Tag: living systems blueprint

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Lunar Sprint: Aligning Work with Living Cycles

The regenerative designer uses living systems as a guide for how to live as part of and contribute to the wider thriving of our living systems. The Living Systems Blueprint is our rough guide to thinking and designing like living systems.

Understanding living work rhythms

One of the dimensions we need to consider is how we relate to rates of work. Very few living systems work at a constant rate; rather, they go through cycles of production and restoration. These cycles of work often mirror the larger physical cycles that we all experience: the passing of the day, the lunar month, and the turning of the seasons. By aligning periods of work with times when there is more energy available, living systems can be more energetically efficient.

Humans in the Global North once lived much more closely in tune with natural cycles. But the availability of cheap energy has decoupled many of our activities from these living rhythms. Yes, we still sleep every day, but the length of the working day does not necessarily reflect the amount of light available. Our system of weeks and months is decoupled from the living world, and there is very little variation in our patterns to reflect the seasons.

The Cost of Constant Output

The invention of the production line in the twentieth century created the ideal of producing constant output. But this requires a large amount of energy to maintain, and in the case of humans, that includes mental energy.

If we want to live and thrive within our ecosystem’s limits, it makes sense to think about how we too can return to more cyclical rhythms of working, ones that relate to the large-scale physical cycles that dominate the living world. This is where the concept of the lunar sprint comes into play.

Benefits of Cyclical Work Rhythms

Working in a more cyclical way offers several benefits:

  • Human Thriving: Creating a balance between periods of work and nourishment that enable that work.
  • Better Tuning: Helping us better tune in to what the living world is doing, allowing us to listen to its feedback and learn from how it works.
  • Energy Alignment: Giving us the chance to align our work with times when there is more abundant energy available in the system.
  • Inclusivity: Honouring and tuning into the rhythms of many people who menstruate, acknowledging their natural cycles.

Introducing the Lunar Sprint

Working with cycles is already familiar to people who use agile ‘sprints’—short bursts of activity to deliver a specific output followed by a period of rest, mirroring how living systems operate. The concept of the lunar sprint is to take the agile sprint one step further and map it to a physical cycle—the lunar month.

The lunar sprint operates between two poles: the new moon, when we think about what is possible, and the full moon, which is showtime, the day when we present our work. Here’s how the cycle of design work could map out:

  1. New Moon – The time of greatest darkness. Time to gather stakeholders and imagine what is possible, what the next phase of work could deliver.
  2. Waxing Crescent – Starting to turn ideas into plans. Lining up the resources to do this cycle’s work.
  3. First Quarter – Focus on producing output. Peak production. Turn off the critical voice and amass ideas. Fill the Kalideascope.
  4. Waxing Gibbous – Starting to edit and improve.
  5. Full Moon – The time of greatest light, when there are no shadows on the moon. This is the time to go live, present your ideas, launch the product, etc.
  6. Waning Gibbous – Harvest, write up, share the outputs, gather feedback. Pay and get paid.
  7. Third Quarter – Give back to the system that enabled you to do the work. Teach, mentor. Sharpen the tools and tidy up.
  8. Waning Crescent – Nourish yourself, read, reflect on what you have done. Rest in readiness for the next cycle.
  9. And repeat.

Living in Tune with the Living World through Lunar Sprints

The lunar sprint includes many of the usual parts of a project process, balancing these with paying attention to nurturing the parts of the system that enable us to do our work. By linking this work to a physical cycle, it allows us to step into living in tune with the living world. It enables us, in the words of Daniel Wahl, ‘to live the question’ of What if we were to live like the rest of the living world?

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Announcing the Regenerative Design Lab Summer Research Workshop

The Regenerative Design Lab community is growing. In 2022, the first 20 people began their journey through our pilot of the lab. Now over 50 people have completed the lab programme (and some of them have been through twice!).

So now our work as conveners of the Lab is as much about nourishing this existing community of regenerative practitioners as it is about recruiting more. And so to help support and further the work of this group of change-makers, we are holding our second summer research workshop.

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Catalytic Style

Catalytic style is a an approach to having conversations that helps the solution emerge from the client rather than  having it planted by the consultant. I learnt this approach from Nick Zienau at Intelligent Action, and it is well worth taking the time to practise using it.

The rules of Catalytic Style

  • Keep the focus on the client.
  • Ask short, open questions to keep them talking (what, how, but not why).
  • Offer quick summaries to show you are listening.
  • Don’t offer your own solutions – this is about keeping the focus on the client.
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Continuous Place-Based Design

Diagram is titled continuous place based design and is showing a design process in a continuous loop. The four points in the process are observe, brief, idea and model and test.

Continuous place-based design is distinct from its opposite: short-term design from anywhere.

Introduction

Engineers and architects often design buildings, but their true impact is on places—the communities and ecosystems that inhabit them. If we want our work to create genuinely positive outcomes for both humans and the wider living world, we need to move beyond an isolated focus on buildings and shift towards a deeper understanding of place. So how can we evolve our design philosophy to support the creation of thriving places?

Understanding place as a complex system

Places are complex living systems, full of people and other species, shaped by relationships and constant change. In such systems, we cannot fully predict the impact of the changes we introduce. Instead, we learn by doing—by making small interventions, observing their effects, and adjusting accordingly. Long-term engagement with place is essential for truly understanding how it works.

This gives us our first clue: design must be an ongoing process, not a one-off intervention.

A second clue comes from recognising that every place is unique, and that uniqueness becomes even more pronounced the deeper we look. How can we possibly create designs that embrace such diversity? The living world offers a model: evolution. Nature doesn’t rely on rigid masterplans—it works iteratively, testing variations, adapting over time, and responding to changing conditions. The result is a best-fit design for the specific ecological, cultural, and environmental context.

The shift to Continuous Place-based Design

If we take these two starting points seriously, then instead of asking “What do we want to do to this place?”, we should begin by asking:

  • What is already here?
  • What is needed?
  • What is missing?
  • What is beginning to change?

From this foundation, design can emerge gradually—guided by the dynamics of the place itself. Small interventions can be tested, refined, and expanded, always with an eye on how the system is responding. This shifts design from being a one-time act imposed from outside to an ongoing process that works with that place, learns from that place, and evolves alongside it.

We call this Continuous Place-Based Design (Broadbent and Norman).

The key stages in Continuous Place-Based Design

1. Observation

Traditional design often begins with a design brief—a predefined problem to be solved. But Continuous Place-Based Design, with its focus on working with the existing dynamics of a place rather than imposing change from outside, begins with observation.

Observation means more than a desk study or mapping exercise. It requires time spent in a place—experiencing it from different perspectives, noticing rhythms, interactions, and patterns of change. But observation isn’t just the first step. It is something we return to again and again, each time we make a change.

2. Brief

From observation, we begin to sense what is needed. The brief emerges as a way of distilling these needs into a set of design requirements.

In traditional design, the brief is often seen as something to resolve upfront—reducing uncertainty as quickly as possible. But the Designer’s Paradox reminds us that a brief is never fully known at the start; understanding of the brief unfolds through the act of designing itself.

Continuous Place-Based Design embraces this reality. The brief evolves over time, but it doesn’t necessarily converge to a single, finalised solution. Each iteration is the best response for now, while recognising that every intervention changes the system—and with it, the design brief itself.

3. Ideas

The creative phase of the process is deeply influenced by the place itself. Ideas are not imposed from outside but emerge from the system we are designing within.

The designer’s role is not just to generate ideas, but to facilitate the emergence of ideas from place—to see what is latent, what is already forming, what might be supported. At the same time, by embedding ourselves in a place, we too become part of its system. Our ideas are shaped by this connection, rather than being external impositions.

4. Make and Test

This is where we intervene—where design moves from thought to action. We begin making changes to the system.

Interventions can range from small-scale tests to large-scale changes—though an important principle stands: start small, learn, then scale out. Through making, we begin to see how the system responds.

For example, in a housing development, instead of building an entire estate at once, we might start with a few houses, observing how the place changes and adapts before expanding further. The goal is not to eliminate uncertainty, but to work with the unforeseen consequences of our design decisions—using them as feedback to refine and update the brief.

Back to Observation Again

Having made our changes to the system, we go back to observation. But we are not back where we started: the system we are designing in has changed and we too are changed by that process. We become a more integrated part of the system we are designing in, better able to facilitate change that will bring forward thriving in that place.

Conclusions

We cannot learn if we simply hop from one project to another, designing in isolation. The longer we stay with a place, the deeper our understanding grows—and the better we become as designers. Over time, this commitment to learning allows us to create thriving, living places that are much more in sync with their human and ecological context.

References

Broadbent, O. and Norman, J. (2024) The Regenerative Structural Engineer. London: The Institution of Structural Engineers.

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