From portacabins to caravans, we’re pretty familiar with the whole concept of shipping in a temporary structure on an ‘as and when’ basis. What has now emerged from today’s portable society, however, is the ‘POP-UP’ culture; the concept of finding a structure that already exists, and transforming it temporarily into a shop, an art gallery, a cafe or a workspace, for however long you need it.

Confined only by the bounds of our imaginations (and possibly the availability of a loo and WiFi!) the concept of pop-ups has now started to gather force. Where yesterday there were under-used community centres, derelict buildings, or simply empty spaces in art galleries, today or tomorrow you might find a pop-up restaurant, a hub for budding artists or a sale-room.

Temporary it may be, there for as little as a few hours or maybe a few weeks or months, but importantly during this short time a new dimension has been added to the ‘venue’, as it is presented in a fresh light and, probably, to a brand new audience. The pop-up culture works well for a society that aspires to recycle, re-engineer and refurbish rather than replace, breathing new life into existing spaces, unleashing their potential and demonstrating their versatility.

The pop-up culture also provides a platform for innovation, as we are no longer restricted by the cost or availability of an ‘appropriate’ structure before we’re able to launch a new idea. Now we can put the idea first and fast-track it to market without the risk and timelag associated with having a fixed infrastructure surrounding (or shackling) us first.

Organizational structure can inhibit or foster creativity and innovation. The problem with organizational structure though, is that it is resultant of many factors, including history, organic growth, strategy, operational design, product diversity, logistics, marketing, client base, supplier base and so forth. Therefore, what managers need, are not recipes for complete structural change, but insights into the properties of fostering structures that can be adapted into the existing structure.

To start, it is useful to analyse the preferred structures against the not so preferred. There are many definitions of types of organizational structure, but one example is:

a) Mechanistic structures (generally not preferred) – includes centralised control and authority, clearly defined tasks, vertical communication links, obedience to supervisors, rigidity and inflexibility.

b) Organic structures (generally preferred) – decentralisation of authority, tasks loosely defined, horizontal communications, greater individual authority, flexible, adaptable.

Experience shows that the above can be misleading. For example, flat organisations are generally preferred and hierarchical ones not preferred, however, even flat organisations are in reality hierarchical.

Importantly, if we have a mechanistic structure, what factors allow us to move in the right direction without wholesale change?

Some answers include:

a) Direct communication links to decision makers.

b) Communication and information flow between departments.

c) Tangible progression of ideas from problem to solution, product development to commercialisation.

d) Creative teams working outside but linked into the organization, whose culture, processes etc diffuse into the existing structure.

These and other topics are covered in depth in the MBA dissertation on Managing Creativity & Innovation, which can be purchased (along with a Creativity and Innovation DIY Audit, Good Idea Generator Software and Power Point Presentation) from http://www.managing-creativity.com

Kal Bishop, MBA

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Creativity can be defined as problem identification and idea generation whilst innovation can be defined as idea selection, development and commercialisation.

There are other useful definitions in this field, for example, creativity can be defined as consisting of a number of ideas, a number of diverse ideas and a number of novel ideas.

There are distinct processes that enhance problem identification and idea generation and, similarly, distinct processes that enhance idea selection, development and commercialisation. Whilst there is no sure fire route to commercial success, these processes improve the probability that good ideas will be generated and selected and that investment in developing and commercialising those ideas will not be wasted.

Organizational Culture

As idea generation is a cognitive activity, it follows that certain environments will inhibit that activity (and expression of) whilst others will foster it.

Optimum creativity and innovation occurs in a culture that includes:

a) Psychological safety. Where the individual has unconditioned worth. Where it is recognised that the individual is capable of producing without his or her value based on having to produce.

b) Psychological freedom. Where the individual is free to express without that expression being evaluated.

c) Empathy. Where an individual is understood from their point of view and perception.

d) Where ideas are accepted and advanced. That the recognition of the output of the individual is the reward.

e) Where leaders have an understanding of the psychology of expression and counter blocks.

These and other topics are covered in depth in the MBA dissertation on Managing Creativity & Innovation, which can be purchased (along with a Creativity and Innovation DIY Audit, Good Idea Generator Software and Power Point Presentation) from http://www.managing-creativity.com/

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