- 1.How Formform thinks
- 2.Getting in
- 3.Starting a project and inviting clients
- 4.What your clients experience
- 5.While the interviews run
- 6.Navigating the workspace
- 7.Understanding the household
- 8.Your first themes
- 9.Making decisions inside a theme
- 10.Working across themes
- 11.Pressure-testing a theme
- 12.Producing and defending the brief
Pressure-testing a theme
Once a theme has real decisions in it, you can ask Formform to attack it. The same asking as Part 6, pointed at your own work rather than your clients’.
Ask it to reason about a theme
Ask it to argue against a theme and the strongest objections come back, each cited to the client who said it. Ask what’s missing and it separates what nobody addressed from what nobody was asked. Ask what the theme adds up to and you get the reading, which is worth having right before a brief.
Chat · The Quiet Core
If the budget drops to 140, what survives?
One of the four holds outright. The solid door and latch is a furniture-order decision, it answers the unpredictability directly, and it survives any budget this project could plausibly have.
The garage workshop is the expensive one and it is also the one carrying the most weight: four statements across both of them, and the fact that the garage shares no wall with the house. At 140 it stops being affordable alongside the island rebuild, which was only ever affordable next to it. The 180k ceiling was doing more work than it looked like: at 140 the two decisions stop being independent and become a choice.
What is exposed is insulating the garage walls. It was justified by the workshop and by nothing else, so it does not survive the workshop being in question.
What to do with what comes back
Ask what survives if the budget drops by a third and your decisions come back weighed against the new limit and against each other. The answer is an argument and nothing else. Turning it into work means one of three things, and each lives in a different chapter.
Detail panel · the one that held
The Quiet Core
DirectionFit the office with a solid door and a working latch, so a closed door becomes a signal the household can read rather than a preference it has to remember.
Evidence
What breaks her day is the unpredictability, not the volume.
She needs her office to be her space during working hours.
Emma practises the piano at four, while Sarah is still working.
Why this exists at all
All 12 partsPressure-testing is normally a colleague asking the question you’d stopped being able to see. Solo practices don’t have one free at eleven at night, which is when this work gets done. This is no substitute: no taste, no stake. But it has read every word, and it won’t mind how you take it.