Rules of Thumbs is a creative methodology that combines elements of visual art, complex systems, architecture, and performance. It is a practical, solution-based approach to problem-solving that involves conceptualizing problems, brainstorming solutions, and refining ideas through experimentation. The methodology consists of five phases - defining interests and intentions, collecting information, interpreting connections in the information, creating subjective interpretations, and evolving ideas into a final format. Workshops teach the methodology through hands-on activities, discussions, and case studies.

1. Rules of thumbs is tool methodology that combine element of visual art, complex system and network theory, architecture and performance.
Rules of Thumbs
process, idea and design thinking - workshop by Alessandro Carboni
Rules of Thumbs is a methodology tool to develop ideas and guide them in a creative process. it is practical
and creative resolution of problems or issues that looks for an improved future result. The methodology is
able to provide a solution-based approach to solving problems, and is especially useful when addressing what
students, design thinkers, visual artists and performer refer to their projects and artworks.

2. Rules of thumbs
Creativity does not stem from ungrounded inspiration.
Instead, creativity is fostered through systematic methodologies.

3. Rules of thumbs
Objective:
The basic concept of ROT is straightforward: conceptualize a problem, brainstorm possible solutions in as open and
creative of a way as possible, and tinker/invent/try/fail/evaluate until you get to a solution that solves your problem.
What’s refreshing and exciting and interesting about the process is 1) that it gets you think hard about what problem
you are really trying to solve and how you know it’s a problem, and 2) when brainstorming possible solutions, its
insistence there really are no bad ideas. It’s a good way of getting around conventional wisdom.

4. Rules of thumbs
Objective:
The basic concept of ROT is straightforward: conceptualize a problem, brainstorm possible solutions in as open and
creative of a way as possible, and tinker/invent/try/fail/evaluate until you get to a solution that solves your problem.
What’s refreshing and exciting and interesting about the process is 1) that it gets you think hard about what problem
you are really trying to solve and how you know it’s a problem, and 2) when brainstorming possible solutions, its
insistence there really are no bad ideas. It’s a good way of getting around conventional wisdom.

5. Rules of thumbs
Modalities:
The goal of the methodology is to put someone in the position of “mediator” and “facilitator” of the events, blocking
his temptation to impose himself by means of the will or the ability to manipulate them. His only “creative act”, should
there be , amounts to the mastery with which he handles the tension, the balance and potential of the material
he/she is dealing with, letting things happen – if they really have to – by themselves.

6. Rules of thumbs
Modalities:
ROT workshop will expand our understanding of the theory of design methodology as it relates to the practice. We
will be discussing the process of idea generation, research, and creative development; the workshop will allow us to
reflect on the interrelationship between humans, objects and space that help define contemporary behaviors then and
now. More particularly, the workshop will develop our understanding of time and feedback as these apply to idea
generation and object construction. This is a hands-on interactive workshop; therefore expect to get your hands and
minds busy with work!

7. Rules of thumbs
Modalities:
The operative system at the basis of this method – to which we always return – is extremely simple. We divided it in four main
phases:
1) Particle and nodes: I have an idea. How do I build it?
how to discovery and builds a solid foundation for ideas. Plan Ahead: Define the area of interest before you start your research.
What is your interest? What is your intention?
2) Clouding: have a challenge. How do I approach it? data collection phase of the creative process.
Collection of information according to time: past memories, present conditions, and future plans and projections. Each
information can be collected with different media. How to find a strategy? writing, drawing, asking to people and recording. From
interviews to newspaper articles, from video to publications, from images to body perception exercise.
3) Lining: I learned something. How do I interpret it? the coherency within information.
In the lining process, participant explore the connections between the different materials collected, looking for intricate
commonalities that were not obvious. In lining the material, across time boundaries, and connect the past, present and future.
4) Curving: I see an opportunity. What do I create? Subjective interpretation of materials.
Explore your subjective perspective on the collected material by actively participating in the material and challenging the
assumptions associated with it.
5) Folding: I tried something new. How do I evolve it? create a format.
Folding is the process in which participant find a way to link all the material together in a narrative, with the intention to
communicate with an audience. In this phase, it is important to pay close attention to the potentials and limitations of their
chosen format, be it an installation, a video, a dance piece or any other formats. Participant should also be mindful of how their
audience would experience your work.
Documentation: It is important to document your entire creative process, from data collection to the execution of the final
artwork. Participant will document themselves doing the work, using pictures, videos, sound recordings and written reports. The
documentation will become useful references for themselves, and give them ideas for their next project. It would be important
also for presenting the documentation to their audience, and let them understand how them, the maker of the artwork, relate to
and participated in the creative process.

8. Rules of thumbs
Modalities:
Case Study#Modena, urban exploration - from objecive map to subjective mapping. Workshop@Master sull'Immagine
Contemporanea, Fondazione Fotografia, Modena

9. Rules of thumbs
Modalities:
Case Study#Modena, clouding - from objecive map to subjective mapping. Workshop@Master sull'Immagine
Contemporanea, Fondazione Fotografia, Modena

10. Rules of thumbs
Modalities:
Case Study#Hong Kong, body perception excercise during an urban exploration - from objecive map to subjective
mapping. Workshop@School of Architecture, Chinese University Hong Kong

11. Rules of thumbs
Objective:
The workshops are open to the participation of people from all sorts of backgrounds.
There are three different formats:
● SHORT: 1 day introduction seminar (3 hours)
● COMPACT: 3 days (15 hours)
● EXTENSIVE: 6 days (30 hours)
Request:
● Space mt. 10x10
● four removable tables and chairs
● n.50-100 white paper sheets (1mtx2mt)
● n. 1 video projector
● sound speakers

12. Rules of thumbs
Biography:
The workshop will be conducted by the multidisciplinary artist, Alessandro Carboni. He addresses his research paths that always
involve multiple domains and that draw from both the theoretical and practical studies. His experience, gained as a visual artist
and performer, focuses on the body and its relationship with space. Its practices were consolidated over the years through a
method of composition that approaches similar paths in science (particularly some of the research carried out in architecture,
urban geography, cognitive processes and complex systems science). In recent years he has developed several projects, videos,
exhibitions and performances through long stays in Europe, Hong Kong, India and China. In his projects, the artist is supported
by collaborations with performers, researchers, planners, architects and sociologists, creating work platforms that become
essential elements in the design process. He takes on the role of mediator among different linguistic registers, between a
research field and another, between complementary figures and strategic roles. He teaches and conducts research at the School
of Architecture in Hong Kong, the Central Saint Martin's University of Art in London, Naba in Milan and the Faculty of Architecture
of Cagliari, where he coordinates the LaDU - multidisciplinary media lab of urban density. He recently began to a collaborative
research project Complex Body Networks with Department of Physics of the University of Cagliari.
[web] www.progressivearchive.com
[mail] info [at] alessandrocarboni.org
[skype] alessandro.carboni
[mobile Italy]: +39 3395644608
[mobile Hong Kong]: +852 54167220
[video] www.vimeo.com/ooffouro
with the support of:
Formati Sensibili - art&science mashes up
[web] www.formatisensibili.it