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Beyond Design Thinking at DNA

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The first prototype of our approaches to move beyond design thinking at DNA. Touching on a number of new tools and techniques as well as theoretical positions from a number of sources. Very much the bleeding edge of our current position.

Published in: Design

Beyond Design Thinking at DNA

  1. 1. BEYOND DESIGN THINKING Lifehack / COCA Massey | August 2015
  2. 2. THEREHASNEVER BEENAMORE EXCITINGTIMETO BEADESIGNER.
  3. 3. Chris Jackson Service Innovation Director DNA www.dna.co.nz @northwardsds
  4. 4. WE’RE 53DESIGNERS, INAUCKLAND AND WELLINGTON, 25YEARSOLD, ANDSTILL CURIOUS. WHOISDNA?
  5. 5. WEWORK WITHDIVERSE BUSINESSESAND ORGANISATIONS ACROSSAWIDE RANGEOF PROJECTS. WHATDOWEDO?
  6. 6. DOUBLE DIAMOND C COOPER USER EXPERIENCE IIT INNOVATION D-SCHOOL DESIGN THINKING LEAN USER EXPERIENCE AGILE SOFTWARE DEVELOPMENT HUMAN CENTRED DESIGN S DESIGN SPRINTS DOBLIN TEN TYPES OF INNOVATION MIX&MASH METHODOLOGIES
  7. 7. CULTIVATINGDESIGN PRACTICE
  8. 8. SERVICEDESIGN, UX&CX CX SD UX Kerry Bodine
  9. 9. WHATISDESIGN THINKING?
  10. 10. “For serious students and practitioners of design it is important to differentiate between two quite different uses of the term design thinking: 1. A way of analysing and interpreting the distinctive styles of thinking and approaches to problem solving within design, that has been subject of study and discussion by researchers since the 1960s. 2. A business-oriented conception of design that seeks to enhance the value of design professionals and their distinctive expertise. - Mike Press, Design Thinking
  11. 11. Richard Buchanan Focus on social systems, environments and organisations where all interactions take place Communication of information words & images Creation of tangible, physical or material things. Focus on how humans relate to others through the mediation of products Symbols Organisations Interactions Things
  12. 12. Design Thinking as a cognitive style Design Thinking as as a general theory of design Design Thinking as an organisational resource Key text Cross 1982; SChÖn 1983; Rowe {1987} 1998; Lawson 1997; Cross 2006; Dorst 2006 Buchannan 1992 Dunne & Martin, 2006; Bauer & Eagan 2008; Brown 2009; Martin 2009 Focus Individual designers, especially experts Design as a field or a discipline Businesses and other organisations in need of innovation Design’s purpose Problem solving Taming wicked problems Innovation Key concept Design ability as a form of intelligence, relction-in- action, abductive thinking Design has no special subject matter of its own Visualisation, prototyping, empathy, inegrative thinking, abductive thinking Nature of design problems Design problems are ill-structured, problem and solution co-evolve Design problems are wicked problems Organisational problems are design problems Sites of design expertise and activity Traditional design disciplines Four orders of design Any context from healthcare to access to clean water (Brown and Wyatt 2010) LucyKimbell
  13. 13. EMPATHY DEFINE IDEATE PROTOTYPE TEST D-SCHOOL DESIGNTHINKING
  14. 14. EMPATHY IDEATE DEFINE PROTOTYPE TEST D-SCHOOL DESIGNTHINKING
  15. 15. “A codified, repeatable, reusable practice contradicts the nature of innovation, which requires difficult, uncomfortable work to challenge the status quo of an industry or, at the very least, an organization.” - Helen Walters, Fast Company
  16. 16. “The last straw came when I realized that the design thinking process had become a nice little packaged “product”. - Design Sojourn, Design Thinking is killing creativity
  17. 17. UXDESIGN
  18. 18. DISCIPLINE
  19. 19. DISCIPLINE Naive Process Method Novice Advanced Beginner Competent Expert Master Luminary Vision Developed from Kees Dorst
  20. 20. DISCIPLINE Naive Process Method Novice Advanced Beginner Competent Expert Master Luminary Vision Profession Practice Process Project Developed from Kees Dorst
  21. 21. “Given the diversity of these approaches, there is still no clear description of design thinking. > On what principles is it based? > How different is it to other kinds of professional knowledge? > Do all designers exhibit it? > What are its effects within the worlds where design takes place? > How can it be taught?” - Lucy Kimbell, Rethinking Design Thinking
  22. 22. “Everyone is a Designer” – Tim Brown, IDEO
  23. 23. DESIGNTHINKING ISACONSIPRACY BETWEENIDEO AND3M.
  24. 24. “Indeed one way of interpreting Design Thinking is that it is a strategy for companies such as IDEO to be taken more seriously by the business community and by government.” - Mike Press, Design Thinking
  25. 25. “Too often advocates of “design” overreach, regarding it as an elixir that can somehow transform conservative companies into creative ones. In the most egregious cases, advocates suggest design thinking can somehow replace nearly all other forms of analysis, planning, and strategy.” - Larry Keeley, Deloitte
  26. 26. EMPATHYIS NOTATOOL ORAMETHOD.
  27. 27. “We’ve all seen before how managers can frame data to fit their narratives. They will find the data that supports their egocentric view if they can. Putting themselves in the customer’s shoes may make that worse.” - Johannes Hattula, HBR
  28. 28. EMPATHY CANLEADTO EGOCENTRISM.
  29. 29. “During this user research phase many of us (myself included) started to have actual nightmares that we had diabetes. I remember once looking at my toes, wondering if the tingling I was feeling was the onset of diabetes. (It wasn’t — probably just my foot was asleep.) We’d empathized to the point where we really identified with diabetics and their problems, which are considerable. We had so much empathy for them, in fact, that for several weeks, we couldn’t solve the problem. It seemed intractable, given what we knew about the condition and the state of technology at the time.” - Dan Saffer, In Design, Empathy is not enough
  30. 30. RED ASSOCIATES
  31. 31. ETHNOGRAPHY
  32. 32. SENSEMAKE
  33. 33. “The problem with the thinking-outside-the-box approach is neither its intention nor its tools and processes. The essential fallacy of the approach is its promise to deliver idea generation that is fast, efficient, repeatable, simple, and risk-free. Getting people right requires a deeper investigation into human behavior as well as a longer gestation period for creative ideas.” - Red Associates, Moment of clarity
  34. 34. 1. Criticism is not allowed. Avoid passing judgment on ideas. Produce as wild a group of ideas as possible. 2. It is acceptable and even desirable to share really unusual ideas. 3. Quantity breeds quality. The greater the volume of ideas, the greater the likelihood of useful ideas. 4. Combine and improve ideas. Participants should improve each other’s ideas and deliberately try to combine each other’s ideas in interesting and surprising ways.
  35. 35. “Decades of research have consistently shown that brainstorming groups think of far fewer ideas than the same number of people who work alone, and later pool their ideas.” - Keith Sawyer, University of Washington
  36. 36. “Design thinking is also part of that, I think. That has also disappointed business in a big way. It’s now gotten to the point where people think “no, that kind of creativity is probably too shallow, sorry, that’s not useful for our business.” - Mikkel B Rasmussen, Red Associates
  37. 37. “Design is too important to be left to designers.” – Raymond Loewy
  38. 38. Diffuse Design -Ezio Manzini, Design, When everbody Designs
  39. 39. Expert Design Diffuse Design -Ezio Manzini, Design, When everbody Designs
  40. 40. Expert Design CoDesign Diffuse Design -Ezio Manzini, Design, When everbody Designs
  41. 41. PROTOTYPES
  42. 42. MYEXPERIENCE FELLOW
  43. 43. SENSE MAKER
  44. 44. AMPLIFY
  45. 45. DAMPEN
  46. 46. JOBS TOBE DONE.
  47. 47. “The jobs that customers are trying to get done cannot be deciphered from purchased databases in the comfort of marketers’ offices. It requires watching, participating, writing and thinking. It entails knowing where to look, what to look for, how to look for it and how to interpret what you find.” - Clayton Christensen, Harvard Business School
  48. 48. CUSTOMERJOBS NOT CUSTOMERPERSONAS CUSTOMERDECISIONJOURNEYS NOT INTERACTIONS CUSTOMERDECISIONS NOT EMOTIONS - Graham Hill
  49. 49. MEASURETHE RIGHTTHINGS
  50. 50. MEANING IDENTITY EMOTION PRICE FUNCTION Quantitative Qualitative TOTAL VALUE - Nathan Shedroff, CAA
  51. 51. 5CAPITALS NATURAL SOCIAL MANUFACTURED FINANCIALHUMAN
  52. 52. KPI’S
  53. 53. OUTCOMES NOT OUTPUTS
  54. 54. • A key today is to use information deftly to manage complexity, and you inherently do that with many specialized skills working effectively together. • Great design is a critical catalyst and accelerant to the overall advance you seek, and this stems largely from designers doing a good job of integrating complexity into an elegant and even delightful experience. • But you should avoid labeling this design thinking, because such a label will obscure the deeper truth: What works today is deep, informed analysis seamlessly synthesized into coherent, beautiful solutions. - Larry Keeley, Beyond Design Thinking - Deloitte
  55. 55. “But successful design is not only about creative thinking. It also involves implementation and ensuring that key ideas maintain their integrity during that process. Designers must be involved over the duration of change processes, providing constant expertise and feedback to identify, test, and deliver durable solutions.” - Helsinki Design Lab
  56. 56. Design DeliveryChallenge
  57. 57. Challenge Design Delivery
  58. 58. Archaeology – of the problem, why is this a problem? why has it not been solved? how did it become a problem? who is the problem owner? Paradox – what makes this hard to solve? why is this a hard one? Designers spend a lot of time developing an understanding of this. Stakeholders – create a new context, designers start speaking to a wide gamut of stakeholders and create a very large problem arena. They investigate what are the stakeholders values, motives, desires. What could be potentially useful? Problem Arena – continue developing a very broad problem space, with all the different parties, places, products services, externalities etc that could be interested and interdependent. Themes – designers then start to let themes emerge, which are the back ground to the creation of new frames. Frames – if I look at problem in this way, then… Futures – the development of potential solutions and future scenarios. Transformations – what needs to change for the solution to be implemented? Connections – how can it be connected to rest of the world? - Kees Dorst, Frame Innovation
  59. 59. PHILOSOPHY SOCIAL SCIENCES DESIGN PRACTICE POLITICS AESTHETICS CRAFT COMPLEXITY SYSTEMS BUSINESS METRICS
  60. 60. PHILOSOPHY SOCIAL SCIENCES DESIGN PRACTICE POLITICS AESTHETICS CRAFT COMPLEXITY SYSTEMS BUSINESS METRICS DEEP DESIGN
  61. 61. “Deep design – the union of deep practice with robust intellectual inquiry.” - Ken Friedman and Eric Stolterman, MIT Press
  62. 62. DEEP DESIGN DESIGN THINKING
  63. 63. “Everyone is a Designer” – Tim Brown, IDEO
  64. 64. DESIGNGETS DISMISSED EVERYONEISA DESIGNER RESULTSARE INADEQUATE
  65. 65. DISCIPLINE Naive Process Method Novice Advanced Beginner Competent Expert Master Luminary Vision Developed from Kees Dorst
  66. 66. EVERYONE CANCOOK EVERYONE ISACHEF
  67. 67. Chef is to food as X is to design. X is to design as Cook is to food.
  68. 68. CREATIVITY PERSEVERANCE RESOURCEFULNESS DESIGNERLY INFLUENCER COLLABORATOR FACILITATOR LEADER EQ/IQ HUMILITY LISTENER TRANSLATOR CURIOSITY COMPASSIONATE SYSTEMSTHINKER POLITICAL MOTIVATED/ACTIVE SOCIAL PROBLEMSOLVER COMMUNICATOR CRAFTER/ARTISAN MULTI-DISCIPLINARY INNOVATOR BRAVE RESILIENT OBSERVANT INTEGRATOR OPTIMISTIC ADAPTABLE AMBIGUITY:) (SELF)AWARE LEARNER CONFIDENT MAKER ORGANISER GENEROUS FUN SUPPORTIVE ACCESSIBLE EMPATHIC SENSEMAKER HEALTHY
  69. 69. “With great power comes great responsibility.” – Spiderman
  70. 70. THEREHASNEVER BEENAMORE EXCITINGTIMETO BEADESIGNER.

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