Team building en otoño: actividades de vuelta al cole para tu empresa
Septiembre y octubre son el momento ideal para reconectar al equipo. Te contamos por qué el otoño es…
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Team Building
Many companies assume innovation depends solely on hiring creative people, but team creativity works differently: it's a collective capability that gets trained, practised and, above all, needs a context that allows it to happen. A team can be made up of highly capable individuals and still get stuck generating new ideas together, simply because day-to-day work leaves no room to think outside the usual processes.
Creative team building starts from that idea: taking the team, even just for a few hours, out of its usual way of working and putting it in front of challenges that demand thinking differently. It's not about doing something fun for its own sake, but about training specific muscles, tolerance for ambiguity, building on other people's ideas, the ability to get things wrong without fear, which can then be carried back into real work.
Not every fun activity trains creativity. For an activity to have a real effect on the team's capacity for innovation, it usually meets some of these characteristics:
When an activity brings these elements together, the team leaves the session with more than a good memory: it leaves having practised, in a low-risk setting, exactly the skills it later needs to innovate in day-to-day work.
Methodologies like Lego Serious Play start from a simple but very powerful idea: when people build something with their hands to represent an abstract idea, a problem, a vision of the future, a team relationship, they access nuances that never come out in a purely verbal conversation. The act of building forces things to become concrete, and that process of making things concrete is, in itself, an exercise in creative thinking.
Activities like painting the future or proposals built around imagining ideal environments, like the ideal city, work very well for product or innovation teams because they directly train the ability to project scenarios that don't yet exist, something very close to the real exercise of designing new products or services.
Escape-room-style activities or time-limited missions, like Cluetivity, train a different dimension of creativity: the kind that emerges under time pressure, when unpromising ideas need to be discarded quickly and the ones with real potential pushed forward. It's a type of creativity very close to the reality of teams that work with tight deadlines.
The difference between a creative activity that truly unlocks the group and one that stays on the surface usually comes down to how it's facilitated, not just what's proposed. A good facilitator doesn't hand out answers or steer the outcome, but asks the right questions at the right moment: what would happen if this constraint didn't exist, why did the group dismiss that idea so quickly, what do two seemingly opposite proposals actually have in common.
It's also the facilitator's job to make sure the quieter voices on the team have room to contribute. In any group activity, the more outgoing personalities tend to take up more airtime, and without active management of turn-taking, a good part of the team's creative potential, precisely the kind that comes from people who talk less but think a lot, never comes to light.
It's tempting to promise that a creative team building session will measurably boost the team's innovation, but honesty requires qualifying that promise. There's no reliable formula for precisely quantifying how much a team's creative capacity has improved after a single session, and any specific figure claiming to do so should be treated with scepticism.
What can genuinely be observed, qualitatively and honestly, is whether more ideas than usual came up during the session itself, whether people who don't normally speak up in work meetings took part, or whether the atmosphere allowed unconventional ideas to be raised without fear of immediate criticism. Asking the team directly, at the end of the session, what felt different compared with how they usually work tends to give more useful information than any attempt to turn the experience into a number.
A single one-off creative session can unblock a specific discussion or provide an initial sense of direction, but training team creativity, like any other kind of training, works better with some regularity than as an isolated event. It doesn't need to be frequent: for most teams, a couple of sessions a year, well spaced out and with different formats, is enough to keep alive the habit of thinking differently, without the idea losing its novelty or becoming just another item on the calendar.
The impact of a creative session also depends on when it's scheduled. Running it right in the middle of a demanding project deadline, when the team is overwhelmed, is unlikely to generate the open-mindedness this kind of activity needs: minds will stay on pending tasks no matter how much the physical setting has changed. It tends to work better at moments of transition, at the start of a new project, after closing an important phase, or at the beginning of a planning cycle, when the team is more mentally available to think about new possibilities instead of immediate urgencies.
It's also worth giving the team some advance notice of the kind of session that's coming, without giving away every detail. Arriving completely in the dark can create some initial resistance among people less keen on this kind of activity; knowing, even in general terms, that the day will have a creative, hands-on element helps the group arrive with a more open mindset from the very first minute.
The risk with any creative team building activity is that it stays an isolated experience, fun for a few hours but with no follow-through afterwards. To avoid that, it helps to close the session with a brief, very concrete debrief: what worked in the process of generating ideas as a group, what obstacles came up, and whether any of those obstacles resemble ones the team regularly runs into in its daily work.
This closing conversation doesn't need to be long or solemn. Ten or fifteen minutes, with simple, direct questions, is enough for the experience to stop being just a good memory and become a reference point the team can bring up later: this is like when we built that thing, let's do what we did in the activity, try something fast first and refine it afterwards.
Teams specifically dedicated to innovation, product, or research and development have a particular need: their day-to-day work already demands creativity, so a generic team building activity can fall short or even feel redundant. For these teams, it usually works better to introduce an activity with a different constraint or language from the one they use every day, physical materials instead of screens, visual metaphors instead of documents, limited time instead of long sprints, precisely to force a different angle on problems they would otherwise always approach the same way.
It's also worth avoiding the trap of framing the activity as a literal simulation of work. The further the activity moves from the team's usual way of working, the easier it is for people to let their guard down and access a different kind of thinking, which they can then bring back to their real projects.
There are a few signs that usually indicate a team would particularly benefit from creativity-focused team building:
If any of these situations sounds familiar, a well-designed creative team building session can be a good starting point for unlocking dynamics that have been stuck in place for a while. At Kaizen Team Building we design these experiences to measure, based on the team's profile and the specific innovation goal in question; you can tell us about your case through our contact form.
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