Design
Thinking
Comes
of Age
The approach, once
used primarily in product
design, is now infusing
corporate culture.
by Jon Kolko
ARTWORK The Office for Creative Research
(Noa Younse), Band, Preliminary VisualizationSPOTLIGHT
66 Harvard Business Review September 2015
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
HBR.ORG
There’s a shift under way
in large organizations,
one that puts design
much closer to the
center of the enterprise.
Focus on users’ experiences, especially
their emotional ones. To build empathy with
users, a design-centric organization empowers em-
ployees to observe behavior and draw conclusions
about what people want and need. Those conclu-
sions are tremendously hard to express in quanti-
tative language. Instead, organizations that “get”
design use emotional language (words that concern
desires, aspirations, engagement, and experience)
to describe products and users. Team members
discuss the emotional resonance of a value propo-
sition as much as they discuss utility and product
requirements.
A traditional value proposition is a promise of
utility: If you buy a Lexus, the automaker promises
that you will receive safe and comfortable trans-
portation in a well-designed high-performance ve-
hicle. An emotional value proposition is a promise
of feeling: If you buy a Lexus, the automaker prom-
ises that you will feel pampered, luxurious, and af-
fluent. In design-centric organizations, emotion-
ally charged language isn’t denigrated as thin, silly,
or biased. Strategic conversations in those compa-
nies frequently address how a business decision or
a market trajectory will positively influence users’
experiences and often acknowledge only implicitly
that well-designed offerings contribute to financial
success.
The focus on great experiences isn’t limited to
product designers, marketers, and strategists—it
infuses every customer-facing function. Take
finance. Typically, its only contact with users is
through invoices and payment systems, which are
designed for internal business optimization or pre-
determined “customer requirements.” But those
systems are touch points that shape a customer’s
impression of the company. In a culture focused
on customer experience, financial touch points are
designed around users’ needs rather than internal
operational efficiencies.
Create models to examine complex prob-
lems. Design thinking, first used to make physical
objects, is increasingly being applied to complex, in-
tangible issues, such as how a customer experiences
a service. Regardless of the context, design thinkers
tend to use physical models, also known as design
artifacts, to explore, define, and communicate.
Those models—primarily diagrams and sketches—
supplement and in some cases replace the spread-
sheets, specifications, and other documents that
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
But the shift isn’t about aesthetics. It’s about apply-
in ...
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Companies in every industry are trying to find new sources of value
through digital technology. But most of their efforts have not translated
into enough market impact and growth. They need something bolder
and more disruptive, but still very simple. They need reimagination.
Reimagination means putting the user at the center of everything
your company does — strategy, product development, operations,
marketing, sales, and customer service. It means using the full power
of digital media and technology to build empathy with that user, and
weaving that relationship into the fabric of your company. This practice
is known as “human centered design” (HCD): the reshaping of an entire
enterprise and its capabilities system around the customer or user
experience.
HCD represents a new way of life for business. It evokes many of the
attributes of a startup — creativity, speed, bias for action, flexibility
with risk, and radical collaboration. To achieve this entrepreneurial
vigor in your company, you may have to consciously break down long
established internal barriers. You must embrace five basic principles:
Embed human centered design in everything you do, build brand value
holistically, design for three years out (but build for today), stand up
new structures and teams, and nurture your existing digital culture.
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The document discusses changes in the roles of designers, users, and clients in the design process. Traditionally, these roles were separated but they are now blending together through practices like co-creation and co-design. Users are becoming more involved in the design process by providing input, feedback, and even generating their own solutions. Designers are taking on more collaborative roles as facilitators. The relationships between all parties are opening up through methods like context mapping, where users share their experiences to inform the design process. While many industries recognize the need for changed roles, implementing user participation remains a challenge, particularly for larger companies.
Design thinking is a human-centered approach to problem solving that relies on three main principles: empathy, collaboration, and experimentation. It involves understanding user needs through discovery, developing ideas through interpretation and ideation, and making ideas a reality through prototyping and experimentation. The process is non-linear and involves divergent and convergent thinking. Key tools used in design thinking include observation, interviews, storyboarding, paper prototyping, and other methods of understanding user needs and testing potential solutions.
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Design has evolved from being applied primarily to physical objects to more complex domains like user experiences, corporate strategies, and systems. As designs have increased in complexity, gaining acceptance from stakeholders has become a greater challenge. To address this, the introduction or "intervention" of a new design can be treated as its own design problem through an iterative process involving users. This approach helped an organization in Peru successfully introduce innovations like a new school system and programs to develop local suppliers. By carefully designing interventions, complex new designs are more likely to be adopted.
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Through an iterative process of observation, ideation, rapid prototyping and testing, design thinking can help organizations craft a meaningful experience that seamlessly meshes the physical and digital interactions of people, processes and things.
The document discusses how the role of designers has changed from traditionally focusing on the creation of products within defined design briefs to now being more involved in the front-end process of finding new opportunities, markets, and ways to create value. Designers now must consider numerous factors such as the brand, users, product context and use, manufacturing, sustainability, and trends. They manage this complex process by focusing on clarity, developing a vision, and delivering on that vision through a managed, systematic, and creative non-linear process.
Sustainable product design in a changing worldVantageITes
When it comes to effective product design in marketing, there are two main considerations - design and development - often offered as a package. For those familiar with the marketing process, you may already have burned your hands getting designers to understand your brand message only to turn around and have to find a third party developer that you then have to on-board with your idea all over again. Instead of wasting time bringing professionals up to par with your vision, there is a simpler way to accomplish your digital outreach goals - work with a multidisciplinary agency.
Reimagine your enterprise: Make Human Centered Design the Heart of Your Digit...Kenneth Kwan
Companies in every industry are trying to find new sources of value
through digital technology. But most of their efforts have not translated
into enough market impact and growth. They need something bolder
and more disruptive, but still very simple. They need reimagination.
Reimagination means putting the user at the center of everything
your company does — strategy, product development, operations,
marketing, sales, and customer service. It means using the full power
of digital media and technology to build empathy with that user, and
weaving that relationship into the fabric of your company. This practice
is known as “human centered design” (HCD): the reshaping of an entire
enterprise and its capabilities system around the customer or user
experience.
HCD represents a new way of life for business. It evokes many of the
attributes of a startup — creativity, speed, bias for action, flexibility
with risk, and radical collaboration. To achieve this entrepreneurial
vigor in your company, you may have to consciously break down long
established internal barriers. You must embrace five basic principles:
Embed human centered design in everything you do, build brand value
holistically, design for three years out (but build for today), stand up
new structures and teams, and nurture your existing digital culture.
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The document discusses changes in the roles of designers, users, and clients in the design process. Traditionally, these roles were separated but they are now blending together through practices like co-creation and co-design. Users are becoming more involved in the design process by providing input, feedback, and even generating their own solutions. Designers are taking on more collaborative roles as facilitators. The relationships between all parties are opening up through methods like context mapping, where users share their experiences to inform the design process. While many industries recognize the need for changed roles, implementing user participation remains a challenge, particularly for larger companies.
Design thinking is a human-centered approach to problem solving that relies on three main principles: empathy, collaboration, and experimentation. It involves understanding user needs through discovery, developing ideas through interpretation and ideation, and making ideas a reality through prototyping and experimentation. The process is non-linear and involves divergent and convergent thinking. Key tools used in design thinking include observation, interviews, storyboarding, paper prototyping, and other methods of understanding user needs and testing potential solutions.
Millward Brown Perspectives. Volume 6: Issue 2Kantar
The second issue of Perspectives, our quarterly magazine, is now available for iPad and as a PDF. If you missed the first issue, don’t miss this one. It’s full of valuable content about building Meaningfully Different brands, social measurement, and the brand impact of mobile advertising
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Design thinking is a human-centered approach to innovation that draws from design methods and focuses on empathizing with users, defining problems based on user needs, ideating solutions, prototyping ideas, and getting user feedback to iterate on designs. It involves three key spaces: desirability from the user perspective, feasibility in terms of technical possibilities, and viability regarding business needs. The design thinking process emphasizes empathy with users through observation and engagement to understand user needs, defining problems based on pain points, ideating many solutions through brainstorming, prototyping ideas, and testing prototypes with users to iterate on the design.
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Carl Griffith was one of the presenters at the Social Media Marketing Day @Your Desk. Organized by Markedu. More free events here: http://www.markedu.com/web-seminars
When a company puts human-centered design at the heart of its digital agenda, it can find new sources of value through technology. Here are five principles to embrace to achieve this new way of doing business: http://stratbz.to/vO0wq
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The document introduces a new tool and process for innovating business models using a visual template. The tool aims to (1) help entrepreneurs better describe and improve their business models to attract investors, (2) allow advisors to clearly illustrate business model options, and (3) encourage faster learning and innovation. Feedback is sought on the tool developed so far and expressions of interest in a workshop to demonstrate and further develop the social business model innovation approach.
This document discusses cultures of prototyping and how different corporate cultures approach the process of prototyping new products. It describes how some companies are more specification-driven, focusing on detailed requirements before prototyping, while others are more prototype-driven, using iterative prototyping to help shape specifications. The medium used for prototyping, the questions prototypes aim to answer, the speed of the prototyping cycle, and who is involved in the process all contribute to a company's unique prototyping culture. Understanding these cultural differences is important for transforming product development practices.
Outcome Engineering 101: Five Guidelines to Delivering Products that Create I...Cognizant
Outcome engineering is a creative process that marries technological perspective with design thinking to ensure products deliver desired business outcomes. The document provides 5 guidelines for outcome-oriented product development: 1) Reframe how designers and engineers work together from the start, 2) Make innovation practical through user empathy, 3) Iteratively improve products through small changes, 4) Validate ideas quickly with prototyping, and 5) Motivate teams through gamification by tying rewards to impact. The goal is to anticipate customer needs, bring out the best in design and technology, and continually refine products through testing to gain a competitive edge.
This document discusses how professional organizations can learn from creative disciplines like art. It describes a project at SAP to create a simplified partner web experience using practices from design thinking. The cross-functional team overcame obstacles through unwavering persistence, design thinking, and collaboration. They conducted user research with over 40 partners to develop requirements and test prototypes. While facing setbacks, the team persevered and completed the project successfully. The document argues that skills like creativity, collaboration, and adaptability seen in art are important for knowledge workers and organizations in the digital age.
Optimize Customer Experiences with Design ThinkingJared Hill
If you are looking to generate engaging digital experiences but are unsure where to begin, leveraging the knowledge within your organization is a good starting point. However, information is typically dispersed across the company in silos. Different business units often have their own vernacular. Design thinking provides a common language. It’s a customer-centric approach to problem solving that is both creative and practical.
Industry leaders have been using design thinking methodology to work with cross-functional and multidisciplinary teams to create innovative customer journeys. Learn how in our recorded webinar, Optimize Customer Experiences with Design Thinking.
You will learn:
• Why leverage design thinking
• How to successfully lead a remote workshop
• How to document winning customer journeys
• How to map desired experiences in Signavio for builders
If you are looking to generate engaging digital experiences but are unsure where to begin, leveraging the knowledge within your organization is a good starting point. However, information is typically dispersed across the company in silos. Different business units often have their own vernacular. Design thinking provides a common language. It’s a customer-centric approach to problem solving that is both creative and practical.
Industry leaders have been using design thinking methodology to work with cross-functional and multidisciplinary teams to create innovative customer journeys. Learn how in our recorded webinar, Optimize Customer Experiences with Design Thinking.
You will learn:
• Why leverage design thinking
• How to successfully lead a remote workshop
• How to document winning customer journeys
• How to map desired experiences in Signavio for builders
Five Guidelines to Delivering Products that Create Impact in Communications, ...Cognizant
At the apex of innovation — with an emphasis on business outcomes and meaningful growth — exists not just one north-star discipline, but two: design and engineering. Long considered fundamentally separate entities, engineering and design have long led project plans and new ideas toward product development in their own streams; each approach with its many advocates. It’s time to shift to an evolved, technology-empowered design
mindset.
This document provides summaries of presentations from a three-day design conference. Day One focuses on design strategy and organizations. Day Two covers product design. Day Three explores design practice and what's on the horizon for the field. The summaries discuss topics like using objectives and key results to accomplish goals, balancing data-driven and experience-driven product strategies, designing for physical and digital balance, and preparing for emerging technologies in web and voice interfaces.
This document discusses focal points for working in the Internet of Things ecosystem. It touches on improving consumer experiences through prototyping, building tools and practices for others, helping users become literate, and streamlining standardization efforts. The IoT ecosystem involves startups, incubators, corporations, governments, standards groups, and non-profits with sometimes competing interests and objectives. The author advocates for prototyping well, building transparent business processes, partnering broadly, helping users become literate, and actively engaging with the community.
In Brian's new book, he outlines therising threat of Digital Darwinism, thephenomenon that affects organizationswhen technology and society evolvefaster than the ability to adapt. It's morethan social media. It's the confluenceof disruptive technology and theevolution of consumer behavior. Briandepicts how leadership can surviveDigital Darwinism by understandingcustomer and employee behavior,their expectations, and how it differsfrom traditional consumers of the past.He reviews disruptive technology,innovative business models, and newopportunities. He also demonstratesbest practices and methodologies toalign the organization with a commonand meaningful vision and strategy, andshared objectives.
The presentation unveil the concept of Design Thinking, its various stages, different tools and the scope of applying the concept of design thinking in tourism management
As a designer I have witnessed first hand the incredible growth of the importance of design. Innovative designs have had a profound and positive impact on our lives, and the thinking process has been repurposed by organizations such as P&G, GE, and Apple as an effective instrument towards change. I have noted through numerous successful design assignments the powerful affect an iterative visual process has on companies, allowing their leadership the ability to envision with clarity a new perspective to a challenging problem.
The report provides an overview about the program, speakers, some highlights and results from the workshops conducted at the first Design at Business Conference on Nov 1 & 2, 2016in Berlin.
Track 09 - New publishing and scientific communication ways:
Electronic edition, digital educational resources
Authors: Ana Catarina Silva and Maria Manuel Borges
https://www.youtube.com/watch?v=tAdQkqUYROo&list=PLboNOuyyzZ86iI_x9SRTfV1KlSRX9DcEc&index=5
1. A corporations distribution of additional shares of its own s.docxcuddietheresa
1.
A corporation's distribution of additional shares of its own stock to its stockholders without the receipt of any payment in return is called a: (Points : 2)
.
1. Like the modernists, postmodern writers focused on subjective e.docxcuddietheresa
1. Like the modernists, postmodern writers focused on subjective experience rather than objective cultural norms. (1 point)
expressing or dealing with facts or conditions as perceived without distortion by personal feelings, prejudices, or interpretations
characteristic of or belonging to reality as perceived rather than as independent of mind
characteristic of or belonging to the superficial world
none of the above
2. They reeled, whirled, swiveled, flounced, capered, gamboled, and spun. (1 point)
insult
twists; intricate designs
leapt; frolicked
sharp; pounding
3. He began to think glimmeringly about his abnormal son who was now in jail, about Harrison. (1 point)
beginning
watchfulness; caution
leapt; frolicked
intermittently; unsteadily
4. Stokesie’s married, with two babies chalked up on his fuselage already, but as far as I can tell that’s the only difference. (1 point)
central body portion of an airplane
evil; spiteful
handicaps; obstructions
none of the above
Read the following paragraph and answer questions 5–8.
Scientists report (1) that creatures living in the deep sea are in danger of starving to death. Millions of undiscovered species live, in the deep sea. Creatures in the seabed are suffering from growing food shortages. Which may be a result of rising sea temperatures. Scientists believe that some species will die out, those that can survive on a low food supply will continue living. Not much is known about the creatures that live in the deep sea, not much is known about the changes in their diets. Scientists estimate that up to 10 million species live in the depths of the sea. Most animals of the deep rely on food chains that begin. In the lighted realms of the sea. Microscopic plants called phytoplankton. Capture the sun and start the food cycle. (2) Wherever there are animal droppings, there is a constant rain of organic matter (3) that feeds the bottom dwellers.
5. The underlined part of sentence 1 is what kind of clause? (1 point)
adverbial clause
adjectival clause
noun clause
6. The underlined part of sentence 2 is what kind of clause? (1 point)
adverbial clause
adjectival clause
noun clause
7. The underlined part of sentence 3 is what kind of clause? (1 point)
adverbial clause
adjectival clause
noun clause
Essay
Note: Your teacher will grade your response to ensure that you receive proper credit for your answer. Your response should include the following to receive the points in parentheses:
Respond in 3–5 complete sentences. (5 pts)
8. Rewrite the paragraph above, correcting any fragments and run-on sentences. Be sure to use correct punctuation. (5 points)
True or False
9. The Beat Generation was a group of writers who fought to maintain traditionalism in America. (1 point)
true
false
10. Satire is used to make serious situations appear humorous using irony. (1 point)
true
false
11. Absurdism is the attempt to show the absurdity of t.
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1.
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expressing or dealing with facts or conditions as perceived without distortion by personal feelings, prejudices, or interpretations
characteristic of or belonging to reality as perceived rather than as independent of mind
characteristic of or belonging to the superficial world
none of the above
2. They reeled, whirled, swiveled, flounced, capered, gamboled, and spun. (1 point)
insult
twists; intricate designs
leapt; frolicked
sharp; pounding
3. He began to think glimmeringly about his abnormal son who was now in jail, about Harrison. (1 point)
beginning
watchfulness; caution
leapt; frolicked
intermittently; unsteadily
4. Stokesie’s married, with two babies chalked up on his fuselage already, but as far as I can tell that’s the only difference. (1 point)
central body portion of an airplane
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adverbial clause
adjectival clause
noun clause
6. The underlined part of sentence 2 is what kind of clause? (1 point)
adverbial clause
adjectival clause
noun clause
7. The underlined part of sentence 3 is what kind of clause? (1 point)
adverbial clause
adjectival clause
noun clause
Essay
Note: Your teacher will grade your response to ensure that you receive proper credit for your answer. Your response should include the following to receive the points in parentheses:
Respond in 3–5 complete sentences. (5 pts)
8. Rewrite the paragraph above, correcting any fragments and run-on sentences. Be sure to use correct punctuation. (5 points)
True or False
9. The Beat Generation was a group of writers who fought to maintain traditionalism in America. (1 point)
true
false
10. Satire is used to make serious situations appear humorous using irony. (1 point)
true
false
11. Absurdism is the attempt to show the absurdity of t.
1. As the degree of freedom increase indefinitely, the t distribu.docxcuddietheresa
1.
As the degree of freedom increase indefinitely, the t distribution approaches the normal distribution. (Points : 1)
[removed] [removed] [removed] [removed]
.
1-Explain how the topography of the United states can affect the wea.docxcuddietheresa
1-Explain how the topography of the United states can affect the weather.
2-
Explain why or why not the bodies of water that are in close proximity to the Commonwealth (P.A.) can affect our weather.
3-
Explain how sometimes it can we warmer in Alaska in December than here in PA?
4-
Explain how the temperature can range 30 degrees in Pittsburgh to 55 Philadelphia during the month of January.
5
Explain how the temperature can range from 75 degrees in Pittsburgh to 45 in Philadelphia during the month of May.
6-
Explain how Texas can sometimes be colder than PA during the winter.
7
.
Explain how Florida can sometimes be cooler than PA during the summer.
.
1. An exporter faced with exposure to a depreciating currency can.docxcuddietheresa
1.
An exporter faced with exposure to a depreciating currency can reduce transaction exposure with a strategy of: (Points : 1)
[removed] [removed] [removed] [removed]
.
1. According to the central limit theorem, a population which is .docxcuddietheresa
1.
According to the central limit theorem, a population which is skewed to begin with will still be skewed when it is re-formed as a distribution of sample means. (Points : 1)
.
1. Which of the following is not a class of essential nutrient.docxcuddietheresa
1. Which of the following is not a class of essential nutrient?
a. Dietary supplements
b. Carbohydrates
c. Lipids
d. Minerals
2. Which of the following statements about the nutrient composition of the American diet is true?
a. It contains too little protein
b. It contains too little carbohydrate
c. It contains too little fat
d. It contains too many calories
3. A kcalorie is a measure of
a. Heat energy
b. Fat in food
c. Nutrients in food
d. Sugar and fat in food
4. Which of the following nutrients can directly supply energy for human use?
a. Lipids and oils
b. Fiber
c. Vitamins
d. Minerals
5. Gram for gram, which provides the most energy?
a. Carbohydrates
b. Proteins
c. Alcohol
d. Fats
6. Which of the following yield greater than 4 kcalories per gram?
a. Plant fats
b. Plant carbohydrates
c. Plant proteins
d. Animal proteins
7. Which of the following contain no calories?
a. Alcohol
b. Proteins
c. Carbohydrates
d. Vitamins
8. Which one of the following is a carbohydrate?
a. apples
b. chicken
c. potatoes
d. both a and c
9. Which of the following is a protein?
a. apples
b. chicken
c. potatoes
d. both a and c
10. Which of the following is a lipid?
a. oils
b. fat
c. cholesterol
d. all the above
11. Fats:
a. Regulate body temperature b. protect organs
c. produce energy d. All of the Above
12. Water is _____ of a person's total body weight.
a. 40% b. 65%-75%
c. 10% - 20% d. None of the above
13. When looking at the ingredient label of a bottled spaghetti sauce, you see that olive oil is the second ingredient. This means that
a. Olive oil is the second ingredient by alphabetical listing
b. Olive oil is just one of the ingredients present in the sauce
c. Olive oil is the second ingredient by weight
d. Olive oil is the second ingredient by amount present in the sauce
14. How many kcalories are provided by a 2-oz brownie with icing? Its nutrient composition is 1g of protein, 5g of fat, and 15g of carbohydrates
a. 89
b. 109
c. 84
d. 159
15. Which of the following provides the most kcalories?
a. 5g carbohydrate
b. 3g fat
c. 4g protein
d. 2g alcohol
16. One-half of a mashed potato with milk contains 2g of protein, 1g of fat, and 14g of carbohydrate. What percentage of the total kcalorie content is provided by carbohydrates
a. 19%
b. 72%
c. 82%
d. 77%
17. True or False: A nutrition facts label can list 0 grams of fat even if the food does in fact contain some fat.
.
1. The process by which one group takes on the cultural and other .docxcuddietheresa
1. The process by which one group takes on the cultural and other traits of a larger group is called _______. (1 point)
assimilation
pluralism
culture
integration
2. Chinatown in San Francisco and Little Havana in Miami are examples of _______. (1 point)
assimilation
pluralism
culture
integration
3. The Salad Bowl analogy of U.S. society states that (1 point)
ethnic groups living in the United States retain unique features, but also contribute to American culture as a whole.
all ethnic groups’ cultures have melted overtime into one distinct culture.
ethnic groups are entirely separated in U.S. society and have no influence upon one another.
immigrants must abandon their traditions to be successful in U.S. society.
4. A form of government in which a king or queen acts as head of state while parliament makes legislation is called a ________. (1 point)
monarchy
democracy
democratic parliament
constitutional monarchy
5. Based on the text, what was the African diaspora? (1 point)
the transporting of Africans to the New World for slave labor
the dispersion of Africans during and after the trans-Atlantic slave trade
the multiculturalism of African American colonies in the New World
the assimilation of African culture into that of the United States
6. Which is the term for a completely structured language that develops from a blending of native languages and introduced languages? (1 point)
Pidgin
Creole
Esperanto
Dialect
7. Which movement was initiated in the 1960s by Quebecer Réne Lévesque? (1 point)
a movement to give indigenous people their own province
a movement to make French the official language of Canada
an initiative to put an end to all immigration into Canada
a movement to make Quebec an independent sovereignty
8. Which U.S. city is best known for celebrating the tradition of Mardi Gras? (1 point)
San Francisco
New York City
New Orleans
Miami
9. Which country is responsible for laying Canada’s cultural foundation? (1 point)
Great Britain
France
The United States
Germany
10. Which group makes up the largest segment of the Mexican population? (1 point)
Spanish
Indigenous peoples
Mestizos
Aztecs
.
1. Milestone InvestingCompare and contrast the interests of .docxcuddietheresa
1. Milestone Investing
Compare and contrast the interests of entrepreneurs and investors to the concept of milestone investing? Is there the potential for conflict of interest? How can conflict be resolved? Respond to two of your classmates’ postings.
2. NVCA
Explore the website of the National Venture Capital Association. Briefly review the membership list and the focus of the venture funding association. Discuss the economic importance of venture backed companies to the U.S. Economy. Provide examples. Respond to two of your classmates’ postings.
.
1. All dogs are warm-blooded. All warm-blooded creatures are mamm.docxcuddietheresa
1.
All dogs are warm-blooded. All warm-blooded creatures are mammals. Hence, all dogs are mammals.
True or False: The sentence, “Hence, all dogs are mammals,” is a premise in this argument. (Points : 1)
.
1-3 Final Project Milestone #1 ProposalThroughout this course.docxcuddietheresa
1-3 Final Project Milestone #1: Proposal
Throughout this course you will be asked to make wiki posts about a company in which you are a stakeholder. Before you can make your first post (due next week), you must submit a proposal to your instructor below.
This 1–2 page proposal must:
Identify the company you have selected
Give a brief synopsis of the company, summarizing its purpose and goals
State your rationale and reason for selecting this company
Describe your role as a stakeholder in this company
Describe at least three other stakeholders and their relationship to the company you have selected
Conclusion: what you hope to gain/understand as you research about this company
After the handshake is agreed upon, I will give the comany that I have chosen. Paper must be:
1-2 page APA.
Pass Turnitin
Received on or before the deadline.
.
1-Please explain Ethical Universalism. Should organizations be socia.docxcuddietheresa
1-Please explain Ethical Universalism. Should organizations be socially responsible to their stakeholders?
2
What factors go into putting together a Strong Management Team?
3-
Please discuss how Benchmarking by adopting Best Practices of other companies and enacting Continuous Improvement aids in Organizational Performance.
4-
How does an organization develop an High Performance Culture?
.
1-an explanation of why the Marbury v. Madison case is a landmar.docxcuddietheresa
1-an explanation of why the
Marbury v. Madison
case is a landmark decision. Then briefly describe the Supreme Court case you reviewed and explain the significance of the
Marbury v. Madison
decision on the outcomes of the case. Be specific.
Note: Put the name of the Supreme Court case you reviewed in the first line of your post. You will be asked to respond to a colleague who selected a different Supreme Court case than you did.
Powers of the Supreme Court
There are a number of Supreme Court cases that have significantly impacted law and public policy. As you progress through the course, you will review many of these cases. For this Discussion, you are asked to consider the significance of the
Marbury v. Madison
case.
In the presidential election of 1800, Thomas Jefferson defeated the incumbent president, John Adams, a Federalist. Before John Adams left office, he appointed judges and justices of the peace for the District of Columbia who also were Federalists. All of the appointments for the new judges and justices of the peace were approved in a mass Senate hearing. However, four of the justices of the peace did not receive their commissions before John Adams’ presidency was over. One of these justices of the peace, William Marbury, petitioned the Supreme Court to force James Madison, the new Secretary of State under Jefferson, to deliver his commission. Marbury cited the Judiciary Act of 1789 which gave the Supreme Court the power to take such an action. In the end, Chief Justice John Marshall of the Supreme Court declared that the Judiciary Act of 1789 was unconstitutional and then denied Marbury’s petition.
This decision was the first time in history that the Supreme Court deemed a legislative act to be unconstitutional. As a direct result of the case, the concept of judicial review was established and the checks and balances of the U.S. Government were further defined.
2-a brief explanation of the Supreme Court’s role in policy making. Then describe two strengths and two limitations of the Supreme Court’s role in policy making.
Role of the Supreme Court in Policy Making
While the U.S. Supreme Court is extremely powerful, theoretically, it is not able to create law or public policy in the way that Congress or the President does. However, the Supreme Court is able to review public policies or laws that are disputed and determine their constitutionality. Supreme Court justices must determine which cases or disputes to hear and then determine if the laws or policies in such cases are constitutional. If they rule that the laws or policies are unconstitutional, they make recommendations about how the laws or policies should be changed or adapted. In this way, the Supreme Court engages in policy making.
To prepare for this Discussion:
Review the Preface and Introduction in the course text,
Landmark Supreme Court Cases: The Most Influential Decisions of the Supreme Court of the United States.
Consider the history of the Supreme Court a.
1-Discuss research that supports the hypothesis that a person’s ac.docxcuddietheresa
1-Discuss research that supports the hypothesis that a person’s action in the environment affects depth perception.
2-Name and discuss two characteristics of optic flow.
3-What is optic ataxia? Describe the method, results, and implications of the research by Schindler on optic ataxia patients
4-Contrast the three types of dichromatism, in regard to rates, neutral points, color experience, and proposed physiological cause.
5-Name, define, and give an example (in words) of six pictorial depth cues.
Due Sunday by 5PM
.
1-Imagine you are a historian, and the only existing sources of evid.docxcuddietheresa
1-Imagine you are a historian, and the only existing sources of evidence
regarding the conquest are documents from Indigenous sources. What can we
conclude by analyzing the Florentine Codex, the Annals of Tlatelolco, as well
as the excerpts from Oaxaca and Yucatan that best describes the conquest
from the perspective of the Indigenous population?
2-In 1844, U. S. President James K. Polk ran on a Democratic platform that
supported manifest destiny. Manifest Destiny is the idea that Americans were
predestined to occupy the entire North American continent. The last act of
Polk's predecessor, John Tyler, had been to annex the Republic of Texas in
1845. Polk wanted to lay claim to California, New Mexico, and land near the
disputed southern border of Texas. Mexico, however, was not so eager to let
go of these territories. What ensued later is referred in the historical records as
the Mexican American War. Examine the causes that precipitated the
Mexican American War, as well as the end result of this conflict.
.
1-How does relative humidity affect the comfort of people Can you e.docxcuddietheresa
1-How does relative humidity affect the comfort of people? Can you explain the physiological reasons for this?
2-The diurnal (daily) relationship between temperature and humidity is such that the lowest humidity should occur in the afternoon hours. It is during these times, however, when it often seems to be most humid and uncomfortable. What could be the reason for this
perceived
inconsistency?
3- When dew forms on outdoor objects, can it be assumed that the atmosphere is saturated? If so, why is there often no fog accompanying the dew?
4-
Can you think of any agents or circumstances that may cause the mixing ratio in a room to change?
.
1-1) In general, what is the effect of one party being mistaken abou.docxcuddietheresa
1-1) In general, what is the effect of one party being mistaken about the subject matter of
a contract?
a. The mistaken party can rescind the contract.
b. Either party can rescind the contract, and the mistaken party can recover damages.
c. Neither party can rescind the contract or recover damages.
d. Either party can rescind the contract and/or recover damages.
e. Either party can rescind the contract.
2-5) In Wilson v. Western National Life Insurance Company, involving the party who lied
allegedly regarding prior drug abuse in order to obtain life insurance, what was
the holding of the court when the party later died from a drug overdose?
Unit 3 Examination
a. The life insurance company had to pay the proceeds because if the plaintiff’s medical
records had been consulted, the drug abuse would have been discovered.
b. The life insurance did not have to pay the proceeds only because the deceased’s wife
was unaware of the misrepresentation.
c. The life insurance had to pay the proceeds because the deceased’s wife actually paid
the premiums.
d. The life insurance company had to pay the proceeds because the plaintiff was not
using drugs during the time the application for insurance was made.
e. The life insurance company did not have to pay the proceeds because of the concealment
of the drug abuse.
3-8) Frank had a bicycle that he advertised for sale, honestly believing it to be a 1999
model even though it was actually a 1996 model. There were significant improvements
in the frame material, not readily apparent, made between 1996 and 1999 to
this model bicycle. The buyer believed Frank’s statement that it was a 1999 model,
and was excited to be getting a model incorporating the improvements. After discovering
that the bike was actually a 1996 model, the buyer could avoid the contract on
the basis of:
a. unilateral mistake.
b. fraud.
c. mutual mistake.
d. B and C.
e. none of the above.
Unit 3 Examination
Business Law
4-9) The owner of a gym tells Ruppert that if he joins the gym for a year and hires a personal
trainer, his body will be more attractive to women and his life will change forever.
Ruppert joins and hires a personal trainer, but otherwise his life remains the
same. The statements of the gym owner could be described as:
a. statements of fact.
b. statements of opinions.
c. predictions about the future.
d. both B and C.
e. A, B and C.
5-10) Which of the following is the false statement?
a. A legal right arising from a breach of contract may be assigned.
b. The same right can be assigned more than once.
c. You must get everyone’s consent to make a novation.
d. Purely mechanical duties are not delegable.
e. There is a guarantor in a delegation.
6-11) When there has been an assignment of rights under a contract, who has a duty to
notify the obligor of the assignment?
a. The assignor.
b. The assignee.
c. Both the assignor and the assignee.
d. Neither the assignor nor the assi.
1- How did the United States become involved in the politics of Sout.docxcuddietheresa
1- How did the United States become involved in the politics of Southeast Asia? Describe two key decisions that escalated American involvement and determine their impact. How did a lack of political clarity in declaring the war’s objectives affect the military’s ability to fight?
2-
• Describe how students mobilized to protest in the 1960s. Why did student activism become so visible at this time?
200 words minimum.
.
1- I need someone who read the book (V for Vendetta) and saw the mov.docxcuddietheresa
1- I need someone who read the book (V for Vendetta) and saw the movie V.
2- The essay will be about the difference between Evey in the book and Evey in the movie.
3- The thesis will be
( Evey has big part in the story of V, but there is a big different in her character between the movie and the book ).
.
1- Define arbitration.2- Who is responsible for paying an arbitr.docxcuddietheresa
1- Define arbitration.
2- Who is responsible for paying an arbitrator’s fee?
3- When are punitive damages awarded?
4- What is the best for business necessity?
5- Do entities today use "constructive discharge" as a way to get rid of people so that they do not have to adhere to the WARN act?
.
This presentation was provided by Racquel Jemison, Ph.D., Christina MacLaughlin, Ph.D., and Paulomi Majumder. Ph.D., all of the American Chemical Society, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
This presentation was provided by Rebecca Benner, Ph.D., of the American Society of Anesthesiologists, for the second session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session Two: 'Expanding Pathways to Publishing Careers,' was held June 13, 2024.
Beyond Degrees - Empowering the Workforce in the Context of Skills-First.pptxEduSkills OECD
Iván Bornacelly, Policy Analyst at the OECD Centre for Skills, OECD, presents at the webinar 'Tackling job market gaps with a skills-first approach' on 12 June 2024
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Design Thinking Comes of AgeThe approach, once.docx
1. Design
Thinking
Comes
of Age
The approach, once
used primarily in product
design, is now infusing
corporate culture.
by Jon Kolko
ARTWORK The Office for Creative Research
(Noa Younse), Band, Preliminary VisualizationSPOTLIGHT
66 Harvard Business Review September 2015
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
HBR.ORG
There’s a shift under way
in large organizations,
one that puts design
much closer to the
center of the enterprise.
2. Focus on users’ experiences, especially
their emotional ones. To build empathy with
users, a design-centric organization empowers em-
ployees to observe behavior and draw conclusions
about what people want and need. Those conclu-
sions are tremendously hard to express in quanti-
tative language. Instead, organizations that “get”
design use emotional language (words that concern
desires, aspirations, engagement, and experience)
to describe products and users. Team members
discuss the emotional resonance of a value propo-
sition as much as they discuss utility and product
requirements.
A traditional value proposition is a promise of
utility: If you buy a Lexus, the automaker promises
that you will receive safe and comfortable trans-
portation in a well-designed high-performance ve-
hicle. An emotional value proposition is a promise
of feeling: If you buy a Lexus, the automaker prom-
ises that you will feel pampered, luxurious, and af-
fluent. In design-centric organizations, emotion-
ally charged language isn’t denigrated as thin, silly,
or biased. Strategic conversations in those compa-
nies frequently address how a business decision or
a market trajectory will positively influence users’
experiences and often acknowledge only implicitly
that well-designed offerings contribute to financial
success.
The focus on great experiences isn’t limited to
product designers, marketers, and strategists—it
infuses every customer-facing function. Take
finance. Typically, its only contact with users is
through invoices and payment systems, which are
3. designed for internal business optimization or pre-
determined “customer requirements.” But those
systems are touch points that shape a customer’s
impression of the company. In a culture focused
on customer experience, financial touch points are
designed around users’ needs rather than internal
operational efficiencies.
Create models to examine complex prob-
lems. Design thinking, first used to make physical
objects, is increasingly being applied to complex, in-
tangible issues, such as how a customer experiences
a service. Regardless of the context, design thinkers
tend to use physical models, also known as design
artifacts, to explore, define, and communicate.
Those models—primarily diagrams and sketches—
supplement and in some cases replace the spread-
sheets, specifications, and other documents that
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
But the shift isn’t about aesthetics. It’s about apply-
ing the principles of design to the way people work.
This new approach is in large part a response to
the increasing complexity of modern technology
and modern business. That complexity takes many
forms. Sometimes software is at the center of a prod-
uct and needs to be integrated with hardware (itself
a complex task) and made intuitive and simple from
the user’s point of view (another difficult challenge).
Sometimes the problem being tackled is itself multi-
faceted: Think about how much tougher it is to re-
invent a health care delivery system than to design
a shoe. And sometimes the business environment
is so volatile that a company must experiment with
4. multiple paths in order to survive.
I could list a dozen other types of complexity that
businesses grapple with every day. But here’s what
they all have in common: People need help mak-
ing sense of them. Specifically, people need their
interactions with technologies and other complex
systems to be simple, intuitive, and pleasurable.
A set of principles collectively known as design
thinking—empathy with users, a discipline of proto-
typing, and tolerance for failure chief among them—
is the best tool we have for creating those kinds of
interactions and developing a responsive, flexible
organizational culture.
What Is a Design-Centric Culture?
If you were around during the late-1990s dot-com
craze, you may think of designers as 20-somethings
shooting Nerf darts across an office that looks more
like a bar. Because design has historically been
equated with aesthetics and craft, designers have
been celebrated as artistic savants. But a design-
centric culture transcends design as a role, imparting
a set of principles to all people who help bring ideas
to life. Let’s consider those principles.
68 Harvard Business Review September 2015
Matt Krise
Matt Krise
Matt Krise
5. Matt Krise
have come to define the traditional organizational
environment. They add a fluid dimension to the
exploration of complexity, allowing for nonlinear
thought when tackling nonlinear problems.
For example, the U.S. Department of Veterans
Affairs’ Center for Innovation has used a design ar-
tifact called a customer journey map to understand
veterans’ emotional highs and lows in their inter-
actions with the VA. “This form of artifact helped
us better tell a story to various stakeholders,” says
Melissa Chapman, a designer who worked at the
Center for Innovation. Even more important, she
adds, it “helped us develop a strategic way to think
about changing the entire organization and to com-
municate that emergent strategy.” The customer
journey map and other design models are tools for
understanding. They present alternative ways of
looking at a problem.
Use prototypes to explore potential solu-
tions. In design-centric organizations, you’ll typi-
cally see prototypes of new ideas, new products,
and new services scattered throughout offices and
meeting rooms. Whereas diagrams such as cus-
tomer journey maps explore the problem space,
prototypes explore the solution space. They may be
digital, physical, or diagrammatic, but in all cases
they are a way to communicate ideas. The habit of
publicly displaying rough prototypes hints at an
open-minded culture, one that values exploration
and experimentation over rule following. The MIT
Media Lab formalizes this in its motto, “Demo or
6. die,” which recognizes that only the act of proto-
typing can transform an idea into something truly
valuable—on their own, ideas are a dime a dozen.
Design-centric companies aren’t shy about tinker-
ing with ideas in a public forum and tend to iterate
quickly on prototypes—an activity that the innova-
tion expert Michael Schrage refers to as “serious
play.” In his book of that title, he writes that in-
novation is “more social than personal.” He adds,
“Prototyping is probably the single most pragmatic
behavior the innovative firm can practice.”
Tolerate failure. A design culture is nurturing.
It doesn’t encourage failure, but the iterative nature
of the design process recognizes that it’s rare to get
things right the first time. Apple is celebrated for its
successes, but a little digging uncovers the Newton
tablet, the Pippin gaming system, and the Copland
operating system—products that didn’t fare so well.
(Pippin and Copland were discontinued after only
two years.) The company leverages failure as learning,
viewing it as part of the cost of innovation.
Greg Petroff, the chief experience officer at GE
Software, explains how the iterative process works
at GE: “GE is moving away from a model of exhaus-
tive product requirements. Teams learn what to do
in the process of doing it, iterating, and pivoting.”
Employees in every aspect of the business must re-
alize that they can take social risks—putting forth
half-baked ideas, for instance—without losing face
or experiencing punitive repercussions.
Exhibit thoughtful restraint. Many products
7. built on an emotional value proposition are simpler
than competitors’ offerings. This restraint grows
out of deliberate decisions about what the product
should do and, just as important, what it should not
do. By removing features, a company offers custom-
ers a clear, simple experience. The thermostat Nest—
inside, a complex piece of technology—provides
fewer outward-facing functions than other thermo-
stats, thus delivering an emotional experience that
reflects the design culture of the company. As CEO
Tony Fadell said in an interview published in Inc.,
“At the end of the day you have to espouse a feeling—
in your advertisements, in your products. And that
feeling comes from your gut.”
THE CHANGE
Increasingly, corporations and
professional services firms are
working to create design-centric
cultures.
THE REASON
Many products, services,
and processes are now
technologically complex. People
are not hardwired to deal well
with high levels of complexity.
They need help.
THE IDEA
People need their interactions
with technologies and other
complex systems to be intuitive
and pleasurable. Empathy,
experimentation, design smarts,
8. and other qualities help create
those kinds of interactions.
Those qualities need to spread
from the product design function
to the whole organization.
Idea in Brief
HBR.ORG
September 2015 Harvard Business Review 69
DESIGN THINKING COMES OF AGE
Matt Krise
Matt Krise
Matt Krise
Matt Krise
describes how the company came to realize that
it was not just in the business of making physical
products but had become one of the largest software
providers in the world. The complexity of this soft-
ware was overwhelming, so his team turned to de-
sign. “Our mandate was to create products, but also
to enable nimble innovation,” Cronin says. “That’s a
pretty tall order—we were asked to perform design at
scale and along the way create cultural change.”
IBM and GE are hardly alone. Every established
company that has moved from products to services,
9. from hardware to software, or from physical to digi-
tal products needs to focus anew on user experience.
Every established company that intends to globalize
its business must invent processes that can adjust to
different cultural contexts. And every established
company that chooses to compete on innovation
rather than efficiency must be able to define prob-
lems artfully and experiment its way to solutions.
(For more on the last shift, see “How Samsung
Became a Design Powerhouse,” page 72.)
The pursuit of design isn’t limited to large brand-
name corporations; the big strategy-consulting
firms are also gearing up for this new world, of-
ten by acquiring leading providers of design ser-
vices. In the past few years, Deloitte acquired
Doblin, Accenture acquired Fjord, and McKinsey
acquired Lunar. Olof Schybergson, the founder of
Fjord, views design thinking’s empathetic stance
as fundamental to business success. As he told an
interviewer, “Going direct to consumers is a big
disruptor.…There are new opportunities to gather
data and insights about consumer behavior, likes,
dislikes.…Those who have data and an appetite for
innovation will prevail.” These acquisitions suggest
that design is becoming table stakes for high-value
corporate consulting—an expected part of a portfolio
of business services.
Square’s mobile app Cash lets you do one thing:
send money to a friend. “I think I’m just an edi-
tor, and I think every CEO is an editor,” wrote Jack
Dorsey, Square’s CEO. “We have all these inputs, we
have all these places that we could go…but we need
to present one cohesive story to the world.” In or-
ganizations like Square, you’ll find product leaders
10. saying no much more than they say yes. Rather than
chase the market with follow-on features, they lead
the market with a constrained focus.
What Types of Companies
Are Making This Change?
As industry giants such as IBM and GE realize that
software is a fundamental part of their businesses,
they are also recognizing the extraordinary levels
of complexity they must manage. Design thinking is
an essential tool for simplifying and humanizing. It
can’t be extra; it needs to be a core competence.
“There’s no longer any real distinction between
business strategy and the design of the user expe-
rience,” said Bridget van Kralingen, the senior vice
president of IBM Global Business Services, in a state-
ment to the press. In November 2013 IBM opened
a design studio in Austin, Texas—part of the com-
pany’s $100 million investment in building a mas-
sive design organization. As Phil Gilbert, the general
manager of the effort, explained in a press release,
“Quite simply, our goal—on a scale unmatched in the
industry—is to modernize enterprise software for to-
day’s user, who demands great design everywhere,
at home and at work.” The company intends to hire
1,000 designers.
When I was at the company frog design, GE hired
us to help formalize and disseminate language,
tools, and success metrics to support its emergent
design practice. Dave Cronin, GE’s executive de-
sign director for industrial internet applications,
Design thinking is an essential tool for
11. simplifying and humanizing. It can’t be
extra; it needs to be a core competence.
70 Harvard Business Review September 2015
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
are set appropriately, they must be aligned around
a realistic timeline—culture changes slowly in large
organizations.
AN ORGANIZATIONAL FOCUS on design offers unique
opportunities for humanizing technology and for
developing emotionally resonant products and ser-
vices. Adopting this perspective isn’t easy. But doing
so helps create a workplace where people want to be,
one that responds quickly to changing business dy-
namics and empowers individual contributors. And
because design is empathetic, it implicitly drives a
more thoughtful, human approach to business.
HBR Reprint R1509D
What Are the Challenges?
Several years ago, I consulted for a large entertain-
ment company that had tucked design away in a
select group of “creatives.” The company was ex-
cited about introducing technology into its theme
parks and recognized that a successful visitor ex-
perience would hinge on good design. And so it be-
came apparent that the entire organization needed
to embrace design as a core competence. This shift
is never an easy one. Like many organizations with
entrenched cultures that have been successful for
many years, the company faced several hurdles.
12. Accepting more ambiguity. The entertain-
ment company operates globally, so it values repeat-
able, predictable operational efficiency in support of
quarterly profit reporting. Because the introduction
of technology into the parks represented a massive
capital expenditure, there was pressure for a guar-
antee of a healthy return. Design, however, doesn’t
conform easily to estimates. It’s difficult if not im-
possible to understand how much value will be de-
livered through a better experience or to calculate
the return on an investment in creativity.
Embracing risk. Transformative innovation is
inherently risky. It involves inferences and leaps of
faith; if something hasn’t been done before, there’s
no way to guarantee its outcome. The philosopher
Charles Peirce said that insights come to us “like a
flash”—in an epiphany—making them difficult to ra-
tionalize or defend. Leaders need to create a culture
that allows people to take chances and move forward
without a complete, logical understanding of a prob-
lem. Our partners at the entertainment company
were empowered to hire a design consultancy, and
the organization recognized that the undertaking
was no sure thing.
Resetting expectations. As corporate lead-
ers become aware of the power of design, many
view design thinking as a solution to all their woes.
Designers, enjoying their new level of strategic
influence, often reinforce that impression. When
I worked with the entertainment company, I was
part of that problem, primarily because my liveli-
hood depended on selling design consulting. But
design doesn’t solve all problems. It helps people
13. and organizations cut through complexity. It’s great
for innovation. It works extremely well for imagin-
ing the future. But it’s not the right set of tools for
optimizing, streamlining, or otherwise operating a
stable business. Additionally, even if expectations
“That’s one of my early pieces.”
M
AR
TI
N
B
UC
EL
LA
Jon Kolko is the vice president of design at Blackboard,
an education software company; the founder and
director of Austin Center for Design; and the author of
Well-Designed: How to Use Empathy to Create Products
People Love (HBR Press, 2014).
HBR.ORG
September 2015 Harvard Business Review 71
DESIGN THINKING COMES OF AGE
14. ARTWORK The Office for Creative Research
(Genevieve Hoffman), Punch Card Music BoxSPOTLIGHT
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
by Youngjin Yoo and Kyungmook Kim
How Samsung
Became
a Design
Powerhouse
September 2015 Harvard Business Review 73
HBR.ORG
South Korea’s Samsung Electronics manufactured
inexpensive, imitative electronics for other compa-
nies. Its leaders valued speed, scale, and reliability
above all. Its marketers set prices and introduced
features according to what original-equipment
manufacturers wanted. Its engineers built products
to meet prescribed price and performance require-
ments. At the end of the process designers would
“skin” the product—make it look nice. The few de-
signers working for the company were dispersed in
engineering and new-product units, and individual
designers followed the methods they preferred. In a
company that emphasized efficiency and engineer-
ing rigor, the designers had little status or influence.
15. Then, in 1996, Lee Kun-Hee, the chairman of
Samsung Group, grew frustrated by the company’s
lack of innovation and concluded that in order to
become a top brand, Samsung needed expertise
in design, which he believed would become “the
ultimate battleground for global competition in the
21st century.” He set out to create a design-focused
culture that would support world-class innovation.
By any measure, his goal was achieved. Samsung
now has more than 1,600 designers. Its innova-
tion process begins with research conducted by
multidisciplinary teams of designers, engineers,
marketers, ethnographers, musicians, and writers
who search for users’ unmet needs and identify
cultural, technological, and economic trends. The
company has built an impressive record on design,
garnering more awards than any other company in
recent years. The bold designs of its televisions of-
ten defy conventional style. With its Galaxy Note se-
ries, Samsung introduced a new category of smart-
phone—the phablet—which has been widely copied
by competitors. Design is now so much a part of its
corporate DNA that top leaders rely on designers to
help visualize the future of the entire company.
It has been a bumpy journey. Despite strong sup-
port from top management, the company’s designers
continue to face constant challenges stemming from
its efficiency-focused management practices, which
are deep-rooted. Shifting to an innovation-focused
culture without losing an engineering edge is not a
simple matter. It involves managing a number of very
real tensions. Engineers and designers sometimes
don’t see eye-to-eye. Suppliers must be brought on
16. board. Managers invested in the status quo must be
persuaded to buy in to idealized visions of the future.
A risk-averse culture must learn to accommodate
experimentation and occasional failure.
Samsung’s success in making this shift can be
traced back to a single early decision—to build de-
sign competency in-house rather than import it. As
we’ll describe, Samsung chose to create a commit-
ted, resourceful corps of designers who figured out
that they could manage the tensions and overcome
internal resistance by deploying the same tools that
they use in pursuing innovation—empathy, visual-
ization, and experimentation in the marketplace. The
corps has helped institute policies and structures that
embed design thinking in all corporate functions and
provide a framework for reevaluating products in the
face of dramatic technological change.
Building an In-House Competency
One of the world’s biggest technology companies
and the leading subsidiary of Samsung Group,
Samsung Electronics has been much in the news
ever since it branched into consumer electronics
and decided to go head-to-head with Apple (whose
patent- infringement lawsuits against the company
are ongoing). Competition from Apple and others
has been intense; in the third quarter of 2014 the
company’s profits dropped 60% from the same
quarter of the previous year. By the first quarter of
2015 profits were recovering but were still below
prior-year levels. Nevertheless, the big picture is
one of impressive innovation and marketplace suc-
cess. Samsung’s mobile division is the sole survivor
of the radical market revolution led by the iPhone
17. SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
BORDEAUX TV
Ethnographic research in
2003 revealed that TVs are
off far more than they’re on
in most homes, so Samsung
improved the visual appeal
of its TVs starting with this
model. It was a huge hit.
A DESIGN REVIEW MEETING
at Samsung’s Corporate Design Center
CO
UR
TE
SY
O
F
SA
M
SU
N
G
Until 20 years ago,
74 Harvard Business Review September 2015
18. (the mobile divisions of former competitors such
as Nokia, Motorola, and Ericsson no longer exist),
and smartphone sales drove record earnings for the
company in 2013. Moreover, Samsung has been the
leader in the global TV market since 2006, generat-
ing a series of hit models such as Bordeaux, Touch of
Color, One Design, and Curved Smart.
These design leaps all began with Lee’s 1996 re-
solve—triggered in part by a consultant’s report on
Samsung’s innovation deficiencies—to instigate a
design “revolution” in the company. (This wasn’t
the first major leap for Samsung. In 1993 Lee had
launched an initiative to integrate Western practices
on strategy, HR, merit pay, and design into the con-
glomerate, but he had been unsatisfied with subse-
quent progress.) To fuel its design revolution, the
company could have sought first-rate expertise from
outside. That certainly would have been the fastest
approach, and a number of senior managers pushed
to have an internationally known Korean designer
take over the design function. But other executives
persuaded Lee to nurture internal designers who
would focus on the company’s long-term interests
rather than just their own projects.
As part of its investment in developing an orga-
nization-wide design capability, Samsung brought
in faculty members from a well-known art college
and created three training programs. One program
trained in-house designers, taking them away from
their jobs for as long as two years. (The other two
were a college and graduate-level school and an
internship program.) Lee made the programs a per-
sonal priority, which prevented them from being de-
19. railed by the objections of business and design execu-
tives who were furious about losing their designers
for so long.
Numerous Samsung executives now agree that
dependence on outside expertise would have done
long-term damage. Developing in-house expertise,
while laborious, created a group of designers who
take a holistic view. An Yong-Il, the vice president
of design strategy, puts it this way: “When we had
our own place in the organization, we started car-
ing about the future of the company.” The designers
also developed a capacity for strategic thinking and
a tenacity that enabled them to overcome resistance
over the long term. It seems doubtful that any group
of outside designers, no matter how brilliant, would
have been able to do that—even with support from
the chairman.
Empathizing with the
Whole Organization
In large companies, the process of innovation is
long and tortuous. Even if a design team’s new-
product concept wins raves and garners executive
support, it still must survive numerous down-
stream decisions—by engineers, programmers,
user- experience experts, team leaders, managers,
and even, in some cases, suppliers. Each of those
decisions creates an opportunity for an idea to
be hijacked by other functions’ priorities and the
strong tendency to steer the process toward the
safety of incremental change rather than the risky
territory of radical innovation. Kang Yun-Je, a se-
nior vice president and the creative director of
Samsung TV, says that nondesign functions typi-
20. cally think they can make good profits simply by us-
ing existing technology to make existing products a
bit better and a bit faster.
Even in a company that embraces design prin-
ciples, the reality is that designers must take steps to
ensure that their ideas prevail as originally conceived.
To do this they need to consistently empathize with
decision makers from other functions throughout
the process.
Idea in Brief
THE CHALLENGE
Samsung Electronics knew that
in order to become a top brand,
it needed a design-focused
culture that would support
world-class innovation.
THE PROBLEM
Designers faced constant
challenges stemming from the
company’s efficiency-focused
management practices, which
were deep-rooted. Managers
who were invested in the status
quo had to be persuaded to
buy in to idealized visions of
the future.
THE SOLUTION
The company built a corps
of designers with a capacity
for strategic thinking and the
tenacity that enabled them
to overcome resistance by
21. deploying the same tools—
empathy, visualization, and
market experimentation—that
they use in pursuing innovation.
HBR.ORG
September 2015 Harvard Business Review 75
HOW SAMSUNG BECAME A DESIGN POWERHOUSE
planning is all about. Designers, by contrast, are
trained to break from the past. But if they want to
persuade decision makers to take a chance on their
radical visions of the future, they need to adopt a
managerial mindset. Visualization is a powerful tool
for bridging the two ways of thinking and getting
skeptics to support new ideas.
The development of the Galaxy Note provides
a case in point. Soon after Samsung Electronics in-
troduced its Galaxy S smartphone and Galaxy Tab
tablet, some members of its design team noticed an
unmet need in the market: In Korea and Japan many
knowledge workers had a habit of jotting down
notes and keep their schedules in wallet-size pocket
diaries, for which neither the four-inch phone nor
the nine-inch tablet provided a good substitute.
Realizing that a whole new platform was needed,
the design group developed the concept of a smart
diary that featured a pen interface and a five-and-a-
half-inch screen.
When the designers introduced the concept to
22. management, fierce debate about the screen size en-
sued. At the time, the marketers firmly believed that
no mobile phone should be larger than five inches.
Even after the designers produced mock-ups, man-
agers worried that users would not accept such a
large smartphone.
“Although everyone is for innovation, no one
wants to change when we start talking about de-
tails,” says Lee Min-Hyouk, of Samsung Mobile.
“People told us, ‘It won’t sell.’ ‘You cannot hold it in
your hand.’ ‘How can you put that thing next to your
face?’ ‘The only reason to buy this is to make your
face look small.’”
It was clear that the new size would require peo-
ple’s beliefs about smartphones to undergo a funda-
mental shift. The team was able to prevail by refram-
ing the conversation: It prepared a mock-up of the
product demonstrating what eventually became the
widely imitated “smart cover,” which connects with
the user-experience software to display an interac-
tive screen when the cover is closed. The mock-up
looked more like a pocket diary, and those present at
the design review realized that when it was thought
of in that way, the new phone did not look so big.
This shift in perception allowed Samsung to create
the phablet category, which led to the highly suc-
cessful Galaxy Note series. The company now uses
the smart-cover concept for the smaller Galaxy S
series as well.
Consider, for example, the attempt by Lee Min-
Hyouk, Samsung Mobile’s creative director, to
23. “sell” what was eventually nicknamed the “Benz
phone” after a Norwegian newspaper likened it to
the Mercedes-Benz. It was the first flip-cover mo-
bile phone to have no external antenna. Lee, then a
junior designer, knew that in order to persuade the
engineers to eliminate the antenna, he’d need a bet-
ter reason than to make a phone look good. To bring
them on board, he reached well beyond the usual
design role and took on an engineer’s mindset, com-
ing up with a new hinge design that created an in-
ternal space for a larger and more effective antenna.
He also studied different types of paints that would
enhance signal reception. “I had to imagine a new
design for engineers as well as users,” he says. The
engineers were won over, and the phone ultimately
sold 10 million units.
Design must also win the support of suppli-
ers. If parts makers are unwilling to collaborate,
no new design, no matter how compelling it may
be, can survive. For example, when Samsung was
working on its One Design flat-panel television, it
faced strong resistance from its LCD panel supplier,
which was accustomed to providing panels with
inner covers to protect the components. TV manu-
facturers would add an external cover, which typi-
cally resulted in a thick profile for the final product.
Because Samsung’s designers envisioned a thin,
metal- encased TV, the company wanted the supplier
to omit the inner covers.
But “they didn’t listen to us,” Jung Hyun-Jun, the
vice president of engineering for Samsung TV, says
of the supplier. “They were selling standardized LCD
panels as a complete set to many other TV manufac-
turers, and they did not see any reason why they
24. should do something different for just one model of
one client.”
So Samsung’s designers, working with its engi-
neers, invented a supply-chain model for LCD panel
systems that would radically reduce the shipping
cost, because without the covers about 10 times as
many LCD cells could be packed into the same space.
The cost saving was shared with the supplier, and
Samsung got its coverless panels.
Visualizing the Future,
Reframing the Problem
Managers are trained to draw on the past and the
present to project the future—that’s what budget
GALAXY NOTE
Designed in 2011 to
address an unmet need
for a smartphone that
could handle note taking
76 Harvard Business Review September 2015
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
Young-Jun, a design SVP. To build consensus, the de-
sign group urged the company to experiment with
the idea in the European market. The model was a
big hit, and the CEO and the entire TV development
team, including marketers and engineers, backed
the concept. Bolstered by the experiment’s suc-
cess, the design group chose an even more daring
design for what became the Bordeaux model, with a
25. glossy white border and a red chevron-shaped lower
edge. When the full line of products finally came out,
Samsung sold a million units in six months.
Samsung has also learned to use marketplace
experimentation to support forward-looking design
research. After one team’s folding-screen concept
generated a rapid share increase in the PC-monitor
market, the team found it easier to secure funding
for other long-term design initiatives. It was able
to develop and launch a series of highly successful
products in the TV market. All Samsung’s recent hit
models have their origins in such a process.
With commercial successes like these to the
designers’ credit, the value of advance design is
now widely appreciated within the company, and
Samsung has made substantial investments in
deep-future thinking. In fact, four distinct time ho-
rizons now exist simultaneously for design within
Samsung. (See the exhibit “Design for the Near and
Distant Future.”)
Creating a Sustainable—
and Flexible—Design Organization
Internal resistance has been a fact of life at Samsung
ever since the company started on the road to
Experimenting in the Marketplace
Empathy and visualization aren’t always enough to
generate the internal support necessary for radical
change. In some cases Samsung designers experi-
ment and refine their ideas in the marketplace and
use the market data to build support.
Around 2003, Samsung’s designers wanted to im-
26. prove the aesthetics of the company’s TVs. This grew
out of an initiative to question the very definition of
a television. Ethnographic research revealed that in
most homes, TVs are off far more hours than they’re
on. In other words, much of the time they are pieces
of furniture. As such, the designers felt, sets should
be visually stunning. They proposed removing the
speakers from their usual location, on either side
of the screen, and hiding them. This radical design
alteration would require a trade-off on audio qual-
ity, but the designers believed that a fundamental
change had occurred in consumers’ thinking about
TV sound. Because so many people were connect-
ing their sets to home-theater systems, their think-
ing went, audio quality was no longer a priority and
could safely be compromised. Accordingly, they hid
the speakers below the screen, creating downward-
facing speaker holes that would direct sound to the
unit’s graceful, chevron-shaped bottom edge, where
it would be reflected toward the viewer.
Many Samsung managers were skeptical. They
still believed the conventional wisdom about TV
design: that, in descending order, the priorities
were visual quality, audio quality, usability, and
physical shape. The CEO was concerned about the
idea of putting speakers below the screen, says Kim
DESIGN FOR THE NEAR AND DISTANT FUTURE
Separate design teams at Samsung focus on different definitions
of the “future,” from near-term to
far-term, so that the flow of ideas will be sustainable
indefinitely.
LINE-UP
DESIGN
27. 12 MONTHS OUT
Designers in business units shape
the company’s offerings by
• Developing new products
and user interfaces
• Conducting a competitive
analysis of new and
existing products
CORPORATE DESIGN CENTERDESIGNERS IN BUSINESS
UNITS
ARCHETYPE
DESIGN
18–24 MONTHS OUT
Designers in business units, with
the help of the Corporate Design
Center, create product and platform
archetypes by
• Planning for specific new products
• Designing new products and user
interfaces
• Investigating details such as
colors and materials
NEXT-GENERATION
DESIGN
2–5 YEARS OUT
Designers in the CDC, in
collaboration with business-unit
designers, help senior executives
28. shape the company’s near-term
future by
• Developing a new business
investment plan
• Creating a next-generation
platform road map
• Investigating new enabling
technologies
FUTURE
DESIGN
5–10 YEARS OUT
Designers in the CDC help the C-suite
visualize the company’s distant
future by
• Developing new business concepts
• Creating a technology road map
• Investigating technology and user
megatrends
COMBINATION BUSINESS UNIT & CORPORATE
DESIGNERS
HBR.ORG
September 2015 Harvard Business Review 77
HOW SAMSUNG BECAME A DESIGN POWERHOUSE
29. The importance of design is felt everywhere. In
the TV division, for example, engineers will tell you
that their primary job is to help designers realize their
vision. When sales of the Galaxy S series declined re-
cently, it was design that received the most scrutiny
from corporate leaders.
Nevertheless, Samsung faces enormous chal-
lenges going forward. Its approach to design is still
largely based on the development of hardware prod-
ucts, even though most of that hardware runs on
software. As digital technology changes the business
landscape—and as Samsung continues to develop
its own operating system and various service plat-
forms in transportation, health, and payments—the
company will have to radically alter its design pro-
cess. Designers are already experimenting with ag-
ile development for software-based user- interface
designs that require frequent rapid iterations and
shorter design cycles. They are trying various
forms of cross-functional coordination as they deal
with increasingly convergent products. Recently
Samsung conducted the first companywide design-
management capability review, which is being used
to inform a corporate restructuring. The company’s
design revolution is far from complete.
As the technological landscape continues to shift,
executives of all corporations that seek an advantage
through design thinking will need to constantly re-
view their design processes, cultures, decision mak-
ing, communications, and strategy. Recognizing that
Lee Min-Hyouk’s comment “Although everyone is for
innovation, no one wants to change when we start
talking about details” applies even to design groups,
companies must push the usual bounds of design
30. thinking and create an ever more radical vision for
the future. HBR Reprint R1509E
design excellence, 20 years ago. In the late 1990s An
Yong-Il, the design strategy VP, met strong opposi-
tion from Samsung managers when, after studying
the design organizations of companies such as IBM,
Sony, Mitsubishi, Panasonic, and Phillips, he recom-
mended adoption of a companywide design philoso-
phy described as “Inspired by humans, creating the
future.” Executives made it very clear that meeting
short-term profit targets by selling cheap imitations
of competitors’ products was more important to
them than establishing a design philosophy. Even
designers gave An’s philosophy a lukewarm recep-
tion. He says, “About 20% agreed with what I said but
did not want to do it. About 50% said, ‘Why bother?
We just draw pretty pictures as told by others.’ It was
only about 30% of designers, mostly young, who
were interested.”
So it’s perhaps not surprising that during the
Asian financial crisis of 1997, the company cut back
on its design initiatives. Discouraged, An considered
leaving the company. His boss urged him to enter
a PhD program instead, to study management and
organizational design and to reflect on what would
ensure a strong future for design thinking at Samsung.
His studies brought An to the conclusion that
design philosophy and design principles must be
visualized through clear organizational structures
and processes and a new personnel policy. The de-
sign group should include people who understood
social science, ethnography, engineering, and man-
agement. In 2000, when Samsung emerged from the
31. financial crisis, An’s boss worked with the company’s
corporate strategy office to conduct a strategic review
of the design organization. The review found that
Samsung needed to establish a strategic design group,
later dubbed the Corporate Design Center, that would
plan for the company’s future and lead the way in
perpetuating its emphasis on design thinking. Today
the CDC is organized around twice-yearly strategic
design review meetings that involve all the compa-
ny’s senior executives. The most crucial element of
those meetings is visualizing Samsung’s future.
Youngjin Yoo is the Harry A. Cochran Professor in
Management Information Systems and the founding
director of the Center for Design+Innovation at Temple
University. He is also an overseas advisory fellow of the
Samsung Economic Research Institute and consults for
Samsung Electronics. Kyungmook Kim is a principal
designer at Samsung Electronics’ Corporate Design Center.
“I had to imagine a new design for
engineers as well as users.”
—a design executive who made an aesthetic change to a mobile
phone
78 Harvard Business Review September 2015
SPOTLIGHT ON THE EVOLUTION OF DESIGN THINKING
HBR.ORG