Fall 2015

Enrique L. Von Rohr

Design Thinking

an approach to innovation

In BriefMexico North East

SpainSt. Louis New York St. Louis

Designer / Educator / Admin / +++

Mexico North East St. Louis New York St. LouisSpain

In Brief

Frances Whitehead What do Artist Know

Evolving...

Designist*

Mexico North East St. Louis New York St. LouisSpain

Overview

Mythscreativityprocess

Design Design thinkingExamples

Design is...

“Design is not just what it looks like and feels like. Design is how it works.”

—SteveJobs

“Design is the liberal art of technological culture.”

—RichardBuchanan

10 Myths of Creativity

01. Eureka02. Breed03. originality04. Expert05. incentive

06. Lone creator07. Brainstorming08. cohesive09. constraints10. Mousetrap

David Burkus, 10 Myths of Creativity

The Eureka Myth

“The most creative individuals and companies regularly schedule incubation time, or shift from one project to another, to allow conscious minds some time off from think about the project.”

David Burkus, 10 Myths of CreativityGoogle Dublin Office: http://www.socialtalent.co/wp-content/uploads/2013/07/Google-Dublin-Office.jpg

20%

The Breed Myth

“The truth is that there is no evidence supporting a creative gene or personality type. We’re all cut from largely the same cloth, with the same ability to generate ideas.”

https://en.wikipedia.org/wiki/Thomas_Edison#/media/File:Thomas_Edison2.jpg

The Lone Creator Myth

“Research shows that the best teams have a blend of long-time colleagues and new collaborators. When we think alone or with the same old team, we rarely capture new ideas.”

Retrieved From: http://www.popsci.com/sites/popsci.com/files/styles/medium_1x_/public/import/2013/images/2011/10/young-steve-jobs-1_0.jpg?itok=ZM4MvEsC

Design is a process...

10

Design processafter Tim Brennan (~1990)

At an off-site for Apple Computer’s Creative Services de-partment, Tim Brennan began a presentation of his group’s work by showing this model. “Here’s how we work,” he said. “Somebody calls up with a project; we do some stuff; and the money follows.”

Brennan captures important aspects of the process:- the potential for play- its similarity to a “random walk”- the importance of iteration - its irreducible “black-box” nature

Design process after Tim Brennan (~1990), engineer at Apple’s Creative Services Group (Source: Dubberly 2004)

The Process of Design Squiggle by Damien Newman, Central Office of Design is licensed under a Creative Commons Attribution-No Derivative Works 3.0 United States License.

RESEARCh

UNCERTAiNTy / PATTERNS / iNSiGhTS

DESiGN

CLARiTy / FOCUS

CONCEPT PROTOTyPE

InspirationIDEO

XPLANE

CHESKIN

COOPER

FROG

FITCH

DUBBERLY

CONIFER

Discover

Envision

Research

Discover

Discover

Prepare Implement

Research

Ideation

Concept

Explore

Modeling, Scenarios

Design

Define

Incubate

Catalog

Implementation

Design

Create

Framework

Synthesis

Do

Inspire

Design

Insights

Express

Communicate

Deliver

Design

Iterate

Deliver

Illuminate

The Creative Process by hugh Dubberly, Jack Chung, Shelley Evenson, and Paul Pangaro, 2009

the nature of the creative process and design thinking. ACAD isa leading centre for education and research, and a catalyst for creative inquiry and cultural development.

Please send comments about this model to icp@acad.ca.

Dubberly Design Office prepared this concept map as a projectof the Institute for the Creative Process at the Alberta College of Art+Design. The Institute exists to focus and organize activities, enterprises, and initiatives of ACAD with regard to the cultivationof dialogue, research, and special projects that directly address

Design and writing by Hugh Dubberly and Shelley Evenson Research by ACAD faculty Vera Gartley, Wayne Giles, Walter May, and Justin WaddellCreative direction by Jack Chung, Robin Bahr, and Paul Pangaro

Copyright © 2009Printed in Canada

The creative process is startlingly similar to the quality cycle (Shewart, 1939), popularized in business circles by the quality management movement (Deming, 1982).

The creative process plays an important role in the arts, design, science, and the professions (medicine, engineering, law, and business). It has many analogues and synonyms.

Like a self-regulating system, the creative process is a classic feedback loop. Measure an essential variable;compare it to a goal; and act to eliminate any difference.

Forming a hypothesis is a special type of creative act. Framing the creative process as “experimenting” showsthe close tie it has with the domain of science.

When physicians meet patients, they begin by taking a history and examining the patient; tests may be indicated, which contribute to a diagnosis, which indicates therapy.

The design process viewed as “problem solving” (Jones, 1976), problem seeking” (Peña, 1987) or “turning existing situations into preferred” (Simon, 1969) is a variation on the creative process.

“Interaction (with computers or the wider world) answers three questions: What do you sense? (feel?) How do you learn + plan? (know?) How do you change things? (do?) (Verplank, 2000).

Dubberly Design Office2501 Harrison Street, #7San Francisco, CA 94110415 648 9799

Institute for the Creative Processat the Alberta College of Art+Design1407-14 Ave NWCalgary, AB CanadaT2N 4R3403 284 7670

implem

ent

iterateillum

inateincubate

prepare

analyze

evaluate

synthesize

examine

treat

diagnose

observation

experiment

hypothesischeck do

plan

measure act

compare

feel? do?

know?

through conversations w

ith experience + valuesdraw

ing on a repertoire of fram

es + metaphors

to understandwhat people wanthow culture is evolving

to integrateby seeing patternsby building consensus

boundaries + issues

characters + stories

maps + models

outli

nes

+ pr

otot

ypes

thum

bnai

ls +

ske

tche

sm

inia

ture

s +

wire

fram

es

criteria + goals

definitions + hypotheses

insights + concepts

through conversations

with context + constituents

drawing on shared

language + experience

with at

tent

ion

actin

g with

resp

ect +

mind

fulne

ss

cont

ribut

ing pa

ssion

+ en

ergy

with op

enne

ss

liste

ning +

lear

ning

from ot

her p

eople

+ cu

lture

s

through conversations

with tools + materials

drawing on muscle memory

and “being in the flow”

to searchworking quickly + iterating

taking advantage of accidents

to envisionimagining the future and making it tangible

explaining what it might mean

the creative process

quality cycle self-regulating system scientific method clinical process design process interaction loop

Reflection begins as a conversation with oneself.

It considers experience and values.And it fram

es the situation—or selects a m

etaphor to explain it—w

hich must then be shared w

ith other people.

Observation begins as a conversation with others.

Participants who are not part of the constituents’ community must learn the culture and language.

First you’re on the outside looking in; slowly you immerse yourself; then you can step back and reflect.

Where are we? Who is here? What are they doing? (What are we doing?) W

hat’s important here? Why?

Ethnographers (and designers) have developed several frameworks to aid this conversation.

Robinson’s AEIOU framework: activity, environment, interaction, object, user

Kumar’s POEMS framework: people, objects, environments, messages, services

Rothstein’s Ax4 framework: actors, activities, artifacts, atmosphere

Making also begins as a conversation with oneself.

As it continues it in

creasingly involves others.

Generative research intersects reflecting + making.

The main task of generative research is to come up with ideas.

The goal is to build a shared understanding of the desired situation.

Exploratory research intersects observing + reflecting.

The main task of exploratory research is to “map the terrain.”

The goal is to build a shared understanding of the current situation.

At first, the current situation may be new;

as work proceeds and the process iterates,

exploratory research may also involve observing how constituents

react to newly created artifacts or “design probes.”

Eval

uativ

e re

sear

ch in

ters

ects

mak

ing

+ ob

serv

ing.

The

mai

n ta

sk o

f eva

luat

ive re

sear

ch is

to d

eter

min

e w

here

pro

toty

pes f

ail t

o liv

e up

to e

xpec

tatio

ns.

The

goal

is to

keep

the

proc

ess o

n co

urse

.

a m

odel

of

Sometimes the goal is not clear. Participants don’t always agree on how to define the problem. Such cases require a new frame, a new generative metaphor (Schön, 1990), or a new articulation of the essential question.

Agreeing on goals may require iteration—may involvea feedback loop. Several levels of loops may be nested:a listing of assumptions and a first approximation of a solutiona primary process for refining the solutiona process for agreeing on the goal of the primary processa process for improving the process of agreeing on the goal

This “boot-strapping” process (Engelbart, 1962) is a sign of learning systems and organizations (Argyis + Schön, 1978).

The creative process is not just iterative; it’s also recursive.It plays out “in the large” and “in the small”—in defining the broadest goals and concepts and refining the smallest details.It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggestsa procedure that “calls” or includes itself. Many engineers define the design process as a recursive function:discover define design develop deploy

The creative process involves many conversations—about goals and actions to achieve them—conversations with co-creators and colleagues, conversations with oneself. The participants and their language, experience, and valuesaffect the conversations.

Conversations about wicked problems especially benefit from—and may require—a variety of views. Some of these viewsform a habit of engaging (or observing, reflecting, and making)often called “design thinking.” It might be thought of moreaccurately as a set of lenses on design conversations or creative conversations. These lenses provide perspective beyond the immediate focus of the conversation or process:attentionopenness

The quality of the conversations is largely responsible forthe outcome of the process. The quality of the resulting product reflects the quality of the creative process—and the curiosityand determination of the participants.

understandingintegration

--

searchingenvisioning

----

--

The creative process is classically described (Wallas, 1926) aspreparation incubation illumination verification

Businesses often describe the process as research development execution

These models suggest a tidy, linear structurebeginning middle end

Simple sequences sound manageable, even predictable.They promise tasks we can schedule and budget. That makesthem appealing to people who run organizations and worry about minimizing uncertainty and risk. But the creative process resists planning; it’s not a recipe, script, or formula. (How could it be?) In practice, the process is messy, iterative, and recursive.

Framed as a sequence, it’s a plan for achieving a goalready aim fire

Yet a first shot doesn’t always hit the target. Achieving a goal may require a few tries; it may require iteration. Iteration is a looping process, using feedback from earlier attempts toconverge on a goal. Iteration enables participants to calibrate, correct mistakes, build on accidents, add and remove detail, and improve skills through practice.

The creative process is less like a line and more like a loop: observe reflect make observe reflect make . . .

The process need not begin with observing; it may beginwith any step. Boundaries between the steps are not rigid.Each activity continues throughout the process, e.g.,making also involves reflecting and observing.observe reflect make observe reflect makeobserve reflect make observe reflect makeobserve reflect make observe reflect make

If the goal is clear—if we have agreed on how we define aproblem, as in a math problem—then solutions may be implied.And we know when to stop. If the goal is less clear, deciding when to stop requires judgment.

But some problems are “wicked” (Rittel, 1969). Their definition depends on point of view; participants can always broadenor deepen their understanding and improve their solutions. For such problems, starting and stopping are arbitrary and external to the process. It ends only when we “run out of time, money, or patience” (energy, will, or gumption).

exploratoryresearch

eval

uativ

ere

sear

ch

generative

research

Once an idea has been hatched and refined,it must still make its way into the world.Communicating the idea to othersand building consensus for adoption are part of the innovation processbut may lie outside the core creative process.

Passing on responsibility to others—leaving a legacy—is the final step in the larger process.

Some steps essential to the creative process lie outside its core.

Accepting responsibility for the task and preparing tend to be one-time, upfront tasks.

In the middle, the process as sequence may take a detour and iterate in a loop.

Many creative people have saidthat their best ideas came (illumination)after putting aside a problem and letting it incubate.

--

observe

make

reflect

the nature of the creative process and design thinking. ACAD isa leading centre for education and research, and a catalyst for creative inquiry and cultural development.

Please send comments about this model to icp@acad.ca.

Dubberly Design Office prepared this concept map as a projectof the Institute for the Creative Process at the Alberta College of Art+Design. The Institute exists to focus and organize activities, enterprises, and initiatives of ACAD with regard to the cultivationof dialogue, research, and special projects that directly address

Design and writing by Hugh Dubberly and Shelley Evenson Research by ACAD faculty Vera Gartley, Wayne Giles, Walter May, and Justin WaddellCreative direction by Jack Chung, Robin Bahr, and Paul Pangaro

Copyright © 2009Printed in Canada

The creative process is startlingly similar to the quality cycle (Shewart, 1939), popularized in business circles by the quality management movement (Deming, 1982).

The creative process plays an important role in the arts, design, science, and the professions (medicine, engineering, law, and business). It has many analogues and synonyms.

Like a self-regulating system, the creative process is a classic feedback loop. Measure an essential variable;compare it to a goal; and act to eliminate any difference.

Forming a hypothesis is a special type of creative act. Framing the creative process as “experimenting” showsthe close tie it has with the domain of science.

When physicians meet patients, they begin by taking a history and examining the patient; tests may be indicated, which contribute to a diagnosis, which indicates therapy.

The design process viewed as “problem solving” (Jones, 1976), problem seeking” (Peña, 1987) or “turning existing situations into preferred” (Simon, 1969) is a variation on the creative process.

“Interaction (with computers or the wider world) answers three questions: What do you sense? (feel?) How do you learn + plan? (know?) How do you change things? (do?) (Verplank, 2000).

Dubberly Design Office2501 Harrison Street, #7San Francisco, CA 94110415 648 9799

Institute for the Creative Processat the Alberta College of Art+Design1407-14 Ave NWCalgary, AB CanadaT2N 4R3403 284 7670

implem

ent

iterateillum

inateincubate

prepare

analyze

evaluate

synthesize

examine

treat

diagnose

observation

experiment

hypothesis

check do

plan

measure act

compare

feel? do?

know?

through conversations w

ith experience + valuesdraw

ing on a repertoire of fram

es + metaphors

to understandwhat people wanthow culture is evolving

to integrateby seeing patternsby building consensus

boundaries + issues

characters + stories

maps + models

outli

nes

+ pr

otot

ypes

thum

bnai

ls +

ske

tche

sm

inia

ture

s +

wire

fram

es

criteria + goals

definitions + hypotheses

insights + concepts

through conversations

with context + constituents

drawing on shared

language + experience

with at

tent

ion

actin

g with

resp

ect +

mind

fulne

ss

cont

ribut

ing pa

ssion

+ en

ergy

with op

enne

ss

liste

ning +

lear

ning

from ot

her p

eople

+ cu

lture

s

through conversations

with tools + materials

drawing on muscle memory

and “being in the flow”

to searchworking quickly + iterating

taking advantage of accidents

to envisionimagining the future and making it tangible

explaining what it might mean

the creative process

quality cycle self-regulating system scientific method clinical process design process interaction loop

Reflection begins as a conversation with oneself.

It considers experience and values.And it fram

es the situation—or selects a m

etaphor to explain it—w

hich must then be shared w

ith other people.

Observation begins as a conversation with others.

Participants who are not part of the constituents’ community must learn the culture and language.

First you’re on the outside looking in; slowly you immerse yourself; then you can step back and reflect.

Where are we? Who is here? What are they doing? (What are we doing?) W

hat’s important here? Why?

Ethnographers (and designers) have developed several frameworks to aid this conversation.

Robinson’s AEIOU framework: activity, environment, interaction, object, user

Kumar’s POEMS framework: people, objects, environments, messages, services

Rothstein’s Ax4 framework: actors, activities, artifacts, atmosphere

Making also begins as a conversation with oneself.

As it continues it in

creasingly involves others.

Generative research intersects reflecting + making.

The main task of generative research is to come up with ideas.

The goal is to build a shared understanding of the desired situation.

Exploratory research intersects observing + reflecting.

The main task of exploratory research is to “map the terrain.”

The goal is to build a shared understanding of the current situation.

At first, the current situation may be new;

as work proceeds and the process iterates,

exploratory research may also involve observing how constituents

react to newly created artifacts or “design probes.”

Eval

uativ

e re

sear

ch in

ters

ects

mak

ing

+ ob

serv

ing.

The

mai

n ta

sk o

f eva

luat

ive re

sear

ch is

to d

eter

min

e w

here

pro

toty

pes f

ail t

o liv

e up

to e

xpec

tatio

ns.

The

goal

is to

keep

the

proc

ess o

n co

urse

.

a m

odel

of

Sometimes the goal is not clear. Participants don’t always agree on how to define the problem. Such cases require a new frame, a new generative metaphor (Schön, 1990), or a new articulation of the essential question.

Agreeing on goals may require iteration—may involvea feedback loop. Several levels of loops may be nested:a listing of assumptions and a first approximation of a solutiona primary process for refining the solutiona process for agreeing on the goal of the primary processa process for improving the process of agreeing on the goal

This “boot-strapping” process (Engelbart, 1962) is a sign of learning systems and organizations (Argyis + Schön, 1978).

The creative process is not just iterative; it’s also recursive.It plays out “in the large” and “in the small”—in defining the broadest goals and concepts and refining the smallest details.It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggestsa procedure that “calls” or includes itself. Many engineers define the design process as a recursive function:discover define design develop deploy

The creative process involves many conversations—about goals and actions to achieve them—conversations with co-creators and colleagues, conversations with oneself. The participants and their language, experience, and valuesaffect the conversations.

Conversations about wicked problems especially benefit from—and may require—a variety of views. Some of these viewsform a habit of engaging (or observing, reflecting, and making)often called “design thinking.” It might be thought of moreaccurately as a set of lenses on design conversations or creative conversations. These lenses provide perspective beyond the immediate focus of the conversation or process:attentionopenness

The quality of the conversations is largely responsible forthe outcome of the process. The quality of the resulting product reflects the quality of the creative process—and the curiosityand determination of the participants.

understandingintegration

--

searchingenvisioning

----

--

The creative process is classically described (Wallas, 1926) aspreparation incubation illumination verification

Businesses often describe the process as research development execution

These models suggest a tidy, linear structurebeginning middle end

Simple sequences sound manageable, even predictable.They promise tasks we can schedule and budget. That makesthem appealing to people who run organizations and worry about minimizing uncertainty and risk. But the creative process resists planning; it’s not a recipe, script, or formula. (How could it be?) In practice, the process is messy, iterative, and recursive.

Framed as a sequence, it’s a plan for achieving a goalready aim fire

Yet a first shot doesn’t always hit the target. Achieving a goal may require a few tries; it may require iteration. Iteration is a looping process, using feedback from earlier attempts toconverge on a goal. Iteration enables participants to calibrate, correct mistakes, build on accidents, add and remove detail, and improve skills through practice.

The creative process is less like a line and more like a loop: observe reflect make observe reflect make . . .

The process need not begin with observing; it may beginwith any step. Boundaries between the steps are not rigid.Each activity continues throughout the process, e.g.,making also involves reflecting and observing.observe reflect make observe reflect makeobserve reflect make observe reflect makeobserve reflect make observe reflect make

If the goal is clear—if we have agreed on how we define aproblem, as in a math problem—then solutions may be implied.And we know when to stop. If the goal is less clear, deciding when to stop requires judgment.

But some problems are “wicked” (Rittel, 1969). Their definition depends on point of view; participants can always broadenor deepen their understanding and improve their solutions. For such problems, starting and stopping are arbitrary and external to the process. It ends only when we “run out of time, money, or patience” (energy, will, or gumption).

exploratoryresearch

eval

uativ

ere

sear

ch

generative

research

Once an idea has been hatched and refined,it must still make its way into the world.Communicating the idea to othersand building consensus for adoption are part of the innovation processbut may lie outside the core creative process.

Passing on responsibility to others—leaving a legacy—is the final step in the larger process.

Some steps essential to the creative process lie outside its core.

Accepting responsibility for the task and preparing tend to be one-time, upfront tasks.

In the middle, the process as sequence may take a detour and iterate in a loop.

Many creative people have saidthat their best ideas came (illumination)after putting aside a problem and letting it incubate.

--

observe

make

reflect

the nature of the creative process and design thinking. ACAD isa leading centre for education and research, and a catalyst for creative inquiry and cultural development.

Please send comments about this model to icp@acad.ca.

Dubberly Design Office prepared this concept map as a projectof the Institute for the Creative Process at the Alberta College of Art+Design. The Institute exists to focus and organize activities, enterprises, and initiatives of ACAD with regard to the cultivationof dialogue, research, and special projects that directly address

Design and writing by Hugh Dubberly and Shelley Evenson Research by ACAD faculty Vera Gartley, Wayne Giles, Walter May, and Justin WaddellCreative direction by Jack Chung, Robin Bahr, and Paul Pangaro

Copyright © 2009Printed in Canada

The creative process is startlingly similar to the quality cycle (Shewart, 1939), popularized in business circles by the quality management movement (Deming, 1982).

The creative process plays an important role in the arts, design, science, and the professions (medicine, engineering, law, and business). It has many analogues and synonyms.

Like a self-regulating system, the creative process is a classic feedback loop. Measure an essential variable;compare it to a goal; and act to eliminate any difference.

Forming a hypothesis is a special type of creative act. Framing the creative process as “experimenting” showsthe close tie it has with the domain of science.

When physicians meet patients, they begin by taking a history and examining the patient; tests may be indicated, which contribute to a diagnosis, which indicates therapy.

The design process viewed as “problem solving” (Jones, 1976), problem seeking” (Peña, 1987) or “turning existing situations into preferred” (Simon, 1969) is a variation on the creative process.

“Interaction (with computers or the wider world) answers three questions: What do you sense? (feel?) How do you learn + plan? (know?) How do you change things? (do?) (Verplank, 2000).

Dubberly Design Office2501 Harrison Street, #7San Francisco, CA 94110415 648 9799

Institute for the Creative Processat the Alberta College of Art+Design1407-14 Ave NWCalgary, AB CanadaT2N 4R3403 284 7670

implem

ent

iterateillum

inateincubate

prepare

analyze

evaluate

synthesizeexamine

treat

diagnose

observation

experiment

hypothesis

check do

plan

measure act

compare

feel? do?

know?

through conversations w

ith experience + valuesdraw

ing on a repertoire of fram

es + metaphors

to understandwhat people wanthow culture is evolving

to integrateby seeing patternsby building consensus

boundaries + issues

characters + stories

maps + models

outli

nes

+ pr

otot

ypes

thum

bnai

ls +

ske

tche

sm

inia

ture

s +

wire

fram

es

criteria + goals

definitions + hypotheses

insights + concepts

through conversations

with context + constituents

drawing on shared

language + experience

with at

tent

ion

actin

g with

resp

ect +

mind

fulne

ss

cont

ribut

ing pa

ssion

+ en

ergy

with op

enne

ss

liste

ning +

lear

ning

from ot

her p

eople

+ cu

lture

s

through conversations

with tools + materials

drawing on muscle memory

and “being in the flow”

to searchworking quickly + iterating

taking advantage of accidents

to envisionimagining the future and making it tangible

explaining what it might mean

the creative process

quality cycle self-regulating system scientific method clinical process design process interaction loop

Reflection begins as a conversation with oneself.

It considers experience and values.And it fram

es the situation—or selects a m

etaphor to explain it—w

hich must then be shared w

ith other people.

Observation begins as a conversation with others.

Participants who are not part of the constituents’ community must learn the culture and language.

First you’re on the outside looking in; slowly you immerse yourself; then you can step back and reflect.

Where are we? Who is here? What are they doing? (What are we doing?) W

hat’s important here? Why?

Ethnographers (and designers) have developed several frameworks to aid this conversation.

Robinson’s AEIOU framework: activity, environment, interaction, object, user

Kumar’s POEMS framework: people, objects, environments, messages, services

Rothstein’s Ax4 framework: actors, activities, artifacts, atmosphere

Making also begins as a conversation with oneself.

As it continues it in

creasingly involves others.

Generative research intersects reflecting + making.

The main task of generative research is to come up with ideas.

The goal is to build a shared understanding of the desired situation.

Exploratory research intersects observing + reflecting.

The main task of exploratory research is to “map the terrain.”

The goal is to build a shared understanding of the current situation.

At first, the current situation may be new;

as work proceeds and the process iterates,

exploratory research may also involve observing how constituents

react to newly created artifacts or “design probes.”

Eval

uativ

e re

sear

ch in

ters

ects

mak

ing

+ ob

serv

ing.

The

mai

n ta

sk o

f eva

luat

ive re

sear

ch is

to d

eter

min

e w

here

pro

toty

pes f

ail t

o liv

e up

to e

xpec

tatio

ns.

The

goal

is to

keep

the

proc

ess o

n co

urse

.

a m

odel

of

Sometimes the goal is not clear. Participants don’t always agree on how to define the problem. Such cases require a new frame, a new generative metaphor (Schön, 1990), or a new articulation of the essential question.

Agreeing on goals may require iteration—may involvea feedback loop. Several levels of loops may be nested:a listing of assumptions and a first approximation of a solutiona primary process for refining the solutiona process for agreeing on the goal of the primary processa process for improving the process of agreeing on the goal

This “boot-strapping” process (Engelbart, 1962) is a sign of learning systems and organizations (Argyis + Schön, 1978).

The creative process is not just iterative; it’s also recursive.It plays out “in the large” and “in the small”—in defining the broadest goals and concepts and refining the smallest details.It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggestsa procedure that “calls” or includes itself. Many engineers define the design process as a recursive function:discover define design develop deploy

The creative process involves many conversations—about goals and actions to achieve them—conversations with co-creators and colleagues, conversations with oneself. The participants and their language, experience, and valuesaffect the conversations.

Conversations about wicked problems especially benefit from—and may require—a variety of views. Some of these viewsform a habit of engaging (or observing, reflecting, and making)often called “design thinking.” It might be thought of moreaccurately as a set of lenses on design conversations or creative conversations. These lenses provide perspective beyond the immediate focus of the conversation or process:attentionopenness

The quality of the conversations is largely responsible forthe outcome of the process. The quality of the resulting product reflects the quality of the creative process—and the curiosityand determination of the participants.

understandingintegration

--

searchingenvisioning

----

--

The creative process is classically described (Wallas, 1926) aspreparation incubation illumination verification

Businesses often describe the process as research development execution

These models suggest a tidy, linear structurebeginning middle end

Simple sequences sound manageable, even predictable.They promise tasks we can schedule and budget. That makesthem appealing to people who run organizations and worry about minimizing uncertainty and risk. But the creative process resists planning; it’s not a recipe, script, or formula. (How could it be?) In practice, the process is messy, iterative, and recursive.

Framed as a sequence, it’s a plan for achieving a goalready aim fire

Yet a first shot doesn’t always hit the target. Achieving a goal may require a few tries; it may require iteration. Iteration is a looping process, using feedback from earlier attempts toconverge on a goal. Iteration enables participants to calibrate, correct mistakes, build on accidents, add and remove detail, and improve skills through practice.

The creative process is less like a line and more like a loop: observe reflect make observe reflect make . . .

The process need not begin with observing; it may beginwith any step. Boundaries between the steps are not rigid.Each activity continues throughout the process, e.g.,making also involves reflecting and observing.observe reflect make observe reflect makeobserve reflect make observe reflect makeobserve reflect make observe reflect make

If the goal is clear—if we have agreed on how we define aproblem, as in a math problem—then solutions may be implied.And we know when to stop. If the goal is less clear, deciding when to stop requires judgment.

But some problems are “wicked” (Rittel, 1969). Their definition depends on point of view; participants can always broadenor deepen their understanding and improve their solutions. For such problems, starting and stopping are arbitrary and external to the process. It ends only when we “run out of time, money, or patience” (energy, will, or gumption).

exploratoryresearch

eval

uativ

ere

sear

ch

generative

research

Once an idea has been hatched and refined,it must still make its way into the world.Communicating the idea to othersand building consensus for adoption are part of the innovation processbut may lie outside the core creative process.

Passing on responsibility to others—leaving a legacy—is the final step in the larger process.

Some steps essential to the creative process lie outside its core.

Accepting responsibility for the task and preparing tend to be one-time, upfront tasks.

In the middle, the process as sequence may take a detour and iterate in a loop.

Many creative people have saidthat their best ideas came (illumination)after putting aside a problem and letting it incubate.

--

observe

make

reflect

the nature of the creative process and design thinking. ACAD isa leading centre for education and research, and a catalyst for creative inquiry and cultural development.

Please send comments about this model to icp@acad.ca.

Dubberly Design Office prepared this concept map as a projectof the Institute for the Creative Process at the Alberta College of Art+Design. The Institute exists to focus and organize activities, enterprises, and initiatives of ACAD with regard to the cultivationof dialogue, research, and special projects that directly address

Design and writing by Hugh Dubberly and Shelley Evenson Research by ACAD faculty Vera Gartley, Wayne Giles, Walter May, and Justin WaddellCreative direction by Jack Chung, Robin Bahr, and Paul Pangaro

Copyright © 2009Printed in Canada

The creative process is startlingly similar to the quality cycle (Shewart, 1939), popularized in business circles by the quality management movement (Deming, 1982).

The creative process plays an important role in the arts, design, science, and the professions (medicine, engineering, law, and business). It has many analogues and synonyms.

Like a self-regulating system, the creative process is a classic feedback loop. Measure an essential variable;compare it to a goal; and act to eliminate any difference.

Forming a hypothesis is a special type of creative act. Framing the creative process as “experimenting” showsthe close tie it has with the domain of science.

When physicians meet patients, they begin by taking a history and examining the patient; tests may be indicated, which contribute to a diagnosis, which indicates therapy.

The design process viewed as “problem solving” (Jones, 1976), problem seeking” (Peña, 1987) or “turning existing situations into preferred” (Simon, 1969) is a variation on the creative process.

“Interaction (with computers or the wider world) answers three questions: What do you sense? (feel?) How do you learn + plan? (know?) How do you change things? (do?) (Verplank, 2000).

Dubberly Design Office2501 Harrison Street, #7San Francisco, CA 94110415 648 9799

Institute for the Creative Processat the Alberta College of Art+Design1407-14 Ave NWCalgary, AB CanadaT2N 4R3403 284 7670

implem

ent

iterateillum

inateincubate

prepare

analyze

evaluate

synthesize

examine

treat

diagnose

observation

experiment

hypothesis

check do

planmeasure act

compare

feel? do?

know?

through conversations w

ith experience + valuesdraw

ing on a repertoire of fram

es + metaphors

to understandwhat people wanthow culture is evolving

to integrateby seeing patternsby building consensus

boundaries + issues

characters + stories

maps + models

outli

nes

+ pr

otot

ypes

thum

bnai

ls +

ske

tche

sm

inia

ture

s +

wire

fram

es

criteria + goals

definitions + hypotheses

insights + concepts

through conversations

with context + constituents

drawing on shared

language + experience

with at

tent

ion

actin

g with

resp

ect +

mind

fulne

ss

cont

ribut

ing pa

ssion

+ en

ergy

with op

enne

ss

liste

ning +

lear

ning

from ot

her p

eople

+ cu

lture

s

through conversations

with tools + materials

drawing on muscle memory

and “being in the flow”

to searchworking quickly + iterating

taking advantage of accidents

to envisionimagining the future and making it tangible

explaining what it might mean

the creative process

quality cycle self-regulating system scientific method clinical process design process interaction loop

Reflection begins as a conversation with oneself.

It considers experience and values.And it fram

es the situation—or selects a m

etaphor to explain it—w

hich must then be shared w

ith other people.

Observation begins as a conversation with others.

Participants who are not part of the constituents’ community must learn the culture and language.

First you’re on the outside looking in; slowly you immerse yourself; then you can step back and reflect.

Where are we? Who is here? What are they doing? (What are we doing?) W

hat’s important here? Why?

Ethnographers (and designers) have developed several frameworks to aid this conversation.

Robinson’s AEIOU framework: activity, environment, interaction, object, user

Kumar’s POEMS framework: people, objects, environments, messages, services

Rothstein’s Ax4 framework: actors, activities, artifacts, atmosphere

Making also begins as a conversation with oneself.

As it continues it in

creasingly involves others.

Generative research intersects reflecting + making.

The main task of generative research is to come up with ideas.

The goal is to build a shared understanding of the desired situation.

Exploratory research intersects observing + reflecting.

The main task of exploratory research is to “map the terrain.”

The goal is to build a shared understanding of the current situation.

At first, the current situation may be new;

as work proceeds and the process iterates,

exploratory research may also involve observing how constituents

react to newly created artifacts or “design probes.”

Eval

uativ

e re

sear

ch in

ters

ects

mak

ing

+ ob

serv

ing.

The

mai

n ta

sk o

f eva

luat

ive re

sear

ch is

to d

eter

min

e w

here

pro

toty

pes f

ail t

o liv

e up

to e

xpec

tatio

ns.

The

goal

is to

keep

the

proc

ess o

n co

urse

.

a m

odel

of

Sometimes the goal is not clear. Participants don’t always agree on how to define the problem. Such cases require a new frame, a new generative metaphor (Schön, 1990), or a new articulation of the essential question.

Agreeing on goals may require iteration—may involvea feedback loop. Several levels of loops may be nested:a listing of assumptions and a first approximation of a solutiona primary process for refining the solutiona process for agreeing on the goal of the primary processa process for improving the process of agreeing on the goal

This “boot-strapping” process (Engelbart, 1962) is a sign of learning systems and organizations (Argyis + Schön, 1978).

The creative process is not just iterative; it’s also recursive.It plays out “in the large” and “in the small”—in defining the broadest goals and concepts and refining the smallest details.It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggestsa procedure that “calls” or includes itself. Many engineers define the design process as a recursive function:discover define design develop deploy

The creative process involves many conversations—about goals and actions to achieve them—conversations with co-creators and colleagues, conversations with oneself. The participants and their language, experience, and valuesaffect the conversations.

Conversations about wicked problems especially benefit from—and may require—a variety of views. Some of these viewsform a habit of engaging (or observing, reflecting, and making)often called “design thinking.” It might be thought of moreaccurately as a set of lenses on design conversations or creative conversations. These lenses provide perspective beyond the immediate focus of the conversation or process:attentionopenness

The quality of the conversations is largely responsible forthe outcome of the process. The quality of the resulting product reflects the quality of the creative process—and the curiosityand determination of the participants.

understandingintegration

--

searchingenvisioning

----

--

The creative process is classically described (Wallas, 1926) aspreparation incubation illumination verification

Businesses often describe the process as research development execution

These models suggest a tidy, linear structurebeginning middle end

Simple sequences sound manageable, even predictable.They promise tasks we can schedule and budget. That makesthem appealing to people who run organizations and worry about minimizing uncertainty and risk. But the creative process resists planning; it’s not a recipe, script, or formula. (How could it be?) In practice, the process is messy, iterative, and recursive.

Framed as a sequence, it’s a plan for achieving a goalready aim fire

Yet a first shot doesn’t always hit the target. Achieving a goal may require a few tries; it may require iteration. Iteration is a looping process, using feedback from earlier attempts toconverge on a goal. Iteration enables participants to calibrate, correct mistakes, build on accidents, add and remove detail, and improve skills through practice.

The creative process is less like a line and more like a loop: observe reflect make observe reflect make . . .

The process need not begin with observing; it may beginwith any step. Boundaries between the steps are not rigid.Each activity continues throughout the process, e.g.,making also involves reflecting and observing.observe reflect make observe reflect makeobserve reflect make observe reflect makeobserve reflect make observe reflect make

If the goal is clear—if we have agreed on how we define aproblem, as in a math problem—then solutions may be implied.And we know when to stop. If the goal is less clear, deciding when to stop requires judgment.

But some problems are “wicked” (Rittel, 1969). Their definition depends on point of view; participants can always broadenor deepen their understanding and improve their solutions. For such problems, starting and stopping are arbitrary and external to the process. It ends only when we “run out of time, money, or patience” (energy, will, or gumption).

exploratoryresearch

eval

uativ

ere

sear

chgenerative

research

Once an idea has been hatched and refined,it must still make its way into the world.Communicating the idea to othersand building consensus for adoption are part of the innovation processbut may lie outside the core creative process.

Passing on responsibility to others—leaving a legacy—is the final step in the larger process.

Some steps essential to the creative process lie outside its core.

Accepting responsibility for the task and preparing tend to be one-time, upfront tasks.

In the middle, the process as sequence may take a detour and iterate in a loop.

Many creative people have saidthat their best ideas came (illumination)after putting aside a problem and letting it incubate.

--

observe

make

reflect

Designers make...

symbolic and visual communication

material objects

activities and organized services

24

Luxottica

Reboot

Starbucks

complex systems or environments for living, working, playing, and learning

Chicago

St. Louis

Design 4.0Social

TransformationDesign

Design 3.0Organizational

TransformationDesign

Design 2.0Product/Service

Design

Design 1.0Traditional

Design

Design 1.0Traditional

Design

Conceiver 2-D

Artifact Strategy

Maker

Focus on DifferencingCommunicationsWebsitesAdvertisingBrands/IdentitiesLiterature

Conceiver 2-D

3-D

Artifact Strategy

Maker

Design 2.0Product/Service

Design

Design 1.0Traditional

Design

Focus on DifferencingUserExperiencesServiceDesignProductDesignInformationanddecisions

Design 3.0Organizational

TransformationDesign

Conceiver

Artifact Strategy

Maker

Design 2.0Product/Service

Design

Design 1.0Traditional

Design

Focus on ChangeOrganizationprocessBusinessSystemDesignParticipatoryLeadershipCross-functionalTeamsBusinessInnovation

Design 4.0Social

TransformationDesign

Design 3.0Organizational

TransformationDesign

Conceiver

Artifact Strategy

Maker

Design 2.0Product/Service

Design

Design 1.0Traditional

Design

Focus on ChangeHealthPolicySocialInnovationMulti-stakeholderNetworksParticipatoryActionResearch

Design 4.0Social

TransformationDesign

Design 3.0Organizational

TransformationDesign

Design 2.0Product/Service

Design

Design 1.0Traditional

Design

Focus on DifferencingCommunicationsWebsitesAdvertisingBrands/IdentitiesLiterature

Focus on DifferencingUserExperiencesServiceDesignProductDesignInformationanddecisions

Focus on ChangeOrganizationprocessBusinessSystemDesignParticipatoryLeadershipCross-functionalTeamsBusinessInnovation

Focus on ChangeHealthPolicySocialInnovationMulti-stakeholderNetworksParticipatoryActionResearch

Business(Viability)

People(Desirability)

Technology(Feasibility)

Business(Viability)

People(Desirability)

Technology(Feasibility)

Design Innovation

Business(Viability)

ManufacturingTechnologyProcessSupplyChainManagingRapidPrototyping

BusinessAccountingFinanceMarketingOperationsInformationTechnologyEntrepreneurshipStrategy

OrganizationalBehaviorManagement&TeamsHumanResourcesOrganizationalDynamicsNegotiations

HumanValuesPsychologyAnthropologySociologyEthnographyNeed-Finding

Design&InteractivityHumanComputerInteractionsVisualThinkingDesignforSustainabilityAesthetics&Form

TechnologyEngineeringAnalysisStatics&DynamicsElectronics&MechatronicsProgrammingMethodologyBioengineeringMaterialsThermodynamics

People(Desirability)

Technology(Feasibility)

Design Innovation

Business(Viability)

People(Desirability)

Technology(Feasibility)

Design Thinking InnovationMindsetMultidisciplinaryCollaborativeIntegrativeIterativeVisual

Tangible

BooksBuildingsProductsFilms

ServicesExperiencesKnowledgeProcess

Intangible

“It’s no longer enough simply to outperform the competition; to thrive in a world of ceaseless and rapid change, business people have to out-imagine the competition as well. They must begin to think-to become-more like designers.”

—RogerMartin,DeanoftheRotmanSchoolofManagement

“Design thinking is a human centered approach to innovation.”

—TimBrown

Empathize Define Ideate Prototype Test

Human Centered Design

Empathize Define Ideate Prototype Test

Human Centered Design

Analogous Observe Engage Watch Listen

Journey Maps Personas Working Wall Service Blueprint

Build to Think Video Scenario Model Body Storming

Launch to Learn Show it Watch Engage Listen

Storyboarding Bull’s-eye Map Visualize Affinity Clustering

The Basics

DotLineShapeDirectionToneColorTextureScaleDimensionMovement

Figure/GroundPatternLayersTransparencyFramingBalanceRepresentationAbstractionSymbolGridRhythmBalance

Contrast

InstabilityAsymmetryIrregularityComplexityFragmentationSpontaneityActivenessVariationDistortionDepthJuxtapositionRandomnessSharpness

Harmony

BalanceSymmetryRegularitySimplicityUnityPredictabilityStasisConsistencyAccuracyFlatnessSingularitySequentialityDiffusion

Empathize

Door To DoctorImproving Outpatient Transportation

50 51

Door to Doctor was created by Elizabeth Korb, Chloe Kramer, and Zev Powell for Interaction Workshops at Washington University in St. Louis in Fall 2013. Fieldwork and interviews were in collaboration with Barnes Jewish Christian.

This book was written and designed by Elizabeth Korb and Chloe Kramer. It was printed using Vista Slab, Helvetica Neue, Archer, and Avenir font families. Printed on 28 pound Hammermill paper.

Cover photo by Rick Davis Photography. Inside front cover image shows our final presentation with Doug Powell to BJC, taken by Alexis Turim. Process photography by Elizabeth Korb.

Empathize

Derek PowersER Social Worker

Those who come up with a good story and don’t have a support system may be provided with transport. “If you’re 87, alone at 10pm, we’re not gonna sick you out in the cold.”

Regarding patients trying to get rides, he looks for “an obvious deficit,” such as age, MR, learning disabilities, clothing, lack of support system, etc. “If you’re young, you have an iphone, or your shoes are better than mine - good luck.”

Marquetta, ER Patientwith daughter Ciara, age 5

She took the same 3 buses to get to BJH as she does to get to work every day. It takes 2 hours each way.

“Everybody I know uses the bus.”

She does not know own a car or know how to drive. The only time she’s driven was the one time she went to Six Flags in high school and drove a go-kart. “It was too scary for me,” she said, laughing.

She knows she needs to get a car because she has 3 kids. She has no “dream car;” she just need

“something to get me around.”

ER Nurse

“We give out too many rides. All these patients want free rides out of state - but these are all the same people with two packets of cigarettes in their pockets. I ask them why they can’t pay for a ride home but they can pay for that.”

Certified Nursing Assistant, Waiting for employer in ER

She’s been there four hours waiting. Has seen a lot of people come in by ambulance today–always by themselves.

They come specifically to BJH because their local hospital in Illinois

“treats him like baggage.”

She has to frequently make this drive to BJH, which is full of traffic and 1.5 hours each way.

In response to the question what would he do without her, she said,

“I don’t know.”

We conducted a series of on-site interviews with the help of BJC and Barnes-Jewish and Christian hospitals. Talking with patients, caretakers, staff and social workers allowed us to see multiple points of view on outpatient transportation.

“It feels like 75% of my job is dealing with our patients’ transportation issues.” -ER Social Worker

8

Interviews

9

10 11

Research Methods

After our initial BJC interviews, our eyes were opened. We realized we needed to delve deeper into the issue by conducting a series of phone interviews with non-profits as well as extensive online research surrounding public transport.

To process and compile this information, we created two Post-it maps. One contained all the salient

Our palette is bright and friendly, offering a balance of saturated and neutral colors.This allows our mark to jump out on the screen, separating from other apps. The colors carry with them suggestions of health, technology, and traffic signals.

insights about public transport, and the other mapped user experience.

Combining our two maps allowed us to view the patient’s journey and emotional state over time–all in one place. We included all salient quotes gathered not only from patients, but from caretakers and social workers interviewed by both our group and the class.

This process allowed us to make connections, empathize with all user groups, and find existing successes.After digitizing the map, we were able to clearly identify our top three insights.

Present Experience MapDefine

28 29

LindaPatient

ElyseStudent

BeccaSocial Worker

Linda is 72 years old.

She has type one diabetes.

Her Type 1 diabetes has worsened, causing her kidneys to fail. She now needs frequent dialysis.

She is afraid of using public transportation because she had a bad experience witnessing a robbery on the metro

She has used Call-A-Ride, but it is too unreliable for her.

She has decided to opt in to Door to Doctor.

Elyse is 21 years old.

She is starting her senior year at Washington University in St. Louis.

She is a Psych major and is also pre-med.

Her interest in Door to Doctor stemmed from her desire to improve the health care system.

Becca is 35 years old.

She doesn’t get to use her real professional expertise because she is stuck being a travel agent for her patients.

She is frustrated with cab companies that will keep her on hold during her busy day.

She is apprehensive when her patients don’t show up to their appointments and is looking for a reliable travel system that they feel comfortable with.

Personas

Based off of our earlier interviews we realized the patient demographic has limited online and smartphone access. We wanted to take this into consideration and create an app that would benefit the patient without giving them the burden of technology.

Ideate

30 31

1. Elyse is checking out extra in the library and encounters Door to Doctor

2. After reading about outpatient transportation is she decides participate in the service.

3. She is very excited about her decisions and is looking forward to her first training session.

6. Her professor also tells them to download the Door to Doctor app so that they can put in their schedule.

7. The professor brings them to the parking lot of the university, where the vans are parked and gives them driving instructions.

8. The students learn how to drive the van.

4. It is the first day of class and Elyse is meeting different students across the university.

5. The professor teaches them how to approach patients and learn how to drive an ADA van.

9. Meet Linda, she is 72 years old and has Type 1 Diabetes and needs to get regular dialysis. Here she is talking to her doctor about her next appointment.

10. She then meets up with her social worker, Becca who will schedule the appointment for her. Becca suggests that Linda opts in Door to Doctor, a new free reliable car share run by students in the community.

11. It is October 11 and Linda’s appointment is today.

Draft StoryboardIdeate

Prototype

36 37

Door to Doctor unites community drivers and social workers for the first time. It allows them to coordinate, communicate and monitor a ride’s progress in real time – eliminating the communication limbo for social workers and allowing them to better budget their time and use their professional expertise.

App Development

28 29

SafeLink

The patient leaves the hospital and travels home.

The social worker receives a notification that the patient is home and safe.

Selected friends and family also get a notification that the patient is home.

The patient receives information about their next appointment.

At the beginning of the program, the patient has a meeting with their social worker. They discuss additional contacts, how long it normally takes for them to get home, and what they would like to happen if they can’t get into their house (call someone, order a cab, etc.).

The patient then remembers to call or text the social worker to let him/her know that they are home safely.

1

3

42

Prototype

Test

33 CONTEXTUAL RESEARCH OF LETTERPRESS CULTURE: FIELDWORK: E. VON ROHR

SurroundingsThe shop is divided into a front retail space and back shop area. In between there is some sitting are for working on projects as well as eating and meetings. The space overall is jam packed with all kinds of materials, paper, presses and many drawers. There is even a basement area filled with inks and a table saw for cutting the woodblocks that are used very often.

WOOD TABLERETAIL AREA TOOLS

WOOD CUTTING TOOLS

PRODUCTION OF ORNAMENTSMAIN PRINTING AREA WORK SURFACE

Empathize

48 CONTEXTUAL RESEARCH OF LETTERPRESS CULTURE: AFFINITY DIAGRAM: E. VON ROHR

Affinity Diagram: Details/ThinkingPROJECT PART 6: INSIGHT REPORT

Motivations

Affin

ity D

iagr

amIn

sigh

t Rep

ort

Characteristics

Evolution

SkillsEquipment

ConnectionsInfluences

Teaching to help preserveBusiness

Collectors Physical Labor

Connections

Ideate

68

“I work all week and most every weekend.

I didn’t realize jobs could take all day.“

— Proprietor

“At some point the hands on turned to really just jumping

in and figuring it out.“— Pressperson

“Some men hunt. I do letterpress.”

— Proprietor

“Before I bought my platemaker, I was spending $5K a year in plates.”

— Proprietor

“I kind of wish that someone would have said, here, I am

going to give you a year’s worth of business training.”

— Proprietor

“Printing is preservation”— Proprietor

“You have to be located in a place where there are

people who have a sense of visual acuity.”

— Pressperson

“We generate business by doing good business. Positive work generates

positive work.“— Proprietor

“Being in the community . . . people stop in . . . that has brought a lot of interest in

projects back to us.” — Proprietor

“A lot of letterpress printers shy away from

photopolymer and act like it’s the devil and it’s killing

the historical nature of letterpress, but in reality

it’s keeping it alive.”— Pressperson

“Allison was there to guide me through

everything.”— Pressperson

“To run an actual letterpress, I think,

requires persistence and a sort of perfectionist

attitude because it’s really easy to get frustrated and

give up before you hit that point where

everything is perfect.”— Pressperson

“If you’re going to start a press now,

you need to be moving the craft forward.”

— Proprietor

“I would work from 9 to 2 and go and pick up my kids and then come back after bed time and end up working from 9 to 2 again

at night.”— Proprietor

“Pulling the first print and it being straight the first time kind

of makes you feel like a rock star.”

— Proprietor

10

9

8

7

6

5

4

3

2

1

0

MOTIV

ATION>>> APPRECIATION >>>>>>

>>> DETERMINATION >>>>>>>>>>>>

>>> COMM

ITMENT >>>>>>>>>>>>>>>

>>> ENGAGEMENT >>>>>>>>>>>>

>>> EVA

NGEL

ISM

>>>

>>>>

>>>>

>

>>> PASSION >>>>>>>>>>>>>>>

LEARNING THE CRAFT

Letterpress Culture: Engendering SustainabilityIn the lifecycle of learning the craft of letterpress many people are initially motivated by appreciation for the art. Once they begin printing, a sense of initiation into the culture often accompanies the experience and moves them forward. Many decide to open a business.At this stage determination motivates a need to plan and begin operation of the business. Once in operation, commitment carries them forward as they begin to run their studio.Next, engagement with their community becomes essential if they are to experience the integration that will enable the studio to thrive long term.If a studio is successful in integrating itself into its community, some operators begin the work of evangelism of the craft as a significant contribution to preserving the art of letterpress.This is manifest as a true passion that engenders continuation of letterpress and the culture that supports it.

OPPORTUNITY: FORMALIZE

APPRENTICESHIPDevelopment of a curriculum for letterpress apprenticeship that includes both heritage and modern techniques, press mechanics

and logging time on press. Upon completion, practitioners are recognized as licensed letterpress

operators. This builds credibility and sets realistic expectations

of letterpress work.

CONTINUATION OPERATION

INITIATION

RADIAL DIAGRAM OF MOTIVATION IN RELATION TO LIFECYCLE STAGES

INTEGRATIONCONTRIBUTION

PLANNING THE BUSINESS

OPPORTUNITY: MODEL SUCCESS

Generate business model canvases for different types of letterpress businesses. Includes conducting geographic economic feasibility studies, return on investment

calculators and strategic equipment acquisition guidance that enables

letterpress operators to run successful, profitable businesses.

RUNNING THE STUDIO

OPPORTUNITY: DESIGN MORE

FUNCTIONAL SPACESConduct a comprehensive traffic analysis

of a population of letterpress shops to uncover efficiencies in studio design.

Development guidelines for necessary space and infrastructure depending on

equipment in use.

JOINING THE COMMUNITY

OPPORTUNITY: CREATE BROADER

CONNECTIONSDesign a strategic partnership program

for letterpress operators that allows them to fully integrate with their communities. Include outreach and workshops to area individuals, businesses, academic and

trade organizations to make the press a hub of local artistic activity.

PRES

ERVING THE ART

OPPORTUNITY: INCREASE LONGEVITY

VIA AWARENESS Launch a public awareness campaign that seeks to educate the general public about

the art and craft of letterpress printing. Include art tourism guides for “Letterpress Trail,” hands-on workshops and equipment

identification guides that encourage the donation of unused equipment. Pro-actively document the practices

of living letterpress artists and press mechanics.

KEY: RADIAL DIAGRAM Appreciation Determination Commitment

KEY: MOTIVATION RING>>> Appreciation motivates Learning the Craft>>> Determination motivates Planning the Business>>> Commitment motivates Running the Studio>>> Engagement motivates Joining the Community>>> Evangelism motivates Preserving the Art>>> Passion motivates Teaching the Craft

Engagement Evangelism Passion

BY: AMBER BENSON | J. SPINKS | ENRIQUE VON ROHRCOURSE: IDUS 711 METHODS OF CONTEXTUAL RESEARCHTERM: SUMMER 2013, E-LEARNING

MySci Investigation Station

MySci Investigation Station

Zone 1: Tree / Biome 1 and Biome Wall 2, 3, 4

Zone 2: Specimen Room

Canopied Exterior Area

Zone 3: Cave

Generator

Zone 3: Limestone Cave

38'-10"

3'-11"

Specimen Area 5:Bump out area to contain a wall mounted monitor, a microscopic camcorder, and full counter with specimen storage drawers below.

Fossoliferous steps.

Stalagmite and stalactites structure.

Specimen Area 3and Light box examination table

Specimen Area 4: and light box examination table

Smart board Entrance / exit #2 with ramp.

Openingsfor hand to explore inside.

Specimen Area 9: Fauna specimen area with bats, crickets and salamanders.

Section of stalactite.

Slide down to trailer floor with hand grips in stone formations.

Specimen Area 6: Specimens and materials storage for teachers’ use.

Tree stump seating

Specimen Area 2Rotating biome wall of grassland / prairie, ocean and desert. Surface of triangles to be magnetic.

Wall graphics to continue on this elevation.

Tree to be a floor to ceiling with crown spreads into dome above.

Specimen Area 1: with four pull out drawers for magnet storage

Pullout tree section.

Woodland mural area blending into 3D tree. Magnetic wall for pull off magnets.

Woodland mural area blends into night time view.

Entrance/ exit #1 with ramp

Power awning rolls into 8” x 8” casing at roof edge of vehicle exterior. Total dimension of awning to be 16’ x 8’.

Dome area for tree canopy and lighting.

8’-4

”

MySci Investigation Station

MySci Investigation Station

MySciInvestigation StationSt. Louis Science Center, 5050 Oakland AvenueSt. Louis, MO 63110

VCRSVisual Communications Research StudioWashington University in Saint Louis, School of Art721 Kingsland Avenue, St. Louis, MO 63130

Drawing Title: Issue Date:

©2006 Visual Communications Research Studio

Drawing Number:

2006

NA

Scale:

Project Number:

NA

4012

Exhibit Images

MySciInvestigation StationSt. Louis Science Center, 5050 Oakland AvenueSt. Louis, MO 63110

VCRSVisual Communications Research StudioWashington University in Saint Louis, School of Art721 Kingsland Avenue, St. Louis, MO 63130

Drawing Title: Issue Date:

©2006 Visual Communications Research Studio

Drawing Number:

2006

NA

Scale:

Project Number:

NA

4012

Exhibit Images

How might we better mass customize the inpatient experience for patients 65 and older?

Empathize

Ideate

Prototype

How might the application of design management methodologies support transformational change within the institutional health care sector?

M.A. Final Project

Health Care: A Strategy for Supporting Change

M.A. Final Project | Process Book | SCAD DMGT 784

VisualizeSynthesize

Communicate

Clarify

Evaluate

Connect

Translate

Play

Draw

Balance

Structure

Foster

Determine

Implement

Figure 1. Cover image. Exploring the relationship between design, management, and transformational change. Author’s image.

M.A. Final Project

Health Care: A Strategy for Supporting Change

M.A. Final Project | Process Book | SCAD DMGT 784

VisualizeSynthesize

Communicate

Clarify

Evaluate

Connect

Translate

Play

Draw

Balance

Structure

Foster

Determine

Implement

Figure 1. Cover image. Exploring the relationship between design, management, and transformational change. Author’s image.

M.A. Final Project

Project Framing

Change

Design

Health Care

Manage

Figure 2. Project framing section cover image. Exploration of key concepts in the project framing section. Author’s image.

36

Research Activities and Synthesis

Health CareDesigners

(MArch, ID, GD)

Health CareManagers

(MD, MBA, MHA)

TransformationalChange

Six Sigma

LeanSix Sigma

TQM

DesignThinking

Human-Centered

Design

DesignManagement

People&

Process

People&

People

People&

Buildings

Bucolo, Wrigley, & Matthews (2012)Caixeta & Fabricio (2013)

Grunden & Hagood (2012)

Lockwood (2009)IDEO (2009)

LUMA Institute (2015)Jones (2013)

Caixeta & Fabricio (2013)

Research Space

InstitutionalHealth Care

Sector

The research space was defined as the intersection of health care designers, health care managers, transformational change, and institutional health care. Figure 9 identifies relevant literature and associated concepts.

Figure 9. Research space. Identifies three areas of investigation and literature relevance. Author’s image.

Balogun & Hailey (2014)Miller (2012)Smaltz, Sambamurthy,

& Agarwal (2006)Schroeder, Linderman,

Liedtke, & Choo (2008)

Schroeder, Linderman, Liedtke, & Choo (2008)

Go Lean Six Sigma (2012)

Dubberly (2008)Parameswaran, Raijmakers (2010)

Johansson-Sköldberg, Woodilla, & Çetinkaya (2013)Stickdorn & Scneider (2012)

Martin (2009)

Berry (2004)Berry & Seltman (2008) Bohmer (2009)Christensen (2008)Jones (2013) Lamb, Zimring, Chuzi & Dutcher (2010)Watkins, Kobelja, Peavey,

Thomas, & Lyon, (2011).

Types of interactions that impact change

Outside of Research Space

Health CareInnovation

Decision Makers/

Managers

Hospital Admins

Graphic Designers

Arch & Interior

Designers

UX/IxD

Health Care

ConsumerSector

Health Care Clinical

PracticeSector

47

M.A. Final Project

Card Sort Data: Designers

Instructions provided to subjects:Step 1: Arrange words in proximity to “Me” based on how often you do that type of activity in your job. The closer to “Me” the more you do that type of activity in your job. (5 min) Step 2: On a scale of 0–10 how well do you think you support change through these activities. (5 min) There are two blank cards if there are additional things you do that you feel are important to include.

Overview

Figure 20 layers all 6 subjects’ card sort exercises on top of each other. A filter was applied to each in order to see as many of the words as possible, as well as to identify density and proximity to “Me.” In addition, the top 3 words identified in Figure 16 were layered in to help explore any related trends. To build this map, subjects were asked to place each word in proximity to “Me” based on how often they did that type of work in their jobs. In doing so, a baseline of common job activities were identified for each of the subject types.

Figure 20. Composite of 6 designers’ card sort results. The visualization layered 6 health care designers’ card sort exercises onto one image and identified the top words from Figure 16 with the corresponding color. Author’s image.

Design Process

Management Process

Transformational Change

LEGEND

46

Research Activities and Synthesis

+–Build ConnectMobilize EncourageTranslateUnderstand PlanCommunicateClarifyNegotiateDiscover Explore IterateSynthesize Implement

EvaluateConnect Recognize TranslateWeave UnderstandPlan Communicate ClarifyDevelopExploreIterate Visualize SynthesizeImplement

Health care Manager

Hea

lth

Ca

re

Ma

na

ger

Health care Designer

Hea

lth

Ca

re

Des

ign

er

Evaluate ConnectEncourageRecognize TranslateUnderstand Plan CommunicateClarifyNegotiate Explore IterateVisualize Synthesize Implement

Ave

rag

e

How well do you think you support change through these activities?

Analysis: All Data Synthesis

Encourage EvaluateRecognizeNegotiate

Overview

Figure 18 represents the top 15 words chosen by health care managers and designers and an average of the two. All data can be seen in Table 18. Lines linking the main words explore patterns between the two subject types. In addition, words without any common connections were circled in red.

Insights

The visualization strategy corroborates data in Table 18 that health care managers generally believe they support change well in their jobs as compared to the average. A couple of words in each group emerged as unique to each subject type that were not revealed in the averaged data (Figure 19): negotiate and encourage for managers compared to recognize and evaluate for designers.

Figure 18. Top 15 words for all data. This represents the top 15 words chosen by designers and health care professionals during the card sorting exercise. Author’s image.

Figure 19. Unique words from Figure 17. Words that emerged as unique for each of the subject types in relationship to the average in Figure 17. Author’s image.

Design Process

Management Process

Transformational Change

LEGEND

50

Research Activities and Synthesis

Card Sort Data: Synthesis

Understand

Plan

Play

Foster

Build

Translate

Iterate

Draw

Me

–

+

Instructions provided to subjects:Step 1: Arrange words in proximity to “Me” based on how often you do that type of activity in your job. The closer to “Me” the more you do that type of activity in your job. (5 min) Step 2: On a scale of 0–10 how well do you think you support change through these activities. (5 min) There are two blank cards if there are additional things you do that you feel are important to include.

Insights

Figure 23 illustrates subjects’ average placement of words in the card sorting exercise. The placement represented how often subjects did an activity in their jobs. Words placed closer to “Me” reflected that subjects did that activity more; conversely, words placed farther away represented less.

More subjects placed the words communicate, understand, and plan closer to the center. These 3 words were in the top 15 words that represented subjects’ ability to support change. It suggests a strong connection between ability and amount of time spent doing that activity, potentially identifying a good set of attributes to support. When looking at the second set of top 3 closest words, we see 2 unique words, translate and iterate, which are associated with design and transformation. All other words are associated with management.

More subjects placed the words budget, draw, and play farther from the center. These were also in the bottom 15 words, thus suggesting a correlation between lower ability and less amount of time spent doing these activities. However, it does present an opportunity to evaluate if these represent activities that might support change in other ways.

Figure 23. Synthesis of card sort map. Displays the 6 words most frequently placed close to “Me” and the 6 words most frequently placed farther from “Me” by subjects. Author’s image.

Design Process

Management Process

Transformational Change

LEGEND

Communicate

Budget

Structure

Clarify

How often do you do that type of activity in your job?

57

M.A. Final Project

Persona: Sally

Sally F.

Director of Activation Management

Age: 31Hight: 5’ – 6”Race: CaucasianEducation: MBA, MPH

Mobilize

Plan

EvaluateEncourage Recognize

Negotiate

SynthesizeImplement

Communicate

ConnectTranslate

“Our vision is coming into focus.”

Figure 31. Sally persona activities. An overview of the kinds of activities Sally has to do in her day-to-day job as part of her large-scale change support functions. Author’s image.

Figure 30. Sally persona. “Young nurse or female doctor” [Photograph], by P. Marcinski, n.d., Fotolia. Retrieved July 7, 2014, from: http://us.fotolia.com/id/21540802

“We need a plan for when Richard is no longer in that position. ”

“We need to make sure all users of the space are in the room, otherwise there will be no buy-in for this technology.”

“It was great to see those financial numbers and know we are all on the same page about how to proceed.”

Evaluate Determine

BudgetBalance

PlayDraw

Doing WellNeeds Improvement

Overview

Sally is a recent addition to a large health care system in the St. Louis region. She has just arrived from California where she was in the health care business managing operations for a three-hospital system. With an MBA and MPH and five years at her prior job, where she managed a team of five people, she will now manage a twenty-person team facilitating the opening of a 200-million dollar facility for pediatrics. This will require all her acumen in understanding how hospitals of the future will need to run and manage a team charged with documenting the process and ensuring all move into the new spaces.

Environment

Sally is working out of a temporary facility that is outfitted to change once the project is complete, so it has a large loft-like quality to it. While she oversees a team of twenty, there are over one hundred people in this space, all very busy on various parts of the project, so it is hard to focus at times.

Skills

Sally is a go-getter. She is direct and professional in her interactions. She always has to translate information from leadership meetings to her team members. She connects the dots and is able to implement a road map addressing a particular need. Her team appreciates her encouragement and ability to help them iterate at each step of the way.

Frustrations

Given the large scale of the new organization, it has been difficult for Sally to know how to prioritize. Her ability to balance competing opinions of the various stakeholders is hard, especially when there are strong-willed doctors that do not want to take no for an answer and are stuck in their ways. She feels she could really use some help with structuring how best to convince people her ideas will work. If she could only draw the ideas!

Attitude

Sally has a positive attitude. She believes this is a necessity in the business of caring for people. When people leave that she has invested in, she knows she just has to keep moving forward.

Typical Tasks

Sally is an implementer at heart. She has to negotiate with top leadership, encourage her team, recognize industry trends, and evaluate options. All this revolves around transforming how they will operate in a new building that is yet to be built. With the volume of paperwork on her desk after only six months on the job, she wonders how they will keep track of all the stuff once they move into the building.

Needs and Wants

Sally needs to make sure all is on track at all times. She wants to succeed in making sure transitions go well and all participants buy into the process and final solution.

Design Process

Transformational Change

Management Process

82

Prototype Development and Testing

Define

Define

Define

Table 30. Steps in the two methods selected for prototype testing.

Table 31. Prototype test group 1 and 2 results.

Empathize Ideate

TestIdeate

Measure

Measure Analyze

Test/ Analyze

Empathize(Deep Dive)

Empathize

Prototype

Prototype

Analyze Sustain/Measure

Define Improve

Improve Control

Table 30 illustrates the two methods being explored in the prototype. Two directions emerged during testing, illustrated in Figures 42–61. The two subjects for group 1 noted the need for what they referred to as a “deep dive” empathize step, which would follow directly after the first empathize step in order to arrive at a clearly-defined problem. While there were a few instances when Six Sigma or Human-Centered Design steps were sequential, overall the steps did seem to represent an equitable mix of the two methods for both groups. One unique word emerged, “sustain,” which was placed at the very end of the process.

Test group 2 included four subjects, most of whom had received HCD training. The sequence of steps for this group seemed to separate the Six Sigma and the HCD steps into two large sets. Subjects also noted that they would cycle back from the improve step to the ideate step in the process in order to refine the solution.

ImproveMeasure ControlAnalyzeSixSigma

Prototype Test Group 1 Results

Prototype Test Group 2 Results

Empathize Prototype TestIdeateHuman-Centered Design

Human–Centered Design

Same step in both methods

Step from each method

New step and step from Six Sigma

Six Sigma

LEGEND

Concept Testing Findings

79

M.A. Final Project

Figure 45. Subject explaining situations. One subject explaining specific issues to the other. Author’s image.

Figure 47. Subjects building step 2. Subjects begin to identify the steps and tools that would help solve the challenge in step 1. Author’s image.

Figure 49. Subjects building step 2 detail. Subjects debating various steps and tools as they discuss and build step 2. Author’s image.

Figure 51. Final map of steps and tools. Subjects complete the steps and match tools they associate with each step. Author’s image.

Figure 44. Subjects discussing challenge. Subjects discussing the challenge as they build the visual map. Author’s image.

Figure 46. Subjects considering steps and tools. Subjects begin to explore step 2 of prototype. Author’s image.

Figure 48. Subjects building step 2 detail. Subjects discuss and build step 2. Author’s image.

Figure 50. Subjects building step 2 detail. Subjects debate various tools to accomplish the steps. Author’s image.

86 87

Prototype Development and Testing M.A. Final Project

Validation

It provides a shared method to support knowledge creation and collaboration among institutional health care professionals.

1

It reinforces tool sets that are currently being used in the system, such as Six Sigma process improvement strategies.

3

It aids in sustaining change by creating the conditions for adoption of new initiatives by diverse stakeholders.

4

It merges existing methodologies of process improvement with external and emerging design-led approaches.

5

CommunicateSubjects were consistently engaged at each step in the process and openly discussed their activity.

TranslateSubjects were able to quickly visualize the challenge, demonstrating that they can collectively imagine a situation during a planning stage.

SynthesizeSubjects were able to connect the challenges of their persona to the steps and tools in order to agree upon a broad plan of action.

ClarifyThe act of visualizing clarified subjects’ collective understanding of the challenge and process.

PlaySubjects were consistently engaged at each step in the process and often shared playful remarks during the exercise.

DrawSubjects did not draw very much, but the visual mapping exercise appeared to have a high engagement factor.

FosterThe activity fostered open discussion and understanding among subjects through the use of large boards and visuals.

StructureThe act of creating sequential steps for addressing a challenge helped subjects imagine a structured way of solving problems.

NegotiateSubjects were able to negotiate their understanding of a challenge and balance it with other participants in the room.

The prototype concept was validated by returning to the initial research findings and linking key word insights to established design criteria. While not all research findings were applicable to the prototype, those listed in Figure 64 represent a combination of key attributes from the target personas.

MergeCare is a strategic approach for facilitating problem solving in order to create conditions for adoption and sustained change initiatives in the institutional health care sector.

Figure 64. Findings and revised design criteria. Illustration of relationship between findings to final revised design criteria. Author’s image.

Fin

din

gs

Rev

ised

Des

ign

Cri

teri

a

2It facilitates problem solving in a way that will document steps and allow stakeholders to see the process unfold.

91

M.A. Final Project

Phase 1: Evaluate

Context Empathize

Imagining the Future Experiencing the ChangePlanning the Direction

TestCulture Steps/Tools EncourageOpportunity Journey Reflect

Phase 2: Understand

Who: Primarily senior leadership and middle management.Why: In order to affect change, senior leaders need to champion prioritizing an initiative. Including middle management encourages alignment of the strategy as teams are formed and refined.

Phase 3: Implement

CIO DMCFO MHACEO

Who: Middle management, front-line staff along and senior leadership.Why: In this phase, teams work to understand a challenge and envision the path to a solution. Stakeholders at the table lend knowledge as well as overall buy-in and support.

Who: Primarily front-line staff and lead project managers.Why: At this phase the project is being implemented and various methods are being tested. Adoption of new methods and processes will be critical at this stage in the process.

MHA PMPMRA DM DMENGRN HEAD-RNHEAD-RN RN RN RNCIO

Figure 66. MergeCare strategic approach phases. Graphic representation of the three phases and associated steps. Author’s image.

Re-Evaluate

Team

Mem

ber

sKnowledge Center (website)

The phases are supported by a Knowledge Center website designed specifically for each health care organization. Websites are built as part of consulting engagements and include resources and tools for the organization to continue building their culture of change and innovation as projects develop.

110 111

Final Design to Market M.A. Final Project

19

Steps and Tools MapWhat steps and tools do you think are necessary?

StepsAre there a set of overarching steps you think are needed?

ToolsAre there tools you would use for each step/phase of the process?

The Steps/Tools Map is designed to allow participants to fully visualize each of the steps and tools that might be used throughout a change initiative. As participants build the map there may be discussion and debate about which steps or tools are appropriate. The goal of this process is to foster communication and transparency of process. Participants may have developed a greater understanding during the Empathy Map, and thus will be able to explore new steps and tools to address issues. The process is also intended to be a learning step in the gradual adoption of the Human-Centered Design method.

Map size: 48” x 24”

18

Analyze Defi ne

ImproveTest ControlEmpathize Ideate

MeasurePrototype

A Day in the Life

HOW: Catalog the activities and context that users experience throughout an entire day.

WHY: Reveal unanticipated issues inherent in the routines and circumstances people experience daily.

Fly on the Wall

HOW: Observe and record behavior within its context, without interfering with people’s activity.

WHY: Useful to see what people actually do in real context and time frames as opposed to what they say.

Value-added Flow Chart

HOW: List steps in a process from beginning to end with time for each step. Move value-added to the left and non-value-added to the right, then total.

WHY: Chart is effective at showing current state and improvements resulting from projects.

Corrective Action Matrix

HOW: Create a chart with reference number, actions, champion, target date, effectiveness, and current status.

WHY: Helps problem-solving teams keep track of who is doing what by when in order to reach full implementation.

Participants can select what they believe are the best steps for solving the challenge, and place them on the Steps and Tools Map.

Participants place the tool cards to match each step of the process.

Tools

Steps

C. Steps/Tools Map

The steps/tools portion of the understanding phase is designed to familiarize the team with the Human-Centered Design method and how it integrates into the Six Sigma method. The “steps” at right are taken from both methods. The “tools” are also taken from each method and can be matched with different steps. There are dozens of tools to accomplish each of the steps. It is the task of the group to defi ne one or two tools that might be appropriate for each specifi c step. Each tool has actions associated with it that will be explored in the journey map stage.

Phase 2: Understand

Figure 86. Phase 2 understand. Illustration of the parts included in for the steps/tools map of phase 2. Author’s image.

Figure 87. Phase 2 steps and tools map. Illustration of the steps and tools map and it components. Author’s image.

115

M.A. Final Project

23

Journey Map

Stages/Time

Pr0cess

Thinking

Feeling

Tools

Place

Products

?!

?!

Empathy Map:What is the challenge you need to solve for?

ThinkingWhat is the person thinking?

FeelingWhat is the person feeling?

ProcessWhat process is the person going through?

PlaceWhat environment is the person in?

ProductsWhat products might be involved?

?! ?!

Steps and Tools MapWhat steps and tools do you think are necessary?

StepsAre there a set of overarching steps you think are needed?

ToolsAre there tools you would use for each step/phase of the process?

AnalyzeDefi ne ImproveEmpathize

IdeateMeasure

A Day in the Life

HOW: Catalog the activities and context that users experience throughout an entire day.

WHY: Reveal unanticipated issues inherent in the routines and circumstances people experience daily.

Fly on the Wall

HOW: Observe and record behavior within its context, without interfering with people’s activity.

WHY: Useful to see what people actually do in real context and time frames as opposed to what they say.

Value-added Flow Chart

HOW: List steps in a process from beginning to end with time for each step. Move value-added to the left and non-value-added to the right, then total.

WHY: Chart is effective at showing current state and improvements resulting from projects.

Corrective Action Matrix

HOW: Create a chart with reference number, actions, champion, target date, effectiveness, and current status.

WHY: Helps problem-solving teams keep track of who is doing what by when in order to reach full implementation.

Defi neTest

Empathize

A Day in the Life

HOW: Catalog the activities

and context that users

experience throughout an

entire day.

WHY: Reveal unanticipated

issues inherent in the

routines and circumstances

people experience daily.

Fly on the Wall

HOW: Observe and record

behavior within its context,

without interfering with

people’s activity.

WHY: Useful to see what

people actually do in real

context and time frames

as opposed to what they say.

Value-added Flow Chart

HOW: List steps in a process from

beginning to end with time for

each step. Move value-added to

the left and non-value-added to the

right, then total.

WHY: Chart is effective at showing

current state and improvements

resulting from projects.

Corrective Action Matrix

HOW: Create a chart with

reference number, actions,

champion, target date,

effectiveness, and current

status.

WHY: Helps problem-solving

teams keep track of who is

doing what by when in order

to reach full implementation.

Sample arrangement of roomwith material on table and maps on wall.

Elements from the empathy map and steps/tools maps populate the journey map.

22

Sample Schedule

The following is a sample schedule to follow for a Phase 2 workshop: Understanding.

Pre-Workshop Steps Schedule Facilitator (Manager/Designers) Team Participants Supplies

1: Reserve Space 1 week prior > Manager/Designer makes sure the space is appropriate

2: Collect Materials 1 week prior > Print out Empathy Challenge, Steps/Tools and Journey Maps > Collect images > Collect tools from various sources as needed (HCD and Six Sigma)

3: Invite Team 1 week prior > Manager/Designer invites team members to join the meeting > RSVP to meeting

Workshop Steps1: Prepare Room

Schedule20 min > Manager/Designer sets out materials as described on page 9 > Empathy Map, Steps/Tools Map,

Journey Map > Images, steps, tools from various sources > Water and snacks

2: Meeting Intro 10 min > Manager/Designer explains the intent of the meeting > Listen

3: Empathy Map 30 min > Manager/Designer facilitates and participates in posting images > Post images with all team members

> Empathy Map and materials

4: Steps/Tools Map 1 hour > Manager/Designer facilitates and participates in posting images > Post steps and tools with all team members

> Steps/Tools Map and materials

5: Lunch 1 hour > Select a place to go in advance or order in > Lunch together

6. Journey Map 1 hour > Manager/Designer facilitates and participates in merging the empathy and steps/tools ideas on the Journey Map

> Combine two prior maps onto new one

> Journey Map and materials

7. Closing 30 min > Manager/Designer facilitates closing the meeting by getting participants to agree on moving into the implementation phase. If additional stakeholders need to be engaged, the process may be shared and refi ned; however, these participants are ideally part of this session.

> All agree on direction

Figure 91. Phase 2 workshop room. Illustration of the workshop room and how to set up the maps. Author’s image.

“An idea is formed in our head and comes from the heart and is crafted through our hand.”

– AIGA | the professional association for design

Thx!

ThirtyCirclesByBobMcKim

Time: 3 Minutes

Goal: Turn circles into recognizable objects, think clock faces, soccer balls, etc.Quantity, Not QualityCompare results

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