In short, Design Management (DM) is the business side of design. It is about the successful management of the people, projects, processes, and procedures behind the design of our everyday products, services, environments, and experiences. Design Management is also about the management of the relationships between different disciplines/departments and various roles (like clients, designers, project teams, and stakeholders).

While most people see Design Management supporting just the Creative Economy (Entertainment and Advertising, for instance), Design Management has more recently been playing an increasingly larger role in Non-Design Oriented Markets as well. Traditional, non-creative business are now moving towards design-driven business models because they are recognizing the need for innovation and can see the success of businesses who employ them.

What is Design Management?

Design at the level of strategy —

policy + mission

Design at the level of tactics —

systems + processes

Design at the level of operations —

tangibles + touch

strategic design management

tactical design management

operational design management

Within the various types of Design Management, DM can be divided further by its 3 different fields of application:

Different types of Design Management:

Product or digital design management Brand design management Service design management Business design management Engineering design management Urban design management Architectural design management

“Design is not just what it looks like and

feels like. Design is how it works.” — Steve Jobs

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Put simply, Design Managers are design-driven, market innovation advocates that support a culture of creativity within businesses. They often work inside non-design oriented businesses to oversee all the design related activity commissioned by the organization, and their official titles can vary from names like “Brand Ambassadors” to “Product Design Liasons”. Design managers are often seen as intermediaries that function as links between technology-engineering-manufacturing and the end-user.

Who are Design Managers?

Exploring how design can respond to different

dimensions of organizations can be a rich starting

point for identifying design

opportunities

What designmanagers focus on

What is the

business?

What will the

business be?

What should the

business be?

TRADITIONAL TRANSITIONAL

TRANSFORMATIONAL

*Source: Peter F. Drucker, 2004. The Daily Drucker: 366 Days of Insight and Motivation for Getting the Right Things Done. First Edition Edition. HarperBusiness.

They hold a variety of responsibilities, like...

Establishing design-driven business innovation strategies alongside executive teams

Working collaboratively alongside departments like IT, Engineering, R&D, Manufacturing, & Marketing in service & product development cycles

Project, budget, and resource management

Collecting and analyzing data in order to spot areas of design opportunities

Overseeing, hiring, and coaching of creative teams / departments

“Designers bring energy to strategy. They

find ways forward. Their cur-rency is possibility and their scope is vast. We need their creativity [in business] - perhaps more

than ever.” — Dave Francis

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Design can be integrated into value management models within the context of management science, as shown below:

The Four Powers of Design

* Source: Brigitte Borja de Mozota, 2003. Design Management: Using Design to Build Brand Value and Corporate Innovation. 1 Edition. Allworth Press.* Source: Kathryn Best, 2010. The Fundamentals of Design Manage-ment. 1 Edition. AVA Publishing.

“Businesses that integrate design into their

corporate vision and strategy are unmis-takably growing at a faster rate than those who view it simply as a corporate facelift. Since the

introduction of Quality Management Systems in the early '90s, quality is now inherent in all business practices around the world. And design is the next frontier of how compa-nies are competing. More specifically, good design results in products, systems or services that are functionally,

aesthetically, and commercially more efficient, im-proving people’s lives and leading to smaller

environmental impacts.” — Good Design Australia

Design as Differentiator:

Design as source of competitive advantage in the market through brand equity, customer loyalty, price premium, or customer orientation.

Design as Integrator:

Design as a resource that improves new product development processes such as time to market, building consensus in teams using visualization skills.

Design as a process that favors modular and platform architecture of product lines, user-oriented innovation models, and fuzzy front-end project management.

Design as Transformer:

Design as resource for creating new business opportunities; for improving the company’s ability to cope with change; or as an expertise to better interpret the company and the marketplace.

Design as Good Business:

Design as a source of increased sales and better margins, more brand value, greater market share, better return on investment (ROI).

Design as a resource for society at large (inclusive design, sustainable design).

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Customer Relationship

High cost of customeracquisition makes itimperative to gain largewallet share; economiesof scope are the key

Battle for scope; rapidconsolidation; a few bigplayers dominate

Highly service oriented;customer-comes-firstmentality

ProductInnovation

Early market entry allowsfor a premium price andlarge market share; speedis the key

Battle for talent; lowbarriers to entry; manysmall players thrive

Employee centered;coddling the creativestars

Infrastructure

High fixed costs make large volumes essential to achieve low unit costs; economies ofscale are the key

Battle for scale; rapidconsolidation; a few bigplayers dominate

Cost focused; stressstandardization, predict-ability, and efficiency

A business model describes the rationale of how an organization creates, delivers, and captures value.

The concept of the “unbundled” corporation (the process of change in business) holds that there are 3 fundamentally different types of businesses in todays newer, non-traditional business environments. It’s clear to see how Design Management as a practice would dominate and flourish within the newer Product Innovation business type.

Design-Driven Business Models

* Source: Alexander Osterwalder, 2010. Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers. 1 Edition. Wiley.

“Companies don’t fail because they choose

the wrong course — they fail because they can’t imagine a better one. Unimaginative

leaders reach for a vision from the ready-made rack, then wonder why their leadership has no

followship. Our goal is to out-perform the competition from day one, dream large.”

— Marty Neumeier,The Designful Business

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Design-driven businesses can improve communication and integration throughout organizations, help to reduce complexity and cost, and enhance brand value. However, good design rarely just happens, but stems from an effective creative development process that occurs alongside other relevant departments (as opposed to under them) like marketing, technology, and design. In this way, design innovation can be effectively employed with each discipline working collaboratively and openly with one another to deliver an effective outcome.

While many other business models can be effective as well (such as simple hierarchy

models or dual authority business models), to push innovation to the forefront, an All Channel

Network Business Model is the most widely used. In this model, multiple connections are

created so that each department or person can talk with anyone else. Information flows freely

and decisions require touching multiple bases. It can lead to more informed decision making

outcomes and result in a higher quality output. As well, morale in an all channel network is

usually very high. This arrangement works well for complicated tasks and as such is well suited for design’s wicked problem solving endeavors.

Design-Driven Organizational Architecture

* Lee G. Bolman, 2008. Reframing Organizations: Artistry, Choice and Leadership. 4 Edition. Jossey-Bass.

All ChannelNetwork Business

Model

An ideal company structure

for endorsing innovation

“Design involves not just design-

ers and not just those working for design consultancies but also engineers, scientists, and all those

including senior management and - dare I mention it? - finance directors and

accountants who contribute and influ-ence the process of innovation and

new product development.” — Lord Currie, House of Lords

debate on design

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*Source: Kretzschmar, A., (2003). The Economic Effect of Design. National Agency for Enterprise and Housing. Denmark, September. Danish Design Centre. 1-35.

Research from a Danish Design Centre (DDC) study in 2007 showed how companies in Denmark interpreted and applied design in differing depth:

The research showed that companies who adopted a comprehensive approach to design were constantly growing, making more money, and generating more exports than companies that did not use design. With this increasing importance of design within companies, design management also becomes intrinsically more important.

Positive Economic Effects of Employing Design

Non-design: Companies that do not use design

Design as styling: Companies that use design as styling appearance

Design as process: Companies that integrate design into the development process

Design as innovation: Companies that consider design as key strategic element

“In the last five to ten years, companies

have realized that design is part of their armory and that they need to design and need

to engage with design activities. Having somebody in-house who will manage design, who is a jack of all

trades, who maybe has some relationships with local consultancies and so on, is very valuable.” —

Clive Grinyer, Director of CustomerExperience, Cisco

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In order to equip today’s design managers with a better preparation for future dynamics by enabling them to adapt, shape opportunity, & avoid risks - let’s a take a look at a few general global forecasts:

The Future Starts Now

*Source: James Canton, 2007. The Extreme Future: The Top Trends That Will Reshape the World in the Next 20 Years. Reprint Edition. Plume

5 factors that will define the future of business in the coming millennium:

1. Speed: the rate of change will be high, comprehensive in scope, and will touch every aspect of the global economy

2. Complexity: a quantum leap in the number of seemingly unrelated forces that will have a direct bearing on everything from lifestyles to work to personal and national security

3. Risk: new risks, higher risks, and more threats from terror to crime to global economic upheaval will alter every aspect of the economic marketplace

4. Change: drastic adjustments in work, community, and relationships will force individuals to adapt quickly to radical changes

5. Surprise: sometimes good, sometimes difficult to imagine, surprise will become a daily feature in business, often challenging sensibility and logic

The Innovation Economy (a new economic convergence of democracy, trade, design, and tech-nology) will determine the future leadership of nations, productivity of businesses, and wealth of individuals

Now is the time to invest in people, technology, ideas, collaborations, products, and services that will build the Innovation Economy

Knowledge, the power of creative ideas, is the currency of the Innovation Economy

The future of the workforce will not be defined by geography but by talent

Women will comprise a high percentage of new workers and leaders, forever changing the politics of boardrooms and markets

Globalization will continue to increase cross-cultural understanding and break down barriers among people of different nations as trade alliances grow across borders

“Success does not happen by accident,

it happens by design. Design is not incidental to industry, it is absolutely

integral. In the new economy, design will be more important than ever.” — Rt Hon Gordon Brown MP, Chancellor of

the Exchequer

Top Trends Shaping Our Economic

Future:

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The global landscape of reputable educational groups has taken notice in the importance of integrated education models, furthering the case at large in the value of design management (an inherent understanding of both business as well as design). These programs endorse the importance of developing students into professionals with T-shaped skills and A-shaped skills:

T-shaped individuals are people with expertise in specific areas (T’s vertical stroke) & know how their discipline interacts with others (T’s horizontal stroke).

A-shaped individuals are people who have the unique ability to integrate two different disciplines & possess a high degree of expertise & knowledge in each.

Education

* Source: Iansiti, M., 1993. Real Word R&D: Jumping the Product Generation Gap. Harvard Business Review, 71 (3). 138-147.* Source: Grover, R. and Madhavan R., 1998. From Embedded Knowledge to Embodied Knowledge: New Product Development as Knowledge Management. Journal of Marketing, Vol. 62, No. 4, 1-12.* Source: World's Best Design Programs - Businessweek. 2013. World's Best Design Programs - Businessweek. [ONLINE] Available at: http://www.businessweek.com/interactive_reports/dschools_2009.html. [Accessed 18 June 2013].

Art Center College of Design (U.S.)

Carnegie Mellon University (U.S.)

Domus Academy (Italy)

European Business School London (England)

Harvard Business School (U.S.)

Helsinki School of Economics (Finland)

Lucerne School of Art and Design (Switzerland)

Massachusetts Institute of Technology, MIT (U.S.)

Northwestern University (U.S.)

Parsons New School of Design (U.S.)

Regents Business School London (England)

Rhode Island School of Design, RISD (U.S.)

Royal College of Art/Imperial College London (UK)

Stanford University (U.S.)

University of the Arts London (England)

University of New South Wales (Australia)

University of Oxford (UK)

“Tomorrow’sbusinesses must

innovate or deteriorate. They must design or die.”

— Janice Kirkpatrick, Designer

International world-renowned universities that have Design Management or equivalent programs and streams, have employed Design Management research, or promote design & business integrated programs:

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Since design management is ultimately about bringing good design to the surface to further business innovation, we can then ask... what are the markers of successful design that design managers should be aware of?

Legendary German designer Dieter Rams (Braun’s Head of Design) defines good design through 10 essential principles:

*Vitsœ | Good design. 2013. Vitsœ | Good design. [ONLINE] Available at: https://www.vitsoe.com/gb/about/good-design. [Accessed 18 June 2013].

Indicators of Successful Design

Is innovative - The possibilities for progression are not, by any means, exhausted. Technological development is always offering new opportunities for original designs. But imaginative design always develops in tandem with improving technology, and can never be an end in itself.

Makes a product useful - A product is bought to be used. It has to satisfy not only functional, but also psychological and aesthetic criteria. Good design emphasizes the usefulness of a product whilst disregarding anything that could detract from it.

Is aesthetic - The aesthetic quality of a product is integral to its usefulness because products are used every day and have an effect on people and their well-being. Only well-executed objects can be beautiful.

Makes a product understandable - It clarifies the product’s structure. Better still, it can make the product clearly express its function by making use of the user's intuition. At best, it is self-explanatory.

Is unobtrusive - Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user's self-expression.

Is honest - It does not make a product appear more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.

Is long-lasting - It avoids being fashionable and therefore never appears antiquated. Unlike fash-ionable design, it lasts many years – even in today's throwaway society.

Is thorough down to the last detail - Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the consumer.

Is environmentally friendly - Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the lifecycle of the product.

Is as little design as possible - Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.

GOOD DESIGN...

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Because most design managers oversee or are directly involved in managing creative teams and facilitating the ideation and brainstorming processes, it’s important to note a large misconception that is currently in the undercurrent of the business and design worlds: that collaboration solely is the paramount king of kings. While there is real value to be gained in collaboration, merely assigning people to teams and telling them to be good team players does not set the stage for effective collaboration in the slightest. Companies need to understand that to employ effective design-driven business innovation techniques, they need to dismantle the notion that collaboration comes from simply physically being in the same place at the same time. True collaboration often calls for periods of focused, independent work interspersed with periods of intense, structured team interaction. Effective design management structures embrace dynamic, hybrid collaborative architecture versus static, traditional paradigms. It’s truly all about balance as neither extreme, groups nor isolation, is effective 100% on its own.

According to Leigh Thompson (Professor of Dispute Resolution and Organizations at the Kellogg School of Management at Northwestern University, and recent author of 2013’s “Creative Conspiracy: The New Rules of Breakthrough Collabo-ration” book), a mountain of scientific facts and studies show that groups are in fact LESS creative than individuals. Although highly controversial, and often times even offensive and hard to believe or grasp for many industry veterans, still - large amounts of research show time and again that team collaboration cannot be seen as a sole effective tool on its own, supporting the reason why the following 8 myths are in fact myths.

Creative, Design, and Business Mythology:

Myth #1: Teams are more creative than individualsReasons for myth - because it feels good and powerful to be a part of teams, it increases company morale, and many companies believe teams create the highly touted “synergy” effectIn reality - hundreds of carefully conducted studies continually report that independent work outperforms teams.

Myth #2: If you want to enhance creative teamwork, get rid of rules and normsReasons for myth - because the appearance of freedom seemingly allows for a free flow of ideasIn reality - multiple studies conducted with two separate scenarios showed clear evidence that creative output increased when individuals had a set of guidelines to follow.

Myth #3: Striving for quality is better than striving for quantityReasons for myth - because of a value based assumption on moral virtueIn reality - one study in particular examined 4 different types of instructions: no stated goal, a quality goal, a quantity goal. as well as a joint quantity and quality goal. The findings showed that those who had a quantity goal generated more ideas and better ideas than any other goal.

Collaboration Corroboration

“Design shapes ideas to

become practical and attractive propositions

for users or customers.” — Sir George Cox,former DesignCouncil UK chair

According to Leigh Thompson (Professor of Dispute Resolution and Organi-zations at the Kellogg School of Management at Northwestern University, and recent author of 2013’s “Creative Conspiracy: The New Rules of Breakthrough Collaboration” book), a mountain of scientific facts and studies show that groups are in fact LESS creative than individuals. Although highly controversial, and often times even offensive and hard to believe or grasp for many industry veterans, still - large amounts of research show time and again that team collaboration cannot be seen as a sole effective tool on its own, supporting the reason why the following 8 myths are in fact myths.

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Myth #4: Active brainstorming is necessary to generate ideasReasons for myth - because of the belief in fixation (thinking about the same things over and over again constantly) & the lack of belief in the power of incubation (the unconscious reflection of ideas when our mind is in a dormant state)In reality - many accounts of creators and innovators have shown that the answers they were looking adamantly for randomly came to them in their sleep one day, or when they awoke, or maybe even in the shower of all places.

Myth #5: Brainstorming teams should work closely together and tear down boundariesReasons for myth - because the recent trend in needing to seem like a “team player” means abandoning private spaces and processesIn reality - one example noted that a company once had an open plan layout for their office but noticed that their game designers weren’t happy. so they then implemented cubicles and dividers and the creativity and performance of the group increased significantly.

Myth #6: Team members should first brainstorm as a group to get the creative juices flowing, then work aloneReasons for myth - because of the lack of awareness of groupthink (group peer pressure leads to conformity)In reality - repeated studies show that when individuals are brainstorming alone, they are in a state of thought (vs. a state of action in a group) and can therefore focus more on the task at hand and deliver their enhanced results to a group LATER rather than before.

Myth #7: People who are pro-social (team-oriented) are more cre-ative than those who are pro-self (individually oriented)Reasons for myth - because of the lack of belief in the value of focused, individually confined brainstormingIn reality - studies suggest that individuals who are more “me” oriented tend to outperform those who are more concerned with others

Myth #8: Deactivating moods (e.g., peaceful reflection, relaxation, serenity) lead to more creativity than activating moods (e.g., anger, fear, happiness)Reasons for myth - because of the lack of belief in prodding the mind with vibrant sensations to encourage ideationIn reality - in a test of 2 groups where 1 group had to listen to a boring speech for hours (which made them aggra-vated and annoyed) and another group had to listen to music they enjoyed (which made them more relaxed and serene) - the group that listened to music dramatically underperformed in comparison to the group who had listened to the speeches.

Study Sources:*S. Cain, “The Rise of the New Goupthink,” New York Times, January 13, 2012.*M. Diehl and W. Stroebe, “Productivity Loss in Brainstorming Groups: Toward a Solution of a Riddle,” Journal of Personality and Social Psychology 53 (1987): 497-509.* K. Girotra, C. Terwiesch, and K.T. Ulrich, “Idea Generation and the Quality of the Best Idea,” Management Science 56, no. 4 (2010): 591-605.*L. Sagiv, S. Arieli, J. Goldenberg, and A. Goldschmidt, “Structure and Freedom in Creativity: The Interplay Between Externally Imposed Structure and Personal Cognitive Style,” Journal of Organizational Behavior 31, no. 8 (2010): 1086-1110.* P.B. Paulus, N.W. Kohn, and L.E. Arditti, “Effects on Quantity and Quality Instructions on Brainstorming,” Journal of Creative Behavior 4, no. 1 (2011): 38-46.* N.W. Kohn and S.M. Smith, “Collaborative Fixation: Effects of Others’ Ideas on Brainstorming,” Journal of Applied Cognitive Psychology 35, no. 3 (in press): 359-371.* J. Baruah and P.B. Paulus, “Effects of Training on Idea Generation in Groups,” Small Group Research 39, no. 5 (2008): 523-541.* J.A. Goncalo and B.M. Staw, “Individualism-Collectivism and Group Creativity,” Organizational Behavior and Human Decision Processes 100, no. 1 (2006): 96-109.* R.A. Hackman, Leading Teams: Setting the Stage for Great Performance (Boston: Harvard Business School Press, 2002).

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When products become outdated and obsolete, companies need to continuously innovate to maintain their competitive edge. Investment in design for new products and services, as well as for corporate communication (branding and marketing), provides a commercial benefit. Price is always important but not a sufficient basis for measuring economic effectiveness alone. Instead, the focus is shifting to design as one of the key non-price factors driving competitive growth. This fact puts the importance of design management at center stage as a valuable component for businesses in the 21st century.

Some well-known companies that have successfully used a design-driven business strategy:

These companies, who are widely recognized and renowned for their design-centric marketing, products, creative processes, and business models, have transformed their business into capabilities that repeatedly provide superior value to customers. In these cases, design has been critical in communicating a product advantage and has been aligned with corporate strategy in innovative ways.

However, many managers don’t seem to realize that their problems might have anything to do with design at all, so rarely are the connections amongst design, business development, and strategic market issues made. Unsurprisingly, designers are summoned when managers receive negative feedback from the marketplace. These business problems are often treated in a random fashion and designers are called upon to solve acute problems merely aesthetically. Instead, these struggling businesses should be injecting their entire product with design-based methodologies to elevate their failing place in their respective markets. The companies above illustrate the success of design-driven approaches and the intrinsic design management roles therein.

Brand Value and Corporate Innovation

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What is your professional and academic background? How did you end up as a Design Manager at Virgin Australia?

I have an architectural professional and academic background. I am a registered Australian architect – completing both my Bachelor of Built Environment (majoring in Architectural Studies) and Bachelor of Architecture (Honours) at Queensland University of Technology (QUT), Brisbane. In between these degrees, I studied Architecture at the Univer-sity of Applied Sciences in Bern, Switzerland for two and a half years. This period in between studies was the most challenging and rewarding period of education as it demonstrated how good design communicates through cultural barriers.

Professionally I have worked in multidisciplinary design firms working on a range of commercial, industrial and interior projects prior to commencing employment at Virgin Australia. My employment as an in-house Design Manager started prior to the rebranding of Virgin Blue to Virgin Australia. The position was introduced into the Product department of the organization to assist with bringing the new premium guest services journey to life within a number of airport environ-ments.

Could you describe your role as a Design Manager, specifically what you do on a day-to-day basis?

My role is defined as Specialist, Ground Design. I am the design lead of a group of seven design managers from both architecture and interior design backgrounds. We sit within the Product department of the Virgin Australia organisational structure and ultimately answer to our Chief Customer Officer.

It is our team’s role to ensure the design of the guest facing areas of Virgin Australia’s airports is appropriate for the delivery of key strategic service products. We achieve this by translating Product briefs set by our Product specialists, in direct response to our strategic team’s initiatives, into Design briefs for external design consultants. We then manage the design of these specific environments during the inception, design and delivery phases to ensure the spaces meet the strategic initiative brief and requirements of internal stakeholders. We are engaged from inception of ideas to the unveil-ing of the product.

We also undertake some concept design work in-house, however most of our design work is outsourced to a select number of firms.

How long have you been in this position?

I started in this position almost three years ago prior to the commencement of the “Game Change Program” – the rebranding and transformation of the airline from a low cost leisure carrier Virgin Blue to the more business orientated Virgin Australia in May 2011. The role was created at this time to bring architectural design skills in-house to assist in managing the transformation of the built environment ground experience – in particular the introduction of a number of business guest initiatives like Sydney Premium Entry and the reinvention of our Lounge product.

A talk with

Claire Baguley, Design Manager @

Since Design Management is a relatively “new” position (late last century), where or what do you think your position would have been 30 years ago?

Good question – More than likely, the position would have been taken on by a “classically” trained operational project manager or client stakeholder representative. These positions may or may not have had previous experience with managing the design process. Construction project managers may have also taken on this role.

Considering Virgin Australia didn’t initially start off as a design-centric business, how much do you credit Virgin Australia’s success to their forward thinking approach in allowing design to drive their corporate strategy?

Rather than design driving their corporate strategy, it is fair to say that innovation is at the core of the Virgin Australia business, alongside design – both from an ideas generation and service product development perspective. It is service innovation that sets it apart from its competitors. Australians are inspired and intrigued by innovative products and Virgin Blue back then, and Virgin Australia now, continues to use this core business strategy to keep ahead of the pack. How do you think your position adds to the culture of innovation Virgin embodies?

Every organization benefits from fresh perspectives and specialists who can assist in envisaging and pushing the bound-aries of what others thought out of reach or impossible.

Our team enjoys identifying opportunities within existing built environments to effectively implement service products within existing project constraints. The team is part of a larger group of individuals within the organization who bring and facilitate lateral thinking and problem solving skills into the mix. Through the challenging of preconceptions and identification of opportunities, we have been able to expedite the implementation of a number of key strategic initiatives.

How do you think women in the management industry are received as well as perceived? What unique qualities, if any, do you think women have to offer the field?

Fortunately, Virgin Australia employs a large number of females in all aspects of its business and I have been fortunate enough to work alongside and under some very effective managers over the last three years. The single trait I found the most effective of these female managers, and something which women can offer generally to the management industry, was their ability to filter large amounts of often conflicting information effectively to make critical decisions under pressure.

Lastly, do you think Design Management is an important role to consider for businesses operating within any industry?

Following my experience at Virgin Australia, although perhaps not titled “Design Manager”- the skill set, however varied, of a design management consultant, could be effectively used in a large breadth of industries. Of particular benefit would be service industry organisations or companies wanting to rethink/revolutionise the way they currently go about their business and strive to achieve more with less.

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Curiously CreativeSome key design management concepts & terms encountered in creative+business thinking and development processes:

360 Degree Thinking: A term used for considering all options in business as opposed to having narrow field vision.

Affinitize: To gather, group, or collect like items in an iterative manner. An action performed by someone who actively groups or organizes ideas, thoughts, or events.

Brainwriting: Instead of team members vocalizing their ideas in an unconstrained free for all, spoken forum, team members simultaneously (yet independently) write down their ideas.

Collaboration: Design itself is not just necessarily a peripheral or specialist activity but a core business process. And design management involves a variety of cross-communication from departments such as Operations, Engineering, Marketing, Manufacturing, Sales, Human Resources, and Executive Management. Collaboration is also the successful working relationships that are developed internally (within an organization) and externally (suppliers, for instance) amongst key groups, teams, and individuals that can aide in a design project’s success. Large projects in each company are rarely able to function on their own without the help of at least 1 other person, more often, a few.

Cyberstorming: Brainstorming via computers, or any other device that allows people to type into a shared database when and where they want to.

Design Thinking: A methodology that embodies the full spectrum of innovation activities with a human-centered design ethos; a discipline that uses a designer’s sensibility and methods to match people’s needs with what is technologically feasible and what a viable business strategy can convert into customer value and market opportunity. Design thinking has 5 parts:

(1) Empathy - imagining the world from multiple perspectives (2) Integrative thinking - exhibiting the ability to see all of the salient, and sometimes contradictory, aspects of a confounding problem (3) Optimism - assuming that no matter how challenging the constraints of a given problem appear to be, at least one potential solution is better than the existing alternatives. (4) Experimentalism - posing questions and exploring constraints in creative ways that proceed in entirely new directions. (5) Collaboration - working with other disciplines to reach a maximized solution.

Groupthink: Groupthink is a psychological phenomenon that can occur in groups of people. Rather than critically evaluating information, the group members begin to form quick opinions that match the group consensus. Groupthink seems to occur most often when a respected or persuasive leader is present, inspiring members to agree with his or her opinion. Groupthink is sometimes positive but is more often seen in a negative light, particularly in the United States and other countries that value individual opinion.

Ideation: The formation of ideas or concepts; Also commonly referred to as Idea Generation.

Iteration: The repetition of a process or utterance with the aim to reach peak output through experience and pattern recognition.

Lean Thinking: Addresses the challenge of how to do more with less while at the same time honing in on delivering customer satisfaction. It replaces the drive for efficiency (typically just elimination and cutting processes) with the search for value creation (creating new work, of new value, in new ways).

Nominal Group Technique (NGT): Similar to brainwriting, but a little more of an extreme version, in which people perform completely independently rather than working in interactive groups on a task or creative challenge, after which their output is analyzed and pooled. This technique is most ideally suited for distance-challenged or virtual groups who don’t have the luxury of face-to-face time. Research overwhelmingly indicates that NGT groups outperform interactive groups at brainstorming tasks, particularly when the problem is specialized.

Qualitician: A design professional who uses a wide total-quality scope as a new way of thinking and doing business. It represents a shift in management paradigms that brings quality management closer to the conceptual framework of design.

Systemization: The process by which business and design needs are conceptualized and transformed into instruments and tools to satisfy these needs.

Wicked Problems: A wicked problem is a problem that is difficult or impossible to solve for as many as four reasons: incomplete or contradictory knowledge, the number of people and opinions involved, the large economic burden, and the interconnected nature of these problems with other problems. These problems can be mitigated through the process of design (an intellectual approach that emphasizes empathy, abductive reasoning, and rapid prototyping).

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SOURCES:

Alexander Osterwalder, 2010. Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers. 1 Edition. Wiley.

Anja Foerster and Peter Kreuz, 2009. Different Thinking: Creative Strategies for Developing the Innovative Business. Reprint Edition. Kogan Page.

Australian International Design Awards - About. 2013. Australian International Design Awards - About. [ONLINE] Available at: http://www.gooddesignaustralia.com/about/. [Accessed 15 June 2013]

Brigitte Borja de Mozota, 2003. Design Management: Using Design to Build Brand Value and Corporate Innovation. 1 Edition. Allworth Press.

Brown, T., 2008. Design Thinking. Harvard Business Review, June, 85-92.

Danny Samson and Tom Bevington, 2012. Implementing Strategic Change: Managing Processes and Interfaces to Develop a Highly Productive Organization. Edition. Kogan Page.

Gordon Torr, 2008. Managing Creative People: Lessons in Leadership for the Ideas Economy. 1 Edition. Wiley.

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