design management

Design Management University of Kansas, Department of Design ADS 750 (3 credits) Fall Semester 2014 Thursday 6:00-9:00p, Edwards (BEST245), Lawrence (CDR, West Campus)

The History and Emerging Future of Design

01

Wk 01 -

design management

COURSE SUMMARY !COURSE DESCRIPTION. Design Management has been described as "applied innovation", or the methodical capturing of talent and resources available inside and outside an organization to create or enhance value in offerings, brands, and customer experiences. !This course explores design as a practical function of business to serve customers, create new value, and address business problems and goals. Topics include basics of project management, people management, and strategy management, brand management, design for differentiation, innovation and value creation, organizational change, and customer-centered focus. Numerous cases and applications will be discussed.

design management

FORMAT Seminar, Lecture, Discussion !!GRADING CRITERIA Active class participation 60%, Mid-term exam 20%, Final term paper or team project 20% !ADVISING Before or after class by appointment (email me)

© HumanCentered 2007, All Rights Reserved! Interaction Design

Thanksgiving Break: November 26-27, 2014 !Last regular class session: December 11, 2014 !Course Final: Dec 18 !Course grades posted: Dec 29

KEY DATES

design management

TEXTS !REQUIRED: !• 1. "Fundamentals of Design Management",

Best, Ava Publishing, 2010 ($32) • 2. “The Strategic Designer: Tools & Techniques

for Managing the Design Process”, Holston, HOW Books, 2011 ($17 Paper; $12 Kindle)

!OPTIONAL • "Designing for Growth: A Design Thinking Toolkit for Managers, Liedtka, Ogilvie, Columbia Business

School Publishing, 2011 ($20 Hardcover; $13 Kindle)\ • Design Thinking: Integrating Innovation, Customer Experience, and Brand Value", Lockwood, Ed.,

Allworth Press, 2009 • “Design Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things

Mean”, Verganti, Harvard Business Press, 2009 • "Design Management", Borja De Mozota (2003) • “Design Management: Managing Design Strategy, Process and Implementation", Best, (2006) • "Subject To Change: Creating Great Products & Services for an Uncertain World", Merholz,

Schauer, Wilkins, Verba, (2007) • Reframing Business: When the Map Changes the Landscape, Richard Normann, R. J. Boland

(Editor), Fred Collopy (Editor) • "Project Management for Design Professionals", William Ramroth, Kaplan Publishing

design management

Week/ Date LECTURE & DISCUSSION Additional

readings or exercises

Wk1 Aug 28 Overview: History &

Present State of Design

READ 1. Design in context (8-37) 2. Design overview (38-67)

Wk 2 Sep 4 Design in Context

DISCUSS 1. Design in context (8-37) 2. Design overview (38-67)

COURSE SCHEDULE

TONITE

NEXT WEEK

Text Reading

Licensed under a Creative Commons Attribution 3.0 License. design management

introductions

Licensed under a Creative Commons Attribution 3.0 License. design management

about me

design management

https://www.youtube.com/watch v=UAinLaT42xY&index=4&list=PLVOm-I32QB_yxTUhO3_WFcUYA9tRnl_VO

Think Big

Tim Brown, IDEO

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LANDMARKS IN DESIGN HISTORY

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Industrial Revolution

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Mass produced goods

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Large scale “heavy” production systems

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Labor-saving products (agriculture)

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Mass produced housewares

“Among the reasons for Wedgwood’’ exceptional success were the rationalization of production methods in his factory, his imaginative marketing techniques, and his attention to details... “The development of forms that both suited the methods of manufacture and satisfied the tastes of the market was the work of design. The achievement of Wedgwood modelers was to arrive at forms which satisfactorily fused the requirements of both production and consumption. In this the models were occupied in exactly the same task as every subsequent designer.’

–Adrian Forty “Objects of Desire, 1986

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Industrial scale architecture

“The Crystal Palace was remarkable in its modernity...which was the synthesis of the creator’s (horticulturist Joseph Paxton) knowledge of the techniques of horizontal roofing used for greenhouses, the expertise of a firm that manufactured beams for railroads, and the modernity of modular construction and standardized production using interchangeable beams, nuts, and bolts manufactured by machine. !

–Borja de Mozota

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Industrial scale architecture

“The Crystal Palace was remarkable in its modernity...which was the synthesis of the creator’s (horticulturist Joseph Paxton) knowledge of the techniques of horizontal roofing used for greenhouses, the expertise of a firm that manufactured beams for railroads, and the modernity of modular construction and standardized production using interchangeable beams, nuts, and bolts manufactured by machine. !

–Borja de Mozota

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What is your favorite chair? “If I really had to choose one, then it would be the Thonet café chair, because it epitomizes all of the principles of design, manufacture, and distribution that I believe in. It was designed for an unfulfilled requirement, for a mass and growing market, and it was economical to manufacture using beechwood, a raw material in plentiful supply in eastern Europe. “Innovative techniques were used in its manufacture (such as steam bending) and it was designed so that it could be shipped all over the world in a disassembled state and put together on arrival. !

–Terence Conran

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The Arts and Crafts movement in Britain was led by William Morris. Morris feared industry would abolish the object made by the artisan and its guarantee of beauty. Guilds were established to forward this ethic. “William Morris put into practice the basic principles of the movement by opening a business in which production, though automated, reflected a willingness to produce artifacts that combined form, function, and decoration. The new element of decoration was the origin of the Arts and Crafts movement, for which ornament was necessary because it represented the free expression of the artist and the craftsman in relation to the culture of his time. !

–Borja de Mozota

William Morris

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“Peter Behrens became the first official designer of modern times for AEG, a Germ electricity firm. He was responsible for construction of the factory, the conception of electric products, the creation of packaging, catalogs, prospectuses, stationery, and posters, the interior decoration of the stores and exhibits, and even the building of city lodgings for the workers. This innovative and highly unique experience is the first example of a global approach to visual consistency within a company !

–Borja de Mozota

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Modern design was born in Germany in 1919 with the Bauhaus school and movement of ideas.

• universal forms for industry

• aesthetic perfection

• functionalism

• utopian ideals (not market principles)

• diverse disciplinary workshops: printing, bookbinding, typography, pottery, wood, metal, textile shops, architecture

• art + handicraft

The Bauhaus was never really about the particulars of stone, clay, stained glass, textiles, architecture, photography,

theatre, or color theory. It was about a commitment to, hands-on education, broad exposure to theory and

applications relevant to the day, a close association with industry, intensive workshops with thoughtful,

knowledgeable experts, a dedication to the needs of humanity, and a concern for good design

– adapted from Boland and Collopy, “Managing As Designing”

© HumanCentered 2006, All Rights Reserved

Modern design was born in Germany in 1919 with the Bauhaus school and movement of ideas.

• universal forms for industry

• aesthetic perfection

• functionalism

• utopian ideals (not market principles)

• diverse disciplinary workshops: printing, bookbinding, typography, pottery, wood, metal, textile shops, architecture

• art + handicraft

© HumanCentered 2006, All Rights Reserved

“Design became a profession in the United States in 1930 as an indirect consequence of the 1929 stock market crash. In the context of an economic crisis, manufacturers quickly became aware of the role product design played in commercial success (Woodham, 1997) The first industrial designers, who were consultants to industrial organizations on the conception of products, worked freelance for large companies.

–Borja de Mozota

–Raymond Loewy

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Walter Dorwin Teague, Industrial Designer

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Norman Bel Geddes began his career in 1918 as the scene designer for the Metropolitan Opera. In 1929, he designed a 9-deck amphibian airliner which incorporated areas for deck-games, an orchestra, a gymnasium, a solarium, and two airplane hangers. Bel Geddes is most famous for designing the General Motors Pavilion, known as Futurama, for the 1939 New York World's Fair.

–Wikipedia

Norman Bel Geddes, Industrial Designer

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Henry Dreyfuss was one of the celebrity industrial designers of the 1930s and 1940s, Dreyfuss dramatically improved the look, feel, and usability of dozens of consumer products. As opposed to Raymond Loewy and other contemporaries, Dreyfuss was not a stylist: he applied common sense and a scientific approach to design problems. His work both popularized the field for public consumption, and made significant contributions to the underlying fields of ergonomics, anthropometrics and human factors engineering.

–Wikipedia

Henry Dreyfuss, Industrial Designer

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US architect and industrial designer Eliot Noyes was born in Boston, studied architecture at Harvard (1932-1938) and was employed by Marcel Breuer and Walter Gropius after graduation. Noyes opened his own office and completed a Model A typewriter design for IBM started by Bel Geddes. It was introduced in 1948, and Thomas J. Watson, Jr. of IBM, a glider pilot friend of Noyes, retained him for product design. In 1954 Noyes was assigned to design an IBM display facility in New York City to compete with Olivetti’s on Fifth Avenue. In 1956, Watson retained Noyes to develop a unique IBM corporate style similar to Olivetti’s to improve the visual quality of IBM products, graphics, exhibitions, interiors, packaging and architecture. He did so with help from Paul Rand, Marcel Breuer, and Charles Eames. This became the earliest US "house style" program.

–IDSA.org

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Possessed of one of the most inventive minds of the century, George Nelson is one of those rare people who can envision what isn't there yet. Nelson himself has described his creative abilities as a series of "zaps" — flashes of inspiration and clarity that he was able to turn into innovative design ideas.

One such "zap!" came in 1942 when Nelson conceived the pedestrian shopping mall detailed in his "Grass on Main Street" proposal. Soon after, he pioneered the concept of built-in storage with Storagewall, a system of storage units that rested on slatted platform benches. The first modular storage system ever, it was showcased in Life magazine and caused an immediate sensation in the furniture industry.

In 1946, Nelson became director of design at Herman Miller, a position he held until 1972.

George Nelson

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Paul Rand (1914 - 1996) was a well-known American graphic designer, best known for his corporate logo designs. Rand's education included the Pratt Institute (1929-1932), the Parsons School of Design (1932-1933), and the Art Students League (1933-1934). He was one of the originators of the Swiss Style of international typography. He was art director of Esquire and Apparel Arts (later GQ:Gentleman's Quarterly) from 1935-1941 and designed covers for the Directions cultural journal between 1938 and 1945. Rand had been influential as a design consultant, as well, developing identity systems for major corporations such as IBM and Westinghouse. From 1956-1969 and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut.

Paul Rand

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William GoldenFrank Stanton

Q: What role did good design, adventuresome communications, and a sense of style play in the whole culture of CBS and its growth and success? A: It was very central - a primary consideration in everything we did.

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Lou Dorfsman was responsible for the CBS design image for 40 years, serving as senior vice president and creative director.

C R E AT I V I T Y I S E S S E N T I A L LY A L O N E LY A R T. A N E V E N L O N E L I E R

S T R U G G L E . T O S O M E A B L E S S I N G . T O O T H E R S A C U R S E . I T I S I N R E A L I T Y

T H E A B I L I T Y T O R E A C H I N S I D E Y O U R S E L F A N D D R A G F O R T H F R O M

Y O U R V E R Y S O U L A N I D E A . – L O U D O R F S M A N - - -

Lou Dorfsman

CBS News “Black History” series newspaper

design management

Theory

Practice

design management

“Every practice rests on theory, even if the practitioners themselves are unaware of it. Entrepreneurship rests on a theory of economy and society. The theory sees change as normal and indeed as healthy. And it sees the major task of society—and especially in the economy—as doing something different rather than doing better what is already being done.

!–Peter F. Drucker, 2006, Innovation and Entrepreneurship

design management

This is basically what (Jean-Baptiste) Say, two hundred years ago, meant when he coined the term entrepreneur. It was intended as a manifesto and as a declaration of dissent: the entrepreneur upsets and disorganizes. As Joseph Schumpeter formulated it, his task is ‘creative destruction’.”

!–Peter F. Drucker, 2006, Innovation and Entrepreneurship

Where do you want to serve?

design management

But Management?

design management

Many think of management as cutting deals and laying people off and hiring people and buying and selling companies. That’s not management, that’s dealmaking. Management is the opportunity to help people become better people. Practiced that way, it’s a magnificent profession.

!- Clayton Christensen

design management

Figuring out the right thing to design

Figuring out how to design the thing right

There are two general modes of

design activity:

design management

1. Who are designers professionally?

2.Where do they come from?

3.In what capacities do they serve?

4.Where can they go?

design management

Who we are?

Design at the level of

strategy, policy and

mission

Design at the level of

tactics, products, services,

processes

Design at the level of

operations, tangibles

and touch

what form(s) should these things take?

what value offerings should we develop?

what subjects and opportunities should we pursue?

THE DESIGNER’S SCOPE OF RESPONSIBILITY

individual

couple

family

home

community

global environment

global community

design management

“There is a huge river of misunderstanding between

the design world and the business world. You have

to start building a bridge between them.”

!“What designers need to learn, and this is the most

important thing, is the language of the business

world. Only by learning that language can you

effectively voice the arguments for design.”

Peter Gorb, London Business School

design management

Design Management University of Kansas, Department of Design ADS 750 (3 credits) Fall Semester 2014 Thursday 6:00-9:00p, Edwards (BEST245), Lawrence (CDR, West Campus)

The History and Emerging Future of Design

01

Wk 01 -