Contents Introduction 4 This is MA Innovation Management 5 Ian Cho 6 Maha Al Sulaiti 8 Ruta Eva Cepulyte 10 Marc Richter 12 Anna Andersson 14 Rose Maufras du Chatellier 16 Olivia-Chelsea Lerner 18 Aurora Pavan 20 Anna Nolda Nagele 22 Ivette Procel 24 Bharvi Layazawala 26 Yiru Yan 28 Mimi Nguyen 30 Ray Chen 32 Stephanos Konstantinou 34 Essi Mikkola 36 Priyanshi Vasani 38 Joyce Chan 40 Fiona Angelica 42 Juliette Colin 44 Nicholas Stafford 46 Priscilla Alcalde Melo 48 Isadora Chavez 50 Sophia Liang-Ying Lin 52 Lilian Yeung 54 Terje Svinning 56 Our Innovation Management Journey 58 Patterns and Perspectives 61 Student Index 62 Acknowledgements 68
We, the class of 2016, invite you to join us on a kaleidoscopic journey, exploring perspectives on innovation management. A kaleidoscope enables complex, vibrant visions. Through movement and rotation, ever-changing patterns are revealed. They allow us to shake and twist reality into new configurations, giving us the freedom to explore the possibility of change. Even the most mundane objects, viewed kaleidoscopically, can generate patterns and complexities that offer previously unimagined opportunities. Like a child that marvels at the visual transformations of a kaleidoscope, we are captivated by the explosion of new arrangements and yet undiscovered symmetries that innovation promises. Innovation management is about the optimism of imagining things as they could be, rather than accepting them as unchangeable. Much like a kaleidoscope, at the core of innovation management is the spinning of perspectives to facilitate change. In the past two years we have been encouraged to develop a kaleidoscopic mind, one that is able to observe and appreciate any given situation from a range of perspectives, informed by a diversity of experiences. With a push towards flexibility, agility and self-awareness, we pride ourselves in seeing connections that a more rigid mindset may miss. We find joy in making sense of newly emerged patterns and experimenting to shape meaningful transformation.
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The following is a celebration of the kaleidoscopic perspectives formed under the umbrella of innovation management, a discourse that is colourful, diverse and continually shifting. With each turn of the page we hope to evoke the twist of the kaleidoscope, highlighting the specific nature of each of our approaches. Twenty-six projects, each a thorough examination of a multitude of issues and opportunities, congregating perspectives from varied domains that range from business, creativity and fashion all the way to physics, game-design and dance. Despite – or, rather, thanks to – our wideranging upbringings, experiences and interests, we are united in our endeavour to diffuse our perspectives and inspire innovation.
This is MA Innovation Management MA Innovation Management (MAIM) is a postgraduate course that is part of the Culture and Enterprise programme at Central Saint Martins (University of the Arts London). MAIM recognises the demand for creative and collaborative practitioners who have an understanding of cultural contextualisation of business and design discourses and practices. Its students don’t necessarily design products or services, but rather conduct research, generate insights and critically identify, verify and manage innovation opportunities. The course aims to develop graduates with an ability to cross discursive, practical, subject and organisational boundaries. The students include philosophers, designers, entrepreneurs, marketing practitioners and artists, coming together to apply connective and creative approaches to managing innovation. The course is renowned for its students’ abilities to work on globally relevant topics, managing themselves as well as others in multidisciplinary and multi-cultural teams. These skills are in line with changes in the innovation industry over recent years and with the evolving demands of a business sector and a society that recognises the importance of creativity.
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a Yuniy ura Kawam
on
Innovation is hidden in plain sight. My work is to look beyond what is happening on the surface in order to discover the undiscovered. By seeing things differently, insights, inspirations and opportunities start to emerge from all around.
rch a e s e er R
tom
Cus
Open Innov ati
Ian Cho
Ethnography
Walt e Benj r am
in
Rethinking fashion retail innovation: marketplace, marketspace and the non-market Over the past decade, many fashion retailers have adopted digital technology to expand their offer to online stores, to enhance the experience in physical stores and to closely engage with their customers. These advances have resulted in a dramatic increase in complexity in the fashion retail landscape. Although now, more than ever, fashion retailers have access to data that allows them to engage with valuable customer insights, their practices
6
The Arcades Project
‘In situations where innovations proliferate… last thing to do would be to limit in advance the shape, size, heterogeneity, and combination of associations.’ Bruno Latour
Complexity Bruno Latour
Actor-Network-Theory Networks
to collect these insights have become increasingly
their ability to develop customer insights. I conducted
fragmented. Inspired by 'The Arcades Project' by Walter
ethnographic research in three different environments:
Benjamin, my research is an investigation of a holistic
a traditional fashion retailer, a digital fashion retailer
approach to managing customer research in fashion retail
and a social media analytics business. This comparison
with a sociological perspective.
of the marketplace, marketspace and non-market has allowed me to examine the different perspectives on
My research reveals that fashion retailers focus on
the complexity of the surroundings of fashion retailers.
business above all else. They neglect that both fashion
The findings of this research show the need for a holistic
and retail are primarily social phenomena. Hence, the
approach to understanding customer behaviour.
theoretical foundation of my research is centred around sociological analysis. I have adopted Latour’s Actor-
By implementing a holistic customer research practice
Network-Theory and Kawamura’s Fashion-ology to push
that acknowledges fashion retail environments as complex
the boundaries of open innovation and to develop a
networks, fashion retailers could develop a deeper
viewpoint on the fashion retail landscape as complex
understanding of their customers and identify new
networks. This research focuses on the perspectives
innovation opportunities.
of fashion retail practitioners and how they influence
7
rity
ho Aut
ness n e p O
Linka
Foucault
ges
f Role o ent nm Gover
Maha Al Sulaiti I have learned that the power of collaboration and openness can be a constant source of innovation. We are made up of constantly changing networks and leveraging that resource offers great value to individuals, organisations, and even nations – the collective is more powerful than the individual.
Entrepreneurship ecosystems and the role of government This is the age of disruptive start-ups and they are here to stay. In a world full of uncertainties, continuous disruption and technological turbulence, the only way for economies to survive is to re-imagine the business ecosystem into one that allows for a thriving entrepreneurial economy. My paper looks at the role of entrepreneurship ecosystems in influencing economic development and the role that the government plays within an entrepreneurial ecosystem. Qatar is currently going through a transitional period, attempting to become less dependent on the oil and gas industry and move towards an entrepreneurial economy. A critical look at Qatar allows for a more in-depth
8
cker
ru Peter D
eurship Entrepren Ecosystem
‘In an age where everything and everyone is linked through networks of glass and air, no one – no business, organization, government agency, country – is an island.’ Don Tapscott
Don T apsco tt Colla b
Networks
oratio
n
understanding of the challenges and obstacles that a
I believe that empowering start-ups and entrepreneurs to
nation may face in diversifying their economy and moving
drive economic change is the future for developed and
from one type of economy to another.
developing countries. Not just through funding schemes and support programmes, but also by transitioning
My research looks at the challenges entailed in cultivating
from exploiting natural resources to empowering human
an entrepreneurial ecosystem with an emphasis on the
resources, thus driving the economy by creating and
role of government. Although the government is an
cultivating an environment that is conducive to innovation
important component of an entrepreneurial ecosystem, it
and experimentation. In order to do that, nations need to
should not be the main driver of the ecosystem. Rather,
look at their own unique climate and culture rather than
the capacity of local talents should be the centre of all
try to replicate successful entrepreneurship ecosystems.
the initiatives in order to create a environment that best cultivates entrepreneurial activities for maximum benefit. By understanding the network, actors and linkages with the entrepreneur as the focal point and making changes to the system, governments have a better chance of sustaining an entrepreneurship economy and in turn their own economic viability. 9
my o n
Bur n Man ing
to Au
Hackers ous Anonym
re
ep Entr
l
tiona a s i n Orga re Cultu
Ruta Eva Cepulyte
The disorganisation man
My research was inspired by the two men who most influenced me in life. They shared many things: both were rebellious individuals, both always sought opportunities and advantages with an extreme disdain for norms and rules – and both left my life too soon, with myriad lessons still to be learned.
The core principles behind the informal and black markets can teach us valuable lessons about how we can hack and transform corporate cultures at large. Entrepreneurial, criminal and deviant individuals often surprise us by creating social structures that transcend the horizons of the most innovative companies. They create their own rules of conduct and participation, founded on principles of autonomy which in turn enable trust, commitment and the emergence of a collective mission and purpose. By shedding the rigid traditions of centralised leadership, organisations are opening the floodgates, allowing for the creativity of those with entrepreneurial, criminal or deviant mindsets to flourish. They provide them with
10
ip
rsh neu
Crime t and Devian Behaviour
ory
ity The x e l p Com
Open Sourc e
ance n r e v o Self-g ‘...as if the living I’ve done so far hasn’t actually been real life but a long wait for it...a long wait for something real’
y
aint Uncert
The Sacrifice by Andrei Tarkovsky
avenues of opportunity for risk, expansion and instil in
Disruptive spirit is needed in business and this is
them a tangible relationship with their own responsibility.
recognised as disorganisation within our organisations.
In place of the outdated model of top-down hierarchical
These types of individuals bring agendas of their own,
structures, collective organisations require team members
aiming to create change from within a new, rapidly
to fluidly adapt to the shifting challenges of the business
evolving economy as these attitudes seem to provide
environment. Less focus on rigidly delivering upon
organisations with keys to the main challenges of
prescribed job descriptions, but rather balancing resources
innovation management. Companies are gradually
and problems in the most effective and creative ways
replacing the traditional organisational man with the
possible. These kinds of collective organisations offer
disruptive disorganisation man. I suggest that the
architecturally structured avenues for individuals to
next evolutionary step for organisations is to embrace
approach their real potential by cultivating instinctive and
change at a much deeper level of organisational
enabled responses. Under such decentralised leadership
architecture by installing the principles of 'The
there is the potential for key business strains to merge, as
Disorganisation Man' as a foundation.
individuals simultaneously become the creative mavericks of a team and also the very managers who in the past were often tasked with reining in and stifling such creativity.
11
Play
Ga
me sD esi g
n
w Flo
Marc Richter Studying innovation has taught me that sometimes even the most inane sources of knowledge can provide valuable insights. In my final year I aspired to test this lesson by exploring video games. While often portrayed as a waste of time, they provide valuable perspectives on innovation issues.
Csiksze
ntmihal y
i
Beyond failure: what game design can teach innovation management From the time we begin school, we are taught that failure is punished and success is rewarded, thus entrenching a fear of failure into our culture. Yet, experimentation and failure are essential elements of innovation. In this period in history characterised by disruptive technologies, it has become evident that many of today’s largest organisations will no longer be relevant in ten years’ time. As such, it appears more important than ever for organisations to instate a culture of innovation in order to remain competitive. Key barriers to this cultural change are fear of
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nty
Uncertai
Jesp e Juul r
‘Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.’ Samuel Beckett
Failure
ng Learni
Sitkin
Culture l a n io t a is n a Org
failure and the resulting risk-averse mindset.
construct systems that account for failure from their very
These barriers in turn lead to paralysis of innovation,
conception, thus providing valuable insights for innovation
providing a major management challenge for traditional
management in large risk-averse organisations.
large organisations. Through my cross-disciplinary research on failure I have In order to gain a new perspective on the management
identified potential insights to support companies in the
of failure in innovation, I sought out insights from
evolution and modernisation of their innovation culture
unorthodox sources. While failure often represents a
as well as methods for managing fear of failure. Following
destructive threat in the context of large organisations, my
the conclusion of the course I will seek innovation
research identified game design as a space within which
management opportunities that will allow me to test and
failure is positioned in a highly constructive manner. In
refine my theories on failure in order to help organisations
well-designed games, failure motivates players, providing
improve their innovation culture in this complex climate.
learning opportunities in a number of ways. They offer a safe environment, balance challenge with ability, supply precise and meaningful feedback, and create a narrative that incorporates failure. Game designers
13
Lean Start-u p
ip
ersh d a e L
ion Innovat es Process Lean
Mana
Anna Andersson During my educational and professional journey in business and creative contexts, I have noticed that the perception of risk, uncertainty and failure differs between the two domains. Ultimately my objective was to further investigate how I as an Innovation manager should examine the meaning of these terminologies.
Design Thinking
geme
nt
Insights from a critical examination of risk, uncertainty and failure In today’s complex, competitive and fast-moving productand/or service-offering environment, organisations are faced with both environmental changes and revolutionary shifts. Ideally, a company should be exploiting existing resources by continuously innovating on their established offerings, and explorative by not fearing to imagine completely new ways of operating and discovering new markets. A company that exercises such duality is referred to as an ambidextrous organisation.
14
res u l i a eF v i t c
ru
nst o C
Corporate Culture
‘Risk aversion is also unnecessary because statistically, a large number of projects are extremely unlikely to fail (unless they are higly correlated to the same risks).’
Ed Sy ucat ste io m n
The B la Gam me e
McKinsey & Company
inty Risk, Uncerta and Failure
cy
ra c o t eri
M
D An isco al urs ys e is
During my educational journey on the MA Innovation
research conducted at a Scandinavian leading insight agency,
Management I have examined diverse management theories,
at an innovation conference, and through semi-structured
business research, and participated in primary field research.
interviews with various industry professionals.
I have identified a tendency among corporate businesses: although in theory they do recognise the necessity of
The research provided the opportunity to gain insights into
innovation processes, in practice they are still concerned with
how professionals, involved in innovation projects, should
the related risk, uncertainty and failure.
more effectively examine the meanings of risk, uncertainty and failure. For instance, how authorities within societies and
Therefore, the agenda of my research was to examine and
organisations use their power to transform the essence of
critically analyse the various meanings of risk, uncertainty
these words to then use them in accordance with their own
and failure, particularly in relation to innovation processes.
objectives. Moreover, how innovation managers should strike
I examined the terminologies from socio-cultural and
a balance between a constructive growth culture and an
historical perspectives, comparing them with those from
‘anything goes’-type mentality. The research also provides a
management and business discourses focusing on innovation
set of valuable insights for professionals to deliver innovation
management. In addition, insights were gained from field
projects with better performance.
15
Pau l
Identity l a n o i t a Organis
Rico e
ur
Future Thinki n
g
Foreca st Metho ing dologi es
Rose Maufras du Chatellier Driven by my interest in the fashion industry, I focused my research on fashion organisations working out solutions to better manage continuity and change, tradition and innovation, and conservation and adventure in order to create agile and resilient organisational structures.
mond y a R artin
M
The modern fashion organisation: managing continuity and change The speed of change in the fashion industry induces an inevitable shift away from what fashion organisations perceive as safe. This is forcing them to work towards highly innovative ways of reinventing their organisational identity and methodologies. The concept of identity is key to understanding modern fashion organisations; it is the very fluidity and adaptability of identity that enables organisations to adapt to change. The context of constant change in fashion trends, ‘fast-fashion’,
16
ns
Henri B ergson
isatio n a g r O Fashion
Agile Management
hange
nal C o i t a s i n Orga Trend s
‘To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.’
ility
Henri Bergson
ab Sustain
the evolution of customer tastes and the demand for constant
increasingly challenging business environment, where
novelty has triggered a source of uncertainty in the fashion
volatility and unpredictable demand have become the norm,
system. This environment is pushing fashion organisations to
it is essential for fashion organisations to recognise the
constantly reinvent themselves. They are challenged to
importance of agility.
find the right balance between the continuity of their identity and change.
Currently, a six-month gap separates the moment when luxury and designers’ brands show their collections from the
In an ever-changing industry, forward-thinking and
moment when the collections are actually made available
organisational change are not only welcomed; they
to customers. Meanwhile, fast-fashion organisations are
are needed in terms of business strategy. Forecasting
delivering the latest trends from those collections to
methodologies are key to enabling a forward-thinking and
customers in a matter of weeks. I believe luxury and designer
proactive approach to change, empowering organisations
brands need to shorten their delivery lead time and re-think
to remain relevant to their customers and competitive in
their system of production and retail calendar for a more
their market. However, these methodologies have their
logical, time-effective and sustainable system. To do so,
limitations. The traditional, forecast-based ways of responding
fashion organisational structures need to implement more
to customer demand tend to lack accuracy. In today’s
responsive and agile styles of management.
17
Flow
Meanin
gfulnes
s
Csikszentmihalyi
e ang
Ch
Olivia-Chelsea Lerner My research journey was fuelled by a desire to investigate the relationship between consultant and client. My goal was to discover how meaningfulness can ignite creative problem-solving communities within this traditional dynamic.
Communities
Meaningfulness: a mechanism to foster creative change journeys Over a period of four months I immersed myself as a researcher, investigating the consultant/client relationship during change management processes. My discoveries gave rise to the concern that traditional change management and specifically the relationship between consultant and client may be becoming obsolete due to increasingly disruptive, uncertain and turbulent business environments. This immersive and inductive research approach was further substantiated with an investigative literature
18
Mea nin Mak g er
Creati vity
Coh e & C n-Meita arm r eli
Problem-solv in
g
‘I believe that I am not responsible for the meaningfulness or meaninglessness of life, but that I am responsible for what I do with the life I’ve got.’ Hermann Hesse
Amabile
mapping, focused on unpacking the patterns and layers
to a more appealing future. Meaningfulness in order to
encompassing the discourses at play. This allowed a series
enhance creativity however, is concerned with unbinding
of insights to emerge that are proposed as valuable
control and discarding restrictions in favour of freedom
for managers to engage with in practice, as they could
and the opening of systems. It therefore becomes a
yield the starting point for future research aimed at
balancing act in which managers must promote symbiosis
revolutionising change approaches to be fit for the future.
between disorder and control. Ultimately, we must see an
It was revealed that one way to create a more innovative,
increase in change managers – individuals with hybrid
resilient and lasting commitment during change journeys
job capabilities who are highly concerned with
might be through a more human-centred approach,
acting as meaning makers, mediators, and network
which focuses on developing an intrinsic sense of
mobilisers in order to nurture lasting and creative problem
meaningfulness within the participants.
solving communities.
On a fundamental level, change management is an approach that is structured to support organisations, teams and individuals during the process of change. It is accepted that for businesses, these transitions are the movement from the organisation's current situation 19
Metaphysics of Change
Robert Chia
m
is Deconstructiv
nge
Cha
Aurora Pavan Designers are often believed to only be executors. By studying innovation management in a school of design, my aim is to employ my creative potential to lead organisational processes. What inspires me the most is what I learn from doing. It gives me the energy, the passion and the enthusiasm to enhance what I will do in the future.
Intera
Proce ss ction
s
The deconstruction of reality and the creation of future With a background in architecture and art direction, I have always considered creativity, change and flexibility to be essential elements of the design process. On the other hand, as an innovation management student I observe how many organisations adopt methodologies often characterised by intense rigidity, overlooking the opportunity to exploit the potential of change and creativity. In futures studies, this manifests in the use of oversimplified methods that can quickly satisfy clients‘ short-term objectives. Interaction between individuals frequently leads to the learning of new
20
Scenario
Art
ies d u t res S u t u F
Creativ
ity
Sensem
aking
‘how an entity becomes constitutes what that actual entity is; so that the two descriptions of an actual entity are not independent. Its “being” is constituted by its "becoming". This is the principle of process.’ Alfred North Whitehead
knowledge, implying ever-changing outcomes, a reality
Life can exist only in an unbalanced and moving universe; if
that organisations would prefer to avoid. With the aim of
we accept this, we finally reject a preference for certitude and
overcoming the above issues, my research investigates
welcome one for possibilities. This has driven my research
principles leading to the development of methodologies that
to pinpoint strategic opportunities for the development of
consider the complexity of reality, the use of creativity and
process-based methods to be used in the field of futures
the continuous becoming of things.
studies. Among these opportunities, I have identified art as a means of stimulating creativity, sensemaking to
My work recognises change as a catalyst for innovation, the
identify plurality and Causal Layered Analysis to understand
emergence of new phenomena out of complex systems.
complexity. These insights can help organisations overcome
Organisations are structured and ordered entities emerging
the lack of understanding of a complex social reality as
from chaotic realities. Their ‘double nature’, chaos and order,
well as consider the plurality of the present and creatively
must be considered as a favourable opportunity rather than
contemplate new alternative solutions.
a threat that needs to be suppressed. The exploitation of the organisation’s real essence favours the creation of conditions that permit their survival in critical situations. It also allows the generation of advancements within the environment in which they exist. 21
Trend-Fo re
casting
Future S h
ock Future
ork w m Tea uhan
McL l l a h s r Ma
Anna Nolda Nagele I have always been curious. Cultural storytelling, in the way it abstracts and reflects reality and transfers meaning, intrigues me as a signpost for my explorations. I want to capture this potential and use it to manifest positive values and anchors in contemporary life.
dia
sme n a r T
Once upon a future time: storytelling manifesting change Businesses fearing to be overwhelmed by progress make use of future studies to support decision-making. Giving organisations the tools to gain power over consumers, with the creation of new needs and fast-changing trends, has worked well as a business model with the rise of capitalism and fast consumer culture. As current social values and morals are increasingly questioned, corporate foresight practitioners struggle to have impact on future development. With new hopes for the future rising, it is time for futurists to play an active role in creating the future by inspiring
22
‘By making imaginative use of change to channel change, we can not only spare ourselves the trauma of future shock, we can reach out and humanise distant tomorrows’
Story te
lling
Alvin Toffler
Metanarrativ e
rnism Metamode
Scien
ce Fic t
ion
Abstract Reality Henry Jenkins
positive change with their knowledge and authority. To foster
emotional and mental capacity for the future. It serves as a
resilient development and innovation it is necessary to spark
safe place for experimentation and critical reflection, as reality
conversations not only on an organisational level, but to
is abstracted through story elements as well as the selected
translate between private and public and thus support the
media channels. This open discussion helps to identify and
development of new metanarratives, or anchors, in society.
create desired futures and establishes new metanarratives
For futurists the challenge is to oscillate between inside and
about the future. Engaging in methods of simulating
outside. It is to observe societal and cultural changes, break
future visions through user participation and collaborative
them down to an understandable level through transmedia
storytelling in both virtual and real spaces enables motion
storytelling and thus help organisations resiliently face
between individual, organisational and societal levels.
the future. Then it becomes about feeding organisational
This oscillation between different layers of understanding
stories into pop culture and influencing society by sparking
functions best within a well-designed framework of
conversations about the future on the public level.
research insights and can eventually shape the general future sentiment.
Transmedia storytelling extends traditional media with new technology and creates immersive storyworlds in which a conversation about the future is active and present. The immersive experience prepares its audience with the 23
Marsha ll McLuh an ty
Curiosi
Empathy vation o n n I l a Radic nings a e M f o
Ivette Procel I have come to envision that the power of ambiguity lies in the capacity to see certainty as preposterous. This mindset is essential in allowing one to embrace chaos as a self-organised process that fosters new perspectives, encouraging curiosity and empathy, which are the main drivers towards the creation of inviting ideas.
i
t rgan e V berto
Ro
The strategic use of brand-uncertainty The drivers surrounding traditional consumption are changing and brands are puzzled by the challenge of navigating a world in which the speed of change has increased. The emergence of an ever-increasing certitude of dramatic challenges has influenced both consumer expectations and ways in which brands are produced, consumed and experienced. My research dissects the different interactions between various actors involved in the process of brand-development and unlocks an innovation management strategy that fosters purpose throughout advertising strategies by linking brand success with social progress.
24
'Don’t believe everything you think’
Ambiguity
Allan Lokos
Purpos e Roland Ba r
thes
Uncertainty
Myths
I analyse the different reasons why brands have grown to
By merging the ever-increasing inevitability of dramatic
become myths in modern society. Brands are capable of
technological transformations and the complex drivers of
challenging consumers’ cognitive attitudes by cultivating
consumers behaviour, I introduced virtual reality (VR) as an
strong emotional connections towards society, thus laying the
experimental symbol that transcends the act of consumption
foundations for the development of social empathy as well
with an alternative medium that demands new kinds of
as adding purpose to the act of consumption. To dissect the
interactions. The ability to display social problems through
connection between brands, empathy and purpose, I explore
a set of VR goggles transports the user through a journey
the relation of myths with cultural and ethnic behaviours
of telepresence-experience that reinforces the emotional
as a key tool in creating individuals’ personal, social and
labour of embodying someone else’s truth as a form of
cultural meanings. I also examine memory as a key factor in
constructed reality. Social empathy is thus fostered as a fusion
embracing emotions. It is a form of elaborate encoding that
of aesthetics and affective attitudes that induces curiosity as a
allows individuals to integrate new information with what is
strong driver towards the purpose of having always one more
already known, encouraging the creation of new perceptions
cause to puzzle over.
by linking individuals’ subconscious behaviour with past experiences.
25
isation n a g r O l rnmenta
ve Non-go
thy a mp
E Emoti
on
Bharvi Layazawala Born into an Indian family and raised in Belgium, I have adapted to multiple cultures. Enthused by this global upbringing I realised I wanted to bring about societal change. My journey is led by the people who inspire me, and it is time for me to innovate for them.
ure t l u C
Stories for change: social impact through visual storytelling From my perspective, innovation management is the integration of business, design and culture when an opportunity is found in the midst of this congruity. My research explores this very opportunity by looking at how several non-governmental organisations (NGOs) in Mumbai are unable to explain their mission to their audience. This lack of clarity has resulted in minimal engagement. To rectify this situation, I am exploring how an innovative approach pioneered by 'Humans of Bombay' could be implemented for these NGOs.
26
n Desig
g inkin
Th
Social Entrepreneur
‘Don’t forget – no one else sees the world the way you do, so no one else can tell the story you have to tell.’ Charles de Lint
Soci
al C
hang
e
Visual I m
age
Visual Storyte llin
g
Hum ans o Bomb f ay
'Humans of Bombay', an Indian photo-story social media
storytelling would be an effective tool for NGOs to
platform, uses visual storytelling to create awareness
evoke similar responses from their audience as well as
about the population of Mumbai and spread it amongst
create empathy.
the population. Storytelling has emerged as a design thinking tool that weaves perspectives, deepens an
As an aspiring social entrepreneur, my goal is to go
understanding of who we are as human beings and
back to my Indian roots and implement this innovative
also builds connections. Visual storytelling allows this
approach in my future projects. I aim to nurture skills
platform to present the culture of Mumbai and have
learned during this course and use design thinking as
a social impact, thus incorporating design and culture
the foundation of my entrepreneurial journey. I believe
in a business. 'Humans of Bombay' uses true stories to
that to make a change it is important to identify for
connect with viewers via empathy. Furthermore, these
whom it is you are making a difference. Observing and
stories make the reader feel a connection to the teller’s
understanding real stories through visual storytelling will
unique interpretation of personal experiences and allow
allow me to manage my business across various cultures.
them to develop their own emotional narrative through visual images. Presenting real life stories through visual
27
Sensemaking
to Rober i nt Verga
n Desig h rc Resea
Paul R i
coeur
Yiru Yan As a non-designer accidentally stepping into a design school, working with designers never fails to inspire me. It all started from a simple question. What really intrigues me about design? This led to more and more questions, which ultimately developed into a year-long journey searching for answers.
eorg G s n Ha er m a d Ga
Strategic use of design thinking in collaborative sensemaking Design thinking is currently devalued due to its oversimplification and immature exploitation in order to cater to business needs. A problem-solving framework is fundamentally responsible for restraining design thinking from realising its true value in innovation. The essence of design, the tacit part – the mindset of designers – is overlooked. Teaching design thinking to non-designers primarily through structured workshops is problematic. It separates doing from thinking, while also reinforcing professional and socially constructed barriers that prevent designers and nondesigners from merging on a deeper level.
28
Roger Martin
Transfo rm
ation D esign
Tim wn o r B
Marina Abramovic king
Thin n g i s De
‘Designing is not just something you do, or that you take lightly when you practice it, but rather it helps to form your identity.’
set
ind er’s M
n Desig
Bryan Lawson & Kees Dorst
I challenged the problem-solving ideology with an alternative
less visible but potentially more powerful benefits. After a brief
view by applying design thinking in sensemaking. It can facilitate
encounter with design thinking in intensive learning-by-doing
the collaboration between designers and non-designers by
experiences, seeds are planted in non-designers. They show
enabling knowledge flow internally and externally, synthesising
tendency to change in ways of thinking and doing. This needs
different understandings into a new frame to approach complex
to be nurtured through ongoing exposure and training so that
situations and problems, meanwhile opening up communication
gradually they embrace and internalise design thinking on their
and reflection to transform thinking and doing.
own terms, consequently externalising it in everyday life. In this way, they become "a transformative agent", being transformed
Two opportunities arose from the study. Firstly, a new framework
as well as transforming other people while widening the
for design thinking in collaborative sensemaking which is a
application of design.
hybrid of design research and co-creation. This could be a new model for design research that differs from the mainstream in terms of timing, method and openness. It could combine design and an open process to engage a wide range of interpreters rather than a closed group of professionals in the beginning of the innovation process. The aim is to frame a complex situation to be innovated rather than generating solutions. Secondly, other 29
e Servic n Desig
Agile Management n Global Expansio Strategy
ech T h stry g i H ndu I
Mimi Nguyen Currently, businesses are heavily focused on exponential growth and market survival. Strict adherence to traditional management tools and theories will not lead to longterm innovation. One can see that those who succeed are employing unconventional strategies. Thus, I try to challenge present practices and approaches in order to identify opportunities for better performance.
logy o n h c Te tion Adop le yc Life C
Venture D Canvas esign
Design thinking as a tool for global expansion strategy Design thinking has become popular among companies due to increasing competitiveness and uncertainty. In order to grow and survive in economic crises, there’s a shift in the business realm from relying on products to adopting an user-centred approach. Business environments have been shifting during the years of fluctuating market stability from the supply market to the user market. While design thinking is becoming critical in product development, it remains a question how it could influence a company’s marketing strategy to introduce their innovative products and services when entering a new market, and how to manage the process in order to reach a wider audience.
30
‘There’s a way to do it better – find it.’
Lean Startup
king
hin Design T
tics naly
A Lean
Thomas A. Edison
Effectual Entrepreneu rship
Marke ting S trateg y
asm’
in Cross
‘Ch g the
My research examines the current discourse on design
business practices. The empirical study within my research
thinking, and challenges it with other approaches such
provides a comprehensive overview of the marketing
as lean start-up, agile management, lean analytics,
methodologies employed in customer acquisition within
effectual entrepreneurship and service design. I analyse
the high-tech sector, and discusses possible failures and
examples of the marketing strategy in the high-tech
successes of the marketing strategy in the foreign market.
industry to see if any theories can be distilled and applied
I believe that design thinking can be further enriched
further. Moreover, I look into specific marketing tools
with additional tools and applied not only to product
in reference to the process of crossing the “chasm” in
development but also to the process of global expansion
the Technology Adoption Life Cycle. Communicating an
to win over international customers.
innovative service to a wider audience requires better methodologies, since it’s more challenging than reaching just a few early adopters. Hence, I look into the possibility of applying a set of tools from design thinking and other complementary concepts. This approach gives me the opportunity to juxtapose current concepts of innovation management with 31
Healthc are
phy
gra Ethno
ement g a n a M tion Innova
Experimentation
Ray Chen I used to draw instead of write my diaries when I was a little girl. I love playing with visuals to express business ideas at school. Design, as a mindset rather than simply a tool to make things pretty, constantly inspires me to take creative and humancentred approaches to business solutions.
es r u l Fai
Implementation of design thinking in healthcare charities In today’s fast-changing environment, organisations strive to innovate to stand out from the competition. In the search for alternative approaches to fostering innovation, there is an increasing interest in design, both among scholars and practitioners. Design thinking starts to emerge in organisational settings as an approach to boost a company's innovation capability, describing how any firm could benefit from design practice. However, healthcare charities, which aim to use design thinking to deliver systematic changes, still face various challenges due to their unique organisational structures and misunderstandings of the concept.
32
Coll ec
tive
Pow er
Tim B
Organis
ational Culture
Design Thinking
ntred e C an
Hum
row n
‘Imagination is more important than knowledge.’ Albert Einstein
The aim of my dissertation was to research and explore
large project scope. I aim to push boundaries by opening
solutions to effectively implement design thinking in large
up the discussion about implementing design thinking in
healthcare charities. I initially hypothesised that charities
the healthcare sector. Any future work in this subject area
should not only educate employees about design thinking
would benefit from more reliable analysis both in theory
to gain acceptance but also provide necessary skillsets
and practice. In addition, the Engagement Scale needs to
in order to practice it across organisations. Through my
be tested further in projects. It does, however,
analysis on theories and the twelve-week practitioner
initiate the acceptance of design thinking across
research in a leading UK charity, I discovered that the
organisation and propose possible solutions towards
implementation of design thinking should be project-
delivering it in practice.
specific in order to reach maximum efficiency. I thus developed the Design Thinking Engagement Scale to propose levels of engagements in various projects. Given the nature of design thinking, which champions human-centred approaches, developing new interventions would be extremely beneficial for healthcare charities. It is still an experimental concept within this sector and the execution seems challenging while dealing with such a 33
Virtual Rea li
ty
Retail Trends ds
Tren y g o l o Techn
Brand Loyalty
ation s i l a on Pers
Stephanos Konstantinou I always liked observing people; I’m intrigued by their behaviour. People inspire me – how we communicate with each other, what we wear and how we react to design, technology and our surroundings. I believe that understanding the evolving nature of human behaviour is where true innovation lies.
lysis Data Ana
Driving customer experience innovation Service brands belong to a vast arena involving strong competition where innovation becomes the accepted authority with regards to competitive advantage. Many service brands focus their attention on the customer experience they are providing in pursuance of brand loyalty. Customer experience, defined as the subjective and emotional interpretation of the service in the minds of customers, requires multiple drivers for its innovation. Successful customer experience innovation advances customer satisfaction, brand loyalty and, subsequently, brand value. My research further develops the key drivers that foster and manage customer experience innovation and questions whether design thinking is the appropriate innovation management method for such innovation.
34
Customer Expectatio ns
entred c n a Hum
Design Th
inking
Custo m Expe er rienc e nomy o c E nce xperie
E
‘The greatest discovery of my generation is that human beings can alter their lives by altering their attitudes of mind.’ William James
My theoretical research expands on the relationship of
experience have been explored. Accordingly, technological
brands with customer experience, and the positive attribute
innovations and trend awareness by innovation managers are
of innovation to brands. The brand itself has been identified
also identified as key drivers.
as a key driver, highlighting the necessity of brand value reflection on the experience, thereby delivering the brand
I propose the strategic alignment of the identified key drivers
promise. Additionally, customer expectations are also a key
as an opportunity for managers carrying out customer
driver since experiences and expectations are dynamically
experience innovation. Additionally, the development of
related and understanding this relationship is central to
a detailed design thinking toolkit, created specifically for
achieving and sustaining brand success. Design thinking
customer experience that incorporates the key drivers.
can provide various practical tools for uncovering customer
Innovation management is placed in the centre of all drivers
expectations, with its empathetic and human-focused nature
and a holistic, persevering awareness and alignment is
aiding the customer experience innovation process. However,
required for the success of customer experience innovation.
theories fail to describe what could constitute as customer experience innovation. Therefore, through my field research, I identified multiple trending technology innovations that seek to enhance customer experience. Technology trends, such as the use of data for personalisation, augmented and virtual reality and their relationships with brands and customer 35
ental m i r e p Ex ecture t i h c r A
tive a n r Alte paces Art S Spatia l Experi e
nce
Cedric Price
Essi Mikkola In my own creative ventures, I have long been inspired and encouraged by my positive experiences observing art. Since a visit to a museum could provide me with such tremendous inspiration, confidence and creativity, I wondered whether it would be possible to extract that experience from the museum and transport it into everyday life.
Fun Palac e
Museum of streets: inspiring by-passers into creativity in public spaces Innovation – the introduction of novelty into the world of art, industry or science – has its engine in creativity. Innovation can be thought of as creativity’s crystalline conclusion – the messy impulses of creative thought and action made manifest in the world. I believe that creativity is a skill that can be learned and that requires practice. Art museums contain a valuable source of knowledge that has the potential of inspiring the creativity of a vast amount of people, but today they interest only a small section of society.
36
elig
Se Tina
A Expe rt As rienc e Art M
useu
Creativity
John Dewey
ms
Benefit s of Arts
‘Every child is an artist, the problem is staying an artist when you grow up.’ Pablo Picasso
Consequently, I set out to investigate how art museums
As a result of my study I ended up suggesting a concept
could contribute more to the development of creativity. At
that uses technology as a means to transport art from
the beginning of my journey, I was determined to explore
museums into the centre of everyday life, in order to
opportunities for bringing more visitors into art museums.
inspire people to connect with and practice their creativity
Throughout my research, however, I began to be more
more readily. The concept comprises an enclosed space
drawn to ideas happening outside of conventional art
that is placed in the public sphere, where it interrupts
museums. Coming across Cedric Price’s ‘Fun Palace’
the daily journey of passers-by. Inside, entrants will
concept was a pivotal moment that set my research on
experience inspiration through art, co-creation and
a whole new course.
creative connection.
Drawing from a range of fields in order to come up with new ideas is typical for innovation. In my case, this meant delving into the discourses of creativity, museums and spatial experiences. Also, alternative art spaces and concepts were investigated in order to gain a breadth of knowledge for experimentation.
37
Peschl and Fundneider
Ikujiro Nonaka
ing Enabl e ledg w o n K on Creati
paces
Enabling S
Priyanshi Vasani I have always been trying to bridge the gap between business strategy and the arts. My experience as a dancer fuelled this research with inspiration. I want to bring the magic of exploring the state of creativity achieved through the body and merge it into the creative dimensions of innovation management.
Eme rg Inno ent vatio n
Dance thinking: enabling innovation through the body and choreographic minds The innovation process is no longer a one-dimensional phenomenon. Rather, it emerges from a highly complex network of interacting actors, dynamics and constraints. This process is often deemed too messy to be controlled. Is a linear approach to managing innovation as outdated as a floppy disk? When innovation jumps out of its linear sequence, there are opportunities worth exploring in terms of facilitating emergent innovation. This opens up new perspectives on the ‘management’ aspect of
38
e
Ena b Attit ling ude
it Tac
edg l w Kno
nty
au-Po e l r e M
Choreographic Thinking ‘Without real exchange, you can’t create knowledge. Knowledge creation is a human activity.’
Nina Bozic
ativity e r C d ie d bo
Ikujiro Nonaka
Em
innovation. My research highlights the importance of
ideas. Through my research, I present the perspective of
enabling innovation rather than simply trying to manage
the human body in dance creation as an ‘enabling space’
it. Enabling and facilitating emergence in the innovation
for knowledge creation.
process often manifests latent sources of creativity. There is a growing sea of creative opportunities in Embodied knowledge is one such source of creativity.
unlocking the latent repertoire of the human body.
In the era of big data and data explosion, we have
Methodologies for dance creation may hold ways
lost the ability to look inwards and access our deepest
through which latent knowledge can emerge and throw
roots of knowing. Dance is constructed by embodied
light on how this emergence can be facilitated. In this
brains and socio-cultural interactions. It accesses many
sense, emergent innovation is an innovation from within,
kinds of knowledge beyond kinaesthetic intelligence,
knowledge created in this process is not superficial or
including visual, tactile, mental, cognitive, and emotional
artificially grafted onto an organisation by some external
intelligence. Creative processes adopted by dancers are
forces. My research lies on the cusp of a future where
much more open-ended but still have an underlying
innovation detangles itself from linearity and accepts that
spirit of problem-solving. This loosely controlled process
we are an embodied people and that body data is not
of dance creation allows for tremendous emergence of
just an old heritage but also a new capital.
39
l
tu
al
ec ff E
d an
sa au
C
En tre
Sarasvathy
pre
ne
urs
hip Creative Process
Strategic
Joyce Chan Growing up between East and West, I am highly aware of issues that arise by merging the two cultures. I am therefore attuned to challenges faced by young Chinese fashion entrepreneurs operating within the international sphere and wish to map out opportunities for innovation within their business management approach.
Opportu
nity
Mapping cultures: uncovering innovation opportunities for young chinese fashion entrepreneurs The number of Chinese designers at top global fashion weeks has been growing steadily over recent years. Spearheaded by an ambitious pool of young, internationally educated Chinese entrepreneurs, the Chinese fashion movement is gaining momentum. However, obstacles can arise when there is a mix of cultural influences and expectations, particularly during the creative process. Through the lenses of culture, creativity and education, I highlight and investigate the issues for Chinese entrepreneurs developing a creative business in the international sphere.
40
‘Creativity, properly employed, carefully evaluated, skillfully managed and soundly implemented, is a key to future business success – and to national prosperity.’
y
it ativ e r C
s Busines Model ion Innovat
Sir George Cox
tede Hofs n
tio a uc
est East and W
Ed
Cultu
re
I explore how culture has a significant impact on young
alternative ways of business management. They are ready to
Chinese fashion entrepreneurs abroad in terms of conceiving
run things in a very fluid way and, unconfined to a certain
and developing creativity and how this influences their
way of thinking, their businesses can evolve on an adaptive
business model innovation. In order to evaluate the influence
international, cross-cultural scale.
of culture on one’s behaviour and values in the workplace, I use Hofstede’s six dimensions model, which outlines power
As the dichotomy between Eastern and Western influences
distribution and how decisions are made. I also consider
blurs, creating new perspectives, I see a new space for
Sarasvathy’s theory of causal and effectual reasoning, which
innovation unfolding within the management styles and
challenges traditional notions of entrepreneurial thinking. The
creative processes of these cross-continental fashion
Chinese education system is largely didactic, discouraging
businesses. This opens up an opportunity for exploration,
independent creative thinking and failing to offer space
which forms the basis of my dissertation.
for improvisation. This can later impede the creative and decision-making process within a Chinese business. However, this new generation of Chinese fashion entrepreneurs are operating on an international level. Many have worked in multinational companies and international design studios and have absorbed Western influences and a familiarity with 41
Virtua l Enviro nm
Business Plan
ent
nt
elopme v e D d Bran
User Orien te
Future Studies
d
ration
Idea Gene
Fiona Angelica Innovation management has brought me a better understanding of social changes in human behaviour. I am able to recognise public interests utilising exploration and experimentation, which gives me ideas to help innovate better future options for human kind.
Virtual reality: the future artist portfolio My thesis is focused on testing communication capabilities as an effective way to manage innovation through virtual reality as an emerging media. In the digital era, the impact of technology advances the information delivery of communication because of the dynamic environment. Stemming from the innovation value of communication, idea generation must be well thought-out as the process of managing the language of a certain media. Communication needs to be delivered in an effective way with specific language in order to define what the audience expects, thus allowing a clear understanding of the demands.
42
sting e T e c n Prese Artist Portfolio
Open In sive r e m Im ience Exper
novation ‘Education is our passport to the future, for tomorrow belongs to the people who prepare for it today.’
lity Virtual Rea
Malcolm X
This social challenge inspired me to explore an ideal
During the journey from hypothesis to research, the
structure and process well-suited to idea generation, to
individual as an artist is able to use virtual reality as a
helping build understanding and to simultaneously attract
medium to showcase their artwork due to the ability of
people's attention. To answer to this opportunity, I tested
implementing ideas as a whole process. Virtual reality
the latest media technologies to explore how their uses
can encourage an audience to feel this novel
may be applied in an artist’s portfolio. Individual portfolios
communication as an in-depth audiovisual experience,
are prone to communicate ideas and stories and thus
thus providing a formerly unknown immersive level to an
have the ability to give an overview of the complete
artist’s digital portfolio.
process of a concept. Along with innovation, electronic portfolios are highly dependent on the development of technology and their ability to connect with an audience. There have been many applications of virtual reality as a communication tool to share knowledge, stories, and exploration. Therefore, taking advantage of virtual reality inside environments could develop the freedom of imagination, allowing artists to build unlimited space and time. 43
Adoption
Embracin g Change
Diff usio
no f In
nov atio n
Smar
t Livi
Juliette Colin My inspiration came from an exhibition exploring smart homes as a new way of living in the future. Having a design, cultural and economic background and a pro-tech futuristic approach, I wondered why we do not all live in smart homes and how we can overcome the barriers to adoption.
ng
al vs. Radic ntal e Increm ion at Innov
Smart living: leveraging the experience economy towards smart home adoption A fridge that communicates with your washing machine and a thermostat that speaks to your light – does this sound futuristic? With the emergence of the Internet of Things, living in a home where every device is connected becomes a reality. The smart home concept appears as a new disruption for the market economy and for the way we live. However, despite its expected success, most of us have yet to see a real smart and futuristic home and the smart home marketplace seems to face difficulties in the adoption phase.
44
ings h T f o et Intern
‘Most of us spend our lives acting rationally in response to a world we recognise and understand but which no longer exists.’
Technolo gy
Eddie Obeng
Exp e Ma rienti rke al ting
tric n e c rUse proach Ap
Experience Economy
Given this, I respond to the new opportunity for the
through the immersive experience from his own home
implementation of smart homes that are on the border of
environment. This new way of promoting a product can be
mainstream adoption and require new management tools
a successful way for smart home companies to better reach
and innovation processes in order to develop. These tools
the consumer and reduce the high level of uncertainty.
can be found in the area of the ‘experience economy’,
Smart home products have to adapt quickly to user needs.
especially the experiential marketing that I propose as
Therefore, successful adoption will strongly depend on
a solution to the slow consumer take-up of smart home
capable innovation management to analyse these changes
products. From this perspective I investigate the key
and identify paths for successful development.
aspects of experiential marketing, which will support the management of innovation and accelerate the uptake of distributive technology by new audiences in the smart home market. Through my exciting research journey, which extended from reading theory, to interviewing and experimentation, I discovered a new touchpoint for reaching the user
45
Bryno lfsson & McA fee
Tesla
gy Technolo
Car
Clayton M
. Christen
Nicholas Stafford My journey started with an interest in theories of disruptive innovation and real-world observations indicating that the automotive industry is in the early stages of a paradigm shift. As a designer I believe design and strategy will play a key role in the emergence of the 21st century, digital-age car.
sen
Insurgent innovation: a strategy to navigate a world where the ‘winner-takes-all’ Over the past hundred years the car has attained rich social, cultural and commercial significance and the automotive industry has built a global empire that is deeply embedded in contemporary society. The growing discourse on the future of mobility, the car and the automotive industry is gaining momentum with the ever-increasing inevitability of impending dramatic transformations. The emergence of twenty-first century, digital-technology companies – such as Google with their
46
Thermodynamics
Foucault
Strateg y
Pow er
Design
Baudrillard
‘Two factors in the history of the car that have contributed with such mixed results to its evolution: technology and image.’ Gregory Votolato
self-driving car, luxury electric car manufacturer Tesla, and
mix, I explored an ontological perspective using scientific
the car-sharing platform Zipcar – are challenging the
theories of thermodynamics to better understand
archetypal car’s relevance in today’s digital age. The focus
uncertainty and the mechanics of diffusion within a
of my study was to develop an innovation management
transitional system to achieve equilibrium.
strategy for the implementation of the future car. Embracing an explorative perspective, which morphed The research I conducted looked at the car from the
between micro (the car’s design and technology) and
perspective of design, culture and business while
macro (the wider ecosystem and power relationships)
adopting a Foucauldian approach to construct and deliver
‘viewpoints’, produced the groundings for a new type
the foundations of the strategy. The study focused on
of innovation strategy that I defined as ‘Insurgent
the interplay between communication, activity and power
Innovation’. This strategy offers an alternative path for
relationships in the context of car culture, the automotive
the implementation of new technologies compared to
industry and the wider global drivers of change. The
traditional disruptive innovation theory for a digital-age
findings revealed a juxtaposition between the growing
world that is more open and offers more opportunities,
order and hyper-perfection of the modern car against
yet is increasingly unequal because power is short lived
the disorder, fluidity and unequal distribution of power in
and predicated on a ‘winner-takes-all’ system.
the world it inhabits. To unpack this dynamic and volatile 47
r erne e L h Jos n Tirol a & Je Open Source
Coll a
bora tive
Cult
ures
y
Clay Shirk
Priscilla Alcalde Melo Being raised in a developing country has made me experience different ways of adaptation. Realising the importance of resilience, I started researching the impact of scarcity in organisations and frugal innovation approaches. My curious mind then led me in the opposite direction, exploring abundance in open source.
Platforms
Open source as a strategy to foster innovation Technology is evolving at increasing speed, drastically affecting our behaviour and the way organisations operate. With online privacy and security threats haunting individuals and the reputation of companies, organisations have been forced to find creative ways of collaborating to solve their problems. In this scenario, open source has become one option, transforming old system structures into permeable and interactive machines. Large tech companies like Google, Facebook and Microsoft have embraced openness strategies, while Tesla, the luxury electric vehicles manufacturer, has gone further and released their patents.
48
ond Eric S. Raym
Inte
rop e
‘Empowerment of individuals is a key part of what makes open source work, since in the end, innovations tend to come from small groups, not from large, structured efforts.’
Disruptio
rab i
lity
Tim O’Reilly
n
Clayton M. Christensen
Stan da
rdisa t
ion
The focus of my research was to analyse the drivers
patents and legal issues, important elements that affect
behind open source strategies and the challenges of
user experience and business decisions.
implementation and coordination. The hypothesis in this work stated that if organisations adopted open source
We are now facing an era of digital disruptions, with
practices and offered their products as platforms that
incumbent organisations in different industries struggling
enabled other people to build upon them, they would
to be resilient within an avalanche of changes. It is a
have more chances to succeed. By conducting design
fact that technology will continue to accelerate, bringing
ethnography research at the Mozilla headquarters in
not only convenience and delight but also complex
London and at a large open source global event, I
societal, economic and environmental problems. I believe
detected patterns of culture and perceived limitations
open source practices should serve as an inspiration
of open source philosophy when applied in business.
for cross-industry collaboration, with partnerships
The findings also consisted of how individuals and
among individuals and organisations. The management
communities collaborate in open source projects,
challenges will be huge, but the opportunities for a better
considering its meritocratic systems of reward. During
and sustainable future are abundant.
my journey, I discovered that open source is aligned with controversial concepts of interoperability, standardisation,
49
Collabo ration
Creativity
Divers
ity
Globalisation
Isadora Chavez I am fascinated by how many of today’s successful communities and organisations are rich in cultural diversity. Inspired by their communication management, I have come to observe that learning to understand and adapt to different cultures and environments is vital to achieving success.
work Team
The role of multiculturalism: addressing communication issues through intangible assets Multinational companies and organisations are increasingly aware of the value that is derived from the smarter use of diverse skills, knowledge and resources. In an increasingly globalised world, this has brought multicultural communication into the spotlight. The effective collaboration of employees and the interchange of information and ideas between them are recognised competitive tools. Cultural diversity and a broader mix of experiences of the actors involved have led managers
50
Divergent Th
inking
ty n i a t
cer n U
ess
ren a Aw
ation c i n u m Com
rces u o s e man R
Curiosity
Hu
‘Keep your language. Love its sounds, its modulation, its rhythm. But try to march together with men of different languages, remote from your own, who wish like you for a more just and humane world.’ Hélder Câmara
to rely on the work of heterogeneous teams with diverse
to be a major cause for heterogeneous teams to fail to
skills and knowledge. Their work however, has also been
complete a task successfully. To lead and manage such
shown to suffer from communication barriers as a hurdle
challenges, one must recognise that to fully benefit from
to fully leveraging diversity.
collaboration one needs to minimise and/or counteract the associated communication barriers that may arise.
A first step to overcoming these barriers would be to
Divergent thinking emerged as an interesting approach
understand that cooperation among multicultural teams
to improve multicultural communication by using different
is not a predictable mechanic process, but one deeply
tools and techniques.
connected to individual and collective behaviour. My research has looked into exploring the efficiency of a
Understanding culture as an instrument that we relate
creative process exposed to multicultural collaboration
to in order to interpret our work, our colleagues,
by observing the relationship between a team’s results
managers and/or employees can be the starting point
and the collaborators’ communication. Field research
to developing a framework to manage communication.
in a company with exposure to multicultural diversity
Taking this line of thought further, while avoiding
(within the setting in which it operates) served to
cognitive misunderstandings, could involve assigning and
establish a link between theory and practice. Cognitive
selecting individuals with specific experiences and cultural
misunderstandings and misinterpretations were found
understandings as communication facilitators. 51
mer o t s Cu ship tion a l e R
vation Social Inno
52
ty
abili Sustain
ation r o b a l Col
Sophia Liang-Ying Lin
Open innovation with fitness data: the future of healthcare
Coming from a background of product design and business management, I treasure the power of technology to change people’s lives. Instead of problemsolving, I prefer to explore the underlying ‘why’ from both micro and macro perspectives in order to prevent it from becoming a problem.
progress of technology, tracking devices have greater
In a rapidly changing world that is highly affected by the potential for helping people live healthier lives. There are many uncertainties and unexpected challenges regarding user engagement and sustainability of the business in fitness tracker market, especially given the fact it is packed with competitors offering similar products and services. This gives an opportunity for innovation management to step in and make a difference. I first look at the issue from three perspectives: millennials’ changing consumer behaviour towards digital healthcare;
y Strateg
Informat
ion Cycle
hcare
Healt e v i t n e Prev
‘All that is valuable in human society depends upon the opportunity for development accorded the individual.’ Albert Einstein
Mille
nnial
s
Big Dat a
business management of fitness tracker companies;
The potential opportunity to adopt open innovation as
and data transactions in preventive healthcare. I then
a main strategy for fitness tracker companies lies in the
identified a gap between personal data collection from
balance between sharing customer data with health
fitness tracker and from healthcare research organisations,
research organisation and protecting user privacy.
which needs to bridged. While open innovation has
Personal data could be a new form of donation other than
demonstrated its value in the technology industry by
money, as it can help research centres collect data in a
enabling a fluid knowledge flow internally and externally,
more cost-effective way, leading to more reliable analysis.
the strategy can also be applied in healthcare to engage
This can provide a competitive edge for fitness tracker
users and connect data via cross-sector collaboration.
companies by offering corporate social responsibility as a
Users could be motivated by receiving customised
way to build up brand loyalty for a sustainable business.
preventive healthcare reports, and given a sense of social responsibility by contributing thick personal data to healthcare research organisations, thus preventing certain diseases. In this way, a collaborative loop is created by connecting users, fitness tracker companies and healthcare research organisations.
53
Dem o Luxu cratisin g ry
Pine & Gilmore
Data
thy Empa
Experien
ce Design
Lilian Yeung Presumptions are treacherous. Coming from a hospitality background, I was lucky to meet people from all walks of life and am humbled by each individual’s story. I am inspired by those who are unironically enthusiastic about their work, which allows their personalities, passions and creativity to shine through.
Noticing the unnoticed: the role of data in service personalisation The best service experiences are the ones that you do not notice or remember, as they are so sleek and streamlined that they just become part of your experience organically. Luxury travel has been redefined from being provided with extravagance and opulence to having the time, space and freedom to be yourself. As a result, market leaders have been replaced by those who excel in service personalisation and this has become the latest trend in the discourse of luxury travel service design. In order to better understand each customer’s wants and needs,
54
ent
erm w o mp
‘Imagine others complexly.’
E
John Green
Service Innovat i
on
Hospitality Personalisation Desig n
Think i
ng
many hotels are looking into patterns derived from big
different parts of the world that adopt a customer-centric
data analysis, which is the trend nowadays. However, there
approach during service design and have gained valuable
is currently no effective data capturing system for thick
insights from various perspectives on the subject.
data, which is fundamental for service personalisation. Through my research, I discovered that the most My research examines the current role of data in service
important factor for succeeding in service personalisation
design and the opportunities for bridging thick and big
is to empower employees to innovate, and a common
data for new service innovation. With almost eight years
challenge is the ability to embrace the complexity of data.
of experience working in the luxury hotel industry, I had
I have also identified trends in the discourse of luxury
first-hand experience in juggling between processing
travel for discerning travellers and proposed new strategic
the vast amount of data collected and the immediacy
business opportunities to leverage traditional brands’
of decision-making for customers. Although insights
expertise while embracing changes in customer tastes and
from data patterns are interesting, I strongly believe
technological advancements.
in acknowledging each person’s complexity, individual wants and desires, and not just treat them as a statistic. I interviewed hoteliers who run luxury boutique hotels in
55
Multimodal Analysis
ion t a alis
u Vis Imaginarie s
Terje Svinning As a designer, I am a firm believer that knowledge is distributed wider through the responsible exploitation of visualisation. Designers have the power of multiple forms of language to communicate information that can engage people and potentially change lives. Studying innovation has taught me to look wider for information that leads to deeper insights. These insights can become valuable forms of common knowledge when visualised critically. 56
rse Discou sis Analy
Engaging citizens in urban innovation through responsible visualisation Smart cities as concepts of urban development and innovation have accelerated in popularity in recent years. Yet, there is no consensus on what constitutes a ‘smart city’. While this lack of a common definition has been the focus of many scientific papers, private sector stakeholders involved in smart city projects continue to produce marketing materials that influence the discourse towards adhering to specific neoliberal aims and agendas. Strategic use of visionary imagery representing cities of the future make promises to mitigate uncertainties, disruptions and crises through diffusion of ICTs.
Ideo
logie s
Smar
t Citi
es
‘What we think about a city and how we perceive it informs the ways we act in it.’ Andreas Huyssen
cus
Citizen Fo
Data
Latour
vation o n n I rban
U
Technological interventions in the present are justified
focus, visual discourses still encode ideological bias
to alleviate the challenges of the future. These corporate
towards distribution of ICTs for profit.
visions of technology-driven urban change afford private sector stakeholders the power to foster top-down forms
Diffusion of mobile connectivity is challenging the
of urban innovation that often fail to address the real
top-down characteristics of technology-driven urban
concerns of citizens.
development by providing citizens with access to realtime information and data on city environments. Through
My research focuses on discursive strategies enacted by
the creative application of evidence-based visualisation,
the stakeholder alliances between private businesses,
city information and data can become powerful forms of
governments and universities, required by the EU in order
common language driving inclusive bottom-up processes
to provide the essential funding for large-scale smart city
of urban innovation. Cities can become collaborative
projects. My analysis determines the power that visual
platforms engaging citizen participation as major
representation of cities have on urban imaginaries, which
stakeholders in innovation ecosystems with businesses,
in turn influence citizen behaviour and lived experiences
universities and governments.
of urban areas. The major findings reveal that while stakeholders’ verbal discourses will follow the EU’s specific benchmarking and funding criteria for social and citizen 57
Uncertainty Project The uncertainty project required us to push boundaries, take risks and learn from failure, while simultaneously developing a deeper understanding of innovation and its relationship to uncertainty, which is the basis of innovation practice. During this project, we collaborated with multiple local authorities in London to develop visions of what the local council of the future might look like by challenging
Our Innovation Management Journey
their roles, organisational structures and cultures. This exciting assignment allowed each student to think big and build future scenarios by creatively applying methodologies such as semiotics, discourse analysis, ethnographic research and design thinking. The uncertainty project was an opportunity to experiment with uncertainty, risk-taking and failure to expand our understanding of the practice of managing innovation.
Prior to embarking on our individual research, we were challenged by a number of projects designed to expand our understanding of the theory and practice
Discourse Project
of innovation management. Some were collaborative in nature and required us to engage with and leverage
The discourse project was designed to introduce us to
each team member’s unique perspective; others were
Foucauldian discourse analysis, challenging us to develop
individual, prompting deep exploration and self-reflection.
a critical understanding of a range of key contemporary
Every project was profoundly impactful and has shaped
discourses and translating them into foresight strategies.
our perspective on innovation management. Through this
Working in teams, each group became deeply engrossed
journey, we have learned to employ abductive, connecting
in an investigation of one vast theme, such as 'happiness',
and creative approaches to managing innovation and
'nostalgia', 'resilience' or 'authenticity'. This project was a
developing strategic opportunities.
challenging process of investigation into how we shape the thoughts, ideas and beliefs that culminate in forming the constructs of our world. Central to this project was actively applying a discourse analysis to examine the past and how it shapes our present in order to develop insights to forecast future trends and scenarios. By the end of this project, we developed a deeper understanding of what the future may look like.
58
Literature Review The literature review group project required us to work as teams to critically engage with the topics of disruption, entrepreneurship, participation, networks, branding and sustainability. Each group was assigned a topic to be analysed through a surprising selection of seemingly disparate texts. This approach familiarised us with a range of literature coming from the world of innovation management and also diverse fields such as philosophy and sociology. Gathering perspectives from dispersed and sometimes even strange areas facilitated exploration from both mainstream and unorthodox perspectives, thus pushing the boundaries of innovation management and fostering more inventive and unusual outcomes. The study of these strange works outside the realm of business and design was harnessed by each group to shape thought-provoking approaches and learnings for innovation management.
Self-Positioning Essay The self-positioning essay drove us to adopt a personal and reflective approach to critically position ourselves within the landscape of innovation management. Throughout this process, each student explored their position within the discourse of innovation management by reflecting upon their interest, skills and expertise, as well as the past works within the course. The goal of this critical reflection was to develop a research plan and strategy to outline how we will progress in the coming months. Ultimately, this was done to create perspectives on innovation management and to develop distinct proposals as to how we will shape and impact the field of innovation management in the future. 59
Pirate Utopia Kastner AG, Germany Pirate Utopia is an innovation project initiated and organised by a group of us after our first year of studying innovation management. The aim was to bring forward the perspectives developed throughout the course and apply them to Kastner AG, a medium-sized printing factory with more than 100 years of history, to identify new opportunities and directions in an age of low-cost, high-volume, digital printing. Located in Bavaria, Germany, the business was a symbol of innovation – it had printed the first local newspaper in 1897, supported the local art community and provided jobs for the local area. We immersed ourselves in the factory and the region for three days, working in a multi-disciplinary team with the
'The experience was a mixture of learning, adventure,
staff as well as people outside the course who came from
surprise, collaboration and experimentation; a fusion of
seven different nations. We did ethnographic research
chaotic and ordered activities to facilitate the generation
observing the printing techniques and processes, and also
of creative ideas.' – Nicholas Stafford (MAIM 2016)
other local businesses such as a hop factory in order to better understand the wider cultural context of the region.
'Through the fresh eyes of the multidisciplinary participants
We asked unusual questions that made the employees
and the liberating setting of the workshop we found a
rethink things they took for granted, such as the core
new perspective and a new awareness of the purpose of
value of their business. The project was driven by
our company and how we could collaborate and innovate
the pirate and entrepreneurship spirit championing
in the future.' – Dennis Kastner (Kastner AG)
experimentation and embracing change.
We would like to give special thanks to Kastner AG
The result of Pirate Utopia went beyond innovating the
for continuing the collaboration with us and their kind
businesses product range. New opportunities
support in bringing this catalogue to life.
were opened up in the most unexpected areas such as services, organisational structure, culture and the space
Kastner AG – das medienhaus
of the factory.
Website: kastner.de Contact: dkastner@kastner.de
60
Patterns and Perspectives
within which our thinking and doing operate, as well as to
What you hold in your hands, here, is a snapshot of one
resilience to shake up orthodoxies and formulate multiple
way of making a pattern from a multitude of different
perspectives into forceful designs.
see directions in which new flight can take place and new patterns emerge. The kaleidoscope may start as a neat metaphor, but it becomes more real than that: managing innovation really is kaleidoscopic and will require dynamic
perspectives on innovation management. While this catalogue will endure, fixed in this way for as long anyone
Dr Jamie Brassett FHEA FRSA
might expect, it really is just a moment, a brief capture
Reader in Philosophy, Design & Innovation
of a pattern. Many, many more are possible. Unlike a
Subject Leader & MA Course Leader,
kaleidoscope, this catalogue cannot be shaken to reveal
Innovation Management
something entirely new. Well, not easily anyway. For as
j.brassett@csm.arts.ac.uk
each of us reads and rereads this book, we may find ways to develop new configurations of concepts, practices, processes and stories. We may also come with our own patterns of thought and practice; the course is always interested to hear about how yours and ours collide, whether rebounds occur or new paths emerge. It is difficult to bring a range of different voices together into one show, or one catalogue, with a theme that both allows a whole to cohere and single approaches to shine. MA Innovation Management at Central Saint Martins has found this to be the case since taking its first students in 2008. Each student has a particular experiential, cultural and intellectual background, and they come together for two years to see where and how these may be aligned to get stuff done. But we are eager for them not to homogenise. This is why the theme of patterns and perspectives has become important for this year. But such a theme is also important for thinking and doing (we don’t really allow for a distinction) innovation management. To ‘get stuff done’ demands respect for difference, as well as an ability to cohere, to understand the material bases
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Student Index
14 Anna Andersson My focus is on keeping the business and design side intact, and find a suitable balance for each project. annajulianaandersson@gmail.com | linkedin.com/in/annajulianandersson
22 Anna Nolda Nagele I strive to creatively narrate change in order to inspire new modes of being in the world. anna.n.nagele@gmail.com | linkedin.com/in/annagele
20 Aurora Pavan I believe that innovation will always emerge through a well-designed process. By merging design and management, my aim is to continually improve processes. aurora.pavan3@gmail.com | linkedin.com/in/aurorapavan
26 Bharvi Layazawala I intend to amalgamate my multicultural upbringing and design milieu so as to ignite innovation in my future endeavours. bharvi.21@gmail.com | linkedin.com/in/bharvi1
62
36 Essi Mikkola I am a strategic and creative thinker whose aspiration is to improve life through arts and design. essimikkola@gmail.com |
cargocollective.com/essieirene
42 Fiona Angelica I explore idea generation by developing innovation capacity to construct new structural foundations within novel ventures. fioleeca@gmail.com | linkedin.com/in/fiolica
6
Ian Cho I embrace complexity to develop and manage strategic perspectives on customer research. iancho.kh@gmail.com | linkedin.com/in/iankhcho
50 Isadora Chavez A creative and curious mind that believes in the value of teamwork and diversity in producing “big picture� management solutions. tch_@hotmail.com | linkedin.com/in/isadoralanuza
24 Ivette Procel I embrace ambiguity by pushing curiosity as a main driver towards the creation of the right questions. yprocel@hotmail.com |
linkedin.com/in/ivetteprocel
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40 Joyce Chan With a background in fashion, I have an observant mindset, always searching for patterns and connections between seemingly different elements. jszechan@gmail.com | linkedin.com/in/jws-chan
44 Juliette Colin I merge creativity and business in order to foster design-driven innovation and therefore seek to enhance the way we live in and interact with our environment. juliettecolin1@gmail.com | www.juliette-colin.com
54 Lilian Yeung I empathise with each individual’s stories to design personalised, lingering and deeply human service innovations. I also make balloon animals. yeunglilian@gmail.com | linkedin.com/in/liliany
8
Maha Al Sulaiti I aspire to use collaboration and open innovation in building stronger start-ups in an entrepreneurial ecosystem. mahaals@gmail.com | linkedin.com/in/mahaalsulaiti
64
12 Marc Richter I explore unconventional sources of knowledge to better understand the process of shaping environments in order to stimulate innovation. marc.p.richter@gmail.com | linkedin.com/in/mprichter
30 Mimi Nguyen My aim is to enable and apply innovation management concepts to the business realm, which is currently facing disruptive changes. nguyenmimi91@gmail.com | linkedin.com/in/nguyenquynhtrang
46 Nicholas Stafford I endeavour to champion the importance of design in developing new technologies, products, services and business models. nicholasmarkstafford@gmail.com | linkedin.com/in/staffordnicholas
18 Olivia-Chelsea Lerner I strive to further develop my creative capabilities as a meaning maker in order to spark exciting new ideas, projects and experiences around the world. oliviaclerner@gmail.com | linkedin.com/in/olivia-chelsea-lerner
65
48 Priscilla Alcalde Melo I design user-centric strategy for products and services in the intersection between people, technology and business. melo.priscilla@gmail.com | linkedin.com/in/prisalcalde
38 Priyanshi Vasani I am passionate about channelling creativity into innovation and about designing methods for realising the creative process. priyanshi419@gmail.com
32 Ray Chen I am not a design expert. I’m not a business genius, either. I am a creative and innovative individual who loves the challenge of combining the two. ruimou.chen@gmail.com
| linkedin.com/in/ruimouchen
16 Rose Maufras du Chatellier I recognise ways for the current fashion system to implement significant change to become a more logical, time-effective and sustainable system. roseduchatellier@gmail.com
66
| linkedin.com/in/rosemaufrasduchatellier
10 Ruta Eva Cepulyte A founder of several start-ups and a freelance consultant who aims to spread magic throughout this expanding and ever-changing physical and metaphysical space. ruta@industry-files.com | linkedin.com/in/rutaeva
52 Sophia Liang-Ying Lin A design thinker who believes technology can bring social good through innovative business strategy. sophia.lin.ly@gmail.com | linkedin.com/in/sophialinly | www.sophialinly.com
34 Stephanos Konstantinou I am a creative thinker who merges design, technology and management to foster captivating innovations that enhance brand value. stephanos.con@gmail.com |
linkedin.com/in/stefanoskonstantinou14
56 Terje Svinning I critically utilise visualisation techniques to expand my repertoire of design by exploring deep meaning in order to widen its impact. terje@svinning.com |
linkedin.com/in/svinning
28 Yiru Yan I am keen to use a creative and philosophical approach to enable design and creativity and increase their value by positioning them in a wider context. ivy.yiru.yan@gmail.com |
linkedin.com/in/yiruyan
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Acknowledgements The MA Innovation Management class of 2016 would like to express our deepest gratitude to the following, who have helped us shape our perspectives in so many wonderful ways.
MA Innovation Management and Central Saint Martins staff
External partners
Professor Adam Thorpe
Alexander Kenmure (Good Gym)
Alice Holmberg
Ben Stevens
Beth Shepherd
Brian Bené (Redscout)
Dr Carlos Peralta
Brian Millar (Senseworldwide)
Claire Healy
Chloe Amos-Edkins
Dominic Stone
Danny Williams (IBM)
Dr Ida Telalbasic
David Braid (MAIM 2011, Idea Couture)
Iñaki Arbelaiz
Deirdre Walters (Untapped Innovation)
Dr Jamie Brassett
Eric Matis (Redscout)
Dr John O’Reilly
Giovanni Marchini Camia
Dr Lawrence Green
Joanna Brassett (Studio INTO)
Lorna Dallas-Conte
Jodie Eastwood (King’s Cross Knowledge Quarter)
Professor Lorraine Gamman
Dr John Curran (JC Innovation & Strategy)
Professor Lucy Kimbell
Jonathan Fraser (Fahrenheit 212)
Maria Ana Botelho Neves
Liam Buswell (MAIM 2014, Fahrenheit 212)
Mark Baker
Magda Tomaszewski (MAIM 2013, We are Listen)
Dr Monika Hestad
Meredith Smith (MAIM 2012, Stripe Partners)
Paul Sturrock
Nick Pye (Mangrove)
Richard Reynolds
Paul Marchant (Transport for London)
Sophie Trench
Pascal Coyne (London Borough of Islington) Suzanne Griffiths (London Borough of Camden)
Sponsors CanO Water Forest Road Brewing Company Kastner AG
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Will Langridge (London Borough of Islington) Yujiao Chang (MAIM 2017)