURCE OF DIFFERENCE BETWEEN THE OBSERVED AND THE DESIRED SYSTEM.
The second part of Figure 32 shows the process Seminar 3 used to identify the problem.
This involved beginning by looking for differences in relationships between actors in the
observed system. These “What?” questions identified surface differences, which were
explored by “Why?” questions. This directed the inquiry from information towards ideas
and conceptual differences between the actors. Continually asking “Why?” dug deeper
towards sources of difference – in this case, perception of trust. Having reached an
explanation, the team translated this explanation back into a tangible description of the
desired system. Now, the problem statement could capture the difference between the
observed and desired systems, along with the logical explanation for the difference.
216
ART OF DESIGN
4.3.5. SOLUTION SPACE – DEVELOPING THE OPERATIONAL

APPROACH 409
SAMS should stress that Design is about creating rather than an endless cycle of learning.
—Major Don Fuqua
In a discussion of the solution space, care must be given to the manner in which the design
team works its way through solving the problem confronting it. Lawson offers some
solutions to the challenges of working in the solution space. 410 He recommends a series of
options for beginning work the design team leader may find useful. The first option is to
choose solution options from pre-existing solutions out of past experience of the
organization, from doctrine, or from some form of pattern book. This method has a low risk
of spectacular failure, since the organization has some initial familiarity with the solution
approach, but it also has a limited chance of deep success, since pre-existing ideas are
brought to bear on a unique design challenge. Another technique is to simply copy an
existing solution from another problem set. This has similar failures, and minor successes,
as the pattern book approach. Another, more useful technique, is to use established rules or
doctrines for micro-behavior to move a discussion of comprehensive solution forward. By
limiting the behavior of the subordinate units of an organization to tasks they are familiar
with, the design team is then bounded to consider a limited range of options. If this enables
forward progress, it is useful as a technique, although the unique nature of complex
systems informs the team that these solutions will not be exact, or possibly even effective,
matches to the unique system being addressed. Another useful technique is to discuss
solutions in terms of analogies, not to copy a solution over, but to stimulate thought about
unique solutions by thinking in terms of analogous situations and solutions.
It is especially important to consider solutions in the context of the environmental frame

and the problem frame. The environmental frame provides insight into the propensity and
potential of the current system, as well as the desired system. Framing the problem
identifies the areas for intervention and will already direct inquiry towards certain kinds of
solutions. An integrative solution should resolve multiple issues surfaced within the
problem space. Above all, the design team must avoid stovepiped solutions that treat
interdependent sub-problems separately.
Any or all of these techniques can be combined in the solution space. Whichever are
selected by the team leader, he/she should encourage the team to develop multiple
possible solution sets, again as a means to stimulate creative thinking by the team. The
team can then select from this set of possible solutions divergent ideas to again stimulate
creative discourse. A significant question for the team leader involves the number of
solutions to capture, assess, and brief to the commander. More than one is always better –
409 United States, FM 5-0, paragraphs 3-57 – 3-67.

217
ART OF DESIGN
in the contest between solutions, the team and the commander will generate new ideas.
Too many, however, is counter-productive to effective discourses.
Three different representations of the operational approach developed in the solution

space are shown below. Figure 33 looks like a typical Lines of Effort (LOE) or Logical Lines
of Operation (LLO) chart. However, it also represents uncertainty and the possible need to
reframe following injections of energy into the system. Figure 34 shows how in 2009
Seminar 2 extended the concept of Lines of Operation (LOO) to develop Zones of Operation.
This allowed them to depict overlaps and growth in the zones over time. Importantly, this
also depicted problems and obstacles that would hinder progress towards the objective,
whereas most LOO charts show a one-sided picture of only those actions that contribute to
the objective.
FIGURE 33. SEMINAR 7 SAMS AMSP 2010: LOGICAL LINES OF EFFORT IDENTIFY THE END STATE,
DESIRED CONDITIONS, SYSTEM INJECTS, AND POTENTIAL REFRAMING POINT FOR THE DESIGN.
218
ART OF DESIGN
FIGURE 34. SEMINAR 2 SAMS AMSP 2009: ZONES OF OPERATION PROVIDE A BROADER
CONSTRUCT THAN TRADITIONAL LINES OF OPERATION, SHOWING OVERLAPS AND
PROBLEMS IN ADDITION TO FRIENDLY ACTIONS AND OBJECTIVES.
The third example of an operational approach presented here in Figure 35 departs from the
tradition of representing time as flowing horizontally from left to right. Instead, Seminar 1
in 2010 used a quad chart to map out current, undesired, acceptable, and desired states of
the system (a technique that was also used by Seminar 8 in 2009). This provides graphical
depiction of the short-, mid-, and long-term solutions to the situation, as well as
highlighting events that would cause a reframing of the problem and solution. Each of these
sketches has different strengths and weaknesses in terms of what they show and what they
hide about the proposed operational approach. Hence it is always useful to develop
multiple visualizations, as well as capturing detailed understanding of the operational
approach within the accompanying narrative.
219
ART OF DESIGN
FIGURE 35. SEMINAR 1 SAMS AMSP 2010: OPERATIONAL APPROACH INVOLVES MOVING
FROM THE CURRENT STATE TO THE DESIRED STATE VIA THE ACCEPTABLE STATE,
WHILE AVOIDING THE UNDESIRED STATE.
4.3.6. INTEGRATED DESIGN

I’ve come to the realization that time spent Designing, developing an understanding of the
system, enables the Chief of Staff and staff primaries to synchronize their efforts through the
development of sub-systems. So Design is more than a way of understanding the operational
environment, it can also be a tool to help synchronize, organize and integrate the staff.
—Anonymous
Doctrine clearly depicts design as occurring in three spaces, but just as clearly states that
the design team must work simultaneously in all three spaces to achieve understanding. 411
Effective design requires the team work in multiple spaces simultaneously, as organized by
the team leader. 412 However, the design team, usually through the team leader or his
220
ART OF DESIGN
designated trusted agent, must maintain contact with the relevant boards, cells, and
working groups in the organization. The team must also maintain effective contact with
subordinate and superior echelons, especially making and maintaining contact with civilian
representatives of critical non-military agencies. Critically important to the success of the
organization, the design team leader must represent the understanding of the commander
and the design team in every engagement he, and members of the team, have with the
detailed planning staff and current operations personnel. Especially important is the
seamless integration of design with the assessment personnel of the organization (see
below for more ideas and techniques on all of these integration efforts).
One of the strengths of the design approach is its inherent appeal to members of
government agencies beyond the military. Both the terminology and the concepts of design
are less foreign to civilian personnel than the military-specific language of the Joint
Operations Planning Process of the Military Decision Making Process. The design approach
also encourages a freer ranging discussion, especially evident to civilians, than the
processes of JOPP or MDMP. Since design encourages reflections, iteration, re-
construction of understanding and cognitive discourse about the nature of systems,
problems and solutions, civilian members of the team are more likely to engage in
the design spaces than in either detailed planning or current operations. 413
Figure 36 and Figure 37 show two examples of integrated design concepts developed by
Seminar 9 in 2009 and Seminar 4 in 2010 respectively. Seminar 9 shows the logic of how
their whole design concept fits together, from the problem statement to the theory of
action, and how their lines of effort contribute to transforming from the observed to the
desired system. Seminar 4 develops lines of effort to guide short term tactical action, while
acknowledging that strategic communication and changing the narrative are critical to
operational and strategic success.
413 Lawson, How Designers Think, 296ff for bringing problems and solutions together in open discussion.
221
ART OF DESIGN

INTEGRATED RESPONSE TO THE AFGHANISTAN PAKISTAN PROBLEM SITUATION.
222
ART OF DESIGN
FIGURE 37. SEMINAR 4 SAMS AMSP 2010: DESIGN CONCEPT ARTICULATES SIMULTANEOUS
ACTION TO TRANSFORM THE SYSTEM OVER THREE DIFFERENT TIME SCALES.
4.4 LEADING ITERATION

Using design now as we prep for mission in Haiti. Will use it once we get there as part of the
iterative development of understanding. Will try to capture lessons learned and talk about
methods.
—Lieutenant Colonel Dave Doyle
Understanding of a complex situation is impossible without acting on the environment.

Initial awareness is an essential first step, but decisive or culminating actions should not be
identified until the environment has been engaged in a set of actions designed to learn
about the issues and actors of the situation. In other words, comprehensive action steps
conceived and stipulated before the environment has been stimulated with “testing”
actions, are most likely going to fail due to a lack of understanding. To learn, iterative
action, reflection, and creation are necessary. The very nature of reflecting on actions, of
learning from the stimulation of the environment, is the essence of the design approach. To
223
ART OF DESIGN
believe sufficient understanding can be gained before ever interacting with a complex
situation is to ignore the precepts of complexity. In a context where cause and effect are
ambiguous or even counter-intuitive, initial understanding will never be holistic or
accurate. To gain holistic and relevant awareness, multiple engagements over time,
with adequate space for reflection and learning, are essential.
The design team leader must deliberately control the iterative actions that emerge from the
design team’s efforts. This iterative work is in coordination with the larger organization,
and organizations beyond your own. Iteration can take place in many ways, some internal
to the design team, others in more open engagements with the rest of the organization or
with the larger system itself. Team leaders should take full advantage of iteration as
opportunities for themselves and their team members to reflect on previous understanding
and actions, and attempt to re-configure knowledge and understanding. Several techniques
are helpful. The first is to conceptualize iteration in one form as confronting understanding
as represented in a sketch, a drawing, or in the words of a text document.414 The team
leader should encourage members of the design team to engage older works in an effort to
re-construct, through iteration, old ideas and then configure new conceptions. By using
artifacts of work, the capturing itself is an opportunity for reflection, and so is the effort
undertaken to explain the artifact to other members of the team. Both events can, and
should, generate discourse through iterative reflection.
Iteration also occurs with every engagement outside the design team. Particularly useful
iterative engagements should occur with the personnel engaged in detailed planning and
current operations. The design team leader must encourage effective iterative reflection
and re-construction in these engagements, always striving to make them into opportunities
for adjusting and improving the understanding of all participants. Particularly useful
iteration should occur with the personnel responsible for all forms of assessment in the
organization (see Section 4.5.3 below).
The key concept of iteration describes how design interacts with other activities in the
operations process. In his monograph applying design to military transformation, where
there is no exact equivalent of the operations process, Major Luis Cepeda identified a fourth
cognitive space for the iteration “…required to plan, implement and assess the myriad of
interactions that result within the system.” 415 According to Cepeda, “[t]his new dimension
is where the transformational design process physically and/or cognitively interacts with
the environment: political authorities, geography, enemy, public opinion, populace attitude,
allies, and media, amongst many others.” 416 Cepeda calls this new dimension the
engagement space.
414 Lawson, How Designers Think, 273, 277-278.

Major Luis F. Cepeda, “Towards a Theory on the Design of Military Transformation: A Systemic Approach”
415
(Monograph, School of Advanced Military Studies, U.S. Army Command and General Staff College, 2010), 54.
416 Ibid., 51.
224
ART OF DESIGN
Iteration also, of course, occurs in the actions inside the system, in the actions the
organization takes in accordance with the design and detailed planning efforts. Here, the
design team leader has a clear responsibility to inject stimulating questions while engaging
personnel responsible for monitoring the results of the planned and executed actions. The
team leader also has a responsibility to ensure similar questions are asked of unplanned
actions by the organization. Close engagement with intelligence personnel is necessary to
gain the same iterative reflection on threat or adversary actions as well. It is critical for the
design team, through the organizing efforts of the team leader, to maintain contact with all
active elements of the organization in order to increase learning through iterative analysis,
synthesis, and reflection.
Figure demonstrates iteration in the way tensions were represented by Seminar 2 in 2010.
The first model of tensions emerged in the first couple of days of a six week design effort.
The influence of this early sketch is still apparent in the final tensions presentation sketch
shown in Figure 38. However, the two intermediate sketches between the initial and the
final sketch demonstrate a total of four iterations in the way tensions were seen within the
Strategic Communication system. By the third iteration, most of the components of the
sketch had stabilized. However, the color coding from the second iteration was
reintroduced and extended for the final iteration to visually depict more information in the
final sketch.
225
ART OF DESIGN
226
ART OF DESIGN
FIGURE 38. SEMINAR 2 SAMS AMSP 2010: ITERATION LEADS TO IMPROVEMENTS

IN THE HOW THE SITUATION IS UNDERSTOOD, REPRESENTED, AND COMMUNICATED.
A critical central concept to design is a near-constant and deliberate effort to negotiate

forward toward common shared understanding. Negotiation occurs in many ways during
design. You will conduct negotiations internal to the design team, many negotiations with
your own commander and the commanders of superior and lower echelons, and conduct
frequent negotiations with both the deliberate planners and the personnel in current
operations. Each opportunity for negotiation, each engagement with some person or
entity involved in the system, is itself an opportunity to learn, and to increase your
own understanding. The team leader should feel empowered to enter into many forms of
negotiation, since no one individual has the key concept or the complete understanding of
any system. Learn though effective negotiation – through effective discourse, where the
value of ideas is based solely on their ability to better explicate the system, the problem set,
and possible solutions. The design team leader must create the need for negotiation,
frequently through forcing a discussion about a concept, action, or event that others would
prefer to avoid. Sometimes these are the most meaningful of all negotiations.
Use of virtual worlds, wargaming, simulations and effective discourse are all tools for
developing greater understanding of the environment before action. They are also useful
for testing actions before operationalizing them in the actual system itself. Arguably the
most useful application of virtual worlds is in testing the outcome of actual actions in the
227
ART OF DESIGN
real system, after they have occurred. This assessment-linked use of virtual worlds while
actions are occurring aids in both increasing understanding of the complex system and in
honing the next set of blue actions.
4.4.1 SCOPING THE WORK

A technique useful to generate new perceptions is to scope and scale the work. 417 Scope
refers to how broad or narrowly the issue is bounded. Scaling the work involves zooming in
or out. Scaling the work allows the team to re-look their general and specific concepts by
looking at details of the situation, or alternately, pulling back and looking at the bigger
picture. In this scaling, in the going into detail or looking at the larger picture, new
perceptions can be generated, new understandings of linkages and meaning can be re-
constructed, and the team itself can be cognitively refreshed. One effective technique for
doing this is to have the personnel engaged in a design space split into two smaller teams,
with one team going into a detailed assessment of a particular component, and the other
team going to a longer, wider view. The teams are then brought together to discuss what
changed perceptions they garnered through this activity. The team leader should assist in
these discourse moments, focusing the ideas of the teams on new conceptualizations, new
understandings, and new perceptions. The team leader then should re-orient the team
personnel by publicly identifying the new perceptions and leading a discourse on how the
new perceptions affect the former understanding of the design space.
4.4.2 LADDER OF REFLECTION

A very useful technique when the design team is stuck is to use Schön’s ladder of
reflection. 418 Becoming stuck, or hitting a block, is often due to simultaneous mental
exhaustion on a particular issue. By using the technique of the ladder of reflection, the team
is redirected to look at the issue from a different perspective, or even look at a different
issue altogether. To use this technique, the team leader simply asks the team to reflect on
the issue under discussion from a different perspective – Schön recommends going up to a
higher level of cognition or down to a baser form of thinking. For example, if the team is
stuck on an issue of the relationships amongst several actors in the context, the team leader
simply asks the team to focus on one actor for a while, or asks them to look at the
relationship of the group of actors with some other entity in the environment. This change
of perspective is usually enough to generate a new idea chain which helps the team
negotiate past the blockage.
Another form of moving up and down the ladder of reflection is to modulate which space
the team works in at any time. Although some members of the design team should be

418 Schön, Educating the Reflective Practitioner, 114ff. Also see Lawson's parallel lines of thought – a similar
device, How Designers Think, 143, 154-155.
228
ART OF DESIGN
assigned to all three spaces at most times, when stuck, the team leader may move all
members to one space to stimulate new perspectives and ideas. Alternatively, the team
leader may move responsible individuals around the spaces to gain fresh perspectives. All
of this is determined by the team leader’s assessment of the progress of the design team.
This technique is also useful for generating new ideas along a commonly held
preconception. Asking the team to reflect from a new perspective will generate differing
factions, and will frequently result in an increased understanding of the issue.
4.5 LEADING ORGANIZATIONAL DESIGN

As leader of a design team, your responsibilities go far beyond the confines of design. Your
responsibility includes orchestrating the movement of priority work from design into
detailed planning, and then assisting the detailed planners in moving the priority of effort
into current operations. You are also responsible, in part through the mission narrative, for
assisting the synchronization of strategic communication throughout the system. You also
play a key role in creating a system of assessment tools for the organization – since action
without effective assessment is useless. Additionally, you may need to conduct some of the
techniques and cognitive skills of design in an environment where formal, deliberate
design is not acceptable. Finally, you must retain your own sense of balance, and be able to
conduct useful self-reflection.
4.5.1 TRANSITION TO PLANNING

I hate that we practiced “Design” in SAMS by doing it in formal practica prior to launching
into JOPP and MDMP. I would rather have had it infused within all the things we did. Part of
the “problem” of Design is that it requires interaction with the environment one will operate
in.
The transition to planning is frequently considered one of the more challenging aspects of
design. However, it is actually straight forward, if one keeps in mind several of the key
tenets of design. First, the movement from design to planning is not based on a single
product, but an iterative common shared understanding of the context, the problem, and
initial ideas for problem management or solution. Although the bridge from design to
planning is sometimes expressed in a particular document, the creation and sending of the
document does not absolve the design team from continual engagement with the rest of the
organization. This should not be a “hand off and forget it” effort. Second, the
communication to the rest of the organization will never be fully completed – additional
engagements with the rest of the staff and all echelons of commanders are essential for
success. Third, as expressed by General Dempsey in the forward to FM 5-0, design allows
commanders to understand the environment “before entering the visualize, describe,
229
ART OF DESIGN
direct, lead and assess cycle.” 419 Focusing on the understand aspects of battle command
during design is the “get out of jail free” card for all challenges of the transition to planning
– the team leader must keep in mind that if a subject or an issue it is not concerned with
understanding, it is a planning function, not a design product.
Additionally, it may be helpful to use design, and its products, to establish the fundamentals
of assessment for the operation or campaign. Although this is not clear from FM 5-0, most
experienced planners understand that the difficulties of assessment are moderated if it is
begun as early as possible. 420 Beginning assessment “understanding” belongs correctly to
the world of design. Given design is now helpful in the initial stage – understand – and in
the final stage – assess, the design team has clarity on what needs to be done and what can
be assigned to the detailed planning (see Section 4.5.3).
The doctrinal products of design are collectively referred to as the design concept. The
design concept, which can include the by-products of the design itself, a problem statement,
initial commander’s intent, initial planning guidance, and the mission narrative, is
incompletely defined in FM 5-0. 421 If the design team keeps in mind the iterative nature of
complex problem solving, some of the ambiguity in doctrine falls away. Rather than being
overly concerned with future friendly actions, the design team should focus clearly on
understanding, include environmental, problem, and operational approach understanding,
and with assessment. Commander’s intent and guidance can be expressed as the outcome
of understanding and with a look forward to the critical assessment concepts. This will be
sufficient for the detailed planners to pick up the primary execution planning
responsibilities.
The mission narrative, however, requires both broader and more specific work from the
design team. This document should be focused in two directions: toward clear
information/strategic communication understanding of the situation and toward clear
understanding of the need to communicate with interagency, coalition, and host-nation
partners. Keeping the mission narrative focused on these two issues, again with one eye on
understanding and one eye on assessment, the design team will not over burden itself with
issues more appropriate to detailed planning Focus on these two will also clearly provide a
useful document for the commander, for the more senior officials, and for the staff.
To streamline the transition to detailed planning, the design team should simply capture its
earlier presentation and design drawings and narratives, avoiding extensive rewrite of
previous products. 422 If the design team has used clear and unambiguous language while
designing, there should be no need to rewrite products.
419 United States, FM 5-0, Foreword.

420United States, FM 5-0, paragraph 3-1 calls for design to aid in the understand, visualize and describe
portions of battle command.
421 United States, FM 5-0, see paragraphs 3-63 through 3-66.
230
ART OF DESIGN
One of the best examples to date of capturing the learning from design to guide detailed
planning is the report “A Design Concept for Moving Beyond Strategic Communication”
written by SAMS Seminar 2 in 2010. The report explains both the findings of the seminar’s
inquiry and the design methodology used to explore the issue of strategic communication,
including both narratives and presentation drawings developed during design. The
introduction of the report is shown in Table 35. For the full report, see Appendix G.
TABLE 35. SEMINAR 2, SAMS AMSP 2010:

INTRODUCTION TO “A DESIGN CONCEPT FOR MOVING BEYOND STRATEGIC COMMUNICATION.”
The DoD Dictionary of Military and Associated Terms (Joint Publication 1-02) defines the
phrase strategic communication for the Department as “Focused United States Government
efforts to understand and engage key audiences to create, strengthen, or preserve
conditions favorable for the advancement of United States Government interests, policies,
and objectives through the use of coordinated programs, plans, themes, messages, and
products synchronized with the actions of all instruments of national power.” However,
this recitation of a dictionary definition does not explain how this term is interpreted and
implemented.
The 20th century presented the Army with the challenge of revolutionizing its training and
doctrine in order to maintain dominance. The 21st century presents an equal challenge for
the Army to revolutionize the way it communicates to achieve commensurate information
dominance. The information domain and cyberspace are the decisive terrain in 21st
Century warfare. Currently, the United States Army is not optimized for success in this area
and must quickly grasp the gravity of its current stance. The modern operational
environment is increasingly devoid of traditional states, borders, and militaries. Instead,
the new battlefield deals increasingly with both the physical environment and the
communication environment where weapon systems and lethality combine with
perception management as the keys for ultimate success. This evolution necessitates a
significant change in the way the Army understands strategic communication and has
fundamentally changed the necessary communication skills required for the US Army to
meet national objectives at home and abroad.
Strategic communication is about generating shared meaning in support of national

objectives. This involves listening as much as transmitting, and applies not only to
information, but also to physical communication – action that conveys meaning. The
concept deals with the challenge of influence – convincing others to think and act in ways
compatible with our objectives, whether this means causing others to adopt a specific
course of action or simply understand us better and accept us more. Influence is a
pervasive and fundamental form of any social interaction, as essential to cooperation as it
is to competition or conflict. One mechanism for exerting influence is communication.
Strategic communication is an adaptive, decentralized process of trying to understand

selected audiences thoroughly, hypothesizing physical or informational signals that will
have the desired cognitive effect on those audiences, testing those hypotheses through
action, monitoring the actual result through feedback, and disseminating the best solutions
231
ART OF DESIGN
quickly. The strategic communication process is always a work in progress, one that is
inherently aspirational in its goals. Nonetheless, it is a critical process, one that the Army
must be committed to improving.
Emergent thinking is coalescing around the notion that strategic communication should be
viewed as a process, rather than as a set of capabilities, organizations, or discrete activities.
In its broadest sense, “strategic communication” is the process of integrating issues of
audience and stakeholder perception into policy-making, planning, and operations at every
level. Echeloned empowerment, laws, and regulations must be operationalized to create
the communication environment needed in the United States Army.
Although imprecise, the term strategic communication connotes the qualities of effective
communication that most directly impact operational effectiveness. It provides a shared
starting point for discussing communication as well as what must be done to leverage the
latent communicative potential inherent in the Army.
The School of Advanced Military Studies (SAMS) undertook a design effort, drawing from
communication theory, Army doctrine, and insights from communication practitioners. The
theoretical research considered a broad range of topics from interpersonal
communications to communicating via new media. The design considered communication
practices from across the force and compared these against communication theory to
identify and examine areas for improvement. Additionally, subject matter experts in
strategic communication from the fields of government, politics, business, and academia
informed the design by providing recommendations based on their respective areas of
expertise. By applying the design methodology, the SAMS design team applied critical
thinking skills toward understanding the Army’s strategic communication efforts.
There are many techniques for carrying design into the detailed planning. Doctrine
specifies that the design team is drawn from the planning staff to encourage effective
sharing between the conceptual and detailed planning efforts. 423 Other techniques include
assignment of members of the design team to specific detailed planning actions. It is
recommended that the use of assessment tools be the primary method of integrating the
efforts of the design team and the detailed planners. If assessment is used carefully, it
captures the essential outcomes of blue action to achieve the desired conditions. This focus
is sufficient for coordinating the work of designers and detailed planners (see Section
4.5.3).
4.5.2 STRATEGIC COMMUNICATION

At its most basic, Strategic Communication uses a variety of media to communicate
messages intended to shape the understanding of specific audiences. When leading
423 United States, FM 5-0, see paragraph 3-32 for design team make up, see paragraphs 2-37 through 2-40 for
discussion of conceptual and detailed planning.
232
ART OF DESIGN
strategic communications the initial struggle is to recognize that the communication

process is itself a complex adaptive system. The fundamental attributes of complex systems
and design theory apply to the communication process in the same way they do to the
overall design of operations. The second element to keep in mind is that strategic
communication is not a separate element of design, but an integral part of the design
concept as a whole.
In leading the communication process it is imperative that the team not confuse traditional
ideas about product “marketing” with strategic communication. Leading strategic
communication means establishing an environment within the design team that reflects
this understanding. Communication within the team and among the team and external
audiences, including commanders, interagency partners, in-theater communities, etc.,
should be viewed through this lens.
The hardest part in leading Strategic Communication is to guard against the tendency to
confuse Strategic Communication with Information Operations. The institutional history of
the military focuses on hands-on, “can-do” techniques. Strategic Communication is
frustrating, slow, and often ineffective because of the complexities of how different
audiences transmit and receive meaning. Leading effective strategic communication
means setting the right expectations for the role of strategic communication without
creating an atmosphere that dismisses its importance. One of the best ways to do this is to
remind team members that the communication process is not a one-time act, but a long-
term series of acts in a larger campaign. And just like with any kinetic campaign, strategic
communication must be strategic. In other words, a communication campaign must focus
its message to maintain clarity and must limit the audiences it addresses. At the same time
strategic communication does not limit the means of communication. A good leader will
maintain an adaptive strategic communication plan that shifts to accommodate changes in
how its key audiences receive and understand messages. Groups frustrated with the pace
and hit-and-miss nature of communication will quickly lose this adaptability. 424
In their practicum design concept, SAMS Seminar 6, academic year 2009, incorporated
Strategic Communication as a central element of their approach. In looking at their
environmental frame Seminar 6 asked, “What kind of reality has this particular system that
we are trying to influence constructed for itself?” 425 In asking the question this way the
Seminar recognized two concepts emphasized in Design: the need to understand the way
foreign communities create a sense of identity (the problem of the other), and the
centrality local concepts of authenticity play in facilitating cross-cultural communication.
For SAMS Seminar 5, academic year 2010, the first element of their Strategic
Communication design was to focus their efforts on supporting the Qawm – the local
Afghan institution that spoke with the most authentic voice to the community. “The
‘Support the Qawm’ theme’s intent is to provide a reinforcement of the traditional social
structures in Afghanistan and to bolster the capability of local leadership mechanisms,”
424 Workshop in Strategic Communication, University of Missouri School of Journalism, February 17-19, 2010.
425 SAMS Seminar 6, Academic Year 2009-10 Strategic Communication Narrative.
233
ART OF DESIGN
noted the Strategic Communication narrative. By supporting this traditional structure of

leadership, the Seminar intended to create a more effective channel through which they
could engage their target audiences in specific dialogues about the other themes identified.
Through the Qawm they could establish themselves as having the support of a legitimate
authority and begin discussions about the future of Afghanistan, the structure of its
government, and the role of international forces.
The slide below in Figure shows the themes emphasized by the seminar and the trend of
effort over time. Also note the definition of Strategic Communication at the top of the slide.

NEW MEDIA STRATEGIC COMMUNICATION LINES OF EFFORT.
4.5.3 ASSESSMENT
If understanding and assessment are the two key cognitive spaces for the linkage of design
to detailed planning, they are also the linkage to preparation, execution, and assisting the
234
ART OF DESIGN
commander in leading the force. 426 In doctrine, assessment is only loosely linked to design,
usually solely through a need to reframe if the mission is not functioning, and if the plan
needs to be completely redone. 427 This is inadequate, since the design team leader is the
staff officer most familiar with the environment, the problem framing and the concepts of
the operational approach. The design team leader must pursue active involvement in all
organizational assessments, including being named the staff officer responsible for the
assessment working group. Assigning that critical task to an operations officer or to an
ORSA officer, as recommended by doctrine, hinders the effectiveness of design. 428
One effective technique for assessment provided in Appendix B is a Strengths, Weaknesses,

Opportunities, Threats (SWOT) analysis. An example of SWOT analysis applied to design is
given in Figure 40. Seminar 2 in 2010 conducted a SWOT analysis on the issue of the
Combined Arms Center’s strategic communication. In SWOT analysis, it is important not
just to list out each category, but to consider their combinations: how weaknesses can be
turned into strengths, how strengths can mitigate against threats, and so on. SWOT analysis
provides a framework for assessment of both the internal and external context.
426 See Lawson, How Designers Think, Chapter 5 for a detailed discussion of assessment.
427 See United States, FM 5-0, Chapter 6 for a discussion of assessment.
428 United States, FM 5-0, paragraph 6-61 calls for “operations officer, plans officer, or senior ORSA staff
section serves as the staff lead for the assessment working group.”
235
ART OF DESIGN

SWOT ANALYSIS IS A USEFUL TOOL FOR ORGANIZING ASSESSMENT.
Without effective assessment, any action is simply a shot in the dark. With effective
assessment, the organization learns the value of its environmental, problem and solution
space understandings, the currency of its detailed planning, and the relationship of current
operations on the organizations’ overall understanding. Assessment must be linked to all of
these forms of cognitive awareness. Lawson refers to assessment as empowering an
integrated response to a whole range of issues which emerge when engaging the system. 429
Designers, especially leaders of design teams, must embrace the idea that they have a
critical responsibility in the creation of effective assessment for the organization. Creating
assessment “tools” must begin as soon as design starts – if left to a later stage of design, it
will not be integrated into initial understanding, and initial actions by the organization will
tend to be conducted without direct and powerful linkage to the assessment system. In the
environmental space, designers will identify particular nodes, relationships, and entities in
the system that can be specifically assessed for changes of state, changes of relationship, or
alterations in narrative meaning. These ideas must be captured and provided to a
429 Lawson, How Designers Think, How Designers Think, 62.
236
ART OF DESIGN
designated member of the design team responsible for incorporating ideas on assessment.
In the problem space, the design team should identify similar items linked to the statement
of the problem, with particular emphasis on issues that confirm or deny the validity of the
problem conceptualization, through reactions of the system to action.
In the solution space, as the operational concept is developed, there are two primary
threads for assessment. The first is to be able to assess whether the actions required by
design actually appear to impact the nature of the problem, or the nature of the
understanding of the system. The second form of solution space assessment is whether the
actions to be conducted are actually linked in space, time, and function with each other. The
system will react to actions, usually in ways not precisely foretold, and the organization
itself may not be able to effectively coordinate its own actions, as desired in the design or in
detailed planning. Both areas require effective assessment, usually in rather different
forms.
As the organization moves into detailed planning, preparation, and actual execution of
operations, the design team leader must re-assess the effectiveness of the assessment tools
generated in design, assist the detailed planners with validating their assessment tools, and
monitor assessment developments in current operations. Participation by design team
members in organizational after action reviews (AARs), as well as assisting in the conduct
of detailed planning AARs and leading AARs in the design team are all essential steps in
maintaining effective assessment.
4.5.4 INFORMAL DESIGN

There are HUGE rice-bowls that will be upset if we truly attempt to incorporate Design into
how we do things. It almost has to be a “stealth” Design, I think. Incorporate it where you can
on the margins to make some change and be cognizant that we won’t change the world
tomorrow.
The feedback we received from the field indicates that not all command climates are
permissive for the explicit use of the design methodology. This is understandable, given
that design is relatively new, and SAMS graduates are usually the only members of the staff
to have had formal education in design and participated in multiple reflective design
practica. If current processes are already working, there may be a reluctance to deviate
from the status quo.
Graduates who have found themselves in this situation have requested methods for
informal design. Fortunately, other graduates have provided us with examples of their own
experience, which often includes adopting a design mindset, even when they do not use
design terminology within their operational planning teams or in their products. The
ability to internalize design yet still explain activities in commonly understood language is
an extremely useful skill, regardless of the command climate. A feature of great design is
237
ART OF DESIGN
that the design itself does not detract attention away from the purpose of the design. In
Table 36, we summarize the advice from our students in the field on how to design without
explicitly taking a design team through the methodology provided in FM 5-0.
TABLE 36. AMSP GRADUATE FEEDBACK ON INFORMAL DESIGN.
Advice for Informal Approaches to Design

Recommendation for the student text: “Perhaps some discussion for methods of “covert
design”… some sort of design approach that does not scare other staff officers and/or
leaders.” Anon.
“When design is applied behind the “scenes” with a core group and used to feed MDMP
(either Mission Analysis, or COA Development) it is actually well accepted. Many times
during my deployment I was asked be superiors to “show the math”, this was the door that
allowed me to utilize design and show what I had done. Using design also allowed in many
cases for me to lead an operational planning team quickly through MDMP as long as I was
prepared ahead of time. Finally, on a Division staff, one must be prepared to form their own
design team.” Major Mark Huhtanen
“We had started as just an “after dinner” group, made up of 13 people from various staff
sections- most who had worked on the Planning Group for the Command’s OPORD.
Eventually we obtained the support of the SAG Chief and CJ5 and then later the CG’s
Military Assistant. We met 2-3 times a week for an hour and a half. We brought in guest
speakers- Ministry of Interior folks, different Command section members, and NGO people.
We did outside research and briefed each other on different aspects of the police and
Ministry of Interior. We loosely followed an environmental understanding, a “problems”
understanding, and a solutions discussion- spending about 2 weeks on each (4-6 meetings
on each “phase”)…
Lessons learned so far:
• We had to get sponsorship from key staff section chiefs or we wouldn’t get traction
with anyone on the CG’s staff.
• Have to get buy-in from someone in the commander’s inner circle- and it has to be
the right person.
• Have to manage expectations of the CG and sponsors – but also be willing to
negotiate on what is expected of the group- give and take is paramount. Know when
to take a stand and when to flex.
• We initially thought we should keep our conclusions to ourselves and only share
with the CG and his MA – the idea being that we would stir up less staff discontent if
our ideas seemed to come from the CG and not us. Ended up sharing a lot of what we
came up with in the group- since our learning started to influence our “day jobs” and
we incorporated ideas into advice and plans, etc. – which bubbled up to the CG
through different venues. We now plan to share our info more openly – although we
still are having to be cognizant that not all staff section chiefs or other G.O.s are as
enthusiastic about us as others are. Currently we share our conclusions more
openly; officially we share them with the CofS, the CJ5, the SAG, the MA, and a few
others- deputies mostly. Individual comments are all non-attributive, and that goes
for guest speakers especially.
• We were told to stay away from “Design-speak” and doctrinal terms dealing with
238
ART OF DESIGN
Design. As such, our first name – the Design team – changed into the Planning
Initiatives Group (PIG) – the idea of the CJ5 who likes to call us “the PIG.” We
changed it to the Inter-staff Initiatives Group to note our multiple staff section
makeup. Bottom line is that I think we are doing “underground Design” – using some
of the things we have learned, but couching it in different language to make it
palatable. What we conclude and the “so what” are more important in the end to our
“clients.” And, just as in sales – you HAVE to know what your client wants.
• Design – at least in some of the doctrinal concepts and foundational literature –
seems to assume that one can get at fundamental problems and issues and that you
can target these base issues directly. Unfortunately – politics forces the environment
into a different shape than the one that exists on the “fundamental” level. In other
words, the State Department, the Justice Department, the U.S. Government, the
GIRoA, and even different commands and branches within the military (and our
own command!) are as much a part of the environment and obstacles in the way of
solutions as the insurgents are. You have to get away from spending a lot of time
thinking all “blue” forces are monolithic and driving towards the same goals. You
have to understand the inner politics and networks of “us” as much as you do – or
maybe even more at this level – than you do “them” – and you have to take into
account the most likely and most dangerous COAs of these entities. The so what is
that even with Design you can’t develop this “magical solution” that will get at the
heart of the problem – because we, from our own structures, make the complex
even more wickedly complex. You acknowledge the heart of the problem, but then
very quickly get into what you will pragmatically be able to accomplish – and how. I
think Design literature sometimes seems to promise we can get at fundamental
problems instead of symptoms – but I would caution against thinking that simply
identifying fundamental problems means you can actually start to get at these
fundamental problems. Instead it just might frustrate you
more!” Major Grant Martin
“Dissipative Groups. I have used two different methods. One is using a normal JPG the other
is using the other guys in my section. Depending on who the members are, I generally don’t
tell them what I am doing because different stuff scares people…they don’t like new ideas,
so instead I just tell them we are doing a modified mission analysis…they are comfortable
with mission analysis. So what I have done with ill structured problems or no structured
problems is do a quick frame in my mind to identify the what I think the main elements of
the problem based on my “thesis” of the problem. I take these and tell the JPG or other staff
members to go do research on the area paying particular attention to certain aspects. So we
generally have three day between projects, so I give them a day. When we come back
together, then we go through their findings and discard what looks like it doesn’t matter to
the problem, and we dig deeper on the next round on either aspects found during the initial
research or we move to other aspects to do research on. So we can quickly develop a frame
and identify the key elements around which to spend most of our time.
The other method which is a modified version of this has emerged in the last couple of
months within my section where we have all learned each other strengths and weaknesses.
We use internal process for very quick turnaround problems. So the lead will quickly frame
what he thinks the problem is…again, I used to use MA, now I largely use problem framing
239
ART OF DESIGN
openly because they understand it well enough…then we send that out to the other seven
members of our division for review. In reviewing it, each individual will add or take away
from the frame based on their expertise and critical eye. It has been interesting how quickly
we can frame complex problems. What has also happened is that we have learned from
each other and try to frame with the idea of what the other guys will focus on, and in doing
so, each lead tries to head the reviewers off at the pass. So we have actually made ourselves
more critical from multiple points of view which has been interesting to see. Then as a third
level of dissipation, each person sends his response back to the other members of the
division, which causes another set of discussions about the problem helping everyone to
synthesize the real problem and solutions.
This also works at senior level. In fact on Friday we went through this same technique, but
this time from the 0-4 to the 0-8 level in about two hours, which we hadn’t done before. We
have been working on a proposal that required GCC approval. The combatant commander’s
staff is divided on whether they support the proposal or not. So they have developed three
other COAs in addition to ours to brief the GCC commander. We were reviewing their slides
with our CG Friday morning and he was getting frustrated because there seemed to be
something missing…in this case, a problem frame. There were four solutions, but it seemed
like no one agreed upon the problem. So I quickly framed the problem with a strategic and
theater problem, facts, assumptions, and forces available. Once I got this done, it quickly
became apparent that only two of the COAs were feasible, acceptable, and suitable for the
problem. The other two answered the wrong problem. So that was very interesting and
timely for this discussion!” Major Derek Jones
“Fifth Column of Wisdom: A Survivor’s Guide to Informal Design
Words matter. The cascading of words from audience to audience is a perilous game of
logic. When one hears that “To be great is to be misunderstood,” the comforting if mistaken
corollary that “to be misunderstood indicates greatness” must be banished. So it is with
design. As an approach to hiding design in the open, the following discussion offers
opportunities for practitioners to apply critical thinking and creative communication in an
environment where the lingua franca is PowerPoint, Excel, and MDMP. Next slide.
The requirements to orchestrate informal design can be viewed along a continuum
between buying time and getting buy-in. The command climate within a unit will indicate
the level of permissiveness for a group of planners to sit around the dry erase board for
hours and not come away with tangible product. The staff climate within a unit will
dampen or encourage the use of “other people’s product” or, in other words, the extent to
which a staff officer is measured against the wear and tear on the keyboards’ shortcuts to
“cut” and “paste.” Upon careful consideration of how many hours in a given month can be
set aside for gaining understanding and how many minutes must be devoted to clear
demonstrations of the outputs of the planning work, then and only then can the planning
team assemble under cover of “meeting” or “OPT.”
The extreme case bears some examination. Those places where the mention of “design”
brings an almost pathological revulsion and memories of an inarticulate, incomprehensible,
and annoying Design Proselytizer pushing a multi-colored diagram with circles and arrows
may someday fade away into history along with the Advanced Guard Main Body. In the
meantime, planners faced with a design-hostile workplace must use the language well
240
ART OF DESIGN
within the comfort zone. Mission Analysis is a perennial favorite. Gathering the planning
team under the auspices of mission-analysis-without-a-mission is not as difficult as one
might initially think. This is where standards come in.
A training-based approach to conducting mission analysis is a formidable way to begin
disarming the resistance to more formal design. Teach a class on mission analysis using a
practical example relevant to the design problem. By providing clear structure with agenda
items and expected training outcomes, a “class” on mission analysis takes a staff through
the relationships of facts and assumptions as they bear on a sample problem. The language
of problems remains firmly planted in the doctrine that many grew up with, as does the
construct of task and purpose; task conditions and standards; and purpose, method, and
endstate. Building a framework in which the movement toward “what is going on” rests on
geography, forces, and conditions can ease the sleight of hand where specified and implied
tasks spring from the questioning behind “why is it going on?”
Importantly, when leadership wanders in and sees the inevitable whiteboard graffiti spilled
all over the room, words like “essential tasks” and “assumptions” provide context. Again,
every hour spent not in meetings and not making products for meetings must have a
justification with a price tag: we accomplished this, captured it this way, and this is where
and how our work directly relates to the job at hand.
The transition from training to learning is where informal design pays off. Staff officers
fixated on completing their appropriate Annex can be brought in during course of action
analysis exercises to see where their expertise and input shape wargaming for everyone.
Key leaders can see how the groundwork taking place during “training” sessions directly
supports the future requirements for detailed planning. By directing the learning toward
identifying the strengths and weaknesses of the staff, planning team leaders determine
where and how to couple staff sections together to leverage consistent movement towards
overall level of understanding. Gaining a feel for the dynamics of the staff during “training”
lays out a way forward when the breakout occurs.
Eventually, the light goes on within the staff. Whether from the very beginning or through
the slow churn of informal design, there comes a time when the momentum of looking at
the relationships relevant to the problem can be exploited. The critical factor is whether
the staff at this time is ahead of, in line with, or behind the commander. The cases in which
the staff is in line with or behind the commander simply require the staff to do what they
do best: work harder. In the special case where the staff is ahead of the commander (purely
hypothetical for the sake of argument), or where there is an unavoidable gap between the
commander and the staff from within the staff itself, informal design comes in to play again.
The language of design in this special case is either problematic or counter-productive. It is
imperative that the forums for discussion, the decision briefings, and the written and
graphic products consistently portray a mature level of understanding well within the
boundaries of planning products. No commander wants a mission analysis brief that
displays the level of work put in by the staff. The purpose is the communication of the
analysis, namely seventeen slides of “so what.” Or less. The challenges associated with
presenting analysis sequentially (MA brief, COA development, COA analysis, etc) are where
and under what pretext to inject new understanding. The curse of the combat operations
241
ART OF DESIGN
daily FRAGO and the just-in-time directed course of action cannot be left unaddressed.
Conveniently, the tried and mostly true running estimate serves a purpose here.
Just inside the threshold of gaining buy-in from within the staff and from the commander,
informal design can leverage another technique consistent with MDMP. While
commander’s guidance and intent span a wide range of qualities in terms of timeliness,
completeness, and usefulness, the judicious shaping of commander’s critical information
requirements (CCIR) throughout the planning and execution phase assists in the
commander-staff dialogue. The chain of reasoning that links observations to decisions to
actions, as depicted for example in a decision support matrix, can be leveraged early on to
support design requirements. Consider what an intelligence, surveillance, and
reconnaissance (ISR) plan for assumptions really looks like.
Both internally and externally, the questions of what to look into, what to look at, what to
look for provide a powerful and insightful engagement tool for the commander, the staff,
higher headquarters, collaborators, and subordinate units to at the very least see each
other. By balancing a discussion of “information requirements” with the methods and
means for getting after them, planning leads can harness the looping nature of design well
within the mechanics of an organization versed in servicing targets and moving on.” Anon.
4.5.5 SELF-REFLECTION
Finally, the design team leader must understand, accept, and cope with the gravest
challenge of all – maintaining personal intellectual flexibility. Two things assist the design
team leader in this task – the first is the presence of a top cover individual. Some officer,
preferably senior to the design team leader, should prevent interference from competing
demands, questions, and tasks from senior officers on the design team.
The other thing which can greatly assist the team leader is a set of trusted agents in the
team itself. These trusted agents can act as foils for reflection to bounce new ideas off and
ensure the rituals of practice remain relevant, rather than stifling intellectual flexibility. An
example of reflection on the design methodology is provided in Figure 41.
242
ART OF DESIGN

REFLECTIONS ON THE DESIGN METHODOLOGY.
4.6 LEADING REFRAMING

It’s all a question of story. We are in trouble just now because we do not have a good story. We
are in between stories. The Old Story - the account of how the world came to be and how we
fit into it - is not functioning properly, and we have not learned the New Story. The Old Story
sustained us for a long period of time. It shaped our emotional attitudes, provided us with life
purpose, energized action. It consecrated suffering, integrated knowledge, guided education.
We awoke in the morning and knew where we were. We could answer the questions of our
children. We could identify crime, punish criminals. Everything was taken care of because the
story was there. It did not make men good, it did not take away the pains and stupidities of
life, or make for unfailing warmth in human association. But it did provide a context in which
life could function in a meaningful manner.
—Thomas Berry
243
ART OF DESIGN
A critical component of design, especially for long duration campaigns and for extremely
ambiguous environments is the idea of reframing. Reframing is the altered
understanding of any of the three design spaces which causes the organization to
rethink the nature of that design space. Described in doctrine as when a plan must be
entirely re-conceived, reframing actually applies in many circumstances, in many different
ways. 430 Reframing of the environmental frame may occur at any time during design,
during detailed planning, or during actual operations. The reframe based on the
environmental frame is due to a fundamental misunderstanding of the nature of the
system. Reframing of the problem statement may occur during design, but is more likely to
occur during detailed planning when physical requirements are identified that were
overlooked in design., It may also occur during actual operations, but is unlikely to occur
during preliminary design itself, since new inputs into the problem space will frequently
not be powerful enough to generate a reframe. Reframing of the operational approach most
frequently occurs during actual operations, although it may occur during detailed planning.
This form of reframe usually results from a successful encounter in the system which did
not produce the anticipated results. Reframing inside detailed planning is also possible,
although this will usually affect only the problem or solution spaces of design. Reframe,
despite the doctrinal statement about complete re-design and re-planning, may not require
wholesale change of actions, plans, or even design. It will, however, always be significant,
or it is simply an adjustment and not a reframe.
4.6.1 REFRAMING
Reframing is a big hairy deal!
The first concern of the design leader is to validate the need to reframe. Secondly, the
leader must arrange for an engagement with the commander to discuss the need for the
reframe and the downstream effects of reframing. The leader must constantly be aware of
the tension and anxiety caused in the design team upon reframing. However, reframing is
not to be feared or avoided, since reframing is one of the most effective generators of
creative new ideas and paths to solutions. 431 When is becomes apparent that reframing is
necessary, usually from what Schön refers to as “backtalk” from the system, the design
team, with the advice and consultation of the commander, re-assesses which portions of
the design conceptualization require reframing. 432 If the backtalk was extensive, and
revealed significant gaps in the baseline understanding of the system, reframing may go all
the way back to foundational understanding in the environmental space. If the backtalk
was less fundamental, and related more to either the awareness of the problem set or a
See FM 5-0, paragraphs 3-68 through 3-71 for a useful, nuanced discussion of reframing. Paragraphs 6-2
430
and 6-33 limit the discussion of reframing only to the development of an entirely new plan.
244
ART OF DESIGN
difference in the possible solutions, then work would be prioritized in the appropriate
space of design. Like other work in design, however, there should be presence in all three
spaces of design simultaneously, coordinated and integrated under the leadership of the
design team lead. It is critical that this occur during reframing, since the initial assessment
of the backtalk may be in error, and the team may well determine that the error that led to
the backtalk was based on another, or perhaps all three, design spaces.
Reframing should also be coordinated with the detailed planning team(s) and with current
operations. Since the backtalk frequently occurs in the realm of current operations, careful
observation of the current system is the responsibility of the design team. Some
mechanism, some element of a learning organization, should be employed to gain and
maintain situational awareness and understanding through current operations to the
design team, or at least an element of the design team.
While coordinating reframing activities with both the detailed planning personnel and with
current operations, care should be taken that higher and lower echelons are also informed
of the reframe, the reason for the adjustment, and likely actions to result.
4.6.2 THE POST-REFRAME MOMENT

After reframing is ordered by the commander, or the design team engages in assessment of
a reframe, but has not yet received guidance from the commander, the design team leader
is responsible for maintaining awareness of both the internal atmosphere of the design
team, and the overall impression of the reframe moment on the larger organization. As
stated above, this is an opportunity to better accomplish the mission, not the time to launch
into endless second guessing or blame finding. Reframing is an integral part of dealing
with complex systems, and should always be embraced as a positive sign of
increased understanding of the system.
245
ART OF DESIGN
4.7 FEEDBACK FROM THE FIELD

This section collates feedback from the field on how design is actually being used by SAMS
graduates. It is hoped that reading this spectrum of experience can help to prepare current SAMS
students for their future duty assignments. Further, we hope that publishing the feedback we
receive from the field will encourage others to complete the feedback form in Appendix E to share
their experience with future students.
TABLE 37. FEEDBACK FROM THE FIELD: THE SPECTRUM OF DESIGN EXPERIENCE.
“Since I have been at the TSOC, I have been involved in developing a strategic appreciation,
TSOC vision, SOF Theater Strategy, SOF Theater Campaign Planning, DoD Counterterrorism
Strategy and Campaign Planning, and a global planning effort which included all GCCs.
What my Design education did for me was allow me to think bigger and help frame
problems quickly in my head so that I could concisely describe what we needed to do or at
least provide an initial solution to problem framing that then generated discussion. On
more than one occasion I have taken over planning efforts that were being led by 0-5s and
0-6s because they were unable to frame the problem to begin the planning effort.” Major
Derek Jones
“As the Chief of Plans for the 25th ID, MND-N, we used the design process for all of our
complex problems; Border Security, Kurd-Arab Relations.” Major Jeff Powell
“I just recently redeployed from Iraq and was in the plans shop. We however did not use
Design because we fell in on a Division HQs that was pretty wedded to their current
campaign design and did not want any changes to it.” Major Tom Wilson
“At the division level I have not used design. There are clearly applications for its use,
Parliamentary Election support, Transition to Phase IV: Stability Operations, Reduction of
Forces, however, the 1AD command climate is averse to its use. Command climate and unit
culture are critical to the application of design. At the divisional level, if the command
group is unfamiliar with Design, it won’t happen. The culture within 1AD is very linearly
focused, checklist oriented. There is little to no systemic thinking, the command general is a
SAMS graduate but either is unaware of Design, or is averse to its use; despite a climate that
almost requires a systemic approach and the application of Design thinking. When I arrived
to the division the first question posed to me by the Chief of Staff and the commanding
general was, ‘Why the F@#$ did you go to SAMS?’ ” Anon.
“I would like to share...there is room for Design in our Army - particularly when working
for former SAMS planners like our CG, MG Brooks. I actually face a problem that is opposite
most of my peers...instead of facing push-back from my sponsor, it’s the staff who’s
resistant. Our CG is asking for Design, begging for it almost. But very few on the staff are
comfortable giving him what he wants and we’re only recently finding direct access to him
in a small-group setting.” Major Jason Pape
“After attempting to use a piece of design to create an Environmental Frame, it became
obvious to me that the free-form design methodology was anathema to the Corps Staff and
the situation at hand. I was to brief the MNC-I commander an initial Mission Analysis Brief
on Friday, only 5 days after my arrival in theater. With this deadline and the lack luster
response from the Corps Staff when confronted with a blank slate and a confusing way
ahead, I immediately reverted to the JOPP… The withdrawal of forces from Iraq while
246
ART OF DESIGN
continuing to conduct FSO while transitioning to Stability Operations with a force cap of
50K troops while coordinating with the inter-agency to build a long lasting strategic
partnership with Iraq is daunting. If any problem warranted Design, it is this one. The
process however, is not conducive to the personnel and processes in USF-I.” Anon.
“Let me get this straight…We are still teaching that Design mess there at SAMS? I expected
that to die when Commanders in the field were complaining that we are graduating with
pie-in-the-sky design concepts, but cannot spell MDMP. I have used Design in the sense of
JP 5-0; often, but I have not opened the “Art of Design” manual SAMS is so excited about.”
Anon.
“The first project upon arrival at my unit following graduation was Unified Endeavor
(Division MRX). This was clearly not a planning intensive exercise. I used this time to
develop a campaign concept for our deployment and used several of the ‘Design Tools.’ One
particularly was developing CCIR clusters to develop the DST. Linking multiple CCIR
categories across our LOEs to identify how all supported decision making. The Affinity
Diagram really helped and several staff sections now use that and Mind Mapping when
examining problems and solutions. Use of these tools also, identified CCIR that were not
linked to decisions and needed to be rewritten or thrown out.
I have used many design tools and language in developing our Operational Design for the
RC. Just briefed COMIJC this morning on it via VTC. We described Operational Environment,
complexity, actors, agents, tensions (Environmental / Problem Frame). In our Operational
Design, I merged traditional 5.0 language and some design language. I wrote a script for the
brief as a narrative to explain our understanding. I have been a big fan of using narrative in
notes pages of our briefs, especially to explain complex slides, definitions and ideas.
(Reference NYT article on PowerPoint433). So far the briefing has been well received by all,
and created a better understanding for those not at the brief, especially when we send
read-aheads.
I have a core group of folks using design and design tools when examining problems. The 2,
3, 35, myself, and my planners form the core of this group. The challenge is the majority of
staff officers and plans reps are not familiar with design, complexity theories or its terms of
reference. The most important part is to create avenue for the CG, and DCG's to participate
in the process. To implement design you must get the “power brokers” in the Division on
board and then it starts to promulgate. Key players are the 2, 3, 5; secondary players are
the CHOPS, 35, 4, 9. They need to know the influence of each position within the staff. The
35 and the CHOPS can be more important than a primary. Good relations with the 2, 3 and
CHOPS, and 35 breed good planning, and a unified front to the command group.
I was assigned a CPT that just graduated from the Career Course. His first task was the
collaborative planning related to the major force introduction to Afghanistan. He reviewed
Draft FM 5.2, several design tool products and discussed these with our planners. He
developed and briefed multiple courses of action, one later approved by the Commanding
433Elisabeth Bumiller, “We Have Met the Enemy and He Is PowerPoint,” New York Times, April 26, 2010.
http://www.nytimes.com/2010/04/27/world/27powerpoint.html (accessed May 17, 2010).
247
ART OF DESIGN
General, for the employment of surge forces in Afghanistan accounting for the multiple
variables in the environment to achieve the Division's objectives, decisive operation and
decisive point. He fully integrated the application of design to understanding the
environment, problem and development of viable solutions at the General Officer level.”
Lieutenant Colonel John Hale
“General staffs and joint staffs have a lot of institutional hesitation to accept Design as a
way to frame a given problem. Operational planning teams often jump directly into mission
analysis, COG analysis, etc, without performing the due diligence on scoping the problem.”
Major Joe Jackson
“I haven’t formally used Design in the year since graduation, however I find myself using
concepts and critical thinking skills on a daily basis. It has enhanced my ability to examine
problems and get to the root of issues, particularly when asked to provide comment on
Strategic/Policy issues which affect my ASCC-level command.” Major Royal ‘Sim’ Ripley
“Unfortunately, I have no design experiences to offer you, although my SAMS design
education has surely influenced the way I think and the lens with which I now look
through.” Lieutenant Colonel Daniel “SHIP” Lasica, USAF
“I have not used a deliberate design approach in my post-SAMS assignment. I have used
MDMP with a mind more open to the concepts of design. I credit SAMS as having imparted
“how to think”, and SAMS is the only school I can honestly say that about.” Major J. P.
Maddaloni
“I still think that Design is the best way to attack the complex problems we encounter in the
field. In my job as the J4 Plans for SOCAFRICA, I try to introduce Design (without the Design
lexicon) with varying degrees of success.” Major Don Fuqua
“No, we did not use design in the field. I joined my unit mid-deployment to Iraq, and what
they called design was set in stone and we were not allowed to change because the CoS felt
that it was still valid despite dramatic changes in the situation or conditions in which we
operate. Consistency was valued higher than constant never ending improvement. The
Division Staff that I worked on was under-utilized and very open in admitting to its
Dysfunctional nature. We never conducted an MDMP, so don’t feel bad that we didn’t
update/change/improve the design at any point in the deployment.” Anon.
“- During the JPG for the command’s OPORD to support COMISAF’s campaign plan we
discovered not many people knew much about the command outside of their lanes. After a
month, the JPG were THE holistic command thinkers.
- Three members of the SAG, 5 of the J5, 1 of the J3, 1 of the J7, 1 of the J2, and one from the
air guys (CAPTF) got together and formed a “Design” group with the blessing of the SAG
and J5 chiefs. (we have 1 Aussie, 3 Brits, 2 US AF, 1 Dutch officer, and 5 US Army guys). We
meet right now for an hour a night- with a plan to go to 2-hour meetings once a week after
the first week.
- We are working on what to do with ourselves right now- with these ideas: 1) work to
inform commander on alternative concepts than what he is getting through normal chain of
command; 2) prepare for 6 month assessment on the command OPORD (and possible new
JPG convening); 3) offer the command a “think-tank”-like group that can offer a more
holistic view of the command and possibly a more objective view with insights into second
248
ART OF DESIGN
and third order effects; 4) disseminate information throughout the command on issues we
uncover that are hard to “see” from the matrixed staff perspective; 5) review all of the JPG
assumptions, outputs, and the OPORD itself; 6) inform doctrine writers on our insights into
the practicality of Design.
- We are discussing now who to get to “sponsor” us- to give us strategic guidance and who
we would report to. Candidates are the CG, the CG’s deputy, or one of the other G.O.s. Also
discussing what kind of Afghan representation – if any – to attempt to get.
- We are also discussing what our boundaries should be (NTM-A/CSTC-A or something

broader or something more specific within the command).” Major Grant Martin
“Upon arriving here I assumed the duty as Chief of the USARPAC Operational Design branch
and Chief of Strategy and Policy. As of next week I also assume duties as the Plans Chief
responsible for all the CONPLANs/OPLANs. Fortunately, our CG had decided to give design
a try and allowed our G5, COL Sorrells to contract out Booz Allen Hamilton to come out and
conduct a seminar to train up representatives from each of the staff sections and gave us
our first assignment of looking at India due to the administration’s heightened support of
India as a Global Core Partner. The team was organized out of hide pulling one of our
civilians out of the G3 Knowledge Management, a MAJ out of G4, and a WO out of the G2.
For obvious reasons this matchup works very well for us since it provides an individual to
collect, organize, and store our data. Additionally, he is a systems guy/ ORSA as well as a
meta-question type who serves to question what we are doing and why we are doing things
that way. The G4 MAJ acts as my deputy and works the contracts while representing the G4
side of the house. The warrant officer is our link into the ACE and although he is a core
member he still works in the G2 section which helps to maintain a strong link there. As for
outside help, we have reached out to ADSO, PACOM, the FAOs, country teams, SAMS
Seminar, BAH, SMEES, and relevant staffers depending on where our focus was. Upon
reporting in, the team was to brief the CG the very next morning. They were trying to get
their slides together and were not sure exactly what they should be presenting to the CG. I
jumped in had them fix their slides at least to meet the CG's requirements and to facilitate
getting a read-ahead upstairs. After I ran the slides by the G5, he had me go ahead and brief
the CG the next morning. After that brief and acquiring an understanding as to what the CG
wanted I reorganized our way ahead and had the team go back and redo the environmental
frame from a more strategic perspective, then from an Army to Army perspective. The next
time we briefed the CG a month later I was able to show him both and environmental frame
and problem frame with a logic for transformation. This allowed him to think out loud and
gave our FAOs enough information to improve their products for the upcoming Executive
Steering Committee and HQDA Staff Talks in India.
Upon returning from India we pulled in key staff elements into an OPT and worked two
weeks developing an Operational Approach. Upon briefing this to the CG, LTG Mixon gave
us guidance to socialize this with PACOM, HQDA, and the Embassy. We also added to our
list SOCPAC and MARFOR. Since then, we have been holding a number of meetings with
these elements to collaborate and get feedback. We are due to travel to HQDA the third
249
ART OF DESIGN
week of May and back to India the end of May. I intend to back-brief the CG on the feedback
we received and hand this off to Plans for development of an India Country (Campaign)
Plan to be completed by August. In addition to India we moved on to Indonesia/ SE Asia
and began doing an Environmental Frame for this region as well. Some lessons we learned
was to give some outside agencies (i.e. ADSO, BAH, Indonesia Country Team) and internal
(ACE) a heads up on information briefs we needs so these briefs were ready upon starting
our environmental frame. Being in a HQ we had to be reasonable and keep our OPTs to half
days and be flexible to who could show or not. One aspect we applied in both cases was
examining the country in question from a strategic perspective of how the country in
question saw itself, those relevant actors within the region and how the country viewed
them and vice versa. We then asked what the so what of all this meant.
Understanding that politics drives what an Army does, we first examined the current state
and propensity at the strategic level (we used DIME) and the desired state based upon USG
and PACOM objectives. From this we identified positive and negative tensions for
convergence and divergence to our desired state and then tried to identify the specified
countries military strategy and did the same thing at that level. Once again we asked
ourselves what all of this meant. Of note, when identifying tension we combined those
tensions that would impact our achieving the desired state along with tension/friction
created by systems of opposition and support. A number of times while doing India we
have gone back into the environmental space, especially when a country came up or an
event happened that might impact our operational approach. Additionally, as we hand this
off to the planners we see ourselves going from the supported to the supporting.
The design team has a special relationship with the CG in that we are in some ways his
think tank that can develop on his ideas or questions. With this we for the most part can get
on his calendar whenever we need to brief him without having to go through the chain of
command for approval. The same goes for the read ahead slides. We do not have to run
these through the CoS of G3 for their input prior to the CG seeing it. We do however, as a
courtesy to them provide them a read-ahead as well. Of note, this has not been an issue and
has been accepted by the COS and G3 due to the quality of our products. I am sure if we
went in there one time with junk, they would want to get involved.
Additionally, although the CG was willing to give design a try, since our MTOE does not
support a Design Team, our existence is only matched by our relevance to what we bring to
the table. I was under this understanding coming out of my first brief so I constantly
questioned as we developed our products; are we giving the CG not just what he wants but
what he needs? It appears that we are meeting these requirements and have therefore got
the support of the COS, G3 and G2 in our efforts and also got a budget approved for our
travel to these countries. Because we were able to link strategic objectives to the tactical
execution we also earned support. Our successes so far has earned me the opportunity to
brief the USARPAC staff on design at a staff off-site last month, a place at the table for the
India ESG, and the opportunity to do another training/ China design this summer. I would,
however, be remiss to say that without have the CG and the G4 as supporters it would have
been difficult to get to where we are at. We have also started sharing products with
250
ART OF DESIGN
ARCENT's design team and USAREU's plans teams.
I would have to say that SAMS very well prepared me for my assignment here. More than
anything it is in the way to think and address problems through critical thinking skills and
be able to back this with history and doctrine. Bottom line, with the SAMS moniker come
great expectations to live up to but the education in my view provides a firm foundation for
meeting these expectations. Ultimately, though, it is up to the individual to perform versus
just riding the SAMS reputation.” Lieutenant Colonel James “Buddy” Frick
251
ART OF DESIGN
APPENDIX A: ANNOTATED BIBLIOGRAPHY
SAMS MONOGRAPHS
2005 MONOGRAPHS
Blakesley, Major Paul J. “Operational Shock and Complexity Theory.” Monograph, School of
Advanced Military Studies, U.S. Army Command and General Staff College, 2005.
Enabler: Major Blakesley, British Army, applies complexity theory to the concept of
operational shock. The early literature on systemic operational design by Shimon Naveh is
reviewed as an example of a systems approach to operational art.
2006 MONOGRAPHS
Bell, Major Christopher J. “Is Systemic Operational Design Capable of Reducing Significantly
Bias in Operational Level Planning Caused by Military Organizational Culture?” Monograph,
School of Advanced Military Studies, U.S. Army Command and General Staff College, 2006.
Enabler: Major Bell explores the application of systemic operational design to biases in
planning caused by ethnocentrism and reductionist epistemology. Bell concludes that the
future of operational design and planning lies in improving individual and collective
abilities to learn more effectively than rivals.
Dalton, Lieutenant Colonel L. Craig. “Systemic Operational Design: Operational Bumpf or

the Way Ahead for Operational Design?” Monograph, School of Advanced Military Studies,
U.S. Army Command and General Staff College, 2006.
Enabler: Lieutenant Colonel Dalton, Canadian Army, compares the Canadian Forces’
classical elements of operational design with systemic operational design. Dalton concludes
that the theoretical underpinnings of systemic operational design are better matched with
the contemporary operating environment, and recommends further exploration by the
Canadian Forces to adapt their approach to operational design.
Davison, Major Ketti C. “Systemic Operational Design (SOD): Gaining and Maintaining the
Cognitive Initiative.” Monograph, School of Advanced Military Studies, U.S. Army Command
and General Staff College, 2006.
Enabler: Major Ketti Davison’s influential monograph differentiates between systemic

operational design, the military decision making process, and effects-based operations.
Davison characterizes systemic operational design as creating a living cognitive map
updated by learning through action. Davison recommends fusing systemic operational
design with the military decision making process as a way forward for operational design.
252
ART OF DESIGN
Dixon, Major Robert G. “Systems Thinking for Integrated Operations: Introducing a

Systemic Approach to Operational Art for Disaster Relief.” Monograph, School of Advanced
Military Studies, U.S. Army Command and General Staff College, 2006.
Enabler: Major Dixon claims that the less than impressive response to Hurricane Katrina
was exacerbated by an absence of operational art and systemic thinking in the interagency
arena. Dixon explores the potential for systemic operational design to improve interagency
cooperation, both domestically and overseas.
Groen, Major Jelte R. “Systemic Operational Design: Improving Operational Planning for the
Netherlands Armed Forces.” Monograph, School of Advanced Military Studies, U.S. Army
Command and General Staff College, 2006.
Enabler: Major Groen, Armed Forces of the Netherlands, applies systemic operational
design to the problem of planning defense reorganization. Changes to the existing
operational planning process are recommended to incorporate insights from systemic
operational design.
Lopez, Major Rafael. “On Learning: Metrics Based Systems for Countering Asymmetric
Threats.” Monograph, School of Advanced Military Studies, U.S. Army Command and
General Staff College, 2006.
Enabler: Major Lopez investigates why a learning organization is critical to defeating

asymmetric threats. Systemic operational design is explored as a holistic approach to
learning in the face of uncertainty.
Umstead, Major Robert K. “Keep Your Friends Close and Your Enemies Closer: Operational
Design for a Nuclear-Armed Iran.” Monograph, School of Advanced Military Studies, U.S.
Army Command and General Staff College, 2006.
Enabler: Major Umstead, United States Air Force, applies systemic operational design to the
issue of a nuclear-armed Iran. Systemic operational design is used to suggest an approach
that simultaneously pursues economic growth and regional stability while disrupting
foreign networks that support nuclear proliferation.
2007 MONOGRAPHS
Bernard, Major Barrett M. “Systemic Operational Design: Bringing Efficacy to the
Operational Level of War.” Monograph, School of Advanced Military Studies, U.S. Army
Enabler: Major Barrett contends that the elements of operational design are incapable of
linking the tactical employment of forces to strategic objectives. A case study on the Global
War on Terrorism is used to compare the elements of operational design with systemic
operational design. Barrett asks and answers three questions on the continuing relevance
of the elements of operational design, the relevance of the principle of mass for the 21st
253
ART OF DESIGN
Century battlefield, and whether terrorism should be classified as an act of war or as a

crime.
Delacruz, Major Victor J. “Systemic Operational Design: Enhancing the Joint Operational
Planning Process.” Monograph, School of Advanced Military Studies, U.S. Army Command
Enabler: Major Delacruz critiques current joint doctrine on operational design, arguing it
lacks coherence and completeness. Delacruz investigates the potential of systemic
operational design’s discourse to operate in parallel to the doctrinal elements of
operational design to develop a designing-based approach to the joint operation planning
process.
DiPasquale, Major Joseph A. “Discourse in Systemic Operational Design.” Monograph,

Enabler: Major DiPasquale’s inquiry centers on the concept of discourse within systemic
operational design. By taking a linguistic anthropological perspective on agency, narrative
and artifact structure, and socio-cultural relationships, DiPasquale identifies how choices in
narrative content influence the efficacy of design discourse.
2008 MONOGRAPHS
Hayward, Major Edward P. W. “Planning Beyond Tactics: Towards a Military Application of
the Philosophy of Design in the Formulation of Strategy.” Monograph, School of Advanced
Enabler: Major Hayward, British Army, was awarded best monograph for his exposition of
design philosophy. Drawing on Deluze’s philosophy of difference, Hayward distinguishes
between form, function and logic to explain the philosophy of design. The practical
significance of this is realized by connecting the design approach with strategy formulation.
Herman, Major Bradley J. Jr. “The Army’s Military Decision Making: Adequate or Update
and Expand?” Monograph, School of Advanced Military Studies, U.S. Army Command and
General Staff College, 2008.
Enabler: Major Herman argues that the US Army missed the signs of threats that emerged
following the end of the Cold War, due to inadequacies in the existing military decision
making process. He argues that the US Army must adopt measures at all levels in order to
better understand the complexities of the operating environment, including systemic
operational design and the effects based approach to operations.
Hibner, Major Daniel H. “A Cognitive Assessment of Military Approaches to Understanding.”

Monograph, School of Advanced Military Studies, U.S. Army Command and General Staff
College, 2008.
254
ART OF DESIGN
Enabler: Major Hibner seeks to identify the most effective military approach to achieving
understanding of the complex problems posed by the Global War on Terror. In his paper,
he compares the effectiveness of four approaches – FM 3-0’s operational variables
(PMESSI-PT), joint doctrine’s concept of system of systems analysis, systemic operational
design, and the emerging doctrine contained in TRADOC Pamphlet 525-5-500, Commanders’
Appreciation and Campaign Design.
Schaefer, Lieutenant Colonel Christof. “Army Transformation in the Age of Globalization –

Implementing Directed Change with Strategic Management Design (SMD) An Analysis
based on the Army Staff in the German Ministry of Defense.” Monograph, School of
Enabler: Lieutenant Colonel Schaefer, German Army, examines the implications of strategic
transformation for the German Army. He argues that an improved decision process, based
on modern and post-modern change theory, concepts of a learning organization, and
elements of integrated emerging strategic design, can produce an effective and efficient
readiness model for German Army transformation.
Wise, Major David. “The Role of Sanctuary in an Insurgency.” Monograph, School of

Enabler: Major Wise examines the changing nature of sanctuaries, and their value to
insurgent groups. He argues that planners must use systemic operational design in order to
develop a holistic, qualitative, and systemic operational approach to meet the challenges
posed in the operating environment.
2009 MONOGRAPHS
Bullock, Major Xander L. “Engineering Design Theory: Applying the Success of the Modern
World to Campaign Creation.” Monograph, School of Advanced Military Studies, U.S. Army
Enabler: Major Bullock examines design from the perspective of engineering design theory,
and develops an argument for the incorporation of design thinking at the strategic and
operational levels. Bullock concludes that design is the next evolution of the military craft,
and that its adoption will enable intelligent campaign creation.
Gill, Jonathan B. “Enabling Design.” Monograph, School of Advanced Military Studies, U.S.
Army Command and General Staff College, 2009.
Enabler: Mr Gill, Battle Command Battle Laboratory, argues that the introduction of design
into the Army has focused largely on the development of theory. His paper examines the
practical issues arising from the practice of design, and he identifies the gaps in areas of
organization, management, and the support environment that should be addressed if the
Army is to maximize the advantages of the design approach.
255
ART OF DESIGN
McHenry, Major David P. “Battle Command: An Approach to Wickedness.” Monograph,

Enabler: Major McHenry examines the emergence of design. He addresses the ability of the
Army to understand ill-structured, or wicked problems, and compares the application of
design with the application of existing Army doctrine to address those problems. He
concludes that the doctrinal precept of battle command provides a complete expression for
addressing ill-structured problems.
Papanastasiou, Major Bill A. “More Than Just Plan, Prepare, Execute, and Assess: Enhancing
the Operations Process by Integrating the Design and Effects-Based Approaches.”
Monograph, School of Advanced Military Studies, U.S. Army Command and General Staff
College, 2009.
Enabler: Major Papanastasiou evaluates the effects based approach to operations and
design and attempts to integrate the practical elements of both constructs into the cyclic
operations process of plan, prepare, execute, and assess. He concludes that design provides
a superior approach while operating in complex environments.
LEARNING
Augustine, Norman R. “Managing the Crisis You Tried to Prevent.” Harvard Business Review
(November-December 1995).
Enabler: Augustine’s experience with crisis provides insight to the recognition and
management of crises within large organizations. He provides a practical explanation of
what happens when routine organizational flows and relationships are interrupted.
Banach, Colonel Stefan J. “Educating by Design: Preparing Leaders for a Complex World.”
Military Review (March-April 2009).
Enabler: COL Banach lays out where the school is in the pursuit of something to assist us in
the contemporary operating environment.
Lakoff, George and Mark Johnson, Metaphors We Live By. Chicago: The University of Chicago
Press, 2003.
Enabler: Lakoff and Johnson go beyond the classical understanding of metaphor – figures of
speech, typically viewed as characteristics of language alone; to claim that metaphor use is
pervasive in everyday life, not just in language, but in thought and action. Use this reading
to challenge your own meta-cognitive awareness – how much is your own thought process
shaped by metaphor, particularly for understanding abstract concepts?
Lanir, Tzvi. Fundamental Surprises: The National Intelligence Crisis. Tel Aviv: Dvir, 1984.
http://google1.it.ohio-state.edu/search?q=cache:oL7gmwxXw0EJ:csel.eng.ohio-s
256
ART OF DESIGN
Enabler: “Fundamental Surprises” explores existing theory and practice relative to surprise,
surprise prevention, and its utility in the increasingly complex environment, and finds it
wanting. Lanir proposes an alternative understanding of the nature, function, and effect of
surprises, develops the concept of “fundamental surprise”, and suggests that surprise
indicates/reveals more about self than the other. Self-reflection is part of learning and
frame of reference for understanding difference, and change is so fundamental to the
underlying purpose of design. Lanir uses the 1973 War to dissect these ideas.
Lanir, Tzvi and Gadi Sneh. “The New Agenda of Praxis.” 2000.
www.praxis.co.il/download/the%20new%20agenda%20of%20praxis.doc
Enabler: Lanir and Sneh tie together many of the concepts together that comprise design
thinking. Of particular importance is resolution of deconstruction through praxis.
Ochs, Elinor and Lisa Capps. “Narrating the Self.” Annual Review of Anthropology. 1996.
http://www.jstor.org/stable/2155816?&Search=yes&term=Self&term=Narrating&list=hid
e&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3DNarrating%2BSelf%26wc%3Do
n%26x%3D9%26y%3D7&item=1&ttl=2307&returnArticleService=showArticle
Enabler: Ochs and Capps look at the relationship between narrative, self, and how we make
sense of our experience in context. They provide insights self-awareness and for
deconstructing how/where narrative, discourse and society intersect. Their work is a
useful reference for analyzing how we can initiate meta enquiry about the other as well.
Schön, Donald A. Educating the Reflective Practitioner. San Francisco, CA: Jossey-Bass, 1987.
Enabler: Schön discusses the need for reflective practice in the modern world. His
discussion of the difference in educating applied practitioners and educating theoretical
scientists is appropriate for our discussion today. Reflection in action, practice, and the
design process as reflection in practice, are the hallmark ideas of Schön. The identification
of essential things, which is part of the problem framing, is Schön’s major point in Chapter
4. Schön also makes a major point of identifying changing states, or changing the system, as
a major component of problem framing, or in his terminology, problem solution. In Chapter
5, Schön describes the valued outcome of discourse between a coach and a student. Schön
lays out some very useful concepts for sorting through the need to design, the need to
formulate a design concept, the issue of group effort, all tied into individual and group
learning.
Weick, Karl E. Sensemaking in Organizations. Thousand Oaks, CA: Sage Publications, 1995.
Enabler: In the midst of crisis, ambiguous, conflicting information frequently leads to
incorrect or incomplete diagnosis of what must be done to remedy the situation. The
novelty of a situation may dislocate existing frames of reference. The absence of guidance
from the next higher echelon, coupled with directives to “do something,” can lead to the
efficient solution to precisely the wrong problem.
257
ART OF DESIGN
Enabler: Weick is a foundational reading for understanding an entire body of scholarship

regarding organizational behavior. Sensemaking occurs when individuals and
organizations realize that the system and situation no longer match preconceived notions
of problem resolution. Cues accumulate outside of existing processes for obtaining
information about the environment. Weick's position is that in a changing world, it is not
just the old answers that are suspect, it is the old questions. Since people are unsure what
questions to ask, more information will not help. Cues that do not fit established patterns
introduce uncertainty into existing organization processes, or sufficient ambiguity exists to
lead to a need for sensemaking.
DIFFERENCE
Adler, M. “Critical Thinking Programs: Why They Won't Work.” Education Digest (1986).
Enabler: Adler rejects the idea of standalone “how to” programs of instruction designed to
improve pupils’ critical thinking skills.
Auerbach, Yehudith “Forgiveness and Reconciliation: The Religious Dimension.” Terrorism

and Political Violence 17, no. 3 (2005).
http://www.informaworld.com/smpp/content~db=all?content=10.1080/0954655059092
9174
Enabler: Religion, as an often significant component of self, individual, and group self-
understanding and identity, creates a different dynamic in conflict which makes irrelevant
traditional approaches of conflict resolutions and conceptions of “peace.”
Augier, Mie and Kristian Kreiner. “Rationality, imagination and intelligence: Some
boundaries in human decision-making.” Industrial and Corporate Change 9, no. 4
(December, 2000). Available through ProQuest:
http://proquest.umi.com/pqdweb?index=0&did=390367301&SrchMode=1&sid=1&Fmt=3
&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1268687912&clientId=5094
Enabler: Augier and Kreiner compare Herbert Simon, George Shackel and James Marsh on
notions of bounded rationality. It is useful to our efforts at thinking about thinking to
consider decision-making models that aim at intelligence and creativity.
Bateson, Gregory. Mind and Nature: A Necessary Unity. Bantam (1988).

http://www.oikos.org/m&nmultiple.htm
Enabler: This is a very accessible piece that explores how we learn and, from that, how we
can consciously create new understanding. He identified ‘difference’ as essential to
learning. This principle is foundational to Design as an approach to learning and
adaptability.
258
ART OF DESIGN
Beyerchen, Alan. “Clausewitz, Nonlinearity, and the Unpredictability of War.” International

Security 17, no. 3 (1992).
Enabler: Beyerchen suggests that the enigma of Clausewitz’s work owes to his realization
that war is fundamentally non-linear, and as such is unique in ways that cannot be
predicted. He offers important and clear distinctions between linear and non-linear that
clarify the current context and are useful to thinking about difference. His work ties
together all of the issues and themes we have discussed thus far.
Bjorge, Gary J. Moving the Enemy: Operational Art in the Chinese PLA’s Huai Hai Campaign.
Leavenworth papers, no. 22. Fort Leavenworth, KS: Combat Studies Institute Press, 2004.
Enabler: Bjorge discusses the application of Sun Tzu – and the idea of propensity and
potential – in a few short pages of his extended work on the Huai Hai Campaign.
Booth, Ken. “Security and Self: Reflections of a Fallen Realist.” York Centre for International
and Security Studies, Occasional Paper Number 26. North York, Ontario: Centre for
International and Strategic Studies, 1994.
http://www.yorku.ca/yciss/publications/OP26-Booth.pdf
Enabler: Booth grapples with the cognitive shifts made necessary by the end of the Cold
War as he proposes that we think about thinking, how we think, and the sources of the
thoughts that animate us. Though in a different context and as a security specialist, he
echoes some of Zvi Lanir’s thoughts on the need for self-reflection: if we indeed see things
as we are. He looks at theories about sources of identity, and identity construction in
relation to Realism and argues that “[i]nstead of positivism’s ‘seeing is believing’, the social
world is…constructed by the phenomenon of believing is seeing.” Realism was in effect
then deterministic. Booth proposes a ‘critical security studies’ in the move away from
realism and toward acceptance of a complex world. He is the author of Strategy and
Ethnocentrism, which was seminal for its exploration of the relationship between cultural
predispositions and the theory and practice of strategy.
de Atkine, Norville. “Why Arabs Lose Wars.” Middle East Review of International Affairs 4,
no. 1 (March, 2000).
http://meria.idc.ac.il/journal/2000/issue1/jv4n1a2.html
Enabler: de Atkine explores the implications of culture for behavior; in this case of Arab
culture adopting methods of conventional warfare.
Deleuze, Gilles and Fé lix Guattari . A Thousand Plateaus: Capitalism and Schizophrenia.
Minneapolis: University of Minnesota Press, 1987.
Enabler: Deleuze and Guattari explore the relationship between the state and its war
machine. They propose that warriors (the army) are not part of the state – rather they are
nomads who exist from the outside and threaten the authority of the state. Likewise the
nomadic science of the military keeps infiltrating royal science, undermining its axioms and
259
ART OF DESIGN
principles. It is a theory of a dynamic relationship between sedentary power and

“schizophrenic lines of flight.” The two venture into the ethics of asymmetric warfare in
their proposition of a creative military form that becomes imperceptible – strategizing a
continuous invention of weapons as necessary. It is an unorthodox interdisciplinary tome
that extracts from anthropology, history, military strategy, and aesthetics. Most
importantly for thinking about thinking as it relates to Design, Deleuze and Guattari
present nine dichotomous concepts that get at the notions of non-linearity – perhaps more
thoroughly than does Jullien and Sun Tzu.
Dietrich, Arne. “Who’s afraid of a cognitive neuroscience of creativity?” Methods 42 (2007).
Enabler: Dietrich critiques four common myths regarding creativity: creativity is divergent
thinking; creativity is in the right brain; creativity occurs in a state of defocused attention;
and altered states of consciousness facilitate creativity.
Geertz, Clifford. The Interpretation of Cultures. New York, NY: Basic Books, 1977. Also
available at:
http://www.cla.wayne.edu/polisci/kdk/seminar/sources/geertz.pdf
Enabler: Geertz addresses what he believes to be the incompleteness of cultural studies.

Apprehension of his discussion is critical to grasping the essence of what Design proposes
to accomplish. To overcome this incompleteness, Geertz proposes a ‘semiotic concept of
culture’ – an attention to symbols and signs in order to attribute meaning to culture. His
‘thick description’ is what we can also understand as explanation. Like narrative, his
approach understands constructed meanings as interpretation.
Goldstein, Jeffrey. “Emergence, Creativity, and the Logic of Following and Negating.” The
Innovation Journal 10, no. 3 (2005).
http://www.innovation.cc/volumes-issues/goldstein_2_ecl_jagrevised_2.pdf
Enabler: Explores the utility of narrative and narrative creation to generating learning and
emergent understanding in relation to emergence.
Henrotin, Joseph and Tanguy Struye. “Ontological-Cultural Asymmetry and the Relevance
of Grand Strategies.” Journal of Military and Strategic Studies 7, no. 2 (2004).
http://www.jmss.org/2004/winter/articles/henrotin_struye.pdf
Enabler: The Authors challenge the notion that asymmetry is only practical and technical
and propose that we are likely to continue facing opponents that are not like us, but have a
command of our logic. They continue by discussing how we will likely remain vulnerable
owing to what Ken Booth would call the ‘fog of culture’ and our own ethnocentrism.
Hirsch, Gal. “On Dinosaurs and Hornets: A Critical View on Operational Moulds in
Asymmetric Conflict.” Royal United Services Institute Journal (August 2003).
http://www.rusi.org/publication/journal/ref:J40c1f7e594d5e/
260
ART OF DESIGN
Enabler: Gal Hirsch gives us a practical example of the utility of deconstruction for thinking
about space and application of power differently. SOD was employed to shape IDF analysis
and operations from the late 1990s through mid 2006.
Iser, Wolfgang. “The Significance of Fictionalization.” Anthropoetics III, no. 12 (1997-98).

http://www.anthropoetics.ucla.edu/ap0302/iser_fiction.htm
Enabler: Makes the argument that the world as it is represented is only a conception – “as if
it were a world in order”. You should read this with the question in mind: “What is the
anthropological significance of fictionalizing?” It rebounds what you see and understand
with the opportunity for different perspective and understanding. “Literature permits
limitless patterning of human nature…we can see that it lends itself to a culture-bound re-
patterning.” This recognition should help to facilitate understanding of other(s) in context.
Jullien, Francois. A Treatise on Efficacy: Between Western and Chinese Thinking. Trans. Janet
Lloyd. Honolulu: University of Hawai’i Press, 2004.
Enabler: Jullien is a staple for thinking about systemic logic and responses that reflect that
logic. The understanding of systemic propensity and potential you gain will be important to
you as you do design and plan, as will the concept of efficiency. He makes clear distinctions
between linear thinking and direct action and systemic thinking and non-linear approaches
toward systemic change. By contrasting Western and Eastern thinking, Jullien emphasizes
difference as a generator of critical thought.
Kent, Glenn A. Thinking About America’s Defense. Santa Monica, CA: RAND Corporation
2008.
Enabler: Kent has a contrarian view of analysis, and believes that analysts should not be in
the business of making recommendations to decision makers.
Khadduri, Majid. War and Peace in the Law of Islam. Baltimore, MD: Johns Hopkins Press,
1955, 157-158.
Enabler: Khadduri’s work is significant, not only because of his authority, but also because
he wrote on Islamic law in 1955 when the context was not characterized by the polemics of
today. In fact things across the ME and Islamic world were quite happy relatively speaking.
The mandates had been relinquished and the modern nation states were getting underway
as secular entities. Khadduri was writing as a scholar and his work reveals the logic of
Islamic law that we are loathe to consider today for its incorrectness. The systemic logic
that he outlines is important as an example of holistic asymmetry and for what it can teach
us about the current context.
Lai, David. Learning from the Stones: A Go Approach to Mastering China’s Strategic Concept
Shi. Carlisle, PA: Strategic Studies Institute, U.S. Army War College, 2004.
http://www.strategicstudiesinstitute.army.mil/Pubs/display.cfm?pubid=378
261
ART OF DESIGN
Enabler: This article offers interesting insight into the Chinese conception of propensity –
in relation to current Chinese policy. The intention is not that you look at Chinese policy,
but at the concept of shi and what it means in relation to Design thinking. What does the
“propensity of things” or “potential born of disposition” imply for the military planner?
Why is it important in asymmetric conflict? Play Go online at:
http://361points.com/computergo/#gnugo
Mattis, General James N. “MEMORANDUM FOR US JOINT FORCES COMMAND, Subject:

Assessment of Effects Based Operations.” 14 August, 2008.
Enabler: General Mattis’ prescription against EBO is a starting point for our discussion of
the differences between EBO and design.
Naveh, Dr. Brigadier General (Res.) Shimon. “Asymmetric Conflict: An Operational

Reflection on Hegemonic Strategies.” Unpublished paper, 2002.
Enabler: Naveh's paper is a reflection on the theoretical and practical dilemmas that faced
the IDF in the context of an ongoing "small war" in which preponderant power was
irrelevant and conventional thinking about time, space, and success - traditional
boundaries - were not useful or even applicable. He finds existing theory/understanding of
asymmetric conflict deficient and any system for learning absent. In its place he proposes,
among other things, a notion of holistic asymmetry, and reflective learning in action
through the central role of the operational level.
Newman, David, ed. Boundaries, Territory and Postmodernity. London: Frank Cass, 2002.
Enabler: Newman's edited volume looks at the consequences of globalization -

technological development, economic interdependence, and a loss of national sovereignty -
for traditional state boundaries, their meaning, and what are the practical consequences.
Paul, Richard and Linda Elder. Critical Thinking: Tools for Taking Charge of Your Learning
and Your Life. New Jersey: Prentice Hall, 2001.
Enabler: Paul and Elder clearly articulate a useful set of standards and categories for
critical thinking.
Plato, and John Henry McDowell. Theaetetus. Oxford: Clarendon Press, 1973. Available at:
http://classics.mit.edu/Plato/theatu.html
Enabler: Note the method of questioning Socrates uses to uncover the implications and
logical contradictions of different positions.
Purvis, Trevor and Alan Hunt. “Discourse, Ideology, Discourse, Ideology…” British Journal of
Sociology 44, no. 3 (1993).
Enabler: This analysis of primary sources provides a current specific example of the Islamic
law laid out by Khadduri.
262
ART OF DESIGN
Roemer, Michael. Telling Stories: Postmodernism and the Invalidation of Traditional

Narrative, Lanham, MD: Rowman & Littlefield, 1995.
Enabler: Roemer is a good follow-on to Ochs and Capps “Narrating the Self.” It explores the
relationship between self and story. Our purpose for reading this selection is to explore the
ways in which Positivism influences – or not – how we see the world, and act in it. It should
generate reflection on how we define ourselves and how that self-understanding pre-
determines what we see and understand about the world. If you were to read the entire
book, you would see that Roemer is a pessimist, arguing that the traditional story has lost
its meaning because the source of power and control implicit the Positivist plot has become
irrelevant in the current context.
Slocum-Bradley, Nicki, ed. Promoting Conflict or Peace through Identity, Ashgate, 2008.
Enabler: Looks at sources of “nation” and posits the role of identity constructions in
creating conflict and the utility of this understanding for conflict management.
Vlahos, Michael. “Fighting Identity: Why We Are Losing Our Wars.” Military Review
(November-December, 2007).
http://usacac.army.mil/CAC/milreview/English/NovDec07/indexengnovdec07.asp
Enabler: Vlahos identifies the intangible sources of conflict and the irrelevance of
conventional force and traditional diplomacy in identity conflicts.
Weizman, Eyal. “Walking Through Walls: Soldiers as Architects in the Israeli-Palestinian

Conflict.” Radical Philosophy (March-April, 2006).
Enabler: Architectural theory was the conceptual source for SOD. Weizman provides an
account of Aviv Cohavi's use of SOD to design operations. What you should get out of these
articles which outline the practical application of design thinking – is how theory provides
a basis for new thinking and action that reflects it for its different form.
White, Hayden. The Content of the Form: Narrative Discourse and Historical Representation.
Baltimore, MD: The John Hopkins University Press, 1987.
White, Hayden. Tropics of Discourse: Essays in Cultural Criticism. Baltimore, MD: The John Hopkins
University Press, 1978.
Enabler: White provides insights into the nature and purpose of narrative and a definition
of discourse that is useful to design. He also suggests constraints on our cognitive processes
and the implications of that for our understanding of what is real or actual.
SYSTEMS
Arendt, Hannah. On Revolution, New York, NY: The Viking Press, 1963.
263
ART OF DESIGN
Enabler: Arendt discusses here the differences between war and revolution. In particular,
she notes the rise of revolution and the idea of freedom connected to it as a modern
phenomenon (in contrast to the long history of warfare and its disconnect from the
freedom rationale).
Bar-Tal, Daniel. “Why Does Fear Override Hope in Societies Engulfed by Intractable
Conflict, As It Does in the Israeli Society?” Political Psychology 22 (2001).
Enabler: Bar-Tal discusses the differences between the human fear response and hope
response. How does the nature of these differences affect the problem of modifying group
behavior through the communication of threat and violence?
Bar-Yam, Yaneer. Making Things Work: Solving Complex Problems in a Complex World.
Boston, MA: NECSI Knowledge Press, 2004.
Enabler: The multi-scale complexity profile, the importance of evolution in complex

systems, and the intricate relationship between competition and cooperation are highlights
of the theoretical discussion of complexity. The fundamental assumption of complex
systems science is that the way the system is organized is more important than the actual
composition of its parts or the domain of applicability.
Bousquet, Antoine. The Scientific Way of Warfare: Order and Chaos on the Battlefields of
Modernity. New York, NY: Columbia University Press, 2009.
Enabler: Bousquet’s book examines how developments in science have changed the way
war is understood and fought. He argues that metaphor explains how different discourses
interact, and uses this to construct a framework that weaves together history, philosophy,
science and military theory to address the question: “How has war, an activity traditionally
dominated by institutions extolling the virtues of hierarchical command and submission to
orders, come to be understood essentially in terms of decentralized networks of
combatants connected together by horizontal information links?”
Brin, David. “Disputation Arenas: Harnessing Conflict and Competitiveness for Society’s
Benefit, Journal of Dispute Resolution.” 15, no. 3 (2000). Available at:
http://www.davidbrin.com/disputation.htm.
Enabler: A thought-provoking non-technical synthesis of many of the ideas involved in

critical thinking, complexity, and systems thinking.
Checkland, Peter B. and John Poulter. Learning for Action: A Short Definitive Account of Soft Systems
Methodology and its use for Practitioners, Teachers and Students. Chichester, Sussex: John Wiley &
Sons, 2006.
Enabler: Checkland and Poulter provide an updated explanation of perhaps the most
successful systems methodology for intervening in social systems. The concepts of
264
ART OF DESIGN
problematical situations, rich pictures, transformation, root definitions, and control actions
are just some of the tools explained here that apply directly to military design.
Cialdini, Robert. Influence Science and Practice. Boston, MA: Pearson A&B, 2009.
Enabler: This gives the ground work for the author’s learning and some examples to
reinforce his ideas.
Cialdini, Robert B. and Noah J. Goldstein. “The Science and Practice of Persuasion.” Cornell
Hotel and Restaurant Administration Quarterly. 43, no. 2, 2002.
Enabler: Robert Cialdini lays out six principles of influence. His thesis is that these six
principles govern how one might influence another or ways to establish one’s self (or one’s
organization) as a legitimate authority on a particular subject. The principles are; liking,
reciprocity, consistency, scarcity, social validation, authority.
Collender, Michael and Lieutenant Colonel Matthew Deller. “Scoping Complex Systems for
the Joint Task Force Commander.” Campaigning (Fall, 2008).
Enabler: Meaning, narrative, understanding, encompassing the physical world into mental
conceptualizations, all these and more are the heart and soul of sorting out an
environmental frame. Despite the opaqueness of their language, our two authors make
several useful points. One is the need to understand the deep interconnectivity of blue
actions inside of the environmental system, the need for discourse as a mode of developing
understanding, and the idea of focusing assessment and evaluation on teleology, or goals
and motivations.
Cohen, Eliot A. and John Gooch. Military Misfortunes: The Anatomy of Failure in War. New
York, NY: Vintage Books, 1991.
Enabler: Cohen and Gooch develop and illustrate a framework for a systems approach to
analyzing historical failure in war. One of their conclusions is that the ability to adapt is the
most important attribute
Corman, Stephen R., Angela Trethewey, and Bud Goodall. “A 21st Century Model for
Communication in the Global War of Ideas From Simplistic Influence to Pragmatic
Complexity.” Consortium for Strategic Communication, Arizona State, 2007.
Enabler: This article explains the basic message influence model by Shannon and Weaver
that is still in use today. The Pragmatic Complexity Model (PCOM) is introduced and the
idea that information operations (IO) and strategic communication (without the ‘s’) are
different.
Corman, Stephen R. and Jill S. Schiefelbein. Communication and Media Strategy in the Jihadi
War of Ideas, Report #0601, Consortium for Strategic Communication, Arizona State
University, 2006.
265
ART OF DESIGN
Enabler: Discusses the importance of the Jihadi strategic communication concept and
provides six recommendations for improving U.S. strategic communication in response.
Corman, Stephen R. and Kevin J. Dooley. “Strategic Communication on a Rugged Landscape

Principles for Finding the Right Message.” Consortium for Strategic Communication,
Arizona State, 2008.
Enabler: Instead of message discipline, control, singular message, and repetition this theory
states that message influence requires abandoning a simple model of linear control over
meaning. Optimal messages consist of many things, correct words, sentiments, themes,
delivery, medium, and timing – and all of these may yet again be different with each sub-
group.
Dörner, Dietrich. The Logic of Failure: Recognizing and Avoiding Error in Complex Situations.
New York, NY: Basic Books, 1996.
Enabler: This book is easy to read yet has significant implications for design and planning
in complex situations. Chapter 4 on information and models is particularly useful.
Ferguson, Sherry D. “Communication Planning: an Integrated Approach.” Communication

Abstracts. 24, no. 4 (2001).
Enabler: In this approach, The Integrated Approach, Ferguson provides guiding principles
for writing a multiyear strategic communication plan. This approach is very similar to
design. The main ideas are to think broadly, think globally, write from the perspective of a
larger organization, and don’t adopt bias. An organization’s strategic plan must be the basis
for the communications plan. The communications plan must be nested in and support the
overall plan.
Gerras, Colonel Stephen J. “Thinking Critically about Critical Thinking: A Fundamental

Guide for Strategic Leaders.” U.S. Army War College, June 2006. Available at:
http://www.au.af.mil/au/awc/awcgate/army-usawc/crit_thkg_gerras.pdf.
Enabler: This paper examines the application of a critical thinking framework for the Army,
based on Paul and Elder’s critical thinking model.
Gharajedaghi, Jamshid. Systems Thinking: Managing Chaos and Complexity: A Platform for
Designing Business Architecture. New York, NY: Elsevier, 2006.
Enabler: Gharajedaghi’s use of four aspects, function, structure, process and context, are
very useful in sorting out relevance in a complex system. The book also addresses
techniques such as searching, mapping and constructing the narratives as aids to problem
framing.
266
ART OF DESIGN
Goodall, Bud, Angela Trethewey and Kelly McDonald. “Strategic Ambiguity,

Communication, and Public Diplomacy in an Uncertain World: Principles and Practices.”
Consortium for Strategic Communication, Arizona State, 2006.
Enabler: This theory is in response to what is seen as two main failures of communication
in public diplomacy. They are; a reliance on an outdated one-way model of influence and an
inability to prepare for and respond to Jihadi media and message strategies. The key
concept of this communications theory is that one must allow for and empower local
interpretations of meaning to build relationships because you cannot always fully
understand or trust audiences.
Johnson, Neil F. “Complexity in Human Conflict.” In Understanding Complex Systems, Berlin:

Springer, 2008.
Enabler: This paper will help to understand power laws, which are characteristic of
complex systems, and explores how this can give rise to clumpy casualty statistics and
common patterns across diverse theatres, such as the Iraq war and the Colombian war.
Johnson, Steve. Emergence: The Connected Lives of Ants, Brains, Cities and Software, London:
Penguin, 2001.
Enabler: Like any good popular science book, Johnson’s Emergence captures the
enthusiasm and excitement of recent breakthroughs in complex systems science, without
being overly careful to define terms or state assumptions and limitations. As you read
Emergence, apply what you have learned about critical thinking to identify caveats that are
missing from this narrative, and boundary judgments that are not made explicit. Also, try to
understand the transition from theory to practice. How has understanding of the
mechanisms of self-organization, adaptation and emergence helped businesses to produce
robust and scalable solutions?
Lehrer, Jonah. “The neuroscience of screwing up.” Wired Magazine (February, 2010).
Available at:
http://www.wired.co.uk/wired-magazine/archive/2010/02/features/the-neuroscience-
of-screwing-up.aspx?page=all
Enabler: This article links current understanding of neuroscience with critical thinking, the
logic of failure, and paradigm shifts in science. Within design, this has implications for
creating diverse teams to overcome individual limitations.
MacDonald, Charles Brown. The Decision to Launch Operation MARKET-GARDEN. CMH pub,
70-7-19. Washington, DC: Center of Military History, U.S. Army, 1990.
Enabler: Read Chapter 19. Examine the rationalization of assumptions and the role of
critical thinking in Operation Market Garden.
Norman, Douglas and Michael Kuras. “Engineering Complex Systems.” MITRE Technical
Report. 2004. Available at:
267
ART OF DESIGN
http://www.mitre.org/work/tech_papers/tech_papers_04/norman_engineering/norman_
engineering.pdf
Enabler: Engineering of complex systems presents a similar challenge to operational

design. Consider Norman and Kuras’ discussion of the boundary conditions for traditional
systems engineering and the need for complex systems engineering in relation to planning
and design.
Ryan, Alex J. “What is a systems approach?” Arxiv. 2008. Available at

http://arxiv.org/PS_cache/arxiv/pdf/0809/0809.1698v1.pdf
Enabler: This survey provides an overview of the systems approaches that are most
relevant to defense.
Ryan, Alex J. “The Foundation for an Adaptive Approach: Insights from the Science of
Complex Systems,” Australian Army Journal, VI, no. 3 (2010). Available at:
http://www.defence.gov.au/army/lwsc/docs/aaj_summer_2009.pdf
Enabler: This article is a summary of concepts from complex systems science that are
relevant to the design course. It identifies seven insights that are useful for the design of
complex systems.
Ulrich, W. A Brief Introduction to Critical Systems Heuristics. Available at:

http://projects.kmi.open.ac.uk/ecosensus/publications/ulrich_csh_intro.pdf
Enabler: Ulrich combines systems thinking with critical thinking to address the critical yet
often implicit topic of boundary judgments. Critical Systems Heuristics provides a tool that
is useful for bounding the environmental and problem frames during design.
U.S. Army War College. Information Operations Primer. Ft. Belvoir: Defense Technical
Information Center, 2007.
Enabler: This reading actually gives the definition for Strategic Communications, goals, and
objectives from the QDR.
Vego, M. N., Systems versus Classical Approach to Warfare, Joint Forces Quarterly, issue 52,
1st quarter 2009. Available at:
http://www.ndu.edu/inss/Press/jfq_pages/editions/i52/10.pdf
Enabler: Not everyone agrees that a systems approach to warfare is needed. Vego is one of
the more vocal and articulate critics of applications of systems thinking (including design)
to warfare.
268
ART OF DESIGN
SOCIAL CREATION
Alberts, David S. and Richard E. Hayes. Power to the Edge. Information Age Transformation
Series. Washington, DC: DOD Command and Control Research Program, 2005.
Enabler: Edge theory is an emerging theoretical construct which should be understood in

its relation to more developed organization theories covered in Hatch. One must also
acknowledge edge theory’s roots in network-centric warfare and the belief that military
operations are moving from industrial age warfare to information age warfare. Read this
selection to understand the basic concept and to assess its usefulness to military
organizations.
Fuller, Sally Riggs and Ramon J. Aldag. “Challenging the Mindguards: Moving Small Group
Analysis beyond Groupthink.” Beyond Groupthink. Paul‘t Hart, Eric K. Stern, and Bengt
Sundelius, eds. Ann Arbor: University of Michigan, 1997.
Enabler: This essay provides a useful counterpoint to Decision Making and the groupthink
model represented by Janis. Fuller and Aldag question the heuristic value of the groupthink
model, offering instead the General Group Problem Solving model as an alternative.
Gabarro, John J. and John P. Kotter. “Managing Your Boss.” Harvard Business Review
(January, 2005):
Enabler: While most management texts focus on the top-down aspect of management, the
authors contend, at a minimum, that one must appreciate the boss’s goals and pressures.
Gabarro and Kotter offer a menu of typical behaviors leading to ineffective boss-
subordinate relationships. Reflect on how their suggestions might work in a strongly
hierarchical organization.
Hatch, Mary Jo. Organization Theory. Oxford, UK: Oxford University Press, 1997.
Enabler: Hatch is not a theorist of organizations; she is more properly a theoretician. She
claims that one must use multiple perspectives to approach organization theory. The multi-
perspective approach attempts to view the components of organizational activity from
each of the four camps—classical, modern, symbolic-interpretive, and postmodern. She
does not attempt a synthesis, choosing instead to take a trip around the fence line, looking
at each of six core concepts separately (Part II, Chapters 3-8). This makes it a bit difficult to
piece together the strands, since the emphasis in any one chapter shifts from modern to
postmodern, depending on the concept under consideration. Part III (Chapters 9-12)
highlights four current areas of concern for organization theorists.
Heifetz, Ronald A. Leadership Without Easy Answers. Cambridge, MA: The Belknap Press of
Harvard University Press, 1994.
Enabler: You will see terms borrowed from Heifetz’s explanation of leadership scattered
throughout the design literature. Heifetz outlines leadership in terms of adaptive work.
These illustrations are of lesser importance than getting to the conclusions Heifetz makes
269
ART OF DESIGN
about the nature of adaptive leadership. Of interest to future staff officers, Heifetz has two
chapters in Part III on how one leads when he/she does not occupy a formal position of
authority.
Janis, Irving L. and Leon Mann. Decision Making. New York: The Free Press, A Division of
Macmillan Publishing Company, 1977.
Enabler: Janis is the originator of the groupthink concept. Groupthink is a term pioneered
by Irving Janis to describe group behavior leading to faulty collective decision making. This
book incorporates some of his later research into the phenomenon of making decisions
under stress. The conflict model of their study provides some useful background
understanding as you structure learning during design in small groups. The authors are
principally concerned with making decisions under stress. They establish the stage for
their research questions by observing “human beings, programmed as they are with
emotions and unconscious motives as well as with cognitive abilities, seldom can
approximate a state of detached affectedness when making decisions that implicate their
own vital interests or those of their organization or nation.”
Kotter, John. Power and Influence beyond Formal Authority. New York, NY: Free Press, 1985.
Enabler: Kotter’s book starts with a simple premise that management texts do not cover the
conflict, struggle, manipulation, antagonism, fighting, and disagreements that occur
throughout organizations. His work considers the many dimensions of interaction.
Lawson, Bryan. How Designers Think: The Design Process Demystified. Amsterdam: Elsevier,
2006.
Enabler: Lawson addresses some of the basic concepts, and the place of design in the world
of architecture. Lawson adds to our discussion the ideas of multiple actors as “generators of
design problems.” He also adds a very useful concept – the idea of design constraints. In
Chapter 7, he talks of the critical role of future in design. The concepts of the generation of
multiple alternatives, and of parallel lines of thought, are the highlights of Chapter 12. In
Chapter 13, he offers several pitfalls for the designer – things we must be wary of as we
approach a design concept. In Chapter 14, he describes the positive, and negative, aspects
of design as a team effort.
Senge, Peter M. The Fifth Discipline: The Art and Practice of the Learning Organization. New
York: Doubleday/Currency, 2006.
Enabler: We will consider one specific aspect of Senge’s theory, that of team learning. Team
learning requires dialogue. Dialogue and discussion are potentially complementary, but
most teams lack ability to distinguish between the two and to move consciously between
them.
270
ART OF DESIGN
DOCTRINE
Commander, US Joint Forces Command. “Memorandum for U.S. Joint Forces Command,
Subject: Vision for a Joint Approach to Operational Design.” October 6, 2009.
Enabler: Emerging senior officer concept for the Joint use of design. Over the next several
months, keep General Mattis’ thoughts in mind as you develop your own philosophy of
design.
United States Army. Field Manual 3-24, Counterinsurgency. Washington, DC: Headquarters,
Department of the Army, 2006.
Enabler: Recent doctrine that is part of the dialogue about the role of design in security
operations
United States Army. Field Manual 5-0, Operations Process. Washington, DC: Headquarters,
Department of the Army, 26 March 2010.
Enabler: The newly released FM 5-0 is assigned here to begin bringing operations process
doctrine into our discussion. There should not be a dividing wall between the art of design
and the operations process, so we use this doctrine to explore the relationship of problem
framing with the doctrine of battle command.
United States Army. Field Manual 3-0, Operations. Washington, DC: Headquarters,
Department of the Army, February 2008.
Enabler: Chapter 5 is assigned to inform us of the language of planning and operations.

Some of this language, and some of these concepts, match the ideas behind design, but
some of them are a bit contrary to the precepts of design.
Department of the Army, 2008. Chapter 7.
Enabler: Information systems are everywhere meaning that individual actions may have
strategic implications at anytime. Effective employment of information aids in achieving
success. It is a combat multiplier. Information superiority is the operational advantage
derived from the ability to collect, process, and disseminate an uninterrupted flow of
information while exploiting or denying an adversary’s ability to do the same. There are
five information tasks that the Army conducts: information engagement, command and
control warfare, information protection, operations security, and military deception.
Knowledge management is the art of gaining and applying information throughout the
Army and Joint Force.
Department of the Army, 2008. Chapter 6.
271
ART OF DESIGN
Enabler: Review the Elements of Operational Design. Consider how these, combined with
MDMP and JOPP, shape the ability of a military organization to manage a crisis as described
by Augustine. How do they contribute to sensemaking?
United States Army. Field Manual 3-07, Stability Operations. Washington, DC: Headquarters,
Department of the Army, October 2008.
Enabler: The Army’s doctrine on stability operations posits a fundamental tension between
the nature of stability operations and planning. Read this to grasp how Army doctrine
explains the role of understanding and its relationship to planning for stability operations.
United States Army. Field Manual 3-13, Information Operations (Draft). Washington, DC:
Headquarters, Department of the Army, 2009.
Enabler: Information and Full Spectrum Operations: Recognizes that information

superiority is illusive. This new manual approaches the use of information to affect the
operational environment. By addressing three operational challenges inherent in
conducting military operations in a globally inter-connected, information saturated world.
They are: winning the psychological contest with real and potential adversaries; keep
friends and gain allies; and winning the operational and strategic cognitive and technical
contest with adversaries to gain and retain the advantage.
United States Army. Field Manual 6-0, Command and Control. Washington, DC:
Headquarters, Department of the Army, 2003. Appendix B.
Enabler: This is a good discussion of the uses of information and brings in the tactical piece.
United States Army. Field Manual 6-0, Command and Control. Washington, DC:
Headquarters, Department of the Army, 2003. Chapters 2 and 3.
Enabler: Refresh your understanding of the nature of command. Consider the distinctions
between command and leadership as you read this chapter. Control is the systemic element
of C2. Review Chapter 3 to refresh your understanding of the three elements of control and
the principles.
United States Army, Field Manual 6-22, Army Leadership. Washington, DC: Headquarters,
Enabler: Army leadership doctrine already recognizes the challenge of leadership without
authority and the need to influence others beyond the chain of command. Use this
opportunity to reflect on the challenge of getting others to participate in design and
planning, given that some may not understand or embrace the methodology.
Joint Staff, U.S. Department of Defense. Joint Publication 5-0, Joint Operations Planning.
Washington, DC: Joint Chiefs of Staff, December 2006. Chapter 4.
272
ART OF DESIGN
Enabler: Our formulations of design concepts should not be done in a vacuum. Eventually,
design concepts need to be transferred into either the JOPP or MDMP operations systems,
or into some other form of tool to turn into action steps. JP 5-0, Chapter 4, offers the bridge
supports on the planning side of the chasm between design and planning. Investigating
what is expected in the initial stages of JOPP offers a manner for the construction of the
bridge itself from the near side ideas of design to the far side ideas of planning and
execution.
TRADOC, ARCIC, Department of the Army. “Campaign Directive Format, Operational

Command Workshop, Unified Quest 2009.”
Enabler: This is not doctrine, but it is an initial attempt to prescribe the format of the
document(s), which serve a bridging function from design into planning.
United States Army. TRADOC Pamphlet 525-5-500, Commander’s Appreciation and

Campaign Design. Washington, DC: Headquarters, Department of the Army, 2008. Chapter
2.
Enabler: This precursor to FMI 5-2, Design provides an understanding of the doctrinal
heritage of design. Of practical value are the questions you might ask during framing as
described in the manual.
United States Army. Field Manual Interim 5-2, Design. Washington, DC: Headquarters,
Enabler: FMI 5-2 was the basis for chapter 3 of FM 5-0 on design and offers an expanded
discussion of design methodology.
HISTORY
Clausewitz, Carl von. On War. Ed. and trans. Michael Howard and Peter Paret. New York,
NY: Alfred A. Knopf, 1993.
Enabler: Book One, Chapter Three, “Military Genius.” This section is the closest Clausewitz
comes to a discussion of leadership. As you read this passage, consider how Clausewitz’s
view of military genius contrasts (favorably or not) with the views of Heifetz, Fuller, and
Army doctrine.
Fuller, J. F. C. Generalship. Harrisburg, PA: Military Service Publishing Co., 1936.
Enabler: Fuller’s thoughts on generalship offered three common characteristics of good

generals, namely courage, creative intelligence, and physical fitness. To better understand
why Fuller wrote his invective against British generals, look at the graph on pages 105-06.
Gole, Henry G. The Road to Rainbow. Annapolis, MD: Naval Institute Press, 2003.
273
ART OF DESIGN
Enabler: Major Wedemeyer’s project did not occur in a vacuum. You should understand the
difficulty of interwar planning and the scope of military efforts directed at understanding
the future. In particular make note of the difficulties that the planners operated under
given the strategic circumstances and lack of clear political direction.
Grant, U. S. Memoirs. New York, NY: Literary Classics, 1990.
Enabler: Grant, in the “cracker-line” campaign, clearly places his efforts in the larger
context of 1863. At the start of this reading, we see Grant taking stock of various ongoing
operations, and accounting for the effects of previous military events. He is given some
specific instructions (designing constraints) and begins to design the environmental frame,
problem frame, and eventually a design concept for his “space.” He proceeds to execution,
of specific tasks, but also keeps an awareness of the connections to the larger issues.
Kirkpatrick, Charles E. An Unknown Future and a Doubtful Present, Writing the Victory Plan
of 1941. Washington, DC: Center of Military History, 1992.
Enabler: Chapters 3 and 4 form the heart of the discussion about Wedemeyer’s experience
with a “stupendous” problem.
Lawrence, Thomas E. Seven Pillars of Wisdom. London: Penguin, 1926, 1962.
Enabler: A careful examination of the chapter, including the rather strange note on page
202, is illuminating of the reality of thinking about managing problems. Note – the internet
version left out the interesting footnote to the first sentence of the second to last
paragraph: “Not perhaps as successfully as here. I thought out my problems mainly in
terms of the Hejaz, illustrated by what I knew of its men and geography. These would have
been too long if written down; and the argument has been compressed into an abstract
form in which it smells more of the lamp than of the field. All military writing does, worse
luck.”
Mao, Tse-tung. “Problems of Strategy in China's Revolutionary War” in The Art of War. El
Paso, TX: El Paso Norte Press, 2005.
Enabler: This brief excerpt allows you to explore (or more likely review) Mao’s thoughts on
war and generalship.
Slim, Field Marshal William J., 1st Viscount Slim. Defeat into Victory. New York, NY:
Macmillan, 1986.
Enabler: Slim clearly believed that complexity was the normal situation for a corps
commander in World War II. Despite claims of others, complexity is not a figment of the
contemporary operating environment.
COSSAC, Staff of. “Digest of Operation Overlord, 7 July 1943. (43) 32 Final.”
274
ART OF DESIGN
Enabler: This original document is an of an initial problem statement. One question this
document raises, did they frame the right problem? This questioning is an essential aspect
of the art of design.
Stewart, Richard W. Staff Operations: X Corps in Korea, 1950. Fort Leavenworth, KS: Combat
Studies Institute, 1991.
Enabler: X Corps found itself in an untenable position in December 1950. As a result, the
entire corps was ordered to conduct a withdrawal by sea. Read this monograph to
understand the organization the corps staff used to manage the operation.
Sun Tzu. Art of War. Trans. Ralph D. Sawyer. Westview, 1994.
Enabler: Also see Giles translation, Chapter Five, “Energy” at
http://www.chinapage.com/sunzi-e.html and Giles translation with commentary at

http://suntzusaid.com/book/5
Woodward, Sandy. 100 Days. Annapolis: Naval Institute Press, 1992.
Enabler: Sandy Woodward, as a senior Royal Navy officer, commanded the British assault
on the Falkland Islands. His description of his design concept, his evaluation of the
environment, the problem, and his initial design concept, is classic – if typically Navy in that
it is fully command-centered, with little input from a staff. The image of him in his office
afloat with his little strips of paper will stay with you for some time.
REFERENCES
Albert, Mathias. “On Boundaries, Territory and Postmodernity: An International Relations
Perspective,” in David Newman, editor, Boundaries, Territory, and Postmodernity. London:
Frank Cass, 2002.
Aristotle. The Poetics. Trans. Ingram Bywater. Whitefish, MT: Kessinger Publishing, 2004.
Ancona, Deborah, and Henrik Bresman. X-Teams: How to Build Teams That Lead Innovate,
and Succeed. Boston, MA: Harvard Business School Press, 2007.
Argyris, Chris. “Double loop learning in organizations.” Harvard Business Review 55, no. 5
(September-October, 1977).
Argyris, Chris, and Donald A. Schön. Organizational learning: A theory of action perspective.
Reading, MA: Addison Wesley, 1978.
Auerbach, Yehudith. “Forgiveness and Reconciliation: The Religious Dimension.” Terrorism

and Political Violence 17, no. 3 (2005).
Augustine, Norman R. “Managing the Crisis You Tried to Prevent.” Harvard Business Review
275
ART OF DESIGN
Axelrod, Robert and Michael D. Cohen. Harnessing Complexity: Organizational Implications

of a Scientific Frontier. New York: Basic Books, 2000.
Baker, Jim. “Systems Thinking and Counterinsurgencies.” Parameters (Winter, 2006-07).
Banach, Stephan J. and Alex J. Ryan. “The Art of Design: A Design Methodology.” Military
Review 89 no. 2 (2009).
Bar-Yam, Yaneer. Making Things Work: Solving Complex Problems in a Complex World.
Cambridge, MA: NECSI Knowledge Press, 2004.
Bassford, Christopher. “Clausewitz and His Works.” 2008.

http://www.clausewitz.com/readings/Bassford/Cworks/Works.htm. Accessed December
26, 2009.
Bateson, Gregory. Steps to an Ecology of Mind. New York: Ballantine Books, 1972.
Bateson, Gregory. Mind and Nature: A Necessary Unity. Bantam, 1988.
Beeman, William O. The “Great Satan” Vs. the “Mad Mullahs”: How the United States and Iran
Demonize Each Other. Chicago, IL: University of Chicago Press, 2008.
Benne, Kenneth D. and Paul Sheats. “Functional roles of group members.” Journal of Social
Issues 4, no. 2 (1948).
Bierce, Ambrose. The Devil’s Dictionary. New York: Oxford University Press, 1999.
Boot, Max. “The New American Way of War.” Foreign Affairs. 82, no. 4 (2003).
Bousquet, Antoine. The Scientific Way of Warfare: Order and Chaos on the Battlefields of
Modernity. New York NY: Columbia University Press, 2009.
Boyd, John R. “Destruction and Creation.” 1976.

http://www.goalsys.com/books/documents/DESTRUCTION_AND_CREATION.pdf.
Accessed December 30, 2009.
Brown, Tim. “Design Thinking.” Harvard Business Review 86, no. 6 (2008).
Brown, Tim. “Strategy by Design.” Fast Company (June 2005).
Bucciarelli, Louis L. Designing Engineers. Cambridge, MA: MIT Press, 1994.
Bullock, Major Xander L. “Engineering Design Theory: Applying the Success of the Modern
World to Campaign Creation.” Monograph, School of Advanced Military Studies, U.S. Army
Bullock, Major Xander and Lieutenant Colonel Bruce Vitor. “Design: How, not Why,”
Military Review (March-April 2010).
276
ART OF DESIGN
Caldwell, Lieutenant General William B. “Foreword.” In Jack Kem. Design: Tools of the Trade.
Leavenworth: U.S. Army Command and General Staff College, 2009.
Campbell, Donald T. “Blind variation and selective retention in creative thought as in other
knowledge processes.” Psychological Review, 67, 1960.
Cepeda, Major Luis F. “Towards a Theory on the Design of Military Transformation: A

Systemic Approach.” Monograph, School of Advanced Military Studies, U.S. Army Command
Cerami, Joseph R. and James F. Holcomb, Jr. U.S. Army War College Guide to Strategy.
Carlisle, PA: Strategic Studies Institute, U.S. Army War College, 2001.
Chiarelli, Major General Peter W., and Major Patrick R. Michaelis. “Winning the Peace: The
Requirement for Full-Spectrum Operations.” Military Review (July-August, 2005).
Checkland, Peter B. Systems Thinking, Systems Practice. Chichester, Sussex: John Wiley &
Sons, 1981.
Checkland, Peter B. “From Optimizing to Learning: A Development of Systems Thinking for

the 1990s.” Journal of the Operational Research Society 36, no. 9 (1985).
Checkland, Peter B., and John Poulter. Learning for Action: A Short Definitive Account of Soft
Systems Methodology and its use for Practitioners, Teachers and Students. Chichester: John
Wiley & Sons, 2006.
Chiarelli, Major General Peter W. and Major Patrick R. Michaelis. “Winning the Peace: The
Requirement for Full-Spectrum Operations.” Military Review (July-August 2005).
Clausewitz, Carl von. On War. Edited and translated by Michael Howard and Peter Paret.
New York, NY: Alfred A. Knopf, 1993.
Cohen, Anthony. Signifying Identities: Anthropological Perspectives on Boundaries and

Contested Identities. London: Routledge, 1999.
Cohen, Eliot A. and John Gooch. Military Misfortunes: The Anatomy of Failure in War. New
York, NY: Vintage Books, 1991.
Corman, Steven R., Angela Trethewey and H. Lloyd Goodall. Weapons of Mass Persuasian:
Strategic Communication in the War of Ideas. New York, NY: Peter Lang, 2008.
COSSAC, Staff of. “Digest of Operation Overlord, 7 July 1943. (43) 32 Final.”
Cross, Nigel. “Design Research: A Disciplined Conversation.” Design Issues 15, no. 2 (1999).
Cross, Nigel. “Discovering Design Ability.” In Discovering Design: Explorations in Design

Studies. Edited by Richard Buchanan and Victor Margolin. Chicago: University of Chicago
Press, 1995.
277
ART OF DESIGN
Csikszentmihalyi, Mihaly. “Implications of a Systems Perspective for the Study of

Creativity.” In Handbook of Creativity. Edited by Robert J. Sternberg. New York, NY:
Cambridge University Press, 2007.
Davison, Major Ketti et al. “Operational Design: Standard Operating Procedure”

(Monograph, School of Advanced Military Studies, U.S. Army Command and General Staff
College, 2006).
Deleuze, Gilles and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia.
Minneapolis, MN: University of Minnesota Press, 1987.
Dempsey, Lieutenant General (P) Martin. Speech to SAMS Graduation, 22 May 2008.
Dewey, John. How We Think. Boston, MA: D. C. Heath & Co., 1910.
Dietrich, Arne. “Who’s afraid of a cognitive neuroscience of creativity?” Methods, 42 (2007).
Dö rner, Dietrich. The Logic of Failure: Recognizing and Avoiding Error in Complex Situations.
Cambridge, MA: Perseus Books, 1996.
Fuller, Major General John F. C. The Foundations of the Science of War. Washington, DC:
Government Printing Office, 1993.
Gabarro, John J., and John P. Kotter, “Managing Your Boss.” Harvard Business Review
(January 2005).
Gaddis, John Lewis. The Landscape of History: How Historians Map the Past. Oxford: Oxford
Geertz, Clifford. “Thick Description” in The Interpretation of Cultures: Selected Essays. New
York: Basic Books, 1973.
Gerras, Colonel Stephen J. “Thinking Critically about Critical Thinking: A Fundamental

Guide for Strategic Leaders.” U.S. Army War College, June 2006.
http://www.au.af.mil/au/awc/awcgate/army-usawc/crit_thkg_gerras.pdf. Accessed March
15, 2010.
Gill, Brad. “ Enabling Design” (Monograph, School of Advanced Military Studies, US Army
Command and General Staff College, 2009).
Goldstein, Jeffrey, “Emergence, Creativity, and the Logic of Following and Negating.” The
Innovation Journal 10 no. 3 (2005).
Grant, Ulysses S. Personal Memoirs of U. S. Grant. NY: Da Capo, 1982, originally published
1885, Chapters 40 and 41.
278
ART OF DESIGN
Hatch, Mary Jo, and Ann L. Cunliffe. Organization Theory: Modern, Symbolic, and Postmodern
Perspectives. Oxford: Oxford University Press, 2006.
Hammerstrom, Major Michael L. “Size Matters: How Big Should a Military Design Team
Be?” Monograph, School of Advanced Military Studies, U.S. Army Command and General
Staff College, 2010.
Hayward, Major Edward P. W. “Planning Beyond Tactics: Towards a Military Application of

the Philosophy of Design in the Formulation of Strategy.” Monograph, School of Advanced
Heifetz, Ronald A. Leadership Without Easy Answers. Cambridge, MA: Belknap Press of
Harvard University Press, 1994.
Heifetz, Ronald A., and Martin Linsky. Leadership on the Line: Staying Alive Through the
Dangers of Leading. Boston, MA: Harvard Business School Press, 2002.
Heinl Jr., Robert Debs. Dictionary of Military and Naval Quotations. Annapolis, MD: United
States Naval Institute, 1966.
Henrotin, Joseph and Tanguy Struye de Swielande. “Ontological-Cultural Asymmetry and

the Relevance of Grand Strategies,” Journal of Military and Strategic Studies 7 no. 2 (2004).
Hirsch, Gal. “On Dinosaurs and Hornets: A Critical View on Operational Moulds in
Asymmetric Conflict,” Royal United Services Institute Journal (August 2003).
Inch, Colonel Mark. “Systemic Operational Design: Case A Outbrief,” Presentation to

Exercise Unified Quest, Carlisle, PA, 6 May 2005.
Iser, Wolfgang. “The Significance of Fictionalizing,” Anthropoetics III no. 2 (Winter 1997-
1998).
Janowitz, Morris. The Professional Soldier. Glencoe, IL: Free Press, 1960.
Jomini, Henri. “Jomini and his Summary of the Art of War: A Condensed Version,” in Ardant
du Picq, Charles Jean Jacques Joseph, Carl von Clausewitz, and Henri Jomini. Roots of
Strategy, Book 2: 3 Military Classics. Harrisburg, PA: Stackpole Books, 1987.
Jones, Christopher J. Design Methods. New York, NY: Van Nostrand Reinhold, 1992.
Jullien, Francois. A Treatise on Efficacy: Between Western and Chinese Thinking. Translated
by Janet Lloyd. Honolulu: University of Hawai’i Press, 2004.
Kem, Jack. Design: Tools of the Trade. Leavenworth: U.S. Army Command and General Staff
College, 2009.
279
ART OF DESIGN
Khadduri, Majid. War and Peace in the Law of Islam. Baltimore, MD: Johns Hopkins Press,
1955.
Kilcullen, David J. 2005. “Countering Global Insurgency.” Journal of Strategic Studies. 28, no.
4.
King, Lieutenant Colonel Richard. “How Stupid Are We?” Australian Army Journal VI, no. 3
(Summer 2009): 182-183.
King, Lieutenant Colonel Richard. “Thinking Skills Resources.” Unpublished draft, 2009.
Kirkpatrick, Charles E. An Unknown Future and a Doubtful Present: Writing the Victory Plan
of 1941. Washington, DC: Center of Military History, 1992.
Korzybski, Alfred. Science and Sanity: An Introduction to Non-Aristotelian Systems and

General Semantics. Lancaster, PA: The International Non-Aristotelian Library Pub. Co.,
1933.
Kotter, John P. Power and Influence. New York: Free Press, 1985.
Krippendorff, Klaus. The Semantic Turn: A New Foundation for Design. Boca Raton, FL:
CRC/Taylor & Francis, 2006.
Kuhn, Thomas S. The Structure of Scientific Revolutions. Chicago, IL: University of Chicago
Press, 1970.
Lai, David. Learning from the Stones: A Go Approach to Mastering China’s Strategic Concept
Shi. Carlisle, PA: Strategic Studies Institute, U.S. Army War College, 2004.
Lakoff, George. “Metaphor and War: The Metaphor System Used to Justify War in the Gulf.”
Viet Nam Generation Newsletter and Journal 3, no. 3 (1991).
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago, IL: The University of
Chicago Press, 2003.
Lanir, Zvi. Fundamental Surprises: The National Intelligence Crisis. Tel Aviv: Dvir, 1984.
Laszlo, Ervin. The Systems View of the World: The Natural Philosophy of the New
Developments in the Sciences. New York: George Braziller, 1972.
Lave, Jean, and Etienne Wenger. Situated Learning: Legitimate Peripheral Participation.
Cambridge: Cambridge University Press, 1991.
Lawson, Bryan. How Designers Think: The Design Process Demystified. Amsterdam: Elsevier,
2006.
Lawrence, Thomas E. “The Evolution of a Revolt.” CSI Reprint from the Army Quarterly and
Defence Journal, (1920).
280
ART OF DESIGN
Lawrence, Thomas E. Seven Pillars of Wisdom: A Triumph. London: Penguin Books, 1983.
Le Dantec, Christopher A. “Situated design: toward an understanding of design through

social creation and cultural cognition.” In Proceedings of the Seventh ACM Conference on
Creativity and Cognition. Berkeley, California, USA, October 27 - 30, 2009.
Lefkowitz, Daniel. Words and Stones: The Politics of Language and Identity in Israel. New
York, NY: Oxford University Press, 2004.
Lewin, Kurt. Field theory in social science; selected theoretical papers. Edited by Dorwin
Cartwright. New York, NY: Harper & Row, 1951.
Luhman, Niklas. Social Systems. Stanford, CA: Stanford University Press, 1995.
Mahan, Dennis H. An Elementary Treatise on Advanced Guard, Outpost, and Detachment

Service of Troops, and the Manner of Posting and Handling Them in Presence of an Enemy;
with a Historical Sketch of the Rise and Progress of Tactics, Etc, 1847.
March, James G. A Primer on Decision Making. New York, NY: Free Press, 1999.
Mao, Tse-tung. “Problems of Strategy in China's Revolutionary War” in The Art of War. El
Paso, TX: El Paso Norte Press, 2005.
Mattis, General James N. “Memorandum for U.S. Joint Forces Command: Vision for a Joint
Approach to Operational Design,” 6 October 2009.
McChrystal, General Stanley A. COMISAF’s Initial Assessment, 2009.
Mintzberg, Henry. The Rise and Fall of Strategic Planning. London: Financial Times/Prentice
Hall, 2000.
Moffat, James. Complexity and Network-Centric Warfare. Washington DC: CCRP Publications,
2003.
Naveh, Shimon. “Asymmetric Conflict: An Operational Reflection on Hegemonic Conflict,”

Operational Theory Research Institute, unpublished paper (2002).
Naveh, Shimon, Jim Schneider and Timothy Challans. The Structure of Operational
Revolutions: A Prolegomena. Leavenworth, Kansas: Booz Allen Hamilton, 2009.
Newman, David. Boundaries Territory and Postmodernity. London: Frank Cass, 2002.
Newman, David. “Geopolitics Renaissant: Territory, Sovereignty and the World Political
Map.” In David Newman, editor. Boundaries, Territory and Postmodernity. London: Frank
Cass, 2002.
Ochs, Elinor, and Lisa Capps. “Narrating the Self.” Annual Review of Anthropology 25 (1996).
281
ART OF DESIGN
Paasi, Anssi. “Boundaries as Social Processes: Territoriality in the World of Flows.” in David
Newman, editor. Boundaries, Territory, and Postmodernity. London: Frank Cass, 2002.
Paparone, Christopher R. “On Metaphors we are Led by.” Military Review (November-
December 2008).
Paparone, Christopher R. “Design and the Prospects of a US Military Renaissance.” Small

Wars Journal Blog 5 May, 2010.
Page, Scott E. The Difference: How the power of diversity creates better groups, firms, schools,
and societies. Princeton, NJ: Princeton University Press, 2007.
Paine, Robert. “Aboriginality, Authenticity, and the Settler World.” In Anthony Cohen,
Signifying Identities: Anthropological Perspectives on Boundaries and Contested Identities.
London: Routledge, 1999.
Paul, Richard, and Linda Elder. Critical Thinking: Tools for Taking Charge of Your
Professional and Personal Life. Upper Saddle River, NJ: Financial Times/Prentice Hall, 2002.
Peverelli, Peter J. Creating Corporate Space: In Search of Chinese Corporate Identity, Serie
research memoranda, 2004-20. Amsterdam: Vrije Universiteit, 2004.
Rand, Ayn. Philosophy, Who Needs It. Indianapolis: Bobbs-Merrill, 1982.
Reitzel, William. Background to Decision-Making. Newport, RI: Naval War College, 1958.
Rittel, Horst W. J., and Melvin M. Webber. “Dilemmas in a General Theory of Planning.”
Policy Sciences, 4 (1973).
Russell, Bertrand. The problems of philosophy. Plain Label Books, 1938.
Ryan, Alex J. “The Foundation for an Adaptive Approach: Insights from the Science of
Complex Systems,” Australian Army Journal, VI, no. 3 (2010).
Schmitt, John F. “A Systemic Concept for Operational Design,” unpublished article, 2006.
http://www.au.af.mil/au/awc/awcgate/usmc/mcwl_schmitt_op_design.pdf. Accessed
March 17, 2010.
Schön, Donald A. Educating the Reflective Practitioner. San Francisco: Jossey-Bass, A Wiley
Imprint, 1987.
School of Advanced Military Studies, Art of Design Student Text, Version 1.0. Fort
Leavenworth, KS, Command and General Staff College, 2008.
Schwarz, Roger. The Skilled Facilitator A Comprehensive Resource for Consultants,

Facilitators, Managers, Trainers, and Coaches. San Francisco, CA: Jossey-Bass, 2002.
Senge, Peter M. The Fifth Discipline: The Art and Practice of the Learning Organization. New
York: Doubleday/Currency, 2006.
282
ART OF DESIGN
Sherrod, Robert Lee. Tarawa: The Story of a Battle. New York: Duell, Sloan and Pearce,
1944.
Simon, Herbert A. The Sciences of the Artificial. Cambridge, MA: MIT Press, 1981.
Slim, Field Marshal William J., 1st Viscount Slim. Defeat into Victory. New York, NY:
Macmillan, 1986.
Slocum-Bradley, Nikki, editor. Promoting Conflict or Peace Through Identity. Aldershot,

England: Ashgate, 2008.
Sorrells, Lieutenant Colonel William T., Lieutenant Colonel Glen R. Downing, Major Paul J.
Blakesley, Major David W. Pendall, Major Jason K. Walk, and Major Richard D. Wallwork.
“Systemic Operational Design: An Introduction.” Monograph, School of Advanced Military
Studies, U.S. Army Command and General Staff College, 2005.
Sternberg, Robert J., and Wendy M. Williams. How to Develop Student Creativity. Alexandria,
VA: Association for Supervision and Curriculum Development, 1996.
Stofft, William A. “Leadership at the Operational Level of War.” In Clayton R. Newell and
Michael D. Krause, On Operational Art. Washington, DC: Center of Military History, United
States Army, 1994.
Swain, Rick. Fundamentals of Operational Design. Leavenworth, Kansas: Booz Allen

Hamilton, 2009.
Taleb, Nassim. The Black Swan: The Impact of the Highly Improbable. New York, NY:
Random House, 2007.
United States Army. Field Manual 3-07, Stability Operations. Washington, DC: Headquarters,
United States Army. Field Manual 3-24, Counterinsurgency. Washington, DC: Headquarters,
United States Army. Field Manual 3-90, Tactics. Washington, DC: Headquarters, Department
of the Army, 2001.
United States Army. Field Manual 5-0, Operations Process. Washington, DC: Headquarters,
Department of the Army, 26 March 2010.
United States Army, Field Manual 6-0, Mission Command: Command and Control of Army
Forces. Washington, DC: Headquarters, Department of the Army, 2003.
283
ART OF DESIGN
United States Army. Field Manual 6-22, Army Leadership. Washington, DC: Headquarters,
United States Army. Field Manual Interim 5-2, Design. Washington, DC: Headquarters,
United States Army. Joint Publication 1, Doctrine for the Armed Forces of the United States.
Washington, DC: Joint Chiefs of Staff, 2007 (2009 update).
United States Department of Defense. Joint Publication 1-02, Department of Defense

Dictionary of Military and Associated Terms (Washington , DC: Government Printing Office,
2006).
United States Army. TRADOC Pamphlet 525-5-500, Commander’s Appreciation and

Campaign Design. Washington, DC: Headquarters, Department of the Army, 2008.
United States Army War College. Information Operations Primer. Carlisle, PA: United States
Army War College and Carlisle Barracks, 2007.
Usher, Robin, and Ian Bryant., Adult Education as Theory, Practice and Research. London:
Routledge, 1989.
Varma, Pavan K. Being Indian: Inside the Real India. London: William Heinemann, 2005.
Vlahos, Michael. “Fighting Identity: Why We Are Losing Our Wars,” Military Review,
Waugh, Joan. Personal Memoirs of U.S. Grant: A History of the Union Cause. Frank L. Klement
lectures, no. 12. Milwaukee, WI: Marquette University Press, 2003.
Weick, Karl E. “Leadership When Events Don't Play By the Rules.” Trying Times series,
University of Michigan (2002).
http://www.bus.umich.edu/facultyresearch/research/TryingTimes/Rules.htm. Accessed
March 17, 2010).
Weick, Karl E. and Kathleen M. Sutcliffe. “Organizing and the Process of Sensemaking.”
Organization Science 16, no. 4 (July-August 2005).
Wenger, Etienne. “Communities of Practice: Learning as a Social System,” Systems Thinker,

June 1998.
White, Hayden. The Content of the Form: Narrative Discourse and Historical Representation.
Baltimore, MD: The John Hopkins University Press, 1987.
White, Hayden. Tropics of Discourse: Essays in Cultural Criticism. Baltimore, MD: The John Hopkins
284
ART OF DESIGN
Woodward, Admiral Sandy. One Hundred Days: The Memoirs of the Falkland Battle Group
Commander. Annapolis: Naval Institute Press, 1992.
Workshop in Strategic Communication, University of Missouri School of Journalism,

February 17-19, 2010.
Worsley, Peter. The trumpet shall sound: a study of "cargo" cults in Melanesia. London:
MacGibbon & Kee, 1957.
285
ART OF DESIGN
APPENDIX B: DESIGN METHODS
The structure and organization for this appendix are based on an unpublished manuscript by Lt Col
Richard King of the Australian Defense Forces titled Thinking Skills Resources. His paper is used in the
curriculum of the School of Advanced Military Studies. He can be contacted at:
[email protected]
Within his paper, Lt Col King catalogued and described 29 primary techniques for critical thinking. The
order and explanation of those techniques within this document derive from King’s work. Where
applicable, King’s specific descriptions or examples are noted. In other cases, new examples were
generated or were taken from additional research and sources. Many of the techniques are common
applications in critical thinking, while others (as described) have been enhanced by commercial
instructional enterprises. Credit is given as appropriate.
Lt Col King’s effective thinking framework is shown on the next page. In his model he separates the
framework into divergent and convergent thinking, and he further establishes a taxonomy with four
steps:
1. Explore the issue
2. Generate options
3. Select from options
4. Implement an option
In King’s methodology, two of the 29 techniques (Mind Mapping and The Six Thinking Hats) apply across
all four steps, while the others are most appropriate to a specific step of the methodology, as shown.
Practitioners of design should consider this when performing as design team leaders or members. This
document and King’s taxonomy will be useful tools when one must assess where the team is at in the
endeavor, particularly if techniques are needed to move forward.
286
ART OF DESIGN
287
ART OF DESIGN
DESIGN TOOLS FOR SAMS D300 – Organizational Description

NAME OF TECHNIQUE:
Utility: Describes where this particular tool or technique may be useful or relevant. Also shows where
caution should be taken.
Explanation: Describes how the particular technique can be applied.
Examples: If displayed, amplifies the explanation, furnishes new issues, or provides examples of the
technique discussed. If taken from a source, then that source is identified.
Source: (King 1) Provides the reference (or in some cases, one or two of numerous possible references)
to the technique.
288
ART OF DESIGN
MIND MAPPING
Utility: At the beginning of a problem to represent and manage ideas and information graphically. Serves
as a graphical outline. Stimulates creativity and identifies relationships between ideas. Can be used by
individuals and in groups. Other applications include:
• Making notes during meetings and ‘thinking’ sessions.

• Planning meetings and ‘thinking’ sessions.
• Summarizing notes during study.
Explanation:
• Begin in the center with an image of the primary topic.

• Use images, symbols, codes, and dimensions throughout the Mind Map.
• Select key words the show secondary areas; use upper or lower case to establish emphasis.
• Each word/image must be alone and sitting on its own line.
• Connected lines, starting from the central image. The central lines may be thicker, becoming
thinner as they radiate out from the center.
• Make the lines the same length as the word/image.
• Use colors – your own code – throughout the Mind Map.
• Develop your own personal style of Mind Mapping.
• Use emphasis and show associations in the Mind Map.
• Keep the Mind Map clear by using radial hierarchy, numerical order or outlines to embrace your
branches.
Example:
Source: (King 1) Popularized by Buzan, Tony and Buzan, Barry, The Mindmap Book, BBC Books, London, 1997.
CGSC Copyright Registration #10-429 C.
289
ART OF DESIGN
SIX THINKING HATS

Utility: At any time during methodology. Very useful when group is stuck in unproductive arguments or
stalls and is not moving forward. Helpful for controlling group dynamics. Caution: Can get stuck in
emotional arguments.
Explanation: Group members analyze the problem from different mental states by “wearing” different
colored hats. The group leader specifies what hats to “wear,” and discussions follow just from that hat’s
perspective. All can wear the same hat or mix it up to move past emotional arguments, though better
collaboration occurs if everyone “wears” the same hat at the same time and hats are “changed” in
sequence.
If the group is being too subjective or even too critical, the leader may ask the members to put on their
white hats and proceed. If the group is being too optimistic about outcomes and no downsides are
identified, the leader may direct a discussion with black hats.
Example:
White hat - FACTS AND FIGURES

White is neutral and objective (a blank sheet of paper). The white hat is concerned with
objective facts and figures. Uses: Just facts and information, no interpretations.
Red hat - EMOTIONS AND FEELINGS

Red (heat) suggests anger (seeing red), rage and emotions. The red hat gives the emotional
view. Uses: Feelings, hunches, intuitions, impressions. No need to justify.
Black hat - NEGATIVE THINKING

Black is gloomy and negative. The black hat covers the negative aspects – why it cannot be done.
Uses: What is wrong, incorrect or in error. A REALITY CHECK.
Yellow hat - POSITIVE THINKING

Yellow is sunny and positive. The yellow hat is optimistic and covers hope and positive thinking.
Uses: Positive aspects, constructive thinking and making things happen.
Green hat - CREATIVE AND LATERAL THINKING

Green is grass, vegetation and abundant, fertile growth. The green hat indicates creativity and
new ideas. Uses: Creation of new ideas, concepts and approaches
Blue hat - CONTROL OF THINKING

Blue is the colour of the sky, above everything else. The blue hat is concerned with control and
organization of the thinking process (including the use of the other hats). Uses: Directing the use
of the hats. Summaries, overviews and conclusions.
Source: (King 2) By Edward De Bono “Six Thinking Hats” (1985) Also see Mind Tools at
http://www.mindtools.com/pages/article/newTED_07.htm
290
ART OF DESIGN
KEEP ASKING WHY

Utility: To bore deeper into an issue or discover its real causes (vice symptoms). Helps to ensure the root
causes are genuine and not just what the group thought were germane. Also helps to smoke out specious
or shallow arguments. Like meta-questioning.
Caveat: Some people will be offended by the questioning, seeing it as badgering or disrespectful. The
questioner could request: “Help me understand this; why …?”
Explanation: This is a five-step process:
Step 1: Identify an element of the issue.

Step 2: Ask ‘why?’
Step 3: Consider the response.
Step 4: Ask ‘why?’ again.
Step 5: Repeat steps 3 and 4 until you run out of responses.
Example:
Person 1. We need to conduct drown proofing training.

Person 2. Why do we need to conduct drown proofing training?
P 1. The Army safety regulation requires it.
P 2. Why does the Army require it?
P 1. To identify soldiers who can’t swim?
P 2. Why? And what will you do about the soldiers who are weak swimmers?
P 1. We’ll train them to be proficient swimmers.
P 2. What will you train them to be able to do?
P 1. Soldiers will train to perform their mission activities?
P 2. What is your mission profile??
P 1. We are an armored unit operating in the desert.
P 2. Why would you train soldiers to swim when it’s not in the mission profile?
P 1. Perhaps we just need to know who they are in case the mission changes.
Note that the initial guidance (conduct drown proofing training) opened the door for a potential
extensive training program the unit may not have been able to conduct. By questioning, a better course
of action was revealed (since the mission will not expose these soldiers to water, we’ll just assess
proficiency in order for the chain of command to know who the weak or non swimmers are).
Source: (King 3)
291
ART OF DESIGN
CHALLENGING ASSUMPTIONS
Utility: To validate existing assumptions, especially in complex situations. Aids group understanding and
also serves to potentially eliminate assumptions which may be constraining. Ensures assumptions are not
taken for granted.
Caveat: can be time consuming.
Explanation: This is a three-step process:
Step 1: Write the issue down.

Step 2: Identify underlying assumptions.
Step 3: Challenge and discuss each assumption.
Example:
Step 1: How can we reduce the SAMS reading load?

Step 2: Assumptions:
• Students can’t read all the material.
• Students don’t want to read all the material.
• Faculty wants to add more readings.
Step 3:
• Can’t read it all? Time isn’t always the problem; availability also is an issue. Some readings are
only available in the library, but if they could be offered online, students could read them at home.
• Don’t want to read it? Not wanting to read the material isn’t always the case. However, when
monograph progress is due, course readings become secondary. Scheduling both so they don’t
conflict will help with overall workload.
• Faculty wants more? Faculty understands the reading load issue, but individual course authors
feel their information is important. Setting a maximum number of required pages for reading can
be modified by some readings being assigned for scanning – understanding that the instructor will
have to present more.
Source: (King 4) Derivative of MDMP from Page’s cumulative strategy – 1961
292
ART OF DESIGN
CHALLENGING BOUNDARIES
Utility: (King 5) Aids in framing a problem. Most utility in complex problems or when the problem
appears to be too restrictive.
Putting boundaries on an issue helps to define it. Writing an issue down leads people to see the
boundaries as fixed when perhaps they are bad boundaries in the first place. By challenging the
preconceived boundaries, new perspectives may evolve; one may also discover that the original
boundaries are either too restrictive or too broad.
Resembles Schön’s use of boundaries to generate creativity.
Explanation: This is a three-step process comprising:

Step 2: Underline key aspects.
Step 3: Challenge key aspects.
Challenge the key aspects of the issue. This will raise additional questions or insights into the issue. The
additional questions or insights can be dealt with by asking the question: “So what?”
Example:
Step 1: How can we reduce the SAMS reading list to make the lessons easier for students?
Step 2: How can we reduce the SAMS reading list to make the lessons easier for students?
Step 3:
• reduce: Do we mean authors or pages? How do we measure difficult readings against less obtuse
writing? So what?
• SAMS reading list: How do we compare “read for understanding” against “scan” in the lesson plan?
Should all students be required to read every source (even those which are just recommended)?
How does online material count? So what?
• lessons: How must the readings tie into the classroom discourse and the instructors’
presentations? So what? What is sacrificed if students are lectured to without their reading
assigned material?
• easier for students: Does reading load or page count equate to easier work? So what? Should SAMS
make the work easier, and if so, what is the threshold? Are there times when other SAMS
requirements make preparatory reading problematic? There used to be a requirement for two
monographs, so why is there a problem?
Source: (King 5)
293
ART OF DESIGN
THE SIX SERVING MEN

Utility: To develop the right questions in order to improve understanding of the nature and scope of an
issue. Useful for dealing with issues that the group has little information or knowledge about. Provides a
structured view of a situation from a variety of different perspectives. Can prevent rushing in to identify
a quick (and often short-term) solution.
The "six serving men” come from a Rudyard Kipling poem. They are who, what, where, when, why, and
how in relation to the situation and problem. Like meta-questioning.
Explanation: This is a three-step process:
Step 1: Define the issue in brief, precise terms.

Step 2: Questions (who, what, where, when, why, and how). Frame a series of questions, about
aspects of the issue, using the six serving men from positive and negative perspectives.
Step 3: Analysis (who, what, where, when, why, and how) Then analyse the questions to see if you can
gain new insights into the issue, or identify areas that need more data and analysis. When you
identify an insight, ask yourself “So what?”
Example:
Step 1: How might SAMS change the students’ reading requirements to be more palatable?
Step 2: (Shown below in bold)
Step 3: (Shown below after the questions in bold)
• Who says there’s too much reading? Who says there isn’t enough? Is it faculty, students, spouses?
How many hours per day are spent reading?
• What is on the reading list? What isn’t included on it? Do we only mean the required readings, or
are recommended readings included?
• Where are reading materials made available? Where they are not made available? Must the
readings be done in the library? Are there enough books for each student? Can they be made
available online?
• When does the student actually read? When are readings not done by students? Can resources be
shared, or must they be made available to all students simultaneously? What is the daily study
regimen for students?
• Why do people think there is too much reading required? Why do some people think it is adequate
or even insufficient? In what manner is the load determined? Do they think there is goodness in
the reading regimen?
• How are reading lists developed, and how are they currently being read? How do students skip
readings, and how do they get away with it? How frequently are lists changed, and who approves?
How are lists deconflicted among modules?
Source: (King 6) Myriad sources with this common approach. Also see
http://www.mycoted.com/Five_Ws_and_H
294
ART OF DESIGN
ENVIRONMENTAL SCANNING
Utility: To explore for Information; in strategic planning, provides for accumulating, analyzing, and
distributing information in order to identify trends, potential, opportunity, and threats. Has similar
objective as SAMS Environmental Frame: develop understanding after which priority issues can be
further developed. When taken fully, it is similar to the entire design methodology. Good for a learning
organization. Also like MDMP Mission Analysis.
Explanation: Resembles “triangulation” looking at a situation from various angles and perspectives.
First determine who is responsible for the process. Then steps are:
Step 1: Review and update general socioeconomic and country/area situation information.
Step 2: Take stock of existing "in-house" information.
Step 3: Actively collect and assess scanning information from other organizations.
Step 4: Access existing networks.
Step 5: Select additional techniques to complement and supplement information available
More info at: http://en.wikipedia.org/wiki/Environmental_scanning
Example:
Principles of environmental scanning (from CUCE *):
• Explore "both sides of the ledger" to gain a complete picture: needs and opportunities; assets and
limitations; barriers and aids
• Think micro and macro
• Use multiple "lenses" to look at the same information or situation: economic, social, cultural,
environmental, health, technological, and political lenses; immediate, near-term, longer-term
considerations; past, present, future perspectives
• Look for ways to “triangulate” information: ways to confirm, expand upon, or potentially
contradict an observation; additional sources that could be helpful; important information gaps
• Think beyond felt needs and opportunities consider also: expressed needs and opportunity –
evidenced by what people do; comparative needs and opportunity – identified by comparisons to
other situations;
• Look for evidence on how CCE is perceived: credibility, roles, value, etc.
• Identify what you don’t know as well as what you do; think about other possible sources.
Three methods for scanning:

• Ad-hoc (when needed)
• Regular (regular schedule)
• Continuous (always ongoing)
Source: (King 7) Michael Duttweiler: [email protected] & *Cornell University Cooperative Extension at
http://staff.cce.cornell.edu/administration/program/documents/scanintr.htm
295
ART OF DESIGN
SWOT ANALYSIS
Utility: A strategic planning model to look at a problem initially. Must have a desired end state already
established. It is an aid in assessing an organization’s resources and capabilities as well as external
environmental influences, good and bad. Applicable in crisis scenarios.
Caveat: Overly subjective based on perceptions. Not prescriptive.
Explanation: SWOT is a method for examining internal and external conditions so that strategies can be
developed. Strengths and weaknesses are internal in origin, while external conditions are described as
opportunities and threats.
Internal factors can include processes and procedures, human resources status, organizational culture,
proficiency, owned resources, training, and structure. Analysis should address what should be
maintained and what should or could be improved.
External factors can be alliances, social and cultural patterns, economics and politics, etc.
- PMESII-PT and DIME.
In analysis, users must attempt to minimize or eliminate weaknesses or threats or turn them into
opportunities. It resembles the approach of identifying propensities which can be addressed by systems
of transformation or opposition. The SWOT diagram (below left) is a good tool for analysing the
(internal) strengths and weaknesses of an organization and the (external) opportunities and threats
emanating from the environment. The results of analysis must be assessed in terms of fitting into the
environment. A “next step” cousin methodology is TOWS (on the right).
Example: TOWS Strategic Alternatives Matrix

External Opportunities (O) External Threats (T)
1. 1.
2. 2.
3. 3.
Internal Strengths (S) SO ST

1. "Maxi-Maxi" Strategy "Maxi-Mini" Strategy
2. Strategies that use strengths to maximize Strategies that use strengths to
3. opportunities. minimize threats.
Internal Weaknesses (W) WO WT

1. "Mini-Maxi" Strategy "Mini-Mini" Strategy
2. Strategies that minimize weaknesses by Strategies that minimize weaknesses
3. taking advantage of opportunities. and avoid threats.
Source: (King 8) Credited to Albert Humphrey at Stanford.

More at: http://en.wikipedia.org/wiki/SWOT_Analysis.
Matrix sourced from: http://www.mindtools.com/pages/article/newSTR_89.htm
296
ART OF DESIGN
FISHBONE DIAGRAMS
Utility: To determine the root cause(s) of a problem, to identify areas for data collection, or to study why
a process is behaving the way it does. Fishbone diagrams, also called Ishikawa Diagrams, Cause and Effect
Diagrams, and Root Cause Analysis Diagrams, are used to explore potential or real causes (or inputs) that
result in a single effect (or output). A good technique for group work.
Explanation:
• Put the main problem on the right at the “head” of the fishbone.
• Use brainstorming to identify 3-6 possible causal groups or “bones” (the 4 M’s of "Materials",
"Machines", "Manpower", and "Methods,“ as shown, are common in industry).
• Draw the diagram by sub-dividing the groups into process variables, generally to 4-5 levels.
• When completed, there will be ample areas to examine and correct, if applicable. Analysis follows.
• Then the team should rank order the most likely causes of the situation being examined.
Image to be included
http://mot.vuse.vanderbilt.edu/mt322/Ishikawa.htm
Source: (King 9) Developed by Kaoru Ishikawa (1969). More info at:

http://www.isixsigma.com/offsite.asp?A=Fr&Url=http://www.skymark.com/resources/tools/cause.htm
297
ART OF DESIGN
BRAINSTORMING
Utility: To aid when group dynamics are problematic or when many ideas need to be surfaced.
Brainstorming can stand alone, or it can be used in conjunction with other techniques.
Explanation:
• Set or define the problem

• Develop a background memo
• Select participants
• Create lead questions
• Conduct brainstorming session
• Evaluate ideas
Example:
Guidelines:
• Size of group- 6-15
• Leader- controls group
• Facilitator- Assists leader
• Note taker
• Time required- 20+ minutes
• Warm-up- practice or comedy
• Follow-up- allow process for post
session ideas
• Evaluation- Session to consider the
results
• Feedback- Final results
Four Rules:
1. Criticism is ruled out
2. Freewheeling is welcomed
3. Quantity is wanted (breeds quality)
4. Combination and improvement are
sought
Two Principles:
1. Defer judgment
2. Quantity breeds quality
Source: (King 10) Developed by Alex Osborn

in the 1930s
298
ART OF DESIGN
BRAINSTORMING MODIFIED
Utility: These techniques ensure there is more active participation from group members than in standard
brainstorming. Helps those reluctant to speak up.
Nominal Group Technique

1. Members write their individual ideas down without speaking.
2. Each member, in turn, reads out one of their ideas. All ideas recorded; no evaluation allowed at this
stage. Repeat until there are no unrecorded ideas. New ideas may be added.
3. Leader requests clarification if required, eliminates exact duplicates.
4. Each member is given cards and asked to rank the ideas in order of preference: members write the idea
in the center of one card and the list number of the idea in the top left corner. Repeat with a card for each
idea. Next members rank the idea cards from best to worst (alternating between best, worst, second
best, second worst and so on). When done, members write the rank number (1 for best, etc.) in the
bottom right corner of the card.
5. Leader collects cards and tallies rankings. Group analyses results. If there are inconsistencies,
clarification may be sought and the voting repeated.
The Delphi Method

A variation on the Nominal Group Technique, except the group never physically meets. Experts share
ideas by correspondence. (See Bullock)
Gallery Method
Simulates the environment of an art gallery. Participants develop ideas individually or in groups and
then vote for the ideas in a ‘gallery’.
1. Participants work individually or in groups to generate ideas.
2. Ideas recorded on butcher paper; sheets displayed around the walls of room.
3. Once all sheets are displayed, the participants circulate and browse.
4. Participants vote for the ideas they believe are most useful or important.
5. The votes are tallied and the key ideas are recorded separately.
Slip/Card Writing (Neville I. Smith & Murray Ainsworth).

1. Members get blank slips of paper; group considers problem statement.
2. Each member writes down as many ideas as possible on how to solve the problem, one idea written on
each slip; continues until people run out of ideas.
3. The slips/cards are collected and the ideas are analysed and evaluated.
Brain Writing Pool (Arthur B. VanGundy) Group of 5-8 people, sitting around a table:
1. Each person writes four ideas on a sheet of paper.
2. Each person places their sheet of paper of four ideas in the center of the table and exchanges it for
another sheet with somebody else’s ideas.
3. Person reads the ideas on the sheet of paper selected; uses them to stimulate new ideas; adds their
ideas to the sheet and then exchanges it for another one from the ‘pool’.
4.Continue the process for about 15 minutes.
Source: (King 10)

299
ART OF DESIGN
AFFINITY DIAGRAM
Utility: Can follow brainstorming. Organizes large amounts of data or ideas into natural relationships.
Useful for complex issues, in chaos, or when there is no group consensus. Taps into the group’s intuition
and creativity. Best with max of 5-6 participants.
Explanation:
• Conduct a brainstorming meeting

• Record ideas and issues on post-it notes or cards.
• Gather post-it notes/cards into a single place (e.g. a desk or wall)
• Sort the ideas into groups based on the team’s thoughts. Don’t talk.
• Name each group with a description of what the group refers to and place the name at the top of
each “group.”
• Capture and discuss the themes or groups and how they may relate.
Example: Brainstorming - results of things to be done before deployment
NOTE: Generally not needed for <15

items of data; example is only for illustration.
Process can be found in Nancy R. Tague’s The Quality Toolbox,

Second Edition, ASQ Quality Press, 2004, pages 96-99 and
http://www.asq.org/learn-about- quality/ idea-creation-
tools/overview/affinity.html
Source: (King 11) Created in the 1960s by Japanese anthropologist Jiro Kawakita.
300
ART OF DESIGN
REVERSAL
Utility: Reversal is a useful technique that leverages the fact that we initially find it easier to identify
negative thoughts and ideas than positive ones. Similar to Negation in Engineering Design Tactics.
Explanation: Creates a hypothetical solution, reduces that solution to its necessary components, and then
critiques and nullifies each component in order to generate ideas.

Step 2: Reverse the issue statement in any way (subject, verb, or object).
Step 3: Write down ideas relating to the reversed statement. Then reverse each ‘negative’ idea to
generate a positive idea.
Example: Sample Question 1 – Heat Injuries (from King)
In what ways might we decrease heat injuries among soldiers during training in tropical areas?
Step 1: Write the issue down: In what ways might we decrease heat injuries among soldiers during
training in tropical areas?
Step 2: Reverse the issue statement in any way (subject, verb, or object): In this case we might
reverse the problem statement to be: In what ways might we increase heat injuries among soldiers
during training in tropical areas?
Step 3: Write down ideas relating to the reversed statement. Then reverse each ‘negative’ idea to
generate a positive idea.
• Hold the training during the hottest season. This leads to an option of holding the training during
the coolest season.
• Hold the training during the hottest part of the day. This leads to an option of holding the training
(or at least the strenuous activities) during the coolest parts of the day (early morning or evening).
• Hold the training in a hotter climate. This leads to an option of holding the training in a cooler
climate (or even another country).
• Don’t give the soldiers enough water to drink. This leads to an option of giving the soldiers more
water to drink (and perhaps drinks with additives to reduce the incidence of heat injuries).
• Don’t provide any shade. This leads to an option of providing more shade.
• Don’t provide any respite from the heat. This leads to an option of providing respite from the heat
(through scheduling strenuous activities with rest breaks).
• Don’t educate staff to identify the symptoms of heat injuries. This leads to an option of educating
staff to identify the symptoms of heat injuries.
Source: (King 12)
301
ART OF DESIGN
FRACTIONATION
Utility: Fractionation is another method of using divergent thinking to contend with numerous factors or
items of data. It aids in generating options by breaking an issue into parts and then examining the
resulting parts to seek solutions that address the problem at hand. In effect, it simplifies large, difficult
problems by creating smaller components for greater examination and solutions. Fractionation helps to
overcome the difficulty that occurs when, over time, issues, habits and ideas tend to be grouped together
into patterns. Eventually, people see the forest for what they believe it to be, but they may have lost sight
of what is happening to the trees. While useful in contending with complex problems, fractionation is
ideal in resolving complicated problems.
Factorization is included in traditional engineering tactics.
Explanation: Any method of fractionating is useful. To alleviate the problem of the forest and trees,
sometimes unconventional or less-obvious fractions offer greater creativity.
Otherwise, “traditional” breakdowns are good.
Fractionation is not analysis, but it aids analysis by creating manageable elements. When it deals
with artifacts, it must be understood that relationships are not reflected.
Example:
Source: (King 13)
302
ART OF DESIGN
ANALOGIES
Utility: Allows one to resolve an issue in the context of a different issue seeking novel approaches or
perspectives. While it works best with simple problems, multi-step problems can also be addressed with
analogies. When the new situation is befuddling and the group doesn’t know where to start, referring to a
more-familiar situation can be helpful.
Included in traditional Architectural tactics and is part of Broadbent (individual) and Synectics (Group)
analogical searches.
Explanation:
Step 1: Choose a major principle of the issue being considered.

Step 2: Generate a list of analogies for the issue being considered.
Step 3: Choose one of the analogies and describe it in detail.
Step 4: Use the description generated in Step 3 above to suggest ideas in relation to the original
problem.
Example:
In what ways can we ensure the security and safety of the installation?
Step 1: Security
Step 2: Securing an installation is like:
• Guarding a prison
• Protecting a city
• Guarding your home
Step 3: Protecting a city involves:
• Being vigilant
• Preventing trespassing or intrusions in public and private places
• Alerting citizens
• Reacting to disasters and crimes
Step 4:
• Determine how and where to patrol and set up electronic surveillance
• Assess perimeter fencing and key buildings
• Examine access control checkpoints
• Study how mayors and city managers inform the public
• Review training programs and operational policies for police and firemen
Source: (King 14) Arthur B. VanGundy, Idea Power, pp. 134-136
303
ART OF DESIGN
SENTENCE COMPLETION
Utility: Encourages people and groups to examine a situation from different perspectives.
Similar in some respects to Analogies, but is more randomised.
Explanation:
Step 1: State the issue (or an aspect of the issue) in the form of an incomplete sentence.
Step 2: Complete the sentence.
Step 3: Free associate with the completed sentence.
Step 4: Develop the ideas.
Example:
Step 1: An Army installation is like...

Step 2:
... a ship
… a city
… an airport
Step 3:
Ships are like tight groups of teams working together.
Cities are like eclectic groups of people going in different directions.
Airports are like places for rapid throughputs.
Step 4:
Ships: We require well integrated and synchronized functions.
Cities: We must address people systems (security, aid, traffic, health).
Airports: We must develop systems for ease of movement and flow.
Source: (King 15)
304
ART OF DESIGN
MORPHOLOGICAL ANALYSIS
Utility: Morphology is the scientific study of form and structure. This method aids analysis and problem
solving by exploring novel solutions. Problems with multiple components or multiple processes can be
addressed with morphological analysis. Same as engineering function analysis or Alexander’s function
model.
Explanation: Six step process:
Step 1: State the issue

Step 2: Identify a single element (item or process)
Step 3: Identify components of the element
Step 4: Identify and list the full range of possible options for these components
Step 5: Trace pathways through the matrix
Step 6: Identify feasible options and generate a list of ideas
Component 1 Component 2 Component 3 Component 4

Option 1 Option 1 Option 1 Option 1
Option n Option n Option n Option n
Example:
Step 1: How can we better structure our airfield for safety and efficiency?
Step 2: Airfield
Step 3:
Hangars Ramps/AC Parking ATC Crew Space
Step 4:
Hangars Ramps/AC Parking ATC Crew Space
one large long taxiway only in tower one large area
tents surrounding hangar in ops rooms with units
more but small keyholes units and tower none
Step 5: There are 3x3x3x3 = 81 possible options
Step 6: Feasible options:
1. One large hangar, A/C parking surrounding it, ATC in a tower, one large area for crews. This is a
“central” arrangement where access is convenient, but there is little room for expansion if more
units, crews, or aircraft are added.
2. Numerous small hangars, A/C parked on a long taxiway, ATC in both towers and unit operations,
crews remain with units. This arrangement calls for “distributed” airfield operations which are
unit-focused. Centralization is impossible, but it accommodates growth.
Source: (King 16) Originated by Fritz Zwicky

305
ART OF DESIGN
SCAMPER
Utility: SCAMPER is an acronym for possible actions a group might use to seek new and novel solutions
or problem definition.
Explanation:
• Substitute- part of your product/process for something else

• Combine- two or more parts of your product/process parts
• Adapt- change the nature of your product/process
• Modify- change part or all of the current situation
• Put to other Purposes- try for other purposes
• Eliminate- various parts of the product/process
• Rearrange/Reverse- order or work in reverse
Example: If examining the structure of a peacekeeping force, one might ask:
Substitute – replace a trans unit for a maintenance unit?

Combine – consolidate the lift and C2 aviation units?
Adapt – train the force protection elements to perform reconnaissance?
Modify – reduce the number of areas to be secured?
Put to other purposes – force structure might be applicable for warfighting?
Eliminate – cut out the psyops component?
Rearrange/Reverse – prepare to hand the mission over to local nationals?
Source: (King 17) http://www.brainstorming.co.uk/tutorials/scampertutorial.html

http://www.mindtools.com/pages/article/newCT_02.html Infinite Innovations Ltd.
306
ART OF DESIGN
VIRTUAL WALKTHROUGH
Utility: To analyze options and consequences, surface unforeseen reactions, and offer insights into the
likely success, failure or consequences of a plan of action. Like a map drill or “rock drill,” helpful when it is
impossible to “get on the ground.” Akin to a virtual rehearsal or wargaming. Helps identify and thus avert
problems. Groups or individuals can perform this. Useful in temporal assessment.
Explanation: A three-step process comprising:
Step 1: Define the issue you need to deal with as a series of actions.
Step 2: Imagine you are taking each of the actions; for each one ask the following questions:
• What exactly is required (in full detail)?
• Do I believe that the required action is possible?
• Is this action related to another action?
• If it is related to another action, then will it help or hinder the overall process?
Step 3: Adjust the series of actions as required by the answers given to the questions in Step 2.
Example: (abbreviated via description; real virtual walkthrough is considerably longer)
Step 1: The Military Academy accepts and prepares 1500 new cadets in one day, culminating in a
swearing in ceremony in the afternoon.
Step 2: New cadets must be received, examined, measured for and receive uniforms, and trained to
march; also must get haircuts, eat lunch, meet their chain of command, find their rooms, and accept
issue of equipment – all in 8 hours or less. Each station has specific requirements, and each cadet
must be “tracked” for progress in order to be ready for the afternoon formation. It is the responsibility
of the cadet and academy cadre to make this happen.
Step 3: A virtual walkthrough by the cadre is paramount to ensuring that every detail of each station
is set up, timed, and tracked. (This will be followed by an actual walkthrough.) Resources are shifted
and explanations are provided where necessary. Events and activities are timed. On the actual day of
arrival, new cadets will appear at different times and with different levels of preparation, so the cadre
must be prepared and agile in order to steer cadets to the most important stations. At 1600 in the
afternoon, all 1500 new cadets must be in formation, in the correct place, in military uniform, and
trained to march. They then receive a briefing on the oath of office and are sworn in. Rehearsals are
essential.
Source: (King 18) See FM 6-0, Appendix F for a full description of rehearsals
307
ART OF DESIGN
COMPARISON MATRIX
Utility: To analyze options objectively. A comparison matrix is a tabular method of ranking and
evaluating competing options. Also called a decision support matrix (DECMAT) or template (DST). This
technique is familiar to most Army officers.
Explanation: Start by defining the problem (“To determine ….”) Then list facts and assumptions germane
to the problem. Now:
Step 1: Select the set of options or courses of action (COA).

Step 2: Establish a set of criteria against which to rank the options. Should be named, defined, and
weighted; given an order (“more” or “less” is better); provide a threshold on what constitutes an
advantage.
Step 3: Create a matrix showing the options and criteria.
Step 4: Select a criterion and rate each option against that criterion.
Step 5: Total the scores for each option; list the options in order of ranking.
Example: To determine the best car to buy. (Facts/assumptions omitted here.)
Step 1: BMW, Prius, Escort

Step 2:
a) Appeal, wt 2.0
b) Mileage, wt 1.0
c) Cost, wt. 2.0
Steps 3 & 4: See matrix
Step 5: Weighted score shows that the Prius
is the best option given the criteria and
weights established. A more thorough decision
could include advantages/disadvantages
of each COA and an analysis of COAs.
A simple matrix could just show + or – for each

criterion.
BMW Prius Escort

Appeal (wt 2.0) 3x2.0=6 2x2.0=4 1x2.0=2
Mileage (wt 1.0) 1x1.0=1 3x1.0=3 2x1.0=2
Cost (wt 2.0) 1x2.0=2 2x2.0=4 3x2.0=6
Score (> is better) 9 11 10
Source: (King 19) See also FM 5-0, Army Planning and Orders Production
308
ART OF DESIGN
FIELD FORCE ANALYSIS

Utility: Useful in a situation where positive forces are driving change forward and negative change
drivers are holding change back. Can help identify:
• balance of power on an issue

• most important stakeholders
• who to target on the issue
• opponents and allies
• how to influence each group
May be called the Franklin method. As a change management tool, FFA resembles design methodology in
which system propensities are assessed against systems of opposition and transformation and relevant
tensions are gauged. A “field” is a social system in this context.
Explanation: Begins with description of current and desired states and what is likely to occur if there are
no change agents (SAMS “propensities”). Then agents, pro (driving forces) and con (restraining forces),
are identified as follows:
Step 1: Draw a large letter “T” on a whiteboard or flipchart.

Step 2: Write the change issue across the top of the “T”.
Step 3: List positive change drivers down the left side of the “T”
Step 4: List negative change drivers (change inhibitors) down the right side of the “T”
Step 5: Score the change drivers and develop plans to reinforce positive drivers or remove negative
drivers.
Examples:
Plan: Incorporate Design into the Army

Forces for Change Forces Against Change
8 Officers suspect 3 Officers don’t want to learn new things
there is room for improvement
4 Rest of world accepts 8 Officers think old ways get it done just
complexity theory/etc as well
9 Doctrine is being developed/ 5 Concept is too
chance of being left behind complicated
Total score (+) = 21 Total score (-) = 16
Note: The FFA on the left shows numerical “scores” (1-10 basis). The generic FFA on the right (see
source) translates power scores into visual arrow lengths.
Source: (King 20) Developed by psychologist Kurt Lewin (1890-1947).

See also: http://www.valuebasedmanagement.net/methods_lewin_force_field_analysis.html
http://www.wilderdom.com/theory/FieldTheory.html
309
ART OF DESIGN
ARGUMENT MAPPING
Utility: Useful when a visual representation of logic and reasoning is helpful to understanding a complex
situation. Also helps groups see where they are in an evaluation process by identifying key reasons or
objections for discussion.
Explanation: Identify the problem or problem statement in the center of the “map.” Then prepare boxes
for each “reason” to support the proposition, as well as the key objections, and connect with arrows.
Develop additional sub-arguments for each of those reasons and rebuttals for the objections; also connect
with arrows. Use colors to visibly reflect pro or con. In the example below, green supports the argument,
red opposes it, and grey identifies the rebuttals.
The example below is very simple. Actual argument maps can be quite lengthy.
Example:
See Dr. Tim Van Gelder, director of AUSTHINK Consulting, for information on hypothesis mapping as a
cognitive tool (www.austhink.com). He also describes hypothesis mapping at:
http://timvangelder.com/2009/01/20/what-is-hypothesis-mapping/ somewhat similar in form, it
begins with a hypothesis and builds the evidence and counter-evidence downward.
Source: (King 21) from http://www.austhink.org/argumentmapping/ArgMappingBrief.doc

310
ART OF DESIGN
INFLUENCE DIAGRAMS
Utility: Also called a decision network or relations diagram. Useful for visually displaying the
components of a decision: certainties and uncertainties, outcomes, the decisions themselves, (called
variables or nodes) and the relational influences brought on by them. Can begin as a subjective analysis
and be developed into an objective/quantitative one.
Explanation: A simple relations diagram shows actors, places the bases of influence arrows with those
actors, and points the arrow to that entity being influenced. A more developed diagram represents a
decision situation.
Example:
Develop gunnery
training plan
Tank crews
Train battalion gunnery
tank gunnery qualified
Get tank Receive Proficient

training
range time funds tank crews
Legend:
A decision that you can control; a decision node
An objective variable with a measureable outcome; a known value
A chance variable as an uncertain outcome which you can control; a

chance node
An influence to show relevance
A general variable derived from other variables; a chance node
Source: (King 22) Refined by Professor Ronald Howard from Stanford University. Also see
http://www.Juliasilvers.com/embok/Risk_Management/RiskAssessmentMgmt/influence_diagram.htm
Graphic adapted from:
http://www.lumina.com/software/influencediagrams.html
CGSC Copyright Registration #10-432 C
311
ART OF DESIGN
TREE DIAGRAMS
Utility: Used to take a goal and apply more detailed sub goals and actions. Allows team members to think
and participate in goal development and then help to create activities to meet those goals.
Explanation:
Step 1: Choose the goal statement.

Step 2: Assemble the team. Generate the major sub-goals to pursue.
Step 3: Generate the major sub-goals to pursue. (via brainstorming, affinity diagrams, etc.)
Step 4: Break major sub-goals down into greater detail.
Step 5: Review the completed Tree Diagram for logic and completeness.
Example: (Note only one set of sub-goals are shown at each junction)
SAMS mission: Educate future leaders of our armed forces, our allies, and the interagency at the graduate
level to be agile and adaptive leaders who think critically at the strategic and operational levels to solve
complex ambiguous problems.
• Develop innovative leaders who are willing to accept risk and experiment
• Develop adaptive leaders who excel at the art of command
• Develop officers who anticipate future operational environments
• Enable officers to apply critical and creative thinking skills in order to solve complex problems
• Train officers to demonstrate mastery of operational art and doctrine
• Develop officers who can synthesize the elements of national power in JIIM operations
• Develop officers who can demonstrate effective communications
• Ensure officers can perform thorough academic and practical research
• Ensure officers can perform briefings for senior officers and government leaders
• Ensure officers can use a wide variety of graphics and technology
• Ensure officers can synthesize and write at the graduate level
• Students prepare and submit two written analytical papers per block to be evaluated by faculty.
• Students are assessed weekly by seminar leader for classroom written work.
• Students research for and write one 40-page monograph to be evaluated by a faculty team.
• Students prepare and submit other written products as required.
• Students receive remedial training if below standards.
Source: (King 23) See Michael Brassard, “The Memory Jogger” pp 156-164
312
ART OF DESIGN
PDPC
Utility: Process Decision Program Chart. A tool to examine what can go wrong in a plan and develop
measures or contingency plans to repair or ameliorate the effects. Could be used to develop branches
and sequels to a plan. Team input is useful.
Explanation: First identify the goal; then:
Step 1: Determine the steps or phases to achieve the goal (more substeps can be added)
Step 2: Identify and branch any likely problems off each step
Step 3: Identify possible and reasonable responses off each likely problem; branch them
Step 4: Choose most effective countermeasures and build them into a revised plan
Goal
Step 1 Step 2 Step 3
Problem Problem Problem Problem Problem Problem
Counter- Counter- Counter- Counter- Counter- Counter-

measures measures measures measures measures measures
(X) (0) (X) (0) (X) (0)
X = Difficult / impossible O = Selected
Example:
Increase size
of SAMS
Increase Increase Develop &

ID & order Increase
civilian budget synch
books students
faculty curriculum
PhDs hard to Books out of

evaluate print
Set up search Special Teach lesson

Use jobs.com
committee reprint w/o book
(X)
(O) (O) (X)
Source: (King 24) See http://en.wikipedia.org/wiki/Process_decision_program_chart; more info may be

in Goal QPC, David (1994). The Memory Jogger II or Tague, Nancy (2004).
Image reprinted with permission from The Quality Toolbox, Second Edition, ASQ Quality Press © 2004
ASQ American Society for Quality. CGSC Copyright Registration #10-433 C
313
ART OF DESIGN
DECISION TREES
Utility: Enables you to quantify decision making; useful when the outcomes of decisions are uncertain;
places a numerical value on likely potential outcomes; allows comparisons to be made between different
possible decisions and shows relations to follow-on decisions.
Caveat: Probabilities aren’t givens. Also doesn’t clearly show dependencies among variables.
Explanation: There are various versions of decision trees, some reflecting probabilities and others the
raw numbered results. Begin with known variables, and place them with their data into a matrix.
Indicate the outcomes (the independent variables) for each circumstance. Start the tree with a root node
showing the total outcomes, and then branch down according to the variables.
Example: The coach wants to know the likelihood of a 1st down on 3rd-and-long situations. He can pass
short, pass long, or run, and he gauges the choices against temperatures > or < 50°. The record is shown
on the matrix on the left. The decision tree (below) shows he has a good chance of a 1st down by running
if the temp is < 50°, while he should pass if the temp is > 50°.
Play Temp Outcome
Pass long 20 4th down
Run 45 1st down
Pass long 95 1st down
Pass 70 1st down
Run 12 1st down
Pass 35 4th down
Run 98 Fumble
Run 30 1st down
Pass long 80 1st down
Pass 40 Intercept
Run 85 4th down
Source: (King 25) http://www.bized.co.uk/educators/16-19/business/strategy/lesson/ decision1.htm
314
ART OF DESIGN
CRITICAL PATH ANALYSIS

Utility: A standard management tool in construction or manufacturing. Shows the activities essential to a
project and the order in which they must occur. Also shows which activities can happen simultaneously
(in parallel) vs. which must occur in sequence. Since the CPA is tied to time for each activity, the critical
path shows the shortest time for project completion. Also shows “slack” time within a project. Generally
the same as a PERT diagram. More visual than a Gantt chart.
Explanation: Prepare a matrix that shows each activity in the process, the time it takes, and any
relationships to other activities (e.g., must follow activity X). Then convert the data on the matrix to a
diagram. Determine the critical path.
Example: Simple diagram to show time to set up a range
Task # Task Description Sequence Order Time

A Draw ammo at ASP 2+00
B Take ammo to range Start after Task A 0+30
C Move troops to range 1+00
D Set up tower/lanes Start after Task C 1+00
E Issue ammo at range Start after Tasks B & C 0+30
F Conduct safety brief Start after Tasks C,D & E 0+15
Source: (King 26) See http://www.netmba.com/operations/project/pert/;

http://www.bizhelp24.com/small-business-portal/critical-path-analysis-3.html; or
http://www.tutor2u.net/business/production/critical-path-analysis.htm
315
ART OF DESIGN
PROCESS MODELING
Utility: Builds on flowchart format to graphically reflect complex interrelationships. Helps to understand
a process in order to analyze it and make improvements. Also useful for representing newly designed
processes. Describes, prescribes, and explains the process. Various commercial software programs
available for generating models. Models can be current (as-is) or desired (to-be). There are many types of
process models.
Explanation: For IDEF0 model: show function box (at right) and the activity in the box. ID controls
(things that control how we do the activity (e.g. laws, SOPs, or budgets); inputs (resources consumed or
altered by the activity); mechanisms (resources required for the activity but not transformed or
consumed (e.g. staff or buildings); and outputs (what is produced by the activity). Then add other
activities in similar fashion to describe the entire process.
A process model generally has an activity map (below), an explanatory text, and a glossary for definitions.
Basic model. See http://en.wikipedia.org/ wiki/File:IDEF_Box_Format.jpg
Example:
Source: http://en.wikipedia.org/wiki/File:IDEF_Diagram_Example.jpg
Source: (King 27) Integrated Computer Aided Manufacturing (ICAM) IDEF0 developed by USAF in the
1970s as a function model. See http://en.wikipedia.org/wiki/IDEF0
316
ART OF DESIGN
PROGRAM MANAGEMENT
Utility: To plan, organize, and manage resources to achieve goals and objectives on a project or
operation. Project management differs from a process in that the former has an end state while the latter
does not.
Explanation: There are a variety of approaches that fall under the general title of Project Management. A
general overview can be seen at http://en.wikipedia.org/wiki/Project_management. A few examples are
shown below.
Examples:
Traditional approach:
Source: http://en.wikipedia.org/wiki/File:Project_Management_(phases).png
Critical Chain Project Management (CCPM): Similar to Critical Path Method, but it assesses both
most likely and safest duration estimates , determines buffers from those, and then collects the
buffers at the end of the project. Duration times are “locked” and the critical chain events are closely
monitored when they are active.
Extreme Project Management (XPM) is used to manage very complex, uncertain projects.
Emphasizes managing stakeholders more than schedules. Embraces change and rapid feedback. See:
http://en.wikipedia.org/wiki/Extreme_programming
Event Chain Methodology: See

http://en.wikipedia.org/wiki/Event_chain_metho
dology. Based on tracking events occurring
within an activity, determining which events are
critical, and how critical event chains emerge.
Appears with arrows (events) aligned with Gantt
charts. Goes beyond CPM for event scheduling by
reducing risks and scheduling biases.
Source: (King 28) See http://en.wikipedia.org/wiki/Project_management.
317
ART OF DESIGN
PROGRAM MANAGEMENT (CONTINUED)

Examples (continued):
PRINCE2: (Projects IN Controlled Environments; at right). A model for organizing, managing, and
controlling projects. A standard for project management in the UK. Each component in the model has
requirements. See http://en.wikipedia.org/wiki/PRINCE2.
Process-based Management: More for achieving a vision than directly managing projects or
activities. That translates into a strategy, structure, and personnel needs from which tasks and
activities evolve. CMMI (below) is one approach. See http://en.wikipedia.org/wiki/CMMI
Source: (King 28) http://en.wikipedia.org/wiki/Project_management

318
ART OF DESIGN
PMI
Utility: “Plus-Minus-Interesting” technique. A simple way to examine a plan in effect to determine what
went well, what didn’t, and what could be analyzed later, like an AAR (post facto). Also useful for
assessing a course of action before execution by weighing pros and cons (a priori). Avoids pre-judging a
course of action.
Explanation:
Step 1: Identify the plan or course of action

Step 2: List and score the pluses (advantages)
Step 3: List and score the minuses (disadvantages)
Step 4: List and score the interesting aspects (neither positive nor negative)
Step 5: Tally the scores; analyse the course of action; follow up on the “interesting” aspects
Example: Major Jones is trying to decide if he should apply for SAMS
Plus Minus Interesting

More professional education Away from troop units (-7) Might meet interesting people?
(MMAS) (+5)
Develop network of peers (+4) Hard academic rigor (-5) More time in beautiful Kansas
Gain more knowledge about Eyes could go bad from reading Selective/directed assignments
profession (+8) (-1)
Another “best year of my life” Effect on promotion potential
(+3) unknown
+20 -13 (Could score these)
There is a net (positive) score of +7 for applying for SAMS. Major Jones is therefore positively inclined to
attend without any seriously negative issues being identified. Items in the “interesting” category could
also be scored, though some PMI advocates say these are neither positive nor negative. In any case,
“interesting” aspects are opportunities for further exploration (e.g., Who are the interesting people?
What are the post-SAMS assignments?)
Source: (King 29) Developed by Edward de Bono in Serious Creativity: Using the Power of Lateral
Thinking to Create New Ideas
319
ART OF DESIGN
APPENDIX C: DESIGN GLOSSARY

Adaptation “[D]escribes the ability of living systems to change in ways that help them
meet the challenges of their complex world. It takes many forms (natural examples include
evolution and learning), operates simultaneously over many timescales, and may be
implemented via many different mechanisms… The essence of adaptation is deceptively
simple– a continuously repeated cycle of variation  interaction  feedback  selection, or
in other words: ‘generate options, try them, see which ones work best and retain them’.” 1
Analysis “Breaking down of complex wholes into their constituent parts in order to
improve our understanding of them. It involves taking things apart to see how they do
work”. 2 See also synthesis.
Appreciation The act of estimating the qualities of things and giving them their proper
value; understanding the nature, meaning, quality or magnitude of a situation. 3 Whereas
facts may be analyzed (see analysis), situations requiring operational art must be
appreciated.
Approach Ideas or actions intended to deal with a problem or problem situation. See also
operational approach.
Assemblage A synthetic whole comprised of contingent relationships between

autonomous parts. The theory of assemblages, created by philosopher Gilles Deleuze and
elaborated by Manuel De Landa, is similar to the engineers’ concept of a system of systems.
Attractor “A point or set of points that attracts all nearby states of a dynamical system”. 4
Campaign “A series of related military operations aimed at accomplishing strategic and

operational objectives within a given time and space”. 5
Cognitive space “[A]n association of any number of actors bound by a certain shared
cognitive element”.6 A cognitive space has a social element and a cognitive element.
Cognitive spaces trigger organizing processes. In design, the environmental space, problem
space, and solution space are three cognitive spaces that help to organize information
about the environment, the problem, and the solution. A cognitive space is broader than a
frame.
1Mark Unewisse and Anne-Marie Grisogono, “Engendering Flexibility in Defence Forces,” 14th ICCRTS,
Washington, DC, 2009.

2 Lt Col. Richard King, Thinking Skills Resources (Draft), 2009, 11.
3 United States, TRADOC Pam. 525-5-500.
4 Ryan, “Foundation for an Adaptive Approach.”
5 United States, JP 1-02.
6 Peverelli, Creating Corporate Space.
320
ART OF DESIGN
Complex “[T]he essence of complexity is related to the amount of variety within the
system, as well as how interdependent the different components are.” Contrast complex
with complicated. See also complex adaptive system.
Complicated Containing a large number of convoluted parts. The fundamental difference

between complicated and complex is where a complicated problem can be decomposed
into simpler problems and solved separately; complex problems contain too many
interdependencies to allow the problem to be broken into separate sub-problems.
Condition A broad description of actual or potential circumstances. See also end state.
Context The set of circumstances that surround a particular event, action or system.
Constraint “Constraints in design result largely from required or desired relationships

between various elements”. 7 Counter-intuitively, design constraints are an important
source of creative thinking.
Design (noun) The artifacts (drawings and narratives) produced through the act of
designing. See also design (verb).
Design (verb) A “method of critical and creative thinking for understanding, visualizing,
and describing complex problems and the approaches to resolve them”. 8 See also design
(noun).
Dialog “In dialogue, there is the free and creative exploration of complex and subtle issues,
a deep ‘listening’ to one another and suspending of one’s own views.” 9
Difference Unlike or dissimilar. Contrast with identity. Difference is esssential to design

because adaptation, critical thinking, discourse, divergent thinking, problematization and
tension all depend on the presence of difference.
Discourse An organized way of talking, writing, and acting accordingly.10 See also
narrative, problematization.
Drawing, design Drawing produced by designers “not to communicate with others but
rather as part of the very thinking process itself which we call design”. 11 See also
presentation drawing and production drawing.
Drawing, presentation Drawing produced by designers to communicate insights and

results from designing to external stakeholders, such as the higher authority or lateral
designers. See also design drawing and production drawing.

10 Krippendorff, Klaus. The Semantic Turn: A New Foundation for Design. Boca Raton: CRC/Taylor & Francis,
2006, 11.
321
ART OF DESIGN
Drawing, production Drawing produced by designers to communicate with stakeholders

responsible for operationalizing the design, such as planners or subordinate commanders.
See also design drawing and presentation drawing.
End state “The set of required conditions that defines achievement of the commander's
objectives”. 12
Emergence Relationships between parts of a system give rise to novel properties that are
not properties of the parts in other combinations. Emergence is both spatial (emergent
properties span multiple parts) and temporal (emergence is dynamic, and as a system’s
relationships change, new properties will emerge).
Evolution A process of differentiation, selection, and amplification that underpins the

emergence of novelty in complex adaptive systems. Evolution “is an all-purpose formula for
innovation, a formula that, through its special brand of trial and error, creates new designs
and solves difficult problems”.13
Facilitation “Group facilitation is a process in which a person whose selection is acceptable

to all members of the group, who is substantively neutral, and who has no substantive
decision-making authority diagnoses and intervenes to help a group improve how it
identifies and solves problems and makes decisions, to increase the group’s effectiveness.
The facilitator’s main task is to help the group increase effectiveness by improving its
process and structure.” 14 Contrast with leadership. Facilitation can improve stakeholder
engagement and the quality of design discourse.
Feedback Where the output of a system loops back and modifies subsequent inputs to the
system. A negative feedback loop stabilizes the system by damping perturbations away
from equilibrium. A positive feedback loop destabilizes the system by amplifying
perturbations. Feedback is the underlying source of complexity, emergence, and
nonlinearity. Adaptation and evolution require both positive and negative feedback loops
to generate and retain novelty.
Form The visualized physical arrangement of organizations, materiel and actions. Form is
the tangible expression of the design’s function and logic.
Frame “A perspective from which an amorphous, ill-defined problematic situation can be

made sense of and acted upon”. 15 See also environmental frame, problem frame, problem
situation.

13 Eric D. Beinhocker, The Origin of Wealth: Evolution, Complexity, and the Radical Remaking of Economics,
(Boston, MA: Harvard Business School Press, 2006), 12.
14 Schwarz, The Skilled Facilitator, 5.
15 Martin Rein and Donald A. Schön, “Frame-reflective policy discourse,” in Social sciences, modern states,
national experiences and theoretical crossroads, ed. Peter Wagner, Carol H. Weiss, Bjorn Wittrock, and Hellmut
Wollman (Cambridge: Cambridge University Press, 1991), 263.
322
ART OF DESIGN
Frame, environmental A “graphic and narrative description that captures the history,
current state, and future goals of relevant actors in the operational environment”.16 The
graphics may include both design drawings and presentation drawings.
Frame, problem A “refinement of the environmental frame that defines, in text and
graphics, the areas for action that will move existing conditions toward the desired end
state. Whereas the environmental frame focuses on actors and relationships, the problem
frame focuses on tensions”. 17
Function An intended purpose for a design. The functions identified in design are always
underpinned by a logic, and form follows from function.
Leadership “The process of influencing people by providing purpose, direction, and

motivation, while operating to accomplish the mission and improve the organization.” 18
Contrast with facilitation.
Logic The principles that guide the reasoning of an actor in a particular situation. See also
form and function.
Major operation “A series of tactical actions (battles, engagements, strikes) conducted by

various combat forces of a single or several services, coordinated in time and place, to
accomplish operational, and sometimes strategic objectives in an operational area. These
actions are conducted simultaneously or sequentially under a common plan and are
controlled by a single commander.”19
Metacognition “Knowledge that takes as its object or regulates any aspect of any cognitive
endeavor”. 20 See also meta-question.
Meta-question Questioning the current line of questioning. Meta-questions are used

during design discourse to enhance critical thinking. See also reflective thinking, Appendix
B.
Narrative “[T]ales that tellers and listeners map onto tellings of personal experience…
Narratives situate narrators, protagonists, and listener/readers at the nexus of morally
organized, past, present, and possible experiences… A narrative of personal experience is
far more than a chronological sequence of events. In his Poetics, Aristotle discerned that
narratives have a thematically coherent beginning, middle, and end… Interweaving human
conditions, conduct, beliefs, intentions, and emotions, it is the plot that turns a sequence of
events into a story or a history… In contrast with paradigmatic thinking, which emphasizes

18 United States. FM 6-22, Glossary-3.
19 United States, FM 3-0.
20 John H. Flavell, “Metacognitive development,” in Structural/process models of complex human behavior, ed. J.
M. Scandura and C. J. Brainerd (Alphen a.d. Rejn, The Netherlands: Sijthoff and Noordhoff, 1978).
323
ART OF DESIGN
formal categorization, narrative thinking emphasizes the structuring of events in terms of a

human calculus of actions, thoughts, and feelings”. 21 See also discourse.
Nonlinear The output of a system varies disproportionately with the input. In technical
terms, a system is linear if and only if f(a+b)=f(a)+f(b) for all possible inputs a and b;
otherwise it is nonlinear. Assuming a system is linear greatly simplifies analysis, however
almost all real world systems are nonlinear.
Objective The clearly defined, decisive, and attainable goals towards which every military
operation should be directed. The specific target of the action taken (for example, a definite
terrain feature, the seizure or holding of which is essential to the commander’s plan, or, an
enemy force or capability without regard to terrain features). 22 See also planning, end
state.
Operational approach A “visualization of the broad general actions that will produce the
conditions that define the desired end state”. 23
Operational art “The application of creative imagination by commanders and staffs –

supported by their skill, knowledge, and experience - to design strategies, campaigns, and
major operations and organize and employ military forces. Operational art integrates ends,
ways, and means across the levels of war”. 24
Perspective The position or point of view from which events and experiences are
categorized, made sense of and explained. Stakeholders interpret the same problem
situation differently because they have different perspectives.
Planning “Planning helps commanders anticipate events and set in motion the actions that
allow forces to act purposefully and effectively… Planning involves projecting thoughts
forward in time and space to influence events before they occur.”25
Potential The inherent ability or capacity for growth, development, or coming into being.
The potential reveals how much the propensity of the system can be changed through
intervention. 26
Problem An expression of tension between the environment and a sponsor’s guidance

(needs and desires). An operational problem is a discrepancy between the state of affairs as
it is and the state of affairs as it ought to be that compels action to resolve it. 27

25 United States. FM 3-07.
26 United States, FMI 5-2.
27 United States, Art of Design: Student Text, version 1.0 (Fort Leavenworth, KS: U.S. Army School of Advanced
Military Studies, 2008).
324
ART OF DESIGN
Problem situation Problems that cannot be explicitly stated without appearing to

oversimplify the situation, ones in which the designation of objectives is itself prob-
lematic. 28
Problem statement “[C]learly defines the problem or problem set that commanders must
manage or solve. Commanders can determine the problem statement by comparing the
existing conditions in the operational environment to the desired end state. It broadly
describes the requirements for transformation, acknowledging the anticipated opponents
and obstacles”. 29
Problematization “[T]he analysis of the way an unproblematic field of experience, or a set

of practices which were accepted without question, which were familiar and out of
discussion, becomes a problem, raises discussion and debate, incites new reactions, and
induces a crisis in the previously silent behavior, habits, practices, and institutions”. 30
“Problematization is the search for inconsistencies or incoherence in the logic of the
methods or the deeper structures being applied”. 31 Problematization is essential in design
discourse both for drawing attention to the emergence of a crisis in the current
understanding, and for recognizing the discrepancy between the current system and the
desired system. See also discourse, reframing.
Propensity The organic tendency of the system, which does not account for the influence
of external actions. The propensity of a system is not deterministic. It identifies a range of
possible futures if the system is allowed to evolve without intervention. 32 See also
potential.
Reframing “[A]lternative framing (or reframing) is seeing the situation in ways that extend
beyond our normal expectations in different ways to our default settings”. 33 See also frame.
Shared Understanding A common appreciation of a problem situation among a group of

stakeholders, such as a design team and senior and subordinate commands. Shared
understanding does not imply consensus, since the same situation may be interpreted
differently from different perspectives, but it does at a minimum require all actors to be
aware of the alternative perspectives.
28 Checkland, Peter. Systems Thinking, Systems Practice. Chichester, West Sussex: John Wiley & Sons, 1981,
154-5.
29 United States, Field Manual 5-0,Operations Process (Draft). Washington, DC: Headquarters, Department of
the Army, 2009, 3-13.

30 Foucault, Michel, and Joseph Pearson. Discourse and Truth: The Problematization of Parrhē sia. 1985.
Available from http://foucault.info/documents/parrhesia/. Accessed 8 December, 2009.

31 Naveh, Shimon, Jim Schneider, and Timothy Challans. The Structure of Operational Revolution: A
Prolegomena. Leavenworth, KS: Booz Allen Hamilton, 2009, 118.

32 United States, FMI 5-2.
33 Loughran, J. John. Developing a Pedagogy of Teacher Education: Understanding Teaching and Learning About
Teaching. London: Routledge, 2006, 96.
325
ART OF DESIGN
Stakeholder “A person, organisation or group with an interest in or concern about

something”.34 In design, key stakeholders have both high interest and high impact on the
problem situation.
Strategy A prudent idea or set of ideas for employing the instruments of national power in
a synchronized and integrated fashion to achieve theater, national, and/or multinational
objectives. 35 Contrast with tactics.
Synthesis “Combining of separate elements into complex wholes in order to create

something different. It involves putting things together to see how they might work”. 36 See
also system. Contrast with analysis.
System A representation of an entity as a complex whole open to feedback from its

environment. 37
System, closed A system that does not exchange matter, energy, or information with its
environment. A closed system is self-contained and is not significantly affected by external
influences. Contrast with open system.
System, complex adaptive An open system that changes its structure and behavior in
response to external stimuli in order to increase its fitness. See also adaptation, evolution.
System, open A system that exchanges matter, energy, or information with its
environment. An open system changes its structure and behavior over time, so it may
respond differently to the same stimuli. Contrast with closed system.
System of systems Distinguished from large but monolithic systems by the independence
of their components, their evolutionary nature, emergent behaviors, and a spatial or
geographic extent that means information exchange is more important than flows of matter
or energy. 38 See also assemblage.
Systemic Relating to the entire system; holistic; not localized in any one area.
Systems approach, hard: Use of precise and, when possible, quantitative techniques
intended to produce one or more views and a dynamic model of the system of interest. 39
Contrast with soft systems approach.
Systems approach, soft: Use of loosely structured methods to investigate a problem

situation in human activity systems from multiple perspectives in order to identify
34 King, Thinking Skills Resources, 48.

36 King, Thinking Skills Resources, 11.
37 Ryan, What is a systems approach?
38 Maier, Mark W. 1998. "Architecting Principles for Systems-of-Systems". Systems Engineering. 1 (4): 267-
284.
39 United States, Art of Design v.1.0.
326
ART OF DESIGN
interventions that are feasible and desirable from all perspectives. 40 Contrast with hard
systems approach.
Tactics: The employment and ordered arrangement of forces in relation to each other. 41
Contrast with strategy.
Tension “The resistance or friction among and between actors”. 42 Tension arises from
differences and can be exploited as a source of transformation.
Thinking, creative Challenges existing habits, patterns and paradigms to generate

relevant responses to unique situations. See also critical thinking, divergent thinking.
Thinking, critical Deliberate, conscious and reflective evaluation of facts, assumptions and
inferences from multiple perspectives in order to appreciate the consequences of actions
and beliefs. See also creative thinking, reflective thinking.
Thinking, convergent “[T]he stage after the problem has been defined, the variables have
been identified and the objectives have been agreed. The designer’s aim becomes that of
reducing the secondary uncertainties progressively until only one of many possible
alternative designs is left as the final solution to be launched into the world”. 43 See also
divergent thinking and convergent thinking.
Thinking, divergent “The act of extending the boundary of a design situation so as to have
a large enough, and fruitful enough, search space in which to seek a solution”.44 See also
creative thinking, convergent thinking and transformative thinking.
Thinking, reflective “[I]n distinction from other operations to which we apply the name of
thought, involves (1) a state of doubt, hesitation, perplexity, mental difficulty, in which
thinking originates, and (2) an act of searching, hunting, inquiring, to find material that will
resolve the doubt, settle and dispose of the perplexity”. 45 See also critical thinking.
Thinking, transformative “[T]he stage of pattern-making, fun, high-level creativity,

flashes of insight, changes of set, inspired guesswork; everything that makes designing a
delight. It is also the critical stage when big blunders can be made, when wishful thinking
or narrow mindedness can prevail and when valid experience and sound judgement are
necessary if the world is not to be saddled with the expensive, useless, or harmful, results
of large but misguided investments of human effort”.46 Transformative thinking bridges the
gap between divergent thinking and convergent thinking.
40 United States, Art of Design.

43 Jones, Design Methods, 68.
45 Dewey, How We Think, 12.
327
ART OF DESIGN
Tolerance The permissible range of variation for a concept, action, or outcome. The
concept of tolerance enables designers to evaluate their strategic sponsor’s guidance and
directives in light of what is acceptable and why, and to consider design actions through a
lens that encompasses a wider space for action over time. 47 Contrast with objective.
Transformation Qualitative and systemic change to a situation. See also transformative

thinking.
47 United States, Art of Design.
328
ART OF DESIGN
APPENDIX D: DESIGN QUESTIONS

• What observed facts and patterns are the underlying problems obstructing the way
to the desired system?
• What are the possible explanations for what we see and what time/space
boundaries do those explanations suggest?
• What are the sources of variety and interdependence that make this situation
complex?
• What other worldviews might be relevant?
• What metaphors shape our understanding of the problem situation?
• What are the informal sources of power?
• What are the bottom-up sources of organization?
• What stabilizing dynamics maintain the current patterns of behavior?
• Where are the positive feedback loops that are capable of destabilizing current
patterns of behavior?
• Where are the boundaries of my system? What can I control? What can I influence?
When can I influence the system?
• What parts of the context are relevant to the things I can control and influence?
• What are the flows of energy, matter, and information that maintain the adversaries’
organization?
• What are the flows of energy, matter, and information that maintain our own
organization?
• What are the cross-level interactions within the system?
• What are the cross-scale interactions within the system?
• How might cross-scale interdependencies generate cascading success or failure for
us or for the adversary?
• What are the relationships between what I can control and influence and the goals I
want to achieve?
• What do success and failure look like?
• What are the tradeoffs and tensions between short term and long term goals?
• Are our goals clear or unclear, aligned or conflicted, abstract or concrete, too many
or too few?
• What are the interdependencies between my goals?
• What tradeoffs and tensions exist between my goals?
• How do my goals nest with higher and lower command's goals?
• What are the tradeoffs and tensions between local and global goals?
• How is this system changing over time?
• What assumptions am I making about how the system will evolve?
• How can we build adaptability into our design to cope with unforeseen obstacles?
• What cultural references form the basis of the adversaries’ learning?
• What is it most important to learn about during the operation?
• How can I improve learning during the operation?
• How can I learn how to learn faster?
329
ART OF DESIGN
• How do I create an environment where the organization learns from both success
and failure?
• How do I recognize and learn from “near misses” in order to prevent failure?
• How do I decriminalize mistakes to promote reporting and learning from error?
• What theory of learning is most appropriate to the current context?
• What is the primary reference for our learning?
• How can I seek evidence that would disconfirm my hypotheses and assumptions?
• How can I position the force to exploit unforeseen opportunities?
• What possible unintended consequences could the operational approach generate?
How would I know? How can I mitigate against unintended consequences?
• How can I build reflection into designing, planning, preparing, and executing the
operation?
• What probing actions could provoke the adversary to respond and reveal
information about their organization and intent?
• How can I degrade the system of opposition's ability to adapt?
• How can I capture my learning for the benefit of future operations? Who needs to
know what I have learned?
• How can I build and/or mobilize the system of transformation that is working
towards the desired end state?
• How can I disrupt, disaggregate, and/or isolate the system of opposition that is
working against the desired end state?
• How can I exploit sources of complexity and uncertainty to disrupt and disorient the
adversary?
• How can I balance exploitation of the current strategy with exploration of
alternative strategies?
• How can I balance sources of competition and cooperation within the system to
move towards the desired state?
• Within the system of command, what parts should be interdependent and what
parts need to be independent?
• How does my organization resolve the tradeoff between integration and innovation?
• Does the current operational environment require synchronized large scale effects
or decentralized effects tailored to the local context? Or both?
• How do I resolve top-down and bottom-up flows of information and control?
• What decisions need to be centralized and what should be decentralized?
• How do I manage the rate of change of my organization to maintain a productive
level of distress?
• What indirect changes to the environment will help to achieve my goals?
• What observed facts and patterns of the current system are symptoms of a problem?
• What are the competing versions of ‘reality’ that we can observe in the system and
where do they originate?
• What are the sources of difference between the observed system and the desired
system?
• What are the sources of meaning, and ‘reality’ in this environment and what
manifestations portray this logic?
330
ART OF DESIGN
• What indicators would reveal that the logic of our design has been violated?
• What emergent trends indicate that our design has transformed the environment?
• What conditions would require a reframing of the environment, problems, and
operational approach?
• What emergent trends indicate the irrelevance of the existing theory and the
necessity for reframing?
331
ART OF DESIGN
APPENDIX E: FEEDBACK FORM

Feedback is an essential component of any learning system. If you have experience applying design to solve real world problems, let us
know how it went. Your feedback will be incorporated into the next edition of the SAMS Student Text on the Art of Design. Fax feedback
to (+1) 913-758-3309 Attention: Design Course Author.
Name Rank
Branch Unit
Design experience
How long (years, months) have you been consciously using How many times have you designed in a real world situation?
design?
1. Most Influential Design Reference 3. Most Influential Design Reference
2. Most Influential Design Reference Most Influential Design Mentor
What are the positives of your design experience?
What are the negatives of your design experience?
What other interesting observations have you made on design?
What recommendations do you have for the next version of the student text?
Please attach all supporting evidence (design drawings, presentations, narratives, photographs, etc.).
Acknow ledged
I want my contribution to be: I authorize the use of this information and all attached documents
Anonymous by the School of Advanced Military Studies for educational
purposes.
Sign or Type Name Date
332

Art of Design v2

Uploaded by

Copyright:

Available Formats

Art of Design v2

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Art of Design v2

Uploaded by

Copyright:

Available Formats

ART OF DESIGN

STUDENT TEXT DESIGN TEAM

Design Team Leader: Dr. Alex Ryan.

Graphic Design and Multimedia SME: Eleanor Joel.

Copy Editor: Jennifer Swartz.

• What is the appropriate cognitive approach for 21st century warfare?

Answering these questions requires reflection on alternative approaches to leadership; on

— General James N. Mattis 2

Command and General Staff College, 2008).

Chapter 1 introduces the art of design in

FIGURE 2. THE RELATIONSHIP BETWEEN THEORY, PRACTICE, AND LEARNING

FIGURE 3. MIND MAP FOR CHAPTER 2.

This is particularly problematic when learning design, because designing is a form of

13 Banach and Ryan, “The Art of Design,” Military Review, 106.

2.1. CHARACTERIZING DESIGN

2.1.1. WHAT IS DESIGN?

Headquarters, Department of the Army, 2010), 3-1.

While this classification is clearly an oversimplification, it still has utility because it

Leaders,” U.S. Army War College, 2006, 12.

TABLE 1. THE PURPOSE, ASSUMPTIONS, APPROACH, CULTURE, AND LOGIC OF PLANNING.

Purpose Formalize the approach to influencing future events.

In comparison, according to Army FM 3-24, “[t]he purpose of design is to achieve a greater

• produce novel, unexpected solutions

DC: Headquarters, Department of the Army, 2008), 6.

Operational design adopts a skeptical posture regarding the finality of learning, or

Consequently, the design approach acknowledges complexity rather than attempting to

Design culture is inherently participative and pluralistic. It encourages continual reflection

29 Schön, Educating the Reflective Practitioner, 41-2.

Purpose Understand, learn and adapt to iteratively (re)frame and (re)solve

32 Schön, Educating the Reflective Practitioner, 117.

2.1.2. WHY SHOULD I LEARN TO DESIGN?

41 United States, FM 5-0, 3-2.

FIGURE 4. THINKING INCLUDES SENSEMAKING,

Idea making is important to an organization when it is required to deal with complexity

2.1.3. WHO DOES DESIGN?

2.1.4. WHEN DOES DESIGN HAPPEN?

intentionally inefficient methods. Divergent thinking, iteration, circling back on previous

2.1.5. WHERE DOES DESIGN HAPPEN?

Looking up the military hierarchy, design appears equally applicable to strategy

FIGURE 5. EXAMPLE USE OF WALL SPACE IN A DESIGN ROOM.

FIGURE 6. SEMINAR 6 SAMS AMSP 2010: DESIGN PRACTICUM 2

When facing a complex, ill-structured problem situation, designers frame their

It is important to emphasize that the current Modification Table of Organization and

2.1.6. HOW CAN I LEARN TO DESIGN?

2.2. A CONCEPTUAL FRAMEWORK FOR DESIGN

2.2.1. FIVE PILLARS OF DESIGN EDUCATION

Wedemeyer and the Victory Plan

An example of a historical case study illustrating design-like thinking is the experience of

Vicksburg Virtual Staff Ride

—Henry Wager Halleck, 1862

Design Spaces and History

When we teach the environmental frame, we use T. E. Lawrence’s depiction of his

67 Lawrence, Seven Pillars of Wisdom, Chapter XXXIII.

(Annapolis: Naval Institute Press, 1992), Chapter 4.

students an actual operational approach document from conceptual planning in a complex

—Carl von Clausewitz, On War 71

Knopf, 1993), 154.

NY: Harper & Row, 1951), 169.

75 Clausewitz, On War, 168.

Spectrum Operations,” Military Review, (July-August 2005): 15.