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  • + whatidiscover whatidiscover 1 month ago
    You are welcome, la_manu. Credit goes to Thomas Lockwood.
  • + la_manu la_manu 1 month ago
    Very interesting. I have touched this issue within my thesis (In my slidespace you can find the presentation and the infographic map which summarize the entire analysis). Thanks for sharing these slides!

    PS: 'It’s not about putting design into corporate culture...it’s about putting corporate culture into design.' It’s so true!
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Notes on slide 1

I hope to bring some inspiration and insight about design management

Explosive data growth has created a storage dilemma: Data volume is growing at 50 – 70% or more a year. Data types, uses and retention requirements are increasing. Data growth is outpacing declines in hardware prices — storage is growing faster than disk prices are falling. The total cost of storage — including people, software, security, facilities and energy — is 3 to 10 times the cost of buying the hardware. IT budgets are flat or declining. Yet too often all data is treated equally — it is stored, protected and managed the same way at the same cost, regardless of its value. We need to change the way we manage storage. Information lifecycle management does just that.

Simply put, design disciplines are traditionally independent rather than integrated together, in both design education and design practice. In my literature review I found very little published information There is a lack of scholarly research on this subject Cross-sectional design Began October 2001, as a MPhil / PhD student at the University of Westminster, Harrow Business School, in London. Multi-method paradigm with an emphasis on qualitative research Case study design Empirical work in an under researched area in order to develop a predictive model and contingent models Architects study, and then practice, architecture; graphic designers study, and then practice, graphic design; industrial designers study products and then make products, and so on, with little or no, formal or informal, integration between each discipline. This has ramifications in corporations and leads to functional or departmentalized design output. There is currently little information available about the idea of integrated design and cross-functional design management.

My ontological assumption for this research is that my reality is based upon the individuals involved in the research situation, the study sample. My methodological point of view is that I tend towards positivism. This research study was a cross-sectional design, aimed at finding out the prevalence of a phenomenon, by interviewing a cross-section of the population. multi-method paradigm, with an emphasis on qualitative research case study design, which is often found in human social science research (Kumar, 1996) as I intend to explore a single entity or phenomenon, bounded by time and activity. For my epistemological assumption, I accept my role as the researcher and I must interact with those in the study. According to Creswell (1994) one should take into account the role of the researcher, data collection procedures, data analysis procedures, methods of verification and outcome of the study and its relation to theory and literature. In qualitative research, the researcher is concerned primarily with process, and meaning, and is the primary instrument of data collection and analysis.

The study population for both waves was personnel that registered for conferences hosted by the Design Management Institute, which is the leading organization of professional design managers worldwide. The first wave was sent to personnel that registered for the October Design Management Conference in Boston USA, as they registered. This is why the survey was open for 41 days; basically it was available as the conference registrations came in. The second survey was sent to personnel that registered for the March Design Management Conference in Cologne Germany, and again, it was open during the registration period. The Boston survey had 37 responses, for a response rate of 26%. The Cologne survey had 12 responses, for a response rate of 20%. The survey had 49 responses in total.

Transcription length 7,850 words per hour interview My study population was people who are directly responsible for, or fully knowledgeable of, corporate design management functions. Similar to the quantitative research, I used a multistage procedure to develop the study sample, and drew the sample from Boston and from Europe. In the first stage I invited design managers attending the Raymond Design Manager Retreat to participate. The group session (n=8) has held on October 9, 2002 in Rotterdam. In the second stage I invited design managers attending the Design Management Institute annual conference to participate. I posted a sign up sheet and held three group sessions during break out times. Three group sessions (n=32) were held on October 20, 21, and 22, 2002 in Boston.

Klint Parker, Starbucks: We are three kinds of stores in one, we are a food and beverage company, we also are a merchandise company, and we are also at third place, a sit-down-and-relax kind of place, you make of that what you want, you can have any kind of engagement you want in this, you know, the store. There aren’t any there aren’t many business models that are like that

Too many times the work of the designer; the product designer, the architect, the interior designer, the corporate identity designer, too many times the work actually leads the process, as opposed to the process leading the work. Not so at Sony.

From a data standpoint, information lifecycle management is a three-phase process: In the first phase, data is classified according to its value and use and then aligned with the current storage infrastructure. The second phase brings the integration of storage tiers to enable the movement of data between tiers to better match the value of data with the cost of storage. The final phase makes maximum use of automation, consolidation and streamlined processes to get data where it needs to be in the most efficient manner. With information lifecycle management, you can classify, manage and move data to the location where your business can benefit the most from its availability, accessibility and protection. [Optional supporting comments:] In assessing the IT storage environment, elements of consideration include capacity, performance, scalability, management, support and operating expense. These elements account for about 20% of the purchase decision for storage (and server) hardware. The remaining 80% of the decision is based on consideration of how you protect the application. These elements include requirements for replication, re-creation, management, legal and operating expense.

Intro: So much for design management theory, now lets talk about design leadership in business

IBM used– Paul Rand, Eliot Noyse, and Charles Eames How many of you have a personal handwriting? How many of you can change your personal handwriting to fit the style of your firm? So too with designers, I believe every designer has a handwriting. Consider; close your eyes, and when I say this word, you will likely get a picture in your mind: A Frank Lloyd Wright building, a Saul Bass identity, a Milton Glasser illustration, a Kit Hendricks brochure. a Johnathan Ives computer. My point, and the lesson I learned, is that leading designers have a style, a unique handwriting. Leading design firms do too, as the staff designers seek to emulate the house style, established by the most important designers.

This was published in the Design management Journal (Review) Who gets this magazine? Now everyone please close your eyes. Please raise your hand if you read this magazine.

Design management needs to get “roundabout” the company

“ We feel that good design must primarily serve people, and not the other way around” Thomas Walton

The design master’s in these companies, two come from a business background, five from a design background

The design master’s in these companies, two come from a business background, five from a design background

The design master’s in these companies, two come from a business background, five from a design background

The design master’s in these companies, two come from a business background, five from a design background

The design master’s in these companies, two come from a business background, five from a design background

The design master’s in these companies, two come from a business background, five from a design background

Klint Parker, Starbucks: We are three kinds of stores in one, we are a food and beverage company, we also are a merchandise company, and we are also at third place, a sit-down-and-relax kind of place, you make of that what you want, you can have any kind of engagement you want in this, you know, the store. There aren’t any there aren’t many business models that are like that

How to influence the ‘what’ of corporate culture

How to influence the ‘what’ of corporate culture

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Insights connecting design and business - Presentation Transcript

  1. 1 st DESIGN MANAGEMENT SYMPOSIUM IN SHANGHAI 2006 Insights connecting design and business Thomas Lockwood, PhD President, Design Management Institute TM copyright 2006 by Thomas Lockwood and DMI TM
  2. H i
  3. : )
  4. connecting design and business re: PROCESS > PEOPLE > CULTURE >
  5.  
  6. Q: how do designers and business managers collaborate within large multinational organizations? Q: how to ‘do’ holistic, integrated design? A: theory and practice of integrated design and cross-functional design management PROCESS: DESIGN AND BUSINESS COLLABORATION
  7. “ From little buck slips to big buildings, the visual design problems of a large corporation are, virtually, without end.” Paul Rand, 1986
  8. design disciplines identity design product design environment design communication design interface design
  9. customer experience identity design product design environment design communication design interface design customer experience
  10. defining integrated design
    • Research to determine design management best practice techniques which
      • integrate design functions within large corporations,
      • to produce cohesive design,
      • and yet to enable innovation per design discipline.
    • Is it possible to create a multi design visual language without limiting creativity?
    • Can an organization integrate and empower it’s design assets?
    • How do designers and business people collaborate?
    • Is coherent yet innovative design relevant to the end user?
  11. Art Nouveau, Jugendstil, Stile Liberty, Sezessionsstil, Modernista
  12. methodology
    • Time frame 2001-2005
    • PhD thesis in design management
    • University of Westminster, Harrow Business School, London
    • Multi-method paradigm with an emphasis on qualitative research
    • Cross-sectional design, c ase study methodology
    • Gap in knowledge about integrated design and cross-functional design management in the academic community and the practice community
    • Empirical work in an under researched area in order to develop a predictive model and contingent models
  13. phase one
    • Literature review
    • Pilot study carried out in two waves in the US and in Europe
    • Quantitative and qualitative research
    • Four group interviews (n = 40) and survey (n = 49)
    • Developed initial determinates, contingent hypothesis and theories of integrated design management
  14. contingencies from phase one
    • There were no demonstrated answers or understanding of the research problem
    • No common understanding about who is responsible for design integration
    • No common understanding about how it could or should be done
    • Agreement that integrated design is important and can be accomplished
    • Methods may involve basic corporate identity elements
    • Likely use of design standards
    • Likely a corporate policy
    • Likely a process and approval concern
    • Likely a brand or marketing responsibility
    • Would require executive endorsement
    • Roles and responsibilities unclear
  15. phase two
    • Identified 12 companies as target sample, added criteria of brand value
    • Study sample of seven companies with headquarters in the US
    • Caterpillar, Kodak, Levi’s, Microsoft, Nike, Starbucks, and Sun
    • Conducted individual in-depth interviews (n=52)
    • 400,000 words of interview transcriptions (code, link and analyze)
    • Test contingent determinants and hypothesis against findings
    • Expand scope of literature review beyond design management
    • Determine theory and models of integrated design management
  16. interviews completed in US 4 8 6 12 2 8 6 Total 1 1 1 1 1 Sun 1 2 1 1 1 Starbucks 1 1 3 2 1 Nike 2 1 4 1 1 Microsoft 1 1 1 2 1 Levi’s 1 2 1 1 1 Kodak 1 1 1 1 1 1 Cat Interface design Comm. design Enviro. design Product design Identity design VP brand VP design Company
  17. summary of findings categories
    • Design management at the organization level
    • Design management at the process level
    • Design management at the design project level
    • Outcome 1: integrated design management model
    • Outcome 2: design coherency for the brand, design innovation and design flexible style for the business, and design relevancy for the customer
    • Outcome 3: implications
      • for the studied companies
      • for the industry
      • for design management curriculum
  18. design collaboration
  19.  
  20. interviews in Europe and Asia (in process) 1 Victorinox 1 Sony Samsung 1 Lego 1 1 Heineken 1 British Air 1 1 1 Braun 1 1 BMW Interface design Comm. design Enviro. design Product design Identity design VP brand VP design Company
  21. new design management models
    • CORPORATE CULTURE
    • Corporate norms
    • Practice
    • Policy
    • DESIGN MANAGEMENT
    • Relationships and processes
    • Design principles
    • Resources
    • Expectations
    • COUNTRY CULTURE
    • History
    • Cultural norms
    • Design awareness
  22. design in business is not just a ‘designer thing’ anymore PEOPLE: DESIGN MANAGEMENT LEADERSHIP
  23. crossing the creative side; the intuitive, visual thinking, designing side … with the analytical side; the deductive, measurable, business management side … is not easy
  24. everything designed, albeit a product, identity, interface, environment or a communication, has one thing in common; it had to be managed
  25. everything made by human beings requires design , and in our world today of commercial business this requires management . Discovering, defining, and sharing this interesting integration is the mission of the Design Management Institute .
  26. DMI is a non-profit educational organization
    • Established 1975
    • Membership - 1,200 members in 44 countries
    • Continuing education - 9 seminars in 25 locations
    • Professional conferences - Amsterdam, Montréal, Boston in 2006
    • Academic conference - Seoul in 2006
    • Publish - Design Management Review, quarterly
    • Teaching case studies with Harvard Business School
    • Annual research agenda
  27. personal
    • live in boulder colorado and boston massachusetts, usa
    • climb “fourteener”
    • career experience: ½ in design consultancy, ½ in corporate management
    • bachelors in marketing and visual design, MBA and PhD in design management
    • DMI president and board of directors, member of idsa, icsid, icograda
    • range from designing racing uniforms worn by the US ski team in the Olympics to brand and design research, strategy and consulting for large multi-nationals
    • lecture at universities and corporations in 15 countries
    • photography, gardening, and the study of history, culture, art and design
  28. functions of design management
    • As leadership function
    • Empowering design
    • Envision the future
    • Enable strategic intent
    • Direct design investment
    • Manage corporate reputation
    • Nurture innovation
    • As management function
    • Empowering design
    • Design people
    • Design budgets
    • Design timelines
    • Design work
    • Design infrastructure
    • Ref: Alan Topalian and Raymond Turner 2004
  29. scope of design management
    • “ Strategic design management”
    • Design operating as the corporate strategy
    • A source of competitive advantage
    • Can change the scope and direction of the organization
    • “ Business or tactical design management”
    • Design to generate unique product concepts
    • Search for new market opportunities
    • Executed a single business unit level
    • “ Operational design management”
    • Project level
    • Efficiency and effectiveness of the design process
    • Ref: Franz Joziasse 2002
  30.  
  31.  
  32.  
  33.  
  34. “ It can be argued that a great deal of design activity goes on in organizations which is not called design. It is carried out by individuals who are not called designers. We call this ‘silent design’” Angela Dumas and Peter Gorb, 1987
  35. how do large corporations demonstrate design leadership?
    • by master designer:
    • Individual based
    • Single discipline
    • Designer style
    • Innovative
    • by corporate design performance:
    • Group based
    • Multiple disciplines
    • House style
    • Innovative
  36. design leadership research methodology Business Performance Criteria Sample: Interbrand global 100 brand value Measurments: 1. Change in brand value Design Performance Criteria 2. IDSA awards 3. Communication Arts awards, all visual media 4. Survey of design managers in the US, Italy and S. Korea offices of Design Continuum Design Management Performance Criteria 5. Survey at DMI conference’s in US and in Europe 6. Four group DM interviews 7. Survey of design managers in the German and Dutch offices of Park > >
  37. global top 20 in design leadership
    • BMW
    • Adidas
    • Apple
    • Armani
    • Harley-Davidson
    • Nike
    • Samsung
    • Starbucks
    • Canon
    • Caterpillar
    • Dell
    • Heineken
    • FedEx
    • IBM
    • IKEA
    • Microsoft
    • MTV
    • Nokia
    • Prada
    • Sony
  38. design leadership
  39. is it design enabled business success, or business enabled design success? CULTURE: DESIGN AND CORPORATE CULTURE
  40. “ Good design was one of the major reasons for the success of the IBM corporation over the past 18 to 19 years.” Thomas Walton Jr., Chairman, IBM, during the period 1955-1975
  41.  
  42.  
  43.  
  44. “ The amount spent on design is the largest single sum of money the board knows the least about” Raymond Turner, 2004
  45. it’s not about putting design into corporate culture it’s about putting corporate culture into design
  46. mini case examples
    • Nike = performance
    • Heineken = business metrics
    • Kodak = usability
    • British Air = differentiation
    • Caterpillar = brand
    • Microsoft = integration
    • Starbucks = experience
  47. corporate culture
  48. mini case examples
    • Nike = performance
    • Heineken = business metrics
    • Kodak = usability
    • British Air = differentiation
    • Caterpillar = brand
    • Microsoft = integration
    • Starbucks = experience
  49. mini case examples
    • Nike = performance
    • Heineken = business metrics
    • Kodak = usability
    • British Air = differentiation
    • Caterpillar = brand
    • Microsoft = integration
    • Starbucks = experience
  50. mini case examples
    • Nike = performance
    • Heineken = business metrics
    • Kodak = usability
    • British Air = differentiation
    • Caterpillar = brand
    • Microsoft = integration
    • Starbucks = experience
  51. mini case examples
    • Nike = performance
    • Heineken = business metrics
    • Kodak = usability
    • British Air = differentiation
    • Caterpillar = brand
    • Microsoft = integration
    • Starbucks = experience
  52. mini case examples
    • Nike = performance
    • Heineken = business metrics
    • Kodak = usability
    • British Air = differentiation
    • Caterpillar = brand
    • Microsoft = integration
    • Starbucks = experience
  53. mini case examples
    • Nike = performance
    • Heineken = business metrics
    • Kodak = usability
    • British Air = differentiation
    • Caterpillar = brand
    • Microsoft = integration
    • Starbucks = experience
  54. we can not change corporate culture but we can change design
  55. integrating corporate culture and design 1. design drivers 2. design awareness 3. design organization 4. design integration 5. design for improvement 6. design valuation
  56. setting a design management agenda CULTURE: INTEGRATING DESIGN, CULTURE AND CORPORATE CULTURE PEOPLE: DESIGN LEADERSHIP PROGRAM PROCESS: DESIGN COLLABORATION PROGRAM
  57. a personal design management agenda
    • SHARE
    • Lecture
    • Publish
    • Consult / workshops
    • Curriculum
    • COLLOBRATE
    • Global network
    • Best-of-class analysis
    • Cross-functions
    • Core business drivers
    • LEARN
    • Culture research
    • Process research
    • Trends and futures
    • Design history
  58. short thoughts exploring how process, people and culture may connect design and business
  59. thank you [email_address]

+ whatidiscoverwhatidiscover, 1 month ago

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