ORID Method PDF

Focused Conversation
ORID Method
Technology of Participation
LA 8206 University of Minnesota

December 04, 2010 Cynthia Lapp
ORID Method
Objective
When we process information and think
clearly, we move through four different
modes, sometimes very quickly.
These modes of thinking can be labeled:

Reflective
Objective
Reflective
Interpretive Interpretive
Decisional
Decisional
2 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

Objective Mode
This is the sensory mode of thinking, Objective
where we process raw data:
What we perceive through our body and senses

Facts and data about the situation
Reflective
External/Observable information
Interpretive
Decisional

Reflective Mode
This is our immediate response to these data, how Objective
we are processing the Objective level internally:
How we respond to these raw data

What experiences we can relate to these data
Reflective
Internal response to external data
Images, feelings, memories, associations
Interpretive
Decisional

Interpretive Mode
This mode is about processing these responses, Objective
experiences and associations:
So what does this mean?

What values are activated?
Reflective
What is the significance? What are the implications?
Interpretive
Decisional

Decisional Mode
This mode is about making decisions or choosing Objective
actions based on the information, its meaning
and significance:
What are the next steps?
What actions are appropriate?
Reflective
What has been learned? What is my commitment?
Interpretive
Decisional

Example: Critique of Visual Work
Objective Mode
These are the facts of what you are dealing Objective
with. The questions may feel too obvious to
include, but they are the ground that the
interpretation and analysis is built on, and
get conversation/thinking going: Reflective
What do you see?
What colors, forms?
What stands out?
What parts are spatially related? Related by Interpretive
color? Form? Size?
What do you see only after you have looked
at it for a while?
Decisional

Reflective Mode
These questions address what responses Objective
the work elicits, and ask for your responses
to the work:
What is the overall feel of the piece? Reflective

How do the colors, shapes, spatial
relationships interact?
Is there harmony in the work? Dissonance?
How do you respond to it?
Interpretive
Decisional

Interpretive Mode
This is the real meat of the analysis--what is Objective
working? What isnt? This is often where we
want to start, but establishing the Objective
and Reflective steps allows for more depth in
the interpretation and analysis of the work, and for Reflective
coherence if working in a group process:
What is the piece communicating?

What is the objective of the piece, and where is
this working? Interpretive
Where is it not working?
What is the significance?
What are the implications?
Decisional

Decisional Mode
This step focuses on the implications of the Objective
analysis. What needs to change for the piece to
work? Are there larger moves that need to be
made? What smaller things can be tweaked? What
changes can be made that may not be strictly Reflective
necessary for what the piece communicates, but
would improve it overall?
What components have to change to align the

piece with its objective? Interpretive
What does there need to be more of?
What can there be less of?
What changes can be made to strengthen what
the piece communicates?
What changes might improve how the piece is Decisional
experienced?

Example: Site Visit Analysis
Objective Mode
These questions plumb the sense experience Objective
the observer had of the spaces in question, and
begins to sort out the huge amount of data that
is taken in on a site visit:
Reflective
What are some highlights from the places
weve seen?
What colors, sounds, materials stand out?
What surprised you?
What activities or programming stands out? Interpretive
What scenes do you remember from the spac-
es we have been in?
Decisional

Reflective Mode
These questions address what the observer Objective
brought to the site, and what responses the site
elicited in the observer:
Where did you feel most interested? Bored? Reflective

Where did you experience a specific sense of
place?
What is the overall feel of the place(s) we
saw/have seen?
What was the high point for you? The low Interpretive
point?
Decisional

Interpretive Mode
This, again, is the real meat of the analysis- Objective
-what is working? What isnt? If reflecting on
a site visit begins with analysis, the observer
can lose the sense data that is so important
to the work of a spatial designer: Reflective
What spaces felt like they worked?
What spaces didnt work?
Where did things feel the most connected?
Where did things feel disjointed?
Who/what is being served in these spaces? Interpretive
Who/what has been left out?
What does there need to be more of?
What can there be less of?
Decisional

Decisional Mode
This step activates the observer on a deeper Objective
level--What is really going on here? What
opportunities have been missed? Where is
this happening in my city? What would I like
to engage in? Reflective
What would you name this part of town?
What needs to happen next to benefit hu-
man use? Ecology? Sustainability?
Which issues/spaces/solutions could be Interpretive
transferred to your city? Where?
What would you like to work on in this
space?
Decisional

Credits
ICA Associates CANADA ORID Slideshow

powerpoint for some language and the neat
arrow graphics
ICA-USA ToP Facilitation Methods Manual, 2000
Stanfield, R. Brian, ed. The Art of Focused Conversation,

New Society Publishing, 2000

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Focused Conversation

LA 8206 University of Minnesota

These modes of thinking can be labeled:

2 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

What we perceive through our body and senses

3 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

How we respond to these raw data

4 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

So what does this mean?

5 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

6 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

7 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

What is the overall feel of the piece? Reflective

8 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

What is the piece communicating?

9 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

What components have to change to align the

10 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

11 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

Where did you feel most interested? Bored? Reflective

12 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

13 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

14 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

ICA Associates CANADA ORID Slideshow

ICA-USA ToP Facilitation Methods Manual, 2000

Stanfield, R. Brian, ed. The Art of Focused Conversation,

15 Focused Conversation LA 8206 University of Minnesota Fall 2010 Cynthia Lapp

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