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Teaching ‘design thinking’ in the context of Innovation Management—from process to a dialogue about principles
This is the third and final paper of a series bringing a philosophical investigation to matters of design and innovation. With the others examining: first, the urges to reconsider innovation from a creative, specifically design, direction [4]; and second, the type of dynamic innovation that may be thus reconsidered [5]; this paper will investigate a way of constructing this type of design-driven innovation. It will begin by looking at the networks that can be created to deliver a dynamic, continually innovative innovation and will start by considering two concepts of network: the open and the closed. While there seems to be an easy distinction to be made between open and closed, and its mapping onto similarly convenient ideas of good and bad, I hope to show that this is not the case. The complexity of networked forms of organisation demand that we bring to them a complexity of thought that comes from philosophy. Nevertheless, such an account will also need to engage with discourses from other disciplinary areas: notably organisational theory, innovation management and design. The outcome is of importance to thinking the organisational structures in which innovation is managed.
Roger Martin, dean of the Rotman School of Management, University of Toronto, is interviewed on the subject of "design thinking"—approaching managerial problems as designers approach design problems—and its potential impact on management education. Under a design-thinking paradigm, students would be encouraged to think broadly about problems, develop a deep understanding of users, and recognize the value in the contributions of others. In Martin's view, the concept of design thinking can potentially address many of the criticisms currently being leveled at MBA programs. The interview is followed by a discussion and critique of the themes Martin raises.
Abstract Only critical distancing let Godard value the premonitory potential of film, and at the same time, point out the incapacity to register the realness that it generated. The filmmaker has always believed that “film is prophetic, it predicts and announces things”, and that this condition corresponds to its essence as a record. Rancière in a lucid reading of Film History says that for Godard: “film is responsible for not filming fields in their time; great for filming them before their time and guilty for not knowing how to recognize them”. This article begins with these clear political propositions, as well as proposing some variations.
The contextual field of this research is the history of ideas in design, 'ideas' being understood as ideologies, dogmas, treatises, theories or philosophies (i.e. both descriptive and normative items), and 'design' including all practices related to our built environment with some aesthetic concern (graphic, product, architectural, urban, landscape design). Our corpus is constituted from written and published texts mainly but not exclusively from the second half of the last century. The objective of the research was to find out if some Gestalt or model (evolutionary, structural, thematic or else) emerged from this historical corpus and the purpose was essentially pedagogical and didactic. The research yielded the following interesting features: (1) the material object or product has long been the main focus of the theories, all the way up to the middle of the twentieth century; (2) the object tends to disappear from the concerns of the theoreticians after the Second World War, both upstream and downstream of the design process, i.e. on the side of the designers and on the side of the users - design theories mainly focus upstream on the design process and downstream on the functions of the product; (3) much more recently another shift took place away from the product in the preoccupations of the theoreticians, both upstream and downstream again. Theoretical models are now interested in either the actors of the design process or the experiences of the user as a 'whole' human being.These shifts correspond to a displacement of the centre of the interest respectively from the aesthetic to the logical, to the ethical fields of philosophy. This 'eclipse of the object' has important consequences for the theory and practice of design.
The term design thinking has gained attention over the past decade in a wide range of contexts beyond the traditional preoccupations of designers. The main idea is that the ways professional designers problem-solve is of value to firms trying to innovate and to societies trying to make change happen. This paper reviews the origins of the term design thinking in research about designers and its adoption by management educators and consultancies within a dynamic, global mediatized economy. Three main accounts are identified: design thinking as a cognitive style, as a general theory of design, and as a resource for organizations. The paper argues there are several issues that undermine the claims made for design thinking. The first is how many of these accounts rely on a dualism between thinking and knowing, and acting in the world. Second, a generalized design thinking ignores the diversity of designers' practices and institutions which are historically situated. The third is how design thinking rests on theories of design that privilege the designer as the main agent in designing. Instead the paper proposes that attending to the situated, embodied routines of designers and others offers a useful way to rethink design thinking.
How Designers Think is based on Bryan Lawson's many observations of designers at work, interviews with designers and their clients and collaborators. This extended work is the culmination of twenty-five years' research and shows the author's belief that we all can learn to design better. The creative mind continues to have power to surprise and this book aims to nurture and extend this creativity. This book is not intended as an authoritative description of how designers should think but to provide helpful advice on how to develop an understanding of design. 'How Designers Think' will be of great interest, not only to designers seeking a greater insight into their own thought processes, but also to students of design in general from undergraduate level upward.
This paper arises from ongoing research undertaken by the Economics team of the ESRC/ TLRP Project 'Enhancing Teaching and Learning Environments' (ETL) 1 . This forms part of the large scale ESRC Teaching and Learning Research Programme Phase 2. ETL is seeking to identify factors leading to high quality learning environments within five disciplinary contexts across a range of HE institutions. Meyer's notion of a threshold concept was introduced into project discussions on learning outcomes as a particular basis for differentiating between core learning outcomes that represent 'seeing things in a new way' and those that do not. A threshold concept is thus seen as something distinct within what university teachers would typically describe as 'core concepts'. Furthermore, threshold concepts may represent, or lead to, what Perkins (1999) describes as 'troublesome knowledge' — knowledge that is conceptually difficult, counter-intuitive or 'alien'. The paper attempts to define characteristics of threshold concepts and, in the light of Perkins' work, to indicate correspondences between the notion of threshold concepts and that of 'troublesome knowledge.'
Ideally, innovation is hallmarked by interdisciplinary collaboration. In their experience-based analysis of marketing and design cultures, however, Lisbeth Svengren Holm and Ulla Johansson reveal why, across five critical factors, the integration of design and engineering is generally close and effective while the partnership between design and marketing is often characterized by tension and misunderstanding.
As with most living organisms, you can trace design's growth through its family tree. This article takes a look at the evolution of design and design thinking—all the way from the Arts & Crafts movement to the Eames chair and cradle-to-cradle design.
Organizations in changing environments need to become flexible, responsive and participative. We develop an understanding of governance in these organizations by drawing analogies between organization theory and theories of non-linear dynamics. We identify freedom and creativity as driving principles in 'chaotic' participative organizations, and explore the ethics of their exercise within organizational communities of practice, communities of discernment and communities of commitment.
The Uncertainty Project. Managing Uncertainty in Innovation Education
- J Brassett
Brassett, J. 2011. "The Uncertainty Project. Managing Uncertainty in Innovation
Education", presented at Crossing Talents! Transversality in Design, Cumulus Paris
2011 Conference, Straté College, Paris, France.
On Design Thinking, part one-from the empty to the full
- J Brassett
Brassett, J. 2010a. "On Design Thinking, part one-from the empty to the full" [Cited:
26/10/12]. Available from: <http://www.whendesignmeetsinnovation.com/ondesign-thinking-part-one-from-the-empty-to-the-full-3/>
MA Innovation Management Course Handbook. Central Saint Martins College of Arts and Design
- J Brassett
Brassett, J. 2010b. MA Innovation Management Course Handbook. Central Saint
Martins College of Arts and Design.
Glimmer. How design can transform your business, your life, and maybe even the world
- Warren Berger
Berger, Warren 2009. Glimmer. How design can transform your business, your life, and
maybe even the world. London: Random House Business Books.
Design Thinking and Design Management: A research and Practice Perspective" in Design Thinking: Integrating Innovation, Customer Experience, and Brand Value
- Rachel Cooper
- Sabine Junginger
- Thomas Lockwood
Cooper, Rachel, Sabine Junginger and Thomas Lockwood. 2010. "Design Thinking and
Design Management: A research and Practice Perspective" in Design Thinking:
Integrating Innovation, Customer Experience, and Brand Value, edited by Thomas
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Design innovation och andra paradoxer -om förändring satt i system
- Haakon Edeholt
Edeholt, Haakon. 2004. Design innovation och andra paradoxer -om förändring satt i
system. Chalmers Tekniska Høgskola.
Action Research for Improving Educational Practice: A step-by-step guide
- Valsa Koshy
Koshy, Valsa. 2010. Action Research for Improving Educational Practice: A step-by-step
guide. 2nd ed. London: SAGE Publications.
A Cautious Prometheus? A few steps towards a philosophy of design (with special attention to Peter Sloterdijk)
- Bruno Latour
Latour, Bruno. 2008. "A Cautious Prometheus? A few steps towards a philosophy of
design (with special attention to Peter Sloterdijk)", Keynote Lecture Networks of
Design Conference, Design History Society, Falmouth.
The design of business: Why design thinking is the next competitive advantage
- Roger Martin
Martin, Roger. 2009. The design of business: Why design thinking is the next
competitive advantage. Boston, MA: Harvard Business Press.
Design thinking: everywhere and nowhere, reflections on the big re-think
- Kevin Mccullagh
McCullagh, Kevin. 2010. Design thinking: everywhere and nowhere, reflections on the
big re-think [cited November 1st, 2012] Available from:
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where_reflections_on_the_big_re-think__16277.asp.
The Designful Company: How to Build a Culture of Nonstop Innovation
- Martin Neumeier
Neumeier, Martin. 2009. The Designful Company: How to Build a Culture of Nonstop
Innovation. Berkeley CA: New Riders.
The Designful Company" in Design Thinking: Integrating Innovation, Customer Experience, and Brand Value
- Martin Neumeier
Neumeier, Martin. 2010. "The Designful Company" in Design Thinking: Integrating
Innovation, Customer Experience, and Brand Value, edited by Thomas Lockwood. 15-22. New York: Allworth Press.
Design Thinking Is A Failed Experiment. So What's Next?
- Bruce Nussbaum
Nussbaum, Bruce. 2012. "Design Thinking Is A Failed Experiment. So What's Next?"
[07/2012] Available from: http://www.fastcodesign.com/1663558/design-thinkingis-a-failed-experiment-so-whats-next.
Design Literacy, Discourse and Communities of Practice
- Sharon Poggenpohl
- Helmer
Poggenpohl, Sharon Helmer. 2008. "Design Literacy, Discourse and Communities of
Practice." Visible Language 42(3): 214-35.
Developing higher education teachers to teach creatively
- James Wisdom
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Jackson et al. Kindle edition. Abingdon: Routledge.