PROJECT CO+DESIGN: Process Book by John Colón

by john colรณn

final project process book scad dmgt 748: winter 2019

b.s. interior design & m.a. design management hackensack, nj

[1]: See Page 13 for Opportunity Statement and definition of ‘Co-opetition’

My name is John Colón and I completed my M.A. Design Management Final Project at the conclusion of the Winter 2019 quarter. My definition of ‘Design Management’ is as follows: ‘Coordination of the innovation effort through integrating design thinking at all levels of strategy, planning, and management for sustainable advantage within organizations.’ While conducting research, I titled my project [1] Integrating Design Thinking: Co-opetition Between Non-Profit Organizations

figure 1-1

Page A1

introduction Tackling this project was particularly riveting for me because it was based off my current role in a non-profit that I helped start a year ago, along with expanding on that role and the organization’s mission of unity. I framed this initial foundation into a creative problem-solving process for not only a lack of funding and volunteers within the new organization, but what seemed like a lack of collaboration in our community because of the economy’s competitive climate. I was fortunate enough to have close contact with some of my end users to be able to conceptualize and test certain theories even from the beginning of the process. The end result was PROJECT CO+DESIGN: the first initiative of its kind in New York’s Hudson Valley region. The social enterprise would bring together local organizations under one roof to co-design community workplaces and participate in co-creative workshops. What makes my final prototype unique is its human-centered, design-thinking approach to work and education. The goal is to also partner with local schools to provide members with talent, increased funding, and instill an entrepreneurial culture while reviving and interacting with the community’s heritage sites. The tools presented in my final course were just that: tools. I learned that if I were to gain anything from them, I must bring my own perspective to the table. Process on its own is never enough to bring a business where it needs to be. As I move forward, I will recognize that a framework can help me see an opportunity or lead me to a place where I can stumble upon an opportunity, but I must keep my eyes open and be ready for when the opportunity appears. Page A2

dedication I dedicate this work to my parents and Ethan. You are the main personae in the design and development of my dreams and have graciously bolstered me in pursuing them. It is my sincerest hope that the gift of absolution you have given will be returned tenfold as a unity between the present moment and the future, senses and soul, desire and duty, self-assurance and self-devotion.

Page B1

acknowledgment A deep and heartfelt thanks to my family and friends, my professor, Bruce Claxton, my classmates and teachers at SCAD, WIT, HHS, and FLHS, and those helping shape the NYHSA as an innovative community for the Hudson Valleyâ&#x20AC;&#x2122;s past, present, and future people. Thank you for being a source of inspiration and positive contributor to my development as a student, professional, and individual. Youâ&#x20AC;&#x2122;ve all encouraged me to complete my degree with pride and I am motivated to repurpose what has been built and what has been learned to continuously find a more positive direction.

Page B2

the process: 01. Project Framing Subject of Study Problem Statement Target Audience Purpose of Study Scope of Study Significance of Study

01 02 03 05 08 09 11

02. Project Positioning Opportunity Statement Positioning ZAG Steps Value Proposition Onliness Statement

12 13 14 21 24 24

03. Research Activities and Synthesis Research Space Research Methodology Research Activities Research Questions Research Protocols Survey, Questionnaire, & Interview Co-creative Facilitation Research Synthesis Data Maps Research Findings at a Glance

Page C1

27 26 27 28 29 30 31 39 59 60 65

04. Design Opportunities and Criteria, Reframing Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

66 67 68 69 72

05. Prototype Development and Testing Concept Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation Refining and Assessing

73 74 75 77 78 81 82 85

06. Final Design to Market Final Prototype Business Model Canvas Business/Implementation Plan

94 95 99 103

Page C2

07. Conclusions & Recommendations Conclusions Recommendations

107 108 109

08. References Annotated Bibliography Additional Sources List of Figures List of Tables

110 111 114 115 117

09. Appendices Appendix A: Timeline Appendix B: Research Protocol Appendix C: Consent Forms Appendix D: Survey & Questionnaire Appendix E: Interview Transcription Appendix F: Validation: Schematic Interior Design Appendix G: Working Wall in Progress Appendix H: Tables and Figures

119 120 123 126 129 138 139 144 148

project framing:

Subject of Study Problem Statement Target Audience Purpose of Study Scope of Study Significance of Study

02 03 05 08 09 11

subject of study The subjects of my study were nonprofit organizations within the historic preservation community of the northeast who face competition in a changing cultural climate. Most of my qualitative research involved the New York Historic Sites Alliance, Inc. and its connections to the community.

figure 1-2

Project Framing: Page 02

problem statement According to the Competing Values Culture Framework (CVCF)[1], a ‘developmental’ organizational culture, created initially from research conducted by University of Michigan faculty members, involves innovation, risktaking, and prepares organizations for change in their operating environments. It helps these organizations foster external support, gain resources, and rapidly grow (Kreitner & Kinicki, 2013). Non-profit organizations without a ‘developmental culture’ usually can’t succeed through innovative change nor see organizational culture as more than a phenomenon to be experienced. Nevertheless, more and more organizations are entering the non-profit arena, decreasing the attention from donors and volunteers. Theoretically, competition drives quality upward and costs downward. In practice, however, the same sort of healthy competition that helps the for-profit industry can actually damage non-profit organizations (Lu, 2015; Lutz, Smith, & Da Silva, 2013). Specifically, in the Historic Preservation communities of the northeast servicing the non-profit sector, organizations are experiencing anxiety-inducing territorialism. Instead of feeling pressure to create better and better products, non-profit professionals in the Historic Preservation communities worry that they may not be able to provide a product or service at all (Stipe, 2003). If donors and volunteers are spreading their time and energy across multiple organizations with the same mission, these non-profits might not be able to continue certain initiatives. And, seeing as donors often use specific initiatives as benchmarks for success, non-profits risk losing existing donors in addition to potential ones (Kreps, 2003). Without the emphasis on ‘developmental organizational culture,’ non-profits in Historic Preservation will continue to compete without practicing innovative solutions (Bandarin & Van 2012). [1]: See Table 1-1: Page 04 for CVCF breakdown

Project Framing: Page 03

leaders in historic preservation might be resistant to change

non-profits might be stuck & competing for the same donations

table 1-1

Competing Values Culture Framework (CVCF): Relationship-based Processes Focus on: flexibility, individuality, and spontaneity

Internal Focus Focus on: smoothing and integration

Since the culture and organizational effectiveness relationship has not been studied sufficiently in non-profit organizations, my project examines the links between developmental culture and non-profit organizational effectiveness.

Clan Culture cohesive, participative, leader as mentor, bonded by loyalty/tradition, emphasis on morale

Developmental Culture creative, adaptive leader as risk-taker, bonded by entrepreneurship, emphasis on innovation

Hierarchal Culture ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability

Rational Culture competitive/acquisitive, leader as goal-oriented, bonded by competition, emphasis on winning

Mechanistic-type Processes Focus on: control, order, stability (Kreitner & Kinicki, 2013)

Project Framing: Page 04

Note: See Table 2-6: Page 17 for Positioning: Values & Cultural Climate

External Focus Focus on: competition and differentiation

target audience: description The target audience for this project were founders and co-founders, leadership, staff, donors, and volunteers of non-profit historic preservation organizations in the northeast. Both in searching for such individuals and in collecting additional data on my various research areas, I reached out to three different groups: those generally involved in design thinking, non-profits, or the historic preservation community. For those specifically familiar with more than one of the above, I had more detailed research methodologies which in turn allowed for more detailed, synthesized data. While my target audience included a high number of individuals, I only researched a cross section. This mostly applied to my questionnaires, interviews, and the specific personal details I got into. My research was not a representative of the whole target audience, but the particular section related to my subject of study. While the New York Historic Sites Alliance, Inc. (NYHSA) brought in the most detailed, personal data, the other specific subjects of my questionnaires and interviews were two Presidents and two Trustees of non-profits in historic preservation, Town and County Historians, an Assistant Dean of a collegeâ&#x20AC;&#x2122;s Center for Civic Engagement, and a Professor of Preservation Design. While the Professor was located in Savannah, GA, she was a good representative of the target audience at a much bigger scale. The rest of my above subjects were located in the Hudson Valley region of New York State. Not all subjects were able to participate.

Project Framing: Page 05

table 1-2

target audience: preliminary examples

Samuel, Age 38 • Preservationist • New York, NY • Employee of preservation firm and volunteer of advocacy group • Motivated by variety of project types • Wants to become a professor • Frustrated by rigid design constraints

Amanda, Age 21 • Art History Student, Intern • Fishkill, NY • Volunteers at preservation firm • Motivated by solitude and nature • Wants to own a for-profit business • Frustrated by extreme consumerism

Robert, Age 29 • President and Co-Founder • Poughkeepsie, NY • Former engineer • Motivated by large, urban adaptive reuse projects • Wants to decrease financial debt • Frustrated by lack of communication between nonprofits

Carla, Age 63 • Lawyer, Donor • Maywood, NJ • Self-employed, town-board member • Motivated by small, local educational initiatives • Wants to expand network of local entrepreneurs • Frustrated by neutral parties

Note: See Table 3-14: Page 59 for Research Synthesis: Personas

Project Framing: Page 06

figure 1-3

mission: â&#x20AC;&#x153;The New York Historic Sites Alliance, Inc. seeks to unify the areaâ&#x20AC;&#x2122;s heritage sites into a more influential and successful institution. They are a membership-based umbrella 501(c)(3) organization in which every member-site retains its autonomy while having the benefits of a large collective entity. On this shared journey, the NYHSA and its member-sites tell their interconnected story, highlighting the sites that have been both preserved and destroyed. In addition, the NYHSA honors the hardworking individuals who have and continue to protect, educate about, and integrate people with their heritage sites.â&#x20AC;? Project Framing: Page 07

purpose of study The focus of this study was applying design thinking and using organizational culture to transpire organizational effectiveness and collaboration between similar non-profits through qualitative research in the field.

lead necessary transformation

define elements of the new economy

Project Framing: Page 08

design organizational and collaborative structures

scope of study: description My final project took place within a working definition of the Design Management field and was clearly distinguished from projects typical for other programs at the Savannah College of Art and Design (SCAD). It should not be confused as a product design, service design, interior design, or user experience/interface project. I have broken down the boundaries of my research space in regards to timeline, location, subjects, content, and context and outlined its purviews versus delimitations.[1] It is important to note that within a ten-week timeframe, my final project ‘contribution’ or ‘deliverable’ only included co-creating, designing, facilitating, and/or testing and evaluating processes for collaborative development towards innovative systems between local non-profits in the historic preservation community. Professor Bruce Claxton, FIDSA guided me within the scope of course DMGT: 748, which outlined the requirements for 10 separate units from project framing to a final ‘prototype’ and process book. The ‘prototype’ was the ‘contribution’ of a strategic approach to the innovation of a form, process, and system.

[1]: See Table 1-3: Page 10

Project Framing: Page 09

figure 1-4

scope of study: purviews vs. delimitations Timeline

• Public & private spaces • Historic Sites • NJ, State and City of New York • Workplaces • OL; phone or email

• Incorporated nonprofits • Designers, managers • Leaders • Volunteers, donors

• Outside of NY or NJ

• Similar systems or culture types • Similar demographics and backgrounds

Content

• Management systems • Design systems • Data Analysis

• Design or preservation project

table 1-3 Project Framing: Page 10

Context

• Office hours • Cultural climate • Social science research ethics

• Uninformed consent • DMGT 748

Delimitations

• Unfinished by March 14, 2019

Subjects

Purviews

• Completed by March 14, 2019

Location

significance of study This study made a contribution to my own development by realizing my level of understanding and involvement in design thinking for business. It was the perfect way to solidify my knowledge and make sure that I’m able to operate data, conduct scientific research, and make an analysis for future academic and professional contributions (Osterwalder, 2010). The study also aided in solidifying the ever-evolving disciplines of Design Management and Historic Preservation by combining the art and science of both into sustainable advantage for organizations seeking innovative solutions. The world at large can also benefit from the fresh perspectives of transformational leaders within non-profit organizations, succeeding through collaboration, design thinking, and historic preservation (Lutz, Smith, & Da Silva, 2013). I’ve been volunteering for the New York Historic Sites Alliance, Inc. (NYHSA) as Design Manager since February 2018, giving me the opportunity to practice creatively strategic methodologies in a non-profit organization. Building upon my background in Interior Design, Adaptive Reuse, and Design Thinking, this study prepared me for advancing my level of involvement in the NYHSA through a ‘developmental culture’, managerial methodologies, and any future internal/external changes. Design Managers foresee, recognize, and address competition and changing cultural climates that affect multiple disciplines (Stone, 2010). Hopefully, this project has also prepared me to further catalyze Historic Preservation communities as adopters of innovation.

Project Framing: Page 11

project positioning:

Opportunity Statement Positioning ZAG Steps Value Proposition Onliness Statement

13 14 21 24 24

opportunity statement There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage.

if historic preservation leaders adopt innovation frameworks

then a collaborative, innovative, and developmental community is generated

Scholars and consultants, Adam M. Brandenburger and Barry J. Nalebuff define Co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance.” Their literature states, “In business, your success doesn’t require others to fail – there can be multiple winners” (1996).

Project Positioning: Page 13

positioning: competitors/collaborators

table 2-1

New York Historic Sites Alliance, Inc. (NYHSA) Strengths • Experience in design thinking • Theoretical perspectives of learning/growing college students • New, contemporary branding • Multi-disciplinary • Close personal relationships

Weaknesses • Small and new • College student schedules • Low funding

Opportunities • Collaboration • Co-opetition • Design/redevelopment services • Educational partnerships

Threats • Raised awareness and concern for competitors unwilling to collaborate or plotting sabotage

Objectives What is their network’s value? • Historic preservation, tourism, education, & community building • Advocacy

Approach How do they create value? • Umbrella organization • Membership-based

http://www.nyhsa.org

Project Positioning: Page 14

Members What categories do they fall into? • Student, volunteer • Millennial • Part-time • Hudson Valley

Lessons What can they teach us for our network? • Innovative thinking • Local history • Collaboration

Homepage What is the entry point to their network? • Website, email, phone • Founders

Collaboration Opportunities Where or how do we overlap? • Human-centered • Workshops • Design thinking

positioning: competitors/collaborators

table 2-2

Rombout Rural Cemetery Association (RRCA) Strengths • New website • Close-knit • Close personal relationship • Strong commitment

Weaknesses • Small • Low funding • Various schedules • Specific focus/discipline • Technical infrastructure

Opportunities • Collaboration • Educational partnerships • Raised awareness

Threats • Minimal time availability • Small plot • Local redevelopment/new construction • Raised awareness and concern for competitors unwilling to collaborate or plotting sabotage

Objectives What is their network’s value? • Maintain active use of historic burial ground • Commemorate multiple veterans resting on site

Approach How do they create value? • Info on all related wars • Invite current burials • Events on site

http://www.romboutruralcemetery.org

Project Positioning: Page 15

Members What categories do they fall into? • Student, volunteer • Baby boomer • Gen X • Full-time • Dutchess County

Lessons What can they teach us for our network? • Local history • Conflicts within America

Homepage What is the entry point to their network? • Website, email, phone • Secretary

Collaboration Opportunities Where or how do we overlap? • Workshops • Design opportunities • Branding • Site-specific initiative

table 2-3

Wappingers Historical Society (WHS) Strengths • Resources • Legacy • Strong commitment

Weaknesses • Small • Various schedules • Technical infrastructure

Opportunities • Collaboration • Co-opetition • Educational partnerships • Raised awareness of local history

Threats • Minimal time availability • Raised awareness and concern for competitors unwilling to collaborate or plotting sabotage

Objectives What is their network’s value? • Preserve history of Town of Wappinger, Village of Wappingers Falls, & neighboring communities • Advocacy Approach How do they create value? • Membership • Site-specific initiative • Events on site

http://www.wappingershistoricalsociety.org

Project Positioning: Page 16

Members What categories do they fall into? • Student, volunteer • Baby boomer • Gen X • Full-time • Dutchess County

Lessons What can they teach us for our network? • Collection and archive management • Tours

Homepage What is the entry point to their network? • Website, email, phone • Founders • Donations

Collaboration Opportunities Where or how do we overlap? • Workshops • Design opportunities • Branding • Site-specific initiative

table 2-6

positioning: values & cultural climate Competing Values Cultural Framework (CVCF)

Relationship-based Processes

These contradicting cultures are found along the two diagonals in the adjacent analysis. An organization’s success may depend on its ability to possess core values that are associated with competing cultural types. Organizational culture is clearly related to measures of organizational effectiveness. This reinforces the conclusion that an organization’s culture can be a source of competitive advantage. Innovation and quality can be increased by building characteristics associated with clan, adhocracy,

See Appendix H: Pages 148 to 149 for specific analyses on DT and GHHN. See Page 18 for furthur analysis on the organization’s plotted culture-scales

spontaneity Developmental*

NYHSA DT

by trying to change their organization’s culture (Kreitner & Kinicki, 2013).

Internal Focus Focus on: smoothing and integration

•

Clan Culture: cohesive, participative, leader as mentor, bonded by loyalty/ tradition, emphasis on morale

•

Developmental Culture: creative, adaptive leader as risk-taker, bonded by entrepreneurship, emphasis on innovation

•

Hierarchal Culture: ordered, uniform leader as administrator, bonded by rules/ policies emphasis on predictability

•

Rational Culture: competitive/acquisitive, leader as goal-oriented, bonded by competition, emphasis on winning

“An organization’s culture is not determined by fate. It is formed and shaped by the combination and integration of everyone who works in the organization. A change-resistant culture, for instance, can undermine the effectiveness of any type of organizational change” (Kreitner & Kinicki, 2013).

GHHN

RRCA

External Focus Focus on: competition and differentiation

WHS Hierarchal*

Mechanistic-type Processes Focus on: control, order, stability

Project Positioning: Page 17

*Note: Each line-segment is the same length. They land in the same quadrants but shift in the matrix according the end-points’ relativity to the scale and my observations of the organization’s cultural characteristics.

DT: Dutchess Tourism GHHN: Greater Hudson Heritage Network NYHSA: New York Historic Sites Alliance, Inc. RRCA: Rombout Rural Cemetery Association WHS: Wappingers Historical Society

Competing Values Culture Framework (CVCF):

table 1-1 (with overlapped data)

Relationship-based Processes spontaneity

Internal Focus Focus on: smoothing and integration

Clan Culture cohesive, participative, leader as mentor, bonded by loyalty/tradition, emphasis on morale

Developmental Culture creative, adaptive leader as risk-taker, bonded by entrepreneurship, emphasis on innovation

Hierarchal Culture ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability

Rational Culture competitive/acquisitive, leader as goal-oriented, bonded by competition, emphasis on winning

External Focus Focus on: competition and differentiation

Mechanistic-type Processes Focus on: control, order, stability (Kreitner & Kinicki, 2013)

The organizations plotted as line-segments on the ‘Positioning’ grid (Table 2-6: Page 17) represent the scale of their cultural climate which mostly vary from ‘Hierarchal Culture’ to ‘Developmental Culture’ – both opposing– yet symbiotic.

Assimilate and Synthesize The similarities between these organizations can be seen through their focus and processes. They each land on both ‘Developmental Culture’ and “Hierarchal Culture’ as their most extreme focus and processes, yet cross through ‘Clan Culture’ and ‘Rational Culture’ as their in-between, or variance, of focuses and processes that I found through my studies on their characteristics as organizations within the same community. This means that the differences between these organizations can also be seen through their focus and processes. But the majority of NYHSA’s and GHHN’s segments are placed within ‘Developmental Culture’ while RRCA’s and WHS’s segments land more-so within ‘Hierarchal Culture.’ DT, on the other hand, has somewhat of a balance between both cultures yet also lands within ‘Rational Culture.’ NYHSA, for example, lands more above DT on the grid, within ‘Clan Culture,’ proving that each organization may have similar extremes but very different cultures and perspectives from their individuals inside their organization. The four functions of organizational culture are to: give members an organizational identity, facilitate collective commitment, promote social system stability, and shape behavior by helping members make sense of their surroundings (Kreitner & Kinicki, 2013).

Project Positioning: Page 18

positioning: impact vs. profitability Determining Impact[1] • Alignment with core mission: How closely do the organization’s initiatives align with the their core goals? Some initiatives may be excellent, but not as central to their mission. • Excellence in execution: Organizations are simply better at delivering some activities than others. An initiative may be important to their mission, but they may not have the right skills or financial resources to implement it with excellence. This is a nice way of separating planning from execution. • Scale: How many people do their initiatives affect? • Depth: How deep an intervention or contact does each organization provide? • Building community or constituency: How do the organization contribute to building, for example, the preservation movement or the historic preservation community (not just their organization)? • Fills an Important Gap (FIG): If an organization were to go away, would their constituents be able to support another non-profit or would they have nowhere to go?

High Impact

table 2-7 See Appendix H: Pages 148 to 149 for specific analyses on DT and GHHN. See Page 20 for further analysis on the organization’s plotted impact-profitability-scales

NYHSA

High-Low*

GHHN

Low Profitability

WHS RRCA

Determining Profitability[2] “Profitability is closely related to profit – but with one key difference. While profit is an absolute amount, profitability is a relative one. It is the metric used to determine the scope of a company’s profit in relation to the size of the business. Profitability is a measurement of efficiency – and ultimately its success or failure. Profitability can further be defined as the ability of a business to produce a return on an investment based on its resources in comparison with an alternative investment. Although a company can realize a profit, this does not necessarily mean that the company is profitable” (Horton, 2018). [1]: Zimmerman, S., & Bell, J. (2015, June 29). The Matrix Map: A Powerful Tool for Mission-Focused Nonprofits. Retrieved from https://nonprofitquarterly.org/2014/04/01/the-matrix-map-a-powerful-tool-for-mission-focused-nonprofits/ [2]: Horton, M. (2018, December 21). The Difference Between Profitability and Profit. Retrieved from https://www.investopedia. com/ask/answers/012715/what-difference-between-profitability-and-profit.asp

Project Positioning: Page 19

High Profitability

Low-Low*

Low Impact

*Note: Each line-segment is the same length but shift in the matrix according the end-points’ relativity to the scale and my observations of the organization’s structure.

DT: Dutchess Tourism GHHN: Greater Hudson Heritage Network NYHSA: New York Historic Sites Alliance, Inc. RRCA: Rombout Rural Cemetery Association WHS: Wappingers Historical Society table 2-7 (with overlapped data)

Assimilate and Synthesize

High Impact

High Mission Impact, High Profitability

High Mission Impact, Low Profitability Low Profitability

High Profitability Low Mission Impact, Low Profitability

Low Mission Impact, High Profitability

Low Impact

...the majority of these segments fall within ‘High Mission Impact, High Profitability’ or ‘High Mission Impact, Low Profitability.’ The similarities between these organizations can be seen through their ‘dual-bottom line,’ a business term used in socially responsible enterprise and investment. Rather than measuring their fiscal performance, I sought to measure their performance in terms of positive social impact[1]. This means that the differences between these organizations can also be seen through their ‘dual-bottom line.‘ GHHN is the only one with extremes from ‘High Mission Impact, High Profitability’ to ‘High Mission Impact, Low Profitability,’ while the others’ lows land within ‘Low Mission Impact, Low Profitability.’ The NYHSA’s high extreme lands above all but the most to the left, meaning they can potentially achieve the highest impact but characterize low profitability. RRCA, on the other hand, has the least potential for profitability due to their low extreme being the most to the left overall. But with so many other small organizations in need of strengthening, why should we focus on these segments mostly within ‘High Mission Impact, High Profitability?’ NPQ author, Steve Zimmerman, names these organizations ‘Stars.’

(Zimmerman, 2015)

The organizations plotted as line-segments on the ‘Positioning’ grid (Table 2-7: Page 19) represent the scale of their ‘impact vs. profitability,’ which mostly vary from ‘High Mission Impact, High Profitability’ to ‘Low Mission Impact, Low Profitability,’ yet...

The strategic imperative is: Rather than turning away from ‘Stars’ to pay attention to problem areas, communities should invest their time, attention, and financial resources in order to help them grow. When choosing which areas to grow, the first (not the only) choices must be those with initiatives that have the highest impact and financially viable programs and activities (Zimmerman, 2015). [1]: Kasprzak, A. (2010, May 28). Nonprofit has different perspective on double bottom line thanks to volunteers. Retrieved from https://jvaconsulting. wordpress.com/2010/01/19/nonprofit-has-different-perspective-on-double-bottom-line-thanks-to-volunteers/

Project Positioning: Page 20

[1]: Zagging is the art of positioning a product or company in order to eliminate or minimize competition. Companies that zig (i.e., head in the same direction as their competitors) have no choice but to compete on price (Neumeier, 2006).

the 17-step process[1]

PROJECT CO+DESIGN

table 2-8

zag steps: 1 - 5

01.

02.

03.

04.

05.

who are you?

what do you do?

what’s your vision?

what wave are you riding?

who shares the brandscape?

Act as an entry point for creative solutions and greater collaboration between similar organizations. We facilitate adaptive re-use projects, cocreative workshops, and educational partnerships.

Design thinking as a catalyst for communication, lifelong learning, and ultimately, success in non-profits and for-profits within the Hudson Valley’s historic preservation community.

The movement toward design thinking as a process for an organization’s problem-solving and finding its competitive edge through effects on cultural climate and collaboration.

New York Historic Sites Alliance, Friends of Carnwath HSP[2], Wappingers Historical Society, Greater Hudson Heritage Network, Dutchess Tourism, and Rombout Rural Cemetery Association

We are a New York Historic Sites Alliance initiative for Communities of Practice in codesigning, coworking, and coopetition.

[2]: HSP: Historic Site & Park. See Page 85 for Spatial Context Reframing for Final Prototype

Project Positioning: Page 21

zag steps: 6 - 11

table 2-9 Note: See Page 94 for the Final Design to Market [1]: CoP: Communities of Practice (Lave & Wenger, 1991)

06.

07.

08.

09.

10.

11.

what makes you the “only”?

what should you add or subtract?

who loves you?

who’s the enemy?

what do they call you?

how do you explain yourself?

We are the only crowd-funded, coworking project that practices coopetition between organizations seeking innovation in an era of siloed practice within Historic Preservation.

Add college students seeking internships in design to encourage developmental culture. Subtract large, corporate visions and goals.

PROJECT CO+DESIGN: The NYHSA CoP Initiative at Carnwath[1]

We are a Hudson Valley co-working system that shares funding and talent and dissolves barriers to connection between similar and different organizations through design thinking, learning, and doing.

Non-profits, intra/ entrepreneurs, designers, preservationists, students, developers, and investors

Siloed, uncollaborative experts who perpetuate misconception and resist innovative change.

Project Positioning: Page 22

Zagging is the art of positioning a product or company in order to eliminate or minimize competition. Companies that zig (i.e., head in the same direction as their competitors) have no choice but to compete on price (Neumeier, 2006).

table 2-10

zag steps: 12 - 17

Note: See Page 94 for the Final Design to Market

12.

13.

14.

15.

16.

17.

how do you spread the word?

how do people engage with you?

what do they experience?

how do you earn their loyalty?

how do you extend your success?

how do you protect your portfolio?

PROJECT CO+DESIGN uses virtual platforms as a collaborative and interactive tool for non-profits, funders, and talent. Its physical channels are historic sites like the Frances Reese Cultural Center and their co-working spaces.

Feedback loops throughout the participatory design process of their co-working space, facilitated cocreative workshops, and talent databases.

Strategic restructuring for co-designing, coworking, and coopetition through adaptive reuses, educational partnerships, and cocreative workshops.

By consistently providing opportunities for funding, talent, and desired experiences.

Success can be extended by scaling up to neighboring counties and finding potential collaborators and sites in need of revival.

Project Positioning: Page 23

PROJECT CO+DESIGN is designed to be emulated. It is intended to foster collaboration, not limit interaction.

value proposition

onliness statement

For non-profits in the northeast with similar missions who are seeking ways to collaborate in order to increase funding and talent, our model offers a new cultural phenomenon designed to dissolve barriers and facilitate connection.

This is the only collaborative project that creates a new model of co-opetition for local non-profits in the northeast with similar missions who seek ways to communicate in order to increase funding and talent.

We do this by guiding organizations through a design thinking process in a structured, informative format that requires divergence, convergence, and innovative communications.

What: the only collaborative project

Unlike others that operate in frameworks primarily dedicated to specific cultures, which tend to stratify communities by technical understanding, our approach is based in research that reveals the underlying organizational models that each group holds in relation to the other in order to suggest opportunities for how we might change our perceptions â&#x20AC;&#x201C; so that we may increase the odds of success in local non-profits â&#x20AC;&#x201C; by integrating design thinking and collaboration as a key competitive advantage.

Who: for local non-profits

How: that creates a new model of co-opetition

Where: in New Jersey and New York Why: who seek funding, talent, and innovation When: in an era of siloed practice

Project Positioning: Page 24

research activities & synthesis:

Research Space Research Methodology Research Activities Research Questions Research Protocols Surveys, Questionnaires, & Interviews Co-creative Facilitation Research Synthesis Data Maps Research Findings at a Glance

26 27 28 29 30 31 39 59 60 65

cultural climate

Note: Emphasized primary sources were part of target audience. Not all subjects were able to participate.

map of research space

BCCE: Bard Center for Civic Engagement CUP: The Center of Urban Pedagogy HACC: Hellenic-American Chamber of Commerce

table 3-1

SCAD DMGT Faculty and Students (2019)

primary sources

secondary sources

design thinking

GHHN: Greater Hudson Heritage Network NYHSA: New York Historic Sites Alliance, Inc. RRCA: Rombout Rural Cemetery Association WHS: Wappingers Historical Society

Stone (2010) Neumeier (2006) Lockwood (2009) Muratovski (2016) Martin (2009)

secondary

primary

secondary

primary

Kreps (2003) Lutz, Smith, & Da Silva (2013) Rogers (2003)

CUP (2019) HACC (2019) GHHN (2019)

Kreps (2003) Bandarin & van (2012)

SCAD PRES Faculty and Students (2019) GHHN (2019)

BCCE (2019)

Georgetown Law (2018)

primary sources

local non-profits

historic preservation community

secondary sources

primary sources

secondary sources

Research Activities and Synthesis: Page 26

Dutchess Tourism (2019) HACC (2019) GHHN (2019) NYHSA (2019) RRCA (2019) WHS (2019)

Stipe (2003)

research methodology My contextual research involved going out into the subjects’ environment to observe and directly understand how existing or potential organizational systems are influenced by the wider context of their lives. This involved private and public meetings as well as co-creative workshops. This immersion not only allowed unexpected needs, opportunities or challenges to be revealed, but also offered a means of reevaluating assumptions about what these organizations’ needs actually are. Overall, I used an ethnographic lens to discover themes and patterns for beliefs and values that drive behavior. While secondary research was also necessary occasionally throughout the process, I still focused on the examination, analysis and interpretation of my observations and other data for the purpose of discovering classifications of types of phenomena and entities – usually without involving mathematical models. It can be difficult to understand conflict and goals without doing it side by side, therefore contextual research was required. Although a distinction is commonly drawn between qualitative and quantitative aspects of scientific investigation, the two sometimes go hand in hand.

derived from regina rowland, ph.d. dmgt 748

Research Activities and Synthesis: Page 27

research activities 1. Data Collection: Specific collection methods I used included surveys, interviews, structured group meetings, observation, and historical or archival methods. Using multiple methods was useful by enabling me to explore new theories or to test or generate new hypotheses by combining data in new and unique ways. By using qualitative research to identify certain issues or phenomena, and then using quantitative research as a follow up, or vice-era (as it is often the case with visual or applied research), there was greater flexibility in exploring new ways of thinking. Also, I was able to simultaneously answer confirmatory and explanatory questions, allowing me to generate and verify theories in the same study. 2. Data Processing: I benefited from cross-referencing multiple sources of evidence by â&#x20AC;&#x2DC;research triangulationâ&#x20AC;&#x2122; (Muratovski, 2016). Data triangulation involves bringing together these various data sources. Investor triangulation engages different researchers to work on the same problem. Theory triangulation allowed me to examine different perspectives on the same data set. Methodological triangulation brought a rang of different methods together. Ultimately, there was a collection of multiple sources of evidence, a formation of a database (distinct from the final report), and an outline of the explicit links between the questions asked, data collected, and conclusions drawn (Muratovski, 2016). 3. Data Analysis: First, I organized the details surrounding my case. Then I categorized the data, interpreted all single instances, and identified any patterns. Finally, I affinitized and generalized. Part of this process includes identifying categories that may help me cluster the data into meaningful groups. After examining specific documents, occurrences, or other data for any specific meanings they might have in relation to the study, I interpreted the data for underlying themes that characterized the study in broader terms. In the end, there is a list of conclusions and recommendations that go beyond the study. 4. Data Synthesis: After analysis, any generalizations were tentative and awaited further support from additional studies. I told the story of my research, providing a chronological report, and systematically addressing each proposition. My synthesis was divided into five sections: Introduction, Data Gathering, Data Analysis, Discussion, and Conclusion (Muratovski, 2016). Methods and diagramming techniques that helped me understand and communicate my research findings included ERAF maps, persona and empathy maps, affinity diagrams, journey maps, opportunity maps, and more. I made sure that readers can learn from my study and it was clear by being as thorough and objective as possible. In the final takeaways, my own interpretations were provided along with any contradictions of data, representing a complete and unbiased account of my studies.

Research Activities and Synthesis: Page 28

Note: See Appendix H: Pages 150 to 152 for Research Question Matrices

research questions

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

Sub-Research Question 1: How might we describe design thinking methods and apply them towards promoting developmental cultures and innovative communications?

Sub-Research Question 2: How might we describe nonprofit organizational systems and position them as a guiding framework for collaboration between competitors?

Research Activities and Synthesis: Page 29

Sub-Research Question 3: How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

table 3-5

research protocol

Note: See Appendix B: Pages 123 to 124 for further protocols

NYS: New York State OL: Online

I interacted with my target audience as much as possible, as often as possible, and included them in a creative collaboration from beginning to end. The following table programs my primary research in regards to: project scope, research space, methodology, and questions. The organizations are listed in time-order in regards to date of first contact. All participants received my up-to-date process book. Organization

Research Area

Research Method

New York Historic Sites Alliance, Inc. (NYHSA)

B. Local non-profits C. Historic preservation community

1. Survey 2. Document “Creating a Non-profit as a Student” 3. Facilitate “Design Thinking for the NFP” 4. Interview Ethan D.

Rombout Rural Cemetery Association (RRCA)

B. Local non-profits C. Historic preservation community

1. Survey 4. Questionnaire

Research Question

Contact

Time

Location

Sub-Research Questions 2 and 3

Ethan D.; Richard R.; Cheyenne C.; Elliana R.

1. Wednesday; Jan. 16; Unit 02 2. Monday; Jan. 21; Unit 03 3. Friday; Jan. 25; Unit 03 4. Wednesday; Jan. 16; Unit 02

1. OL; Google Forms 2. Bard College; NYS 3. Trinity Parish House; NYS 4. Private space; NYS

Sub-Research Questions 2 and 3

Paul D.

1 & 4. Wednesday; Jan. 16; Unit 02

1. OL; Google Forms 4. OL; email

Research Activities and Synthesis: Page 30

12.5%

Note: See Appendix D: Pages 129 to 136 for complete questions & results

Less than 5 individuals

12.5%

5 - 10 individuals 12.5%

10 - 20 individuals

How much experience do you have in the historic preservation 50 - 100 individuals How much experience do you have in the non-pro8t sector? 12.5% community? More than 100 How much experience do you have in design thinkin 8 responses

online survey: results, questions 1 to 6 individuals

8 responses 50%

1. How much experience do you have in the non-profit sector?

37.5%

2. How much experience do you have in the historic preservation community?

N/A

8 responses

3. How much experience do you have in design thinking?

Less than 3 years

None

3 - 7 years

Less than 3 years

7 - 12 years 12.5%

20 - 50 individuals

25%

More than 12 years

7 - 12 years

25%

More than 12 years

37.5%

3 - 7 years 7 - 12 years More than 12 years

Have you or your organization Have you or your organization ever applied design thinking to achieve ever applied design th 37.5% 50% collaboration 50% between competitors? intended outcomes? What is the size of your organization? 8 responses

8 responses

4. What is the size of your organization?

12.5%

5. Have you or your organization ever applied design thinking to achieve intended outcomes?

50%

37.5%

Maybe

75%

10 - 20 individuals

How much experience do you have in design thinking?

20 - 50 individuals

25%

50 - 100 individuals 12.5%

Yes

5 - 10 individuals 12.5%

6. Have you or your organization ever applied design thinking to transpire collaboration between competitors?

Yes

Less than 5 individuals

12.5%

8 responses

More than 100 individuals

8 responses 25%

N/A

None Less than 3 years 25%

25%

3 - 7 years 7 - 12 years

Research Activities and Synthesis: More thanPage 12 years31

37.5%

No Maybe

General values of the organization

6 (75%) 4 (50%)

Benchmarks for your success

3 (37.5%)

online survey: results, questions 7 to 12

Have you or your organization ever applied innovative c To learnoption and/or Which best describes your5 (62.5%) community's cultural climate? Which option best describes your organizational culture? and/or frameworks to transpire collaboration between educate the public 6 (75%)

8 responses

7. Which option best describes your organizational culture?

8 responses

8. Which option best describes your community’s To increase local cultural climate? 4 (50%)

8 responses 7 (87.5%)

9. Have you or your organization ever applied innovative communications and/or frameworks to transpire collaboration between competitors?

tourism N/A

Clan: cohesive, participative, leader as mentor, bonded…

25%

0 (0%)

12.5% 0.0

2.5 25%

Developmental: creative, adaptive leader as risk-taker…

37.5%

Hierarchal: ordered, uniform leader as a…

12.5%

Developmental: creative, adaptive leader as risk-taker… Hierarchal: ordered, uniform leader as a…

37.5%

N/A

25%

8 responses

10. Which of these best describes why you 8 responses donate and/or volunteer?

37.5%

4 (50%) 3 (37.5%) 6 (75%) To learn and/or educate the public

5 (62.5%)

N/A 0.0

12. How many non-profits in the historic preservation community do you donate to and/or volunteer for?

Less than 3

3-7

More than 7

25%

N/A Have you or your organization ever applied innovative communications and/or frameworks to transpire collaboration between competitors?

4 (50%)

75%

62.5%

0 (0%) 2.5

5.0

Maybe

25%

7 (87.5%) 8 responses

To increase local tourism

8 responses

11. How many non-profits do you donate to and/or volunteer for?

6 (75%)

Benchmarks for your success

37.5%

Rational: competitive/ acquisitive, leader…

Which of these best describes why you donate and/or volunteer?

General values of the organization

Yes

How many non-pro8ts in the historic preservation com donate to and/or37.5% volunteer for? N/A How many non-pro8ts do you donate to and/or volunteer for?

Rational: competitive/ acquisitive, leader… 25%

Clan: cohesive, participative, leader 5.0 7.5 as mentor, bonded…

Yes

7.5

37.5%

No Maybe

Research Activities and Synthesis: Page 32

More than 7 N/A

[1]: See Page 03 for Problem Statement within Project Framing

online survey: analysis & impact

Merging all of the results below into one fictional- staff, volunteer, and donor of non-profits in the historic preservation community translated into the following: He/she has 1.5 years of experience in the non-profit sector, 3.5 years in the historic preservation community, and no experience in design thinking. He/she donates and volunteers for only one non-profit in the historic preservation community, only to preserve local history. He/she works for an organization of 7 individuals, who’ve never applied design thinking to achieve intended outcomes or transpire collaboration between competitors. Their organizational culture and overall community’s cultural climate are predominately hierarchal. They’ve never applied innovative communications and/or frameworks to transpire collaboration between competitors. This supported my problem statement/ hypothesis[1] that leaders in historic preservation are resistant to change, like innovation, and as a result, their non-profits are stuck and competing for the same donations. I will use this data in part of forming four Personas, their Empathy Maps, and a section on Design Opportunities. ~10 Anonymous Responses Staff, Volunteer, or Donor of Non-Profits in the Historic Preservation Community Experience in the non-profit sector: 50% - Less than 3 years

Organizational culture: 37.5% - Hierarchal: ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability Community’s cultural climate: 37.5% - Hierarchal: ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability

Experience in the historic preservation community: 37.5% - Less than 3 years, 37.5% - 3 to 7 years Experience in design thinking: 50% - None

Applied innovative communications and/or frameworks to transpire collaboration between competitors: 37.5% - Yes, 37.5% - Maybe

Size of organization: 50% - 5 to 10 individuals

Donating and/or volunteering: 87.5% - To preserve local history

Applied design thinking to achieve intended outcomes: 75% - Maybe

Non-profits donating to and/or volunteering for: 62.5% - Less than 3

Applied design thinking to transpire collaboration between competitors: 37.5% - Yes, 37.5% - Maybe

Non-profits in the historic preservation community donating to and/or volunteering for: 75% - Less than 3

Research Activities and Synthesis: Page 33

questionnaires & interview questions Contacts answered questions either in person, email, or phone. Each contact received a combination of questions based on their Research Area(s) listed on the Research Protocol. DMGT Professor, Bruce Claxton FIDSA, suggests: “Allow enough time for your questions and how much time your client will have available. Consider a few minutes at the end to free-wheel and have an open dialogue. Sometimes really fresh material comes from that exchange after the actual interview of questions” (2019). Research Area A: Design Thinking • How might you describe design thinking? • How might you apply design thinking methods? • How might you describe organizational culture? • How might you apply innovative communications?

Research Area B: Local Non-Profits • How might you describe and use your organizational structure as a non-profit? • How might you describe innovation frameworks? • How might you apply innovation frameworks to your organizational structure as a nonprofit?

Research Activities and Synthesis: Page 34

Research Area C: Historic Preservation Community • How might you describe your historic preservation community? • How might you describe your community’s cultural climate? • How might you describe design thinking? • How might you collaborate with your competitors? • How might you relate your community’s cultural climate to design thinking and collaboration?

questionnaire highlights: RRCA

Note: See Appendix D: Page 137 for all questions/answers

Paul Dickerman, Trustee Rombout Rural Cemetery Association (RRCA) How might you describe and use your organizational system as a non-profit? The Rombout Rural Cemetery operates on a relatively informal manner. We follow the guidelines that are specified to us by both standard corporation and NYS Board of Cemetery rules, yet remains relatively flexible in our social/business approach. We do however, seek to present the RRC cemetery as organized as any other large cemetery organizations. How might you apply innovation frameworks to your organizational system as a non-profit? We may wish to begin using digital forms of communication, which would allow for easier communication and digital workspace. Furthermore, the resources available via digital media may allow for greater storage of information regarding the cemetery, its operation, and plans. How might you describe your historic preservation community? Rich with enthusiasm for the cause of preservation. While we seek to cooperate amongst each other and the greater community, there are some who seem less open to cooperation due to their territorial nature. How might you describe your communityâ&#x20AC;&#x2122;s cultural climate? Our community is not as cohesive as it was just a few decades ago, in part, due to a large influx of people from Westchester. However, there remains pride and love amongst those who have long lived here and those new to the area; together this brings hope to the possibility that the community will come together stronger than ever in the near future. How might you relate your communityâ&#x20AC;&#x2122;s cultural climate to design thinking and collaboration? If we think about form and how people respond to said form, perhaps we can use it to aid in the process of building cohesion among historic organizations and members of the community.

Research Activities and Synthesis: Page 35

RRCA: insights & observations

table 3-8

Research Synthesis: Graph & Cultural Characteristics

Feeling

Paul Dickerman, Trustee Rombout Rural Cemetery Association (RRCA)

• Seeking to cooperate amongst each other and the greater community

• Designing a product or system for the betterment of its use both individually and among a community

• Operating on a relatively informal manner • Following standard corporation rules

• Seeking to present the RRC as organized as any other large cemetery organizations

• Remaining relatively flexible in social/ business approach

• Retaining pride and love amongst those who have long lived here and those new to the area

“Rich with enthusiasm”

“Materiality, context, and visuals”

Organizational Structure

• Allowing for easier communication, digital workspace, & greater storage of information

• Trying to create a local consortium so each organization has a better chance at selling plots • Working with funeral homes • Lacking competitors

“NYS Board of Cemetery guidelines”

“Less open to cooperation”

“Storage” “Communication” Local Non-profit

“Territorial nature” Historic Preservation

“Think about form & how people respond” Design Thinking

“Local consortium on cemeteries” “Equal advertising” “Building cohesion” Co-opetition

Note: This is not a Journey Map, but derived from its format. Only color and height of circles determine prominence of cultural characteristics which are based off Positioning: Values & Cultural Climate, Table 2-6: Page 17

Research Activities and Synthesis: Page 36

Developmental Culture

Cohesive

Hierarchal Culture

Flexible

Thinking

Enthusiastic

Doing

Communicative

interview highlights: NYHSA

Note: See Appendix E: Page 138 for complete transcription

Ethan Dickerman, Vice-President & Founder New York Historic Sites Alliance, Inc. (NYHSA) How might you apply innovation frameworks to your organizational system as a non-profit? I try to bring in theories and approaches from multiple disciplines allowing for a more wide angle view of the issues at hand. My current studies in anthropology and archaeology taught me the significance of multi-disciplinary collaboration. I want to see what humans can really do and create both individually and together. How might you collaborate with your competitors? The more traditional, untraditional, non-profit, and for-profit organizations work together, the more likely the community can apply innovation frameworks. Historic Preservation is naturally multi-disciplinary, but sometimes the competition still stems from within one discipline. If more of our organizations are willing to collaborate, then our community as a whole will be more willing to collaborate with other communities. I think, as the NYHSA, we can start by initiating joint projects and community events. How might you relate your communityâ&#x20AC;&#x2122;s cultural climate to design thinking and collaboration? Our community is one of traditional thought, rooted in memories of the not so distant past. In order to aid in preservation we must offer our fellow citizens multiple avenues towards a new tomorrow. For if we do that, we may be able to satisfy more parties involved. Iâ&#x20AC;&#x2122;d definitely like to learn more ways to employ creative problem solving in the NYHSA and beyond. I know that thereâ&#x20AC;&#x2122;s a design process for innovation but how can we use that to create systems or frameworks for businesses? We should start there and the community will follow, especially if a positive change takes place.

Research Activities and Synthesis: Page 37

NYHSA: insights & observations

table 3-9

Research Synthesis: Graph & Cultural Characteristics

Feeling

Ethan Dickerman, Vice-President & Founder New York Historic Sites Alliance, Inc. (NYHSA)

“Corporate and hierarchal” “Rooted in equality” “Multi-disciplinary” Local Non-profit

Innovative

• Working together with more organizations, non-profits and for-profits within the community • Offering fellow citizens multiple avenues towards a new tomorrow

• Prompting one to look at the materiality and physicality of an object • Making positive change within organizations and community

• Employing creative problem solving in the NYHSA and beyond • Willing to collaborate with other communities • Satisfying more parties involved

• Learning the design process for innovation

• Starting to create a systems or frameworks for businesses and the community will follow

• Stemming competition from one discipline • Studying anthropology and archaeology

“Conservative politically & semiconservative socially” “Guarded or territorial”

“Passionate and devoted” Historic Preservation

“Visual influences”

Creative

“Joint projects and community events”

“Physicality of an object, structure, or system” Design Thinking

“Traditional thought” “Frameworks for businesses” Co-opetition

Research Activities and Synthesis: Page 38

Developmental Culture

Devoted

Hierarchal Culture

Thinking

• Committed to promoting equality, diversity and inclusion in all senses of words both internally and externally • Learning the significance of multidisciplinary collaboration

Organizational Structure

• Allowing for a more wide angle view of the issues at hand • Seeing what humans can really do and create both individually and together

Doing

Equal

NFP-A: Not-for-profit organization in need of talented volunteers NFP-B: Not-for-profit organization in need of funding/donations

co-creative facilitation: members of NYHSA Elliana Ramirez, NFP-A

Ethan Dickerman, NFP-A

Age: 21-25 Location: Newburgh, NY Occupation: Graphic Designer, Screen Printer

Age: 21-25 Location: Fishkill, NY Occupation: Student, Archaeology Lab Assistant

Richard Recchia, NFP-B

Cheyenne Cutter, NFP-B

Age: 21-25 Location: Fishkill, NY Occupation: Student, Student Aid - Admissions Office

Age: 21-25 Location: Red Hook, NY Occupation: Student, Cheese Packer

Merchandise Manager

President, Founder

Note: See Page 47 for Main Activity describing fictional NFP scenario

Vice President, Founder

Director of Educational Outreach

NYHSA: New York Historic Sites Alliance, Inc. Founded by college students in August 2018

Research Activities and Synthesis: Page 39

activity board: facilitating creative thinking, october 2018 Note: Participants on Page 39 also participated in my ‘Facilitating Creative Thinking’ workshop of 2018.

Problem Statement: “We must develop

approaches

that

will

help us effectively connect with all groups, so that we properly address issues and behaviors they face and need solutions for.” Methodology: Edward De Bono’s “Six Thinking Hats” describes

Actual size of completed activity/process board is 24” x 36”

a tool for group discussion and individual thinking involving six colored hats. “Six Thinking Hats” and the associated idea of lateral

View complete process book at: http://issuu.com/ johncolon/docs/ facilitation project_ finalprocessboo

thinking provide a means for groups to plan thinking processes in a detailed and cohesive way, and in doing so to think together more effectively.

figure 3-1 Research Activities and Synthesis: Page 40

co-creative facilitation: research protocol, january 2019 Design Thinking for the NFP: Co-opetition & the Tangible Artifact Goals & Expected Outcomes • To review previous workshop on creative thinking[1] • To guide participants through a design process • To explore the main issue of communicating and collaborating with competitors • To increase the participants’ understanding of a tangible artifact

Warm-Up Participants were asked to sketch what they think ‘co-opetiton’ is and then introduced to the definitions of ‘design thinking,’ ‘co-opetition,’ and ‘tangible artifact.’ They also reviewed the purpose of NFP’s along with the mission of the NYHSA. To stimulate creative thinking, participants were allowed to play with equal parts of clay upon arrival and throughout the activities. Main Activity This activity used IDEO’s approach to design thinking. Participants were guided through a problem, opportunity, and creating a solution. NFP-A was Ethan and Elliana. NFP-B was Richard and Cheyenne. Both teams competed and cooperated to create three tangible artifacts: an object of imaginary functions molded of clay, a process board documenting each step, and a method of co-opetition between NFP’s. Cool Down The group completed an Idea Capture Grid where they used post-it notes to place comments, critiques, ideas, and questions into the corresponding quadrant on a large piece of paper. Debriefing A ball was tossed around and each participant answered questions. The debrief was a critical component of the main activity. It was necessary to ensure the group understood the progress made during the session. This was collected through informal interviews.

[1]: See Figure 3-1: Page 40 for completed process board

Closure Each participant assembled a kit containing sources and a summary of the activity. The kit provided tangible materials to remember the experience, and encouraged them to use this technique in the future.

Research Activities and Synthesis: Page 41

Resources: activity board, ball, large paper, markers/pens, paper, post-its, take-home kit

co-creative facilitation: schedule

table 3-10

stage

time

description

Welcome

As participants arrive

• Snacks, drinks, conversation, and getting reacquainted. Clay was supplied.

Warm-Up

20 mins.

• Participants reviewed and discussed previous creative-thinking workshop in October 2018 • They were taught the definitions of ‘design thinking,’ ‘co-opetiton,’ and ‘tangible artifact.’ • Reviewed the purpose of other, local not-for-profits (NFP) and the mission of the New York Historic Sites Alliance, Inc. (NYHSA)

Main Activity

40 mins.

• Instructions were reviewed and teams were assigned. Participants wrote down questions, thoughts and ideas throughout as well as created small sketches. All of these were done both individually, in teams, and all together. • They designed an object that solved their problem. Process can be repeated for furthur exploration.

Cool-Down

10 mins.

• Participants reflected on the purpose of the activity and completed an Idea Capture Grid exercise.

Debriefing

05 mins.

• A ball was passed around so that each person had an opportunity to discuss his/her reactions and answered questions about the activity and the topic at hand. • Participant feedback was collected through recorded interviews.

Closure

05 mins.

• Participants assembled a take-home kit with reference and reminder materials.

Total: 90 mins.

Research Activities and Synthesis: Page 42

co-creative facilitation: welcome figure 3-2

figure 3-3

Research Activities and Synthesis: Page 43

co-creative facilitation: warm-up

figure 3-4

figure 3-5

figure 3-6

figure 3-7

Research Activities and Synthesis: Page 44

co-creative facilitation: warm-up

Note: Call-outs highlight important findings as a result of facilitating creative thinking. figure 3-8

Sketch your definition of ‘co-opetition.’ Two opposing magnets bound together by a ‘structure’

What gives NYHSA a competitive edge? Bringing together a network of ‘community stakeholders’ to leverage compounding effects of ‘economies of scale’

Research Activities and Synthesis: Page 45

warm-up: insights & observations

table 3-11

Journey Map & Cultural Characteristics

Feeling

Elliana R., Ethan D., Cheyenne C., & Richard R. New York Historic Sites Alliance, Inc. (NYHSA)

• Stimulating creative thinking and playing with clay • Sketching own definition of ‘co-opetiton’ • Learning definitions of ‘design thinking,’ ‘co-opetition,’ and ‘tangible artifact’

• Leveraging compounding effects of ‘economies of scale’ • Looking to incorporate the entire community, not just the easy sections • Running the organization as young, determined, and innovative thinkers

• Reviewing the purpose of NFP’s along with the mission of the NYHSA • Discussing previous creative-thinking workshop in October 2018

Organizational Structure

• Communicating love • Distrusting relationships

Young

Introduction to Co-opetition

Competitive Edge of the NYHSA Note: Only color and height of circles determine prominence of cultural characteristics which are based off Positioning: Values & Cultural Climate, Table 2-6: Page 17

Research Activities and Synthesis: Page 46

Developmental Culture

• Opposing variables • Bounding together • Structuring opposition

Economic

Hierarchal Culture

Thinking

Creative

Doing

Bound

co-creative facilitation: main activity Problem Statement: Non-profits in the historic preservation community are competing for the same donations and volunteers due to an increase of similar local organizations. NFP-A needs talent and NFP-B needs funding. Both NFPâ&#x20AC;&#x2122;s share similar missions. Opportunity Statement: There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage. NFPâ&#x20AC;&#x2122;s A and B will mold an imaginary object that achieves the unique value proposition of both organizations together. Instructions for Process:

[1]

1. Identify a driving question related to the problem at hand that inspires your team to search for creative solutions. 2. Inspire new thinking by discovering what your team really needs as a solution. 3. Push past obvious solutions to get to breakthrough ideas. 4. Build rough prototypes to learn how to make ideas better. 5. Refine ideas by gathering feedback and experimenting forward. 6. Craft a human story to inspire others toward action. Research Activities and Synthesis: Page 47

[1]: Design Thinking: A Method for Creative Problem Solving. (2019). Retrieved from https://www.ideou.com/pages/design-thinking

Note: See Figure 3-16: Page 51 and Appendix B: Page 125 for completed process board

Each box has space for one 3”x 3” Post-it Note. All participants have the opportunity to mold clay, sketch objects, and write down questions and thoughts. The bottom row represents the results of all participants working together at the end of each step. Steps 1 and 2 focus on the individuals, Steps 3 and 4 on the teams, and Steps 5 and 6 on the collaboration between teams. Each step involves divergence and convergence.

Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

frame a question

gather inspiration

generate ideas

make ideas tangible

test to learn

share the story

NFP-A: Question 1

NFP-A: Object 1 Function

NFP-AA: Object 5 Strength 1

NFP-A: Object 7 Title 1

NFP-AB: Strength of NFP-A 1

NFP-AB: Object 8 Strength 1

NFP-A: Question 2

NFP-A: Object 2 Function

NFP-AA: Object 5 Strength 2

NFP-A: Object 7 Title 2

NFP-BA: Strength of NFP-B 1

NFP-AB: Object 8 Strength 2

NFP-B: Question 3

NFP-B: Object 3 Function

NFP-BB: Object 6 Strength 1

NFP-B: Object 7 Title 3

NFP-AB: Strength of NFP-A 2

NFP-AB: Object 8 Strength 3

NFP-B: Question 4

NFP-B: Object 4 Function

NFP-BB: Object 6 Strength 2

NFP-B: Object 7 Title 4

NFP-BA: Strength of NFP-B 2

NFP-AB: Object 8 Strength 4

NFP-AB: Refined Question

NFP-AB: Object 7 Function

NFP-AABB: Object 7 Sketch

NFP-AB: Object 7 Refined Function

NFP-AB: Object 7 Refined Sketch

NFP-AB: Object 8 Title

What you’ll need: Clay, markers/pens, Post-it Notes Problem Statement: Non-profits in the historic preservation community are competing for the same donations and volunteers due to an increase of similar local organizations. NFP-A needs talent and NFP-B needs funding. Both NFP’s share similar missions. Opportunity Statement: There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage. NFP’s A and B will mold an imaginary object that achieves the unique value proposition of both organizations.

Instructions:

1. Identify a driving question related to the problem at hand that inspires your team to search for creative solutions. Each member writes down a different question and sticks it in line underneath “01.” Both teams discuss their thoughts, simplify their questions into one, and place the final question on the bottom underneath the same number. 2. Inspire new thinking by discovering what your team really needs as a solution. Each member molds a different imaginary object that will increase funding or talent, writes down its unique function, sticks it in line underneath “02,” and discusses their ideas. Then, simplify and write down what both teams really need, other than funding or talent, onto one note and place onto the bottom underneath the same number. 3. Push past obvious solutions to get to breakthrough ideas. Each team merges their objects and their functions into two different objects and discuss. Then each member writes down why they think their object is better than the opposer’s and sticks it in line underneath “03.” After more discussion, sketch what it would look like if both objects were merged into one and place onto the bottom underneath the same number. 4. Build rough prototypes to learn how to make ideas better. Each member molds a new object reflecting the sketch that achieves the functions of both previous objects, titles their object, writes it down, and sticks it in line underneath “04.” After more discussion, simplify and write down the function of the sketched object, and place onto the bottom underneath the same number. 5. Refine ideas by gathering feedback and experimenting forward. One member of each team switches to the other side and each pair writes down one thing they value most in the other team. Stick both notes in line underneath “05.” Then, switch team members again and write down another value. Finally, get back into your original teams, sketch a refined object that achieves what you both really need using your strongest values, and place onto the bottom underneath the same number. 6. Craft a human story to inspire others toward action. Each teams molds half of the refined sketched object and merges them into one. You may have thought the molded object was the final, tangible artifact of this activity, but it was the method of co-opetition all along. You’ve created not only an object with intended functions and process board of divergence and convergence, but a framework that allows for cooperation and communication. How will you use it moving forward? Each member writes down a different value of the final object to other NFP’s, and sticks it in line underneath “06.” Then create a final title of the object, write it down, and place onto the bottom underneath the same number.

figure 3-9 Research Activities and Synthesis: Page 48

Actual size is 24” x 36”

co-creative facilitation: main activity figure 3-10

figure 3-11

Research Activities and Synthesis: Page 49

Note: See Appendix B: Page 125 for completed process board

figure 3-12

figure 3-13

figure 3-14

figure 3-15

Research Activities and Synthesis: Page 50

co-creative facilitation: main activity NFP-A: Question 2 How do we make them feel like they can relate?

NFP-AB: Object 7 Function Cultural object; ‘Pile (beam)/pen hybrid’ that attaches to ‘Grant Book’ and only gives + receives ‘love.’

Note: Call-outs highlight important findings as a result of integrating design thinking within co-opetition.

figure 3-16

Research Activities and Synthesis: Page 51

NFP-AB: Strength of NFP-A 1 They have a lot of ‘money’ and ‘talent’ to ‘love’

NFP-AB: Object 8 Strength 3 (Moderates) events in a format that empowers users to update + refine in a dynamic + evolving culture

Note: Call-outs highlight important findings as a result of integrating design thinking within co-opetition. See Appendix B: Page 125 for completed process board.

NFP-AA: Object 5 Strength 2 Always looking at the ‘upward & direct’

NFP-BB: Object 6 Strength 2 Grant-proposal-writing ‘pen’ directly aimed at gaining funds and allows us to ‘train’ our volunteer base in ‘grant-writing’

NFP-A: Object 7 - Title 2 ‘Book of Loving all’

NFP-AB: Object 7 Refined Function Technology; ‘grantpurpose’; Universal

Research Activities and Synthesis: Page 52

main activity: insights & observations

table 3-12

Journey Map & Cultural Characteristics

Feeling

Elliana R., Ethan D., Cheyenne C., & Richard R. New York Historic Sites Alliance, Inc. (NYHSA)

• Finding values in the other team and designing a solution together based off these values • Completing a process board of divergence and convergence and a framework that allows for cooperation and communication

• Writing down unique driving question • Molding unique imaginary object that will increase funding or talent • Writing down object’s unique function

• Merging unique objects and their functions into two different team-objects and writing down their strengths • Molding new objects individually that achieve the functions of both previous objects, titling them, and writing them down

• Switching to other team and writing down values in the other team, returning to original teams, & sketching refined object that achieves needs using strongest values • Writing down different values of final object in other NFP’s and a final title of the object

“Talent & intellect for financial self-sufficiency”

“Train our volunteer base” “Years of research and experience”

Working Individually

Working in Teams

Collaborating Between Teams Note: Only color and height of circles determine prominence of cultural characteristics which are based off Positioning: Values & Cultural Climate, Table 2-6: Page 17

Research Activities and Synthesis: Page 53

Hierarchal Culture

• Strengthening ideas and competitive edge of teams • Converging ideas between teams for preliminary prototyping of solutions to funding and talent

Organizational Structure

• Finding passionate volunteers whose talents and intellect can be combined for achieving the goal of financial selfsufficiency • Simplifying what both teams really need, other than funding or talent

Developmental Culture

Cooperative

Thinking

Co-opetitive

Doing

Competitive

co-creative facilitation: cool-down Comments: • Tactile experience; very physically hands-on • It was really challenging to combine four different ideas and having to be similar

Ideas: • (Video-) taping what we say just in case someone said something good • Simplify text

Questions: • Can we do this with real NYHSA projects? • What would this workshop look like in a live scenario?

Criticism: • Having ‘artifacts’ easily relate to the goal • Improve clarity and flow

figure 3-17

figure 3-18

Research Activities and Synthesis: Page 54

Note: Call-outs highlight important findings as a result of capturing real-time feedback through interaction

co-creative facilitation: cool-down figure 3-19

Question: Can we apply this to competing organizations that donâ&#x20AC;&#x2122;t want to cooperate?

Idea: Lets bring in outsiders and their insiders

Research Activities and Synthesis: Page 55

Note: Transcribed from audio-recording

co-creative facilitation: debriefing

1. What was something you liked or was notable today? Ethan D.: I liked the high level of interaction and amount of thought in this event. 2. Please give some constructive criticism. Elliana R.: We cut back on small talk and focused more on the activity. I feel like we cut people off a lot and some of us haven’t learned that from the last time. 3. What questions were raised for you? Richard R.: I was curious as to what this might look like in a professional setting with two actually competing organizations which have, perhaps, history behind one another that we might not have had here – where they’re significantly more fleshed-out as organizations. How would this concept be then taken to account for those other factors like long-term ‘history’ between sites, for instance? 4. What are some ideas for further exploration? Cheyenne C.: For further ideas, we kind of started off with two very simple questions that were kind of related but still very different and I feel like it would be very interesting to actually flesh-out mock organizations to try to attempt this because then we wouldn’t be talking about vague problems and vague solutions. We could actually dive into more details where those issues were. Because I’m thinking of that ‘Problem Statement Worksheet’ you gave us that one time, where it asked what’s the issue you perceive and what are solutions for the thing. It actually made you think more heavily into what those direct things are and I think you can heavily influence the artifacts produced too.

Research Activities and Synthesis: Page 56

feedback: insights & observations

table 3-13

Journey Map & Cultural Characteristics

Feeling

John Colon, Facilitator Design Thinking for the NFP: Co-opetition & the Tangible Artifact

• Helping the Historic Preservation Community in communication and collaboration through creative workshops • Facilitating larger groups in a streamlined and strategic workshop

• Organizing feedback gathered from my research • Gathering lessons learned with the group

• Sharing lessons learned with the group • Steering conversation towards quadrants not receiving enough input • Discussing how to synthesize the feedback received

Organizational Structure

• Keeping discussions and conversation on topic • Simplifying amount of instructions and steps throughout the process • Creating scenarios using problems specific to the NYHSA

Cool-down

Debriefing Note: Only color and height of circles determine prominence of Cultural Characteristics which are based off Positioning: Values & Cultural Climate, Table 2-6: Page 17

Research Activities and Synthesis: Page 57

Developmental Culture

Creative

Hierarchal Culture

Observant

Thinking

Inquisitive

Doing

Critical

[1]: See Figure 3-1: Page 40 for completed process board [2]: First 4 pages of 12; By RW Fee, SCAD NYHSA: Facilitating Creative Thinking

co-creative facilitation: take-home kit Design Thinking for the NFP: Co-opetition & the Tangible Artifact

Date: Tuesday; October 23rd, 2018 Time: 7:30 PM – 9 PM Place: Trinity Parish House, Second Floor

Facilitator: John Colón, Design Manager

1200 Main Street

Participants: New York Historic Sites Alliance, Inc.

Opportunity Statement: There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage. NFP’s A and B will mold an imaginary object that achieves the unique value proposition of both organizations.

Progress: White Hats - Information/Facts “Communication goes two ways.” “You need to tailor your pitch to your audience.” “Using the ‘language’ of each different organization makes it easier for them to understand what is being said.” “Communication must be thoroughly thought out or people may misunderstand the points or questions. Think before saying.”

Design thinking: A process for creative problem solving; human-centered approach to innovation NFP (Not-for-profit): Valued for accountability, trustworthiness, honesty, and openness to investors; accountable to donors, funders, volunteers, program recipients, and public community Co-opetition: The act of cooperation between competing organizations; a type of strategic alliance

End Result: Black Hat - Obstacles: “Misunderstanding the demographics” Red Hat - Emotions: “Connecting objects to emotions is a great way to reach across demographic divides.” Green Hat - Creativity: “Do creative brainstorming with members of targeted demographics.” Yellow Hat - Optimism: “Be kind. Learn and listen to others.” Blue Hat - Managing: “The goal is to reach out to people who are in one generation at a time and not all at once.”

Tangible Artifact: The artifact of design; includes cultural & heritage artifacts, physical objects, and anything virtual, digital, or visual; a system or framework

Design Thinking for the NFP: Co-opetition & the Tangible Artifact

Black Hat - Obstacles: “Fear of change” Red Hat - Emotions: “Be aware that logic can be overpowered by emotions and we should approach problems with emotions accounted for and make people feel like they matter.” Green Hat - Creativity: “Create change in a way that feels as though there is no change happening at all.” Yellow Hat - Optimism: “Progress and change is what got us out of caves and into homes.” Blue Hat - Managing: “Breaking down and analyzing fears to tailor arguments.”

John Colón DMGT 732 Fall 2018

visual storytelling activity

Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

white hat: info white hat: info

black hat: obstacle

visual storytelling activity

gather inspiration

generate ideas

make ideas tangible

test to learn

share the story

NFP-A: Question 1

NFP-A: Object 1 Function

NFP-AA: Object 5 Strength 1

NFP-A: Object 7 Title 1

NFP-AB: Strength of NFP-A 1

NFP-AB: Object 7 Strength 1

Problem Statement: Non-profits in the historic preservation community are competing for the same donations and volunteers due to an increase of similar local organizations. NFP-A needs talent and NFP-B needs funding. Both NFP’s share similar missions.

NFP-A: Question 2

NFP-A: Object 2 Function

NFP-AA: Object 5 Strength 2

NFP-A: Object 7 Title 2

NFP-BA: Strength of NFP-B 1

NFP-AB: Object 7 Strength 2

NFP-B: Question 3

NFP-B: Object 3 Function

NFP-BB: Object 6 Strength 1

NFP-B: Object 7 Title 3

NFP-AB: Strength of NFP-A 2

NFP-AB: Object 7 Strength 3

NFP-B: Question 4

NFP-B: Object 4 Function

NFP-BB: Object 6 Strength 2

NFP-B: Object 7 Title 4

NFP-BA: Strength of NFP-B 2

NFP-AB: Object 7 Strength 4

NFP-AABB: Object 7 Sketch

NFP-AB: Object 7 Refined Function

NFP-AB: Object 7 Refined Sketch

NFP-AB: Object 7 Title

directions:

1. Take White Hat cards and write one fact on each of them pertaining to the problem at hand. 2. Place them within the White Hat boxes on the board as the Information. 3. Take Black Hat cards and write one cause of the problem on each of them. 4. Read each cause aloud and choose the two most important 5. Place them within the Black Hat boxes on the board as Obstacles. 6. Take one card of each: Red Hat, Green Hat, Yellow Hat, Blue Hat. 7. Write one solution to the first Obstacle on each card, using the perspective given from the Hat’s color. 8. Move pawn to first color and play corresponding card. 9. Discuss and take notes per move and stick into the Notes section under each color circle. 10.Repeat the process for the second Obstacle then repeat the game as many times as necessary. 11.Document the activity for furthur research.

Page 01

Previous workshop[1] Communication, 2018

SCAD

Integrating Design Thinking: Co-opetition Between Non-Profit Organizations The following information provides an introduction to field research that will be conducted online, in New York City, and in New York State between January 2019 and March 2019, by John Colón, Design Management graduate student at the Savannah College of Art and Design.

purpose of study

The focus of this project is applying design thinking and using organizational culture to transpire organizational effectiveness and collaboration between competing nonprofits through qualitative research in the field.

research questions

My research will be guided by the following questions: 1. How might we use design thinking to transpire collaboration between competing non-profits in historic preservation? 2. How might we describe design thinking methods and apply them towards promoting developmental cultures and innovative communications? 3. How might we describe non-profit organizational systems and position them as a guiding framework for collaboration between competitors? 4. How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

data collection methodology Data will be collected through: 1. Online Survey 2. Questionnaires 3. Interviews

NFP-AB: Refined Question

NFP-AB: Object 7 Function

4. Observation 5. Audio-Recording 6. Photos

data management •

Instructions:

white hat: info

finish

This activity will take you through a six-step design process used to create a tangible artifact that will allow you to judiciously cooperate with your competitor. But what is the artifact?

frame a question

What you’ll need: Clay, markers/pens, Post-it Notes

white hat: info

black hat: obstacle

1200 Main Street Fishkill, New York

Methodology: Edward De Bono’s “Six Thinking Hats” describes a tool for group discussion and individual thinking involving six colored hats. “Six Thinking Hats” and the associated idea of lateral thinking provide a means for groups to plan thinking processes in a detailed and cohesive way, and in doing so to think together more effectively.

start

Time: 7 PM – 8:30 PM

Participants: New York Historic Sites Alliance, Inc.

Fishkill, New York

Problem Statement: “We must develop approaches that will help us effectively connect with all groups, so that we properly address issues and behaviors they face and need solutions for.”

facilitating creative thinking

Date: Friday; January 25th, 2019 Place: Trinity Parish House, Second Floor

figure 3-20

•

Participants will have the option for the researcher to anonymize their data prior to sharing the body of work Data will be stored via the researcher’s hard drive

contact information

This project is being conducted through the Design Management department at the Savannah College of Art and Design. For additional information please contact: • Professor Bruce Claxton FIDSA: bclaxton@scad.edu • John Colón: jcolon21@student.scad.edu, (551) 795-6816

Page 02

Current workshop Co-opetition, 2019

Project Intro

Given with consent form

Each participant assembled a kit, within their own colored and labeled folder, containing sources and a summary of the activity as well as last year’s activity. The kit provides tangible materials to remember the experience, educate others on their experience, and encourages them to use this technique in the future.

Research Activities and Synthesis: Page 58

Tangible Artifact presentation[2]

NFP-A: Not-for-profit organization in need of talented volunteers NFP-B: Not-for-profit organization in need of funding/donations

research synthesis: personas, NFP-A vs. NFP-B

table 3-14

Based on the Preliminary Examples (Table 1-2: Page 06) of my Target Audience, the artifacts/data collected from my Co-creative Facilitation, and my Journey Maps, I refined four Personas and created more personal Scenarios with perspectives from the experience of a refined, simulated co-opetiton between two non-profits with similar missions. I also created Empathy Maps for each Persona, providing a deeper insight on their cultural environment.

Elise R., Age 24 • Leader in NFP-A, needs talent • Interior Designer, Carpenter • Cornall-on-Hudson, NY • Friend of Eric D. and Roger R. • Has a good sense of competition • Motivated by solitude and nature • Wants to own a for-profit business • Frustrated by extreme consumerism • Typical tasks include contacting executive directors • Skilled at digital media and communications

Eric D., Age 21 • Leader in NFP-A, needs talent • Student, Biomedical Lab Assistant • Beacon, NY • Classmate and friend of Claire C., Friend of Elise R. and Roger R. • Has no artistic abilities • Motivated by large, urban adaptive reuse projects • Wants to decrease financial debt • Frustrated by lack of communication between non-profits • Typical tasks include visiting historic sites • Skilled at networking with funders

Claire C., Age 22 • Leader in NFP-B, needs funding • Student, Meat Packer • Annandale-on-Hudson, NY • Classmate and friend of Eric D., friend of Roger R. • Has Autism Spectrum Disorder • Motivated by small, local educational initiatives • Wants to expand network of local entrepreneurs • Frustrated by small local market • Typical tasks include researching her userbase/donors • Skilled at feeling empathy and personally connecting with her target audience

Research Activities and Synthesis: Page 59

Roger R., Age 23 • Leader in NFP-B, needs funding • Student, Student Aid - Intramural Sports Office • Hopewell Junction, NY • Friend of Claire C., Eric D., and Elise R. • Has experience in social-science research • Motivated by variety of project types • Wants to own a for-profit business • Frustrated by the laissez-faire • Typical tasks include managing over 5 projects at a time • Skilled at the laws within the historic preservation process

table 3-15

Personas are fictional characters, based on my research, representing the target audience that might use my framework for co-opetition. They help me understand my users’ needs, experiences, behaviors, and goals.

empathy map: Elise R.

Note: See Table 3-14: Page 59 for Research Synthesis: Personas, NFP-A vs. NFP-B

What does she THINK and FEEL? She thinks organizations that are in the same type of business as hers as well as different types of businesses which sell the same product/service are her major competitors and feels out of touch with those who volunteer for these organizations.

What does she HEAR?

What does she SEE?

She hears her competitors expressing discomfort with the concept of competing and agreeing that competition for available money from a small pool of funders, donors, and ticket buyers is challenging.

She sees time constraints and other leisure activities, including movies, television, and sports events, as competition.

What does she SAY and DO? She says that the Hudson Valley has a small market for the large number of historic preservation organizations that emerged to compete for resources but she does recognize that some contributors donate to multiple non-profits and her audiences tend to include a large proportion of ‘crossover’ attendees who attend a variety of arts events.

• Technical infrastructure • Restricted donations

Pain

• • • •

Legacy Paid employees Large organization International initiatives

Gain

Research Activities and Synthesis: Page 60

table 3-16

empathy map: Eric D.

Note: See Table 3-14: Page 59 for Research Synthesis: Personas, NFP-A vs. NFP-B

What does he THINK and FEEL?

ym no desab ,sretcarahc lanoitcfi era sanosreP taht ecneidua tegrat eht gnitneserper ,hcraeser yehT .noititepo-oc rof krowemarf ym esu thgim He thinks that most formal cooperation in his organization involves ,secneirepxe ,sdeen ’sresu ym dnatsrednu em pleh artistic projects yet feels that cooperation in his community most likely .slaog dna ,sroivaheb

involves operational activities like sharing of venues, production, and resources.

What does he HEAR?

What does he SEE?

He hears innovative organizations like collaborating through special promotions related to cross-promotion, joint projects, shared ads, and inclusion in each other’s process and program books.

He sees funders increasingly favoring nonprofits which cooperate with each other and as a result, collaboration emerging as a trend.

What does he SAY and DO? He says developing funds by sharing resources such as donor/subscriber mailing lists and contact information with other organizations is rare since he does recognize that they are competing for very little donor funding.

• College student schedules • Specific focus/discipline

Pain

• • • •

Gain New, contemporary branding Multi-disciplinary Close personal relationships New website

Research Activities and Synthesis: Page 61

Eric D., Age 21 • Leader in NFP-A, needs talent • Student, Biomedical Lab Assistant • Beacon, NY • Classmate and friend of Claire C., Friend of Elise R. and Roger R. • Has no artistic abilities • Motivated by large, urban adaptive reuse projects • Wants to decrease financial debt • Frustrated by lack of communication between nonprofits • Typical tasks include visiting historic sites • Skilled at networking with funders

table 3-17

empathy map: Claire C. What does she THINK and FEEL? She thinks cooperation that might be considered informal includes interactive sharing of talent between organizations and feels that building collaborative relationships is important.

What does she HEAR?

What does she SEE?

She hears that structured and guided interviews of her competitors’ top leaders might get her information which can lead to an increase in funding for her organization.

She sees the need for trust, mutual respect, personal integrity, openness before co-opetition among non-profits can be seen as a thing of nature.

What does she SAY and DO? She says that historic preservation organizations within small to mid-size urban areas might view each other as competitors and does research to assess the act of cooperation and its barriers, as well as tactical, strategic, and evaluative considerations.

• Small and new • Low funding

Pain

• • • •

Strong commitment Resources Partnerships Woman-owned

Gain

Research Activities and Synthesis: Page 62

Claire C., Age 22 • Leader in NFP-B, needs funding • Student, Meat Packer • Annandale-on-Hudson, NY • Classmate and friend of Eric D., friend of Roger R. • Has Autism Spectrum Disorder • Motivated by small, local educational initiatives • Wants to expand network of local entrepreneurs • Frustrated by small local market • Typical tasks include researching her user-base/donors • Skilled at feeling empathy and personally connecting with her target audience

table 3-18

empathy map: Roger R.

Note: See Table 3-14: Page 59 for Research Synthesis: Personas, NFP-A vs. NFP-B

What does he THINK and FEEL? He thinks building collaborative relationships means communication, artistic excellence, and compatibility of missions but feels his competitors have low availability of new resources and creativity.

What does he HEAR?

What does he SEE?

He hears that his organization’s volunteers might lack an entrepreneurial spirit which could be an important factor to driving cooperation

He sees the potential for qualitative study to assess the extent and nature of coopetition among the historic preservation community.

What does he SAY and DO? He says barriers to cooperation between organizations other than funding and talent include issues related to logistics, scheduling, and resource scarcity but he does want to emphasize the issue of trust based on prior bad experiences.

• Various schedules • Minimal time availability

Pain

• • • •

Gain Theoretical perspectives of learning/growing college students Close-knit Experience in design thinking High funding and talent

Research Activities and Synthesis: Page 63

figure 3-21

i i

off

Research Activities and Synthesis: Page 64

Aid

Eii

insight map: topics of interest My Insight Map takes the form of a Mind Map through its natural organizational structure that radiates from the bigger bubbles: (Competition, Coordination, & Non-Profits in Historic Preservation) and the use of lines, words, and colors according to simple, brainfriendly concepts. After diverging my Personas and completing my Empathy Maps, I converged their Topics of Interest into the above three categories. This helped me realize the importance of an organizationâ&#x20AC;&#x2122;s location, size, design, and culture in relation to the community as a whole.

table 3-19

research findings at-a-glance: the takeaways

Note: Includes primary and secondary research and results most related to my Research Questions and Target Audience

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation? Sub-Research Question 1: How might we describe design thinking methods and apply them towards promoting developmental cultures and innovative communications?

Sub-Research Question 2: How might we describe non-profit organizational systems and position them as a guiding framework for collaboration between competitors?

Sub-Research Question 3: How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

For Funders & Talent from Funders & Talent

• Find activities that require more people to come to

• ‘Walk the talk:’ model partnership and collaboration

• Be willing to provide unrestricted funds

• Help grantees find additional funders

• Be more intentional about sharing resources

For Funders & Talent from Non-profits

• Recognize that developing strategies, plans,

• Let the collaborating partners guide the work

• Recognize that building trust is part of the process

• Open up funder networks and serve as connections

• Provide ongoing support, not just startup funds

For Non-profits from Non-profits

• Establish a clear purpose with desired outcomes

• Be transparent about challenges, costs involved, and

• Explore all support funders can offer, not just grants

the table

structures, and relationships takes time

• Don’t be afraid to ask for help

expertise required

• Translate goals into language all partners can use

For Non-profits from Funders & Talent

• Develop a communications plan

• If you’ve gone through strategic restructuring, share

• Understand that it’s impossible to get everyone’s

• Establish an end goal with clear expectations

your experiences with other non-profits

Research Activities and Synthesis: Page 65

buy-in; at some point, you’ve got to move forward

design opportunities and criteria, reframing:

Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

67 68 69 72

Secondary Source: Nonprofit Strategic Restructuring. (2012, August 11). Retrieved from http://pndblog. typepad.com/pndblog/2012/08/infographic-nonprofitstrategic-restructuring.html

opportunities for design matrix

Insights

How might we...

table 4-1

Opportunities

Funders & Talent believe that other Funders & Talent should come together to find activities for building connections and help grantees, while willing to provide unrestricted funds and share resources with each other.

How might we help Funders & Talent find activities and connections, help grantees, provide unrestricted funds, and share resources with each other for collaborating Non-profits?

There is an opportunity for collaboration between Non-profits by applying design thinking to Funders & Talent searching activities and connections, helping grantees, wanting to provide unrestricted funds, and not sharing resources with each other.

Non-profits believe that Funders & Talent should come together to open up funder networks and serve as connections, while providing ongoing support and building trust throughout an organizationâ&#x20AC;&#x2122;s restructuring processes for collaboration.

How might we help Funders & Talent open up funder networks, serve as connections, provide ongoing support, and build trust with collaborating Nonprofits?

There is an opportunity for collaboration between Non-profits by applying design thinking to Funders & Talent who arenâ&#x20AC;&#x2122;t in funder networks or serving as connections, not providing ongoing support, and mistrusting Non-profits.

Non-profits believe that, in order to collaborate, other Non-profits should be transparent about their process, establish a clear purpose and goals, and ask questions, while exploring all funding options and not just grants.

How might we help collaborating Non-profits be transparent about their process, establish a clear purpose and goals, ask questions, and explore all funding options with each other?

There is an opportunity for collaboration between Non-profits by applying design thinking to Nonprofits not being transparent about their process, lacking a clear purpose and goals, and afraid to ask questions or explore all funding options with each other.

Funders & Talent also believe that Non-profits should establish an end goal, while developing a communications plan for collaboration with other non-profits, involving sharing stores of strategicrestructuring, yet focus on quality of buy-ins, not quantity.

How might we help collaborating Non-profits establish an end goal, develop a communications plan, share stories of strategic-restructuring, and focus on quality of buy-ins with each other and Funders & Talent?

There is an opportunity for collaboration between Non-profits by applying design thinking to Non-profits without an established end goal or communications plan, not strategically restructuring and sharing their stories, and focusing on quantity of buy-ins with each other and Funders & Talent.

Design Opportunities and Criteria, Reframing: Page 67

table 4-2

opportunities for design map Applying design thinking for...

to increase collaboration between...

Funders & Talent supporting Funders & Talent

Non-profits supporting Funders & Talent

Funders & Talent and Funders & Talent

ultimately supporting collaboration between... For... • Sharing goals • Responding to a community need of collaboration • Initiated/mandated funder & talent wants/needs • Less competition of funders & talent • Responding to a funding opportunity ...in local Historic Preservation

Non-profits and Non-profits

Non-profits supporting Non-profits

Non-profits and Funders & Talent

Through... • Funded implementation • Funded initial exploration • Lead investors • Endorsements

Funders & Talent supporting Non-profits

Design Opportunities and Criteria, Reframing: Page 68

...for strategic restructuring of their cultural climates

design criteria for prototype: considerations co-opetition Principles of design thinking are integrated as a foundation from research to prototyping to end-use.

Tactical: Are the non-profits willing to collaborate to respond to a community need and/or funding opportunity?

tactical considerations

funders

talent

Strategic: Are the funders & talent willing to initiate/mandate collaboration between the non-profits? Evaluative: Are the non-profits willing to collaborate to advance a shared goal?

strategic considerations

cultural climate

evaluative considerations Overlaps in between considerations signify consideration of cultural climates and competition between non-profits for funding and talent.

figure 4-1 Design Opportunities and Criteria, Reframing: Page 69

Secondary Source: Kirchner T.A., Ford J.B. (2018) Coopetition Among Nonprofit Organizations: Strategic and Synergistic Implications of Competition and Cooperation: An Abstract. In: Developments in Marketing Science: Proceedings of the Academy of Marketing Science. Springer, Cham

design criteria for prototype: activities

Note: See Figure 4-3: Page 72 for Reframing: Opportunity Map including specific activities per listed category below

The principles, goals, benefits and features that the solution will need to be viable and innovative must be assessed through tactical, strategic, and evaluative considerations of local non-profits in historic preservation, including competition, cooperation, and their barriers. figure 4-2

Designing

Marketing

Operating

Funding

Designing, marketing, operating, and funding each represent categories of activity and required components of co-opetition. Important factors in driving these activities include a Developmental Culture, entrepreneurial spirit, creativity, and the use of new resources. Organizations taking part in these activities must have an affinity of missions/purpose, art/design/preservation expertise, openness in terms of communication, personal integrity, mutual respect, and trust. Important factors in obstructing these activities include prior bad experiences, resource scarcity, trust, scheduling, funding, and logistics.

Design Opportunities and Criteria, Reframing: Page 70

design criteria for prototype: activities

Designing

Eric D. - He thinks that most formal cooperation in his organization involves artistic projects yet feels that cooperation in his community most likely involves operational activities like sharing of venues, production, and resources. Roger R. - He thinks building collaborative relationships means communication, artistic excellence, and compatibility of missions but feels his competitors have low availability of new resources and creativity.

Marketing

Elise R. - She says that the Hudson Valley has a small market for the large number of historic preservation organizations that emerged to compete for resources but she does recognize that some contributors donate to multiple non-profits and her audiences tend to include a large proportion of â&#x20AC;&#x2DC;crossoverâ&#x20AC;&#x2122; attendees who attend a variety of arts events. Eric D. - He hears innovative organizations like collaborating through special promotions related to crosspromotion, joint projects, shared ads, and inclusion in each otherâ&#x20AC;&#x2122;s process and program books.

Operating

Note: See Figure 4-3: Page 72 for Reframing: Opportunity Map including specific activities per listed category below and Table 3-15: Page 60 to Table 3-18: Page 63 for Empathy Maps of Personas.

Funding

Roger R. - He says barriers to cooperation between organizations other than funding and talent include issues related to logistics, scheduling, and resource scarcity but he does want to emphasize the issue of trust based on prior bad experiences.

Eric D. - He says developing funds by sharing resources such as donor/ subscriber mailing lists and contact information with other organizations is rare since he does recognize that they are competing for very little donor funding.

Claire C. - She thinks cooperation that might be considered informal includes interactive sharing of talent between organizations and feels that building collaborative relationships is important.

He sees funders increasingly favoring non-profits which cooperate with each other and as a result, collaboration emerging as a trend.

Design Opportunities and Criteria, Reframing: Page 71

Elise R. - She hears her competitors expressing discomfort with the concept of competing and agreeing that competition for available money from a small pool of funders, donors, and ticket buyers is challenging.

figure 4-3

reframing: opportunity map 2

Tactical, strategic, and evaluative considerations

Categories

Potential Activities

Marketing

Designing

There is an opportunity to apply design thinking for Non-profits and Funders & Talent in local Historic Preservation to increase collaboration between each other and ultimately support collaboration between Non-profits through strategic restructuring of their cultural climates.

1. Formal preservation and art 2. Educational & design partnerships

Competition and its catalysts

Cooperation and its barriers

Opportunities for Innovation

3. Special promotions related to joint projects 4. Cross-promotion involving shared ads 5. Inclusion in each otherâ&#x20AC;&#x2122;s program/process books 6. Redevelopment services

Operating 9

Funding

Contextual Research

7. Sharing of donor/subscriber mailing lists and contact information 6

8. Sharing of venues 9. Sharing of production 10. Informal sharing of resources

Design Opportunities and Criteria, Reframing: Page 72

prototype development and testing:

Concept Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation Refining and Assessing

74 75 77 78 81 82 85

i e [1]: See Figure 4-1: Page 69 for Design Criteria for Prototype: Considerations

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Note: Co-opetition in each concept is assessed through tactical, strategic, and evaluative considerations including design thinking and competition[1]

APffQooaoso.oconcept ideas: concept maps & sketches DR

*See Appendix H: Pages 153 to 155 for Concepts 1, 3, & 6, which scored lowest on PMI Anlayses: Page 76

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*Concept 2: Adaptive Reuses

*Concept 4: Educational Partnerships

*Concept 5: Co-creative Workshops

Adaptive reuse, interior design, and re-development projects for non-profits in historic preservation will give design managers an opportunity to help competing organizations cooperate and sustain their communityâ&#x20AC;&#x2122;s built assets through applying designed regulations for a circular economy with market and social considerations.

Educational partnerships with local institutions for non-profits in historic preservation will give design managers an opportunity to help competing organizations cooperate and grow/build their community through designed frameworks for research, civic engagement, human resources, internships and service learning.

Facilitating co-creative workshops for non-profits in historic Es preservation will give design managers an opportunity to help competing organizations cooperate and creatively problemsolve through applying principles of participation/experience, BEagftI been brainstorming, lateral thinking, and the tangible artifact.

Encourages co-opetition through: Community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals

Encourages co-opetition through: Community needs, funding opportunities, & advancing shared goals

Prototype Development and Testing: Page 74

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NFP-A: Not-for-profit organization in need of talented volunteers NFP-B: Not-for-profit organization in need of funding/donations

concept development process: scenarios table 5-2

table 5-4 2. Framework (insight)

table 5-5 3. Imperative (idea)

Assimilating NFP-A needs volunteers but doesn’t have the workplace for proper training like NFP-B so he uses a co-working and redevelopment system.

Converging Increase talent for NFP-A through designing, marketing, funding, and operating a coworking space for both NFP-A and B, which they both helped design together and share resources within.

Assimilating NFP-A is partnered with a museum that has free space but doesn’t have enough volunteers to give educational tours so he contacts local institutions.

Converging Increase funding for NFP-B through partnering both NFP-A and B with universities to gain interns as tour guides for both exhibits and talent for marketing, designing, & operating activities.

Assimilating NFP-B needs funding but isn’t as creative as Elise R. of NFP-A to propose effective fundraisers so he uses a co-creative workshop.

Diverging Elise R. of NFP-A doesn’t have a dedicated desk-space or enough colleagues for a dedicated workplace.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

Diverging Claire C. of NFP-B wants to create an exhibit but doesn’t have the funding or museum to build it.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

Diverging Roger R. of NFP-B needs to create a new way to manage the creative side of his funding projects and activities.

1. Observation (context)

Concept 2: Adaptive Reuses

Converging Increase funding for NFP-B through facilitating workshops for both NFP-A and B in prototyping funding, marketing, designing, & operating activities achieving both missions.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, & advancing shared goals.

4. Solution (experience)

Concept 4: Educational Partnerships

Prototype Development and Testing: Page 75

Concept 5: Co-creative Workshops

concept development process: PMI analyses

Note: See Figure 4-3: Page 72 for Reframing: Opportunity Map and Table 3-14: Page 59 for Research Synthesis: Personas, NFP-A vs NFP-B

Concept 2: Adaptive Reuses

Concept 4: Educational Partnerships

Concept 5: Co-creative Workshops

Scenario: • Increased talent for NFP-A through designing, marketing, funding, and operating a co-working space for both NFP-A and B, which they both helped design together and shared resources within.

Scenario: • Increased funding for NFP-B through partnership of both NFP-A and B with local universities, gained interns as tour guides for exhibits, and talent for marketing, designing, and operating activities.

Scenario: • Increased funding for NFP-B through facilitation of co-creative workshops for both NFP-A and B in prototyping marketing, designing, & operating activities achieving both missions.

Plus: • Cooperation and sustained community’s built assets through applying designed regulations. (+7) Minus: • NFP-A needs volunteers but doesn’t have the workplace for proper training like NFP-B. (-6) Interesting: • Opportunity for a circular economy with market and social considerations. (+10) • Elise R. of NFP-A doesn’t have a dedicated deskspace or enough colleagues for a dedicated workplace. (-7)

Plus: • Cooperation, growth, and building of community through designed frameworks. (+10) Minus: • NFP-A is partnered with a museum with free space but doesn’t have enough volunteers to give educational tours. (-7) Interesting: • Opportunity for research, civic engagement, human resources, internships, and service learning. (+8) • Claire C. of NFP-B wants to create an exhibit but doesn’t have the funding or museum to build it. (-7)

Total Points: +4

Prototype Development and Testing: Page 76

Plus: • Cooperation and creative problem-solving through applied principles in DMGT. (+9) Minus: • NFP-B needs funding but isn’t as creative as Elise R. of NFP-A to propose effective fundraisers. (-8) Interesting: • Opportunity for participation/experience, brainstorming, lateral thinking, and tangible artifacts. (+10) • Roger R. of NFP-B needs to create a new way to manage the creative side of his funding projects and activities. (-6)

Total Points: +5

Secondary Source: IDEO Design Thinking. (n.d.). Retrieved from https://designthinking. ideo.com/ Co-opetition

further exploration of diverse concepts

Prototype A: Adaptive Reuses

figure 5-7

Prototype B: Educational Partnerships

viability

feasibility

functional innovation

Prototype C: Co-creative Workshops

technology, project and design management, community engagement

co-opetition = experience innovation through a social enterprise in adaptive reuses of historic sites into co-working spaces for local non-profits.

cultural innovation

tour guides, interns/volunteers, contextual research, human resources

training, creative problem-solving, lateral thinking, brainstorming

process innovation

desirability

feasibility

functional innovation

figure 5-9

viability

museum exhibits/ tours, service learning, internships

process innovation

desirability

co-working space, organizational collaboration system

figure 5-8

viability

real estate development, historic preservation, interior design projects

cultural innovation

Note: Three prototypes were chosen based on top scores in Concept Development Process: PMI Analyses, Pages 76 and 155

technology, project and design management, community engagement

co-opetition = experience innovation through a social enterprise in educational partnerships with local schools and museums.

Prototype Development and Testing: Page 77

cultural innovation

process innovation

desirability

tangible artifact, participation/ experience, facilitator/ moderator

feasibility

functional innovation

technology, project and design management, community engagement

co-opetition = experience innovation through a social enterprise in co-creative workshops for problem-solving between similar non-profits.

Note: Participants chosen also completed the Co-creative Workshop. See Page 39 for Members of NYSHA. Their feedback was recorded online.

concept testing with target audience: protocol

Idea Capture Grid: “Speed-dating” Style

research findings at-a-glance: the takeaways

Note: Includes primary and secondary research and results most related to my Research Questions and Target Audience

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

Goals & Expected Outcomes • To review personas, research findings, design opportunities, and design criteria • To guide participants through a feedback process • To explore the main issue of coordination and competition in our community • To increase the participants’ understanding of co-opetition

Sub-Research Question 1: Restructuring. Secondary Source: Nonprofit Strategic August 11). Retrieved from http://pndblog. How might we(2012, describe design thinking methods typepad.com/pndblog/2012/08/infographic-nonprofitand apply themstrategic-restructuring.html towards promoting developmental cultures and innovative communications? For Funders & TalentInsights from Funders & Talent •

Find activities that require more people to come to

•

+ ∆ ? Idea/Feedback Capture Grid Plus: Comment Triangle: Critique Question mark: Question Light Bulb: Idea

She hears her competitors expressing discomfort with the concept of competing and agreeing that competition for available money from a small pool of funders, donors, and ticket buyers is challenging.

Recognize that developing strategies, plans,

• Let the collaborating partners guide the work

• Recognize that building trust is part of the process

structures, and relationships takes time

• Open up funder networks and serve as connections

• Provide ongoing support, not just startup funds

empathy map: Roger R.

• •

Technical infrastructure Restricted donations

• •

co-opetition

Non-profits believe that Funders & Talent should

What does he SAY and DO?

What does he THINK and FEEL?

• Legacy • mutual Has no artistic abilities Claire C., Age 22 She hears that structured and guided She sees the need for trust, • Paid employees Motivated by large,• urban interviews He of her competitors’ top leaders respect, integrity, •openness says developing funds by sharing resources such as donor/subscriber Leader in NFP-B, needs funding He thinks building collaborative relationships meanspersonal communication, Largeinformation organization might get her information which can beforebut co-opetition among non-profits canreuse projects mailing lists and•contact with otherartistic organizations is rare adaptive • Student, Meat Packer excellence, andsince compatibility of missions feels his competitors lead to an in funding forthey her are competing be seen as a thing of nature. heincrease does recognize that donor funding. • International initiatives for very littlehave • Wants to decrease •financial debt low availability of new resources and creativity. Annandale-on-Hudson, NY organization. • Frustrated by lack •of Classmate and friend of Eric D., communication between non-of Roger R. friend What does he HEAR? What does he SEE? profits • Has Autism Spectrum Disorder Pain What does she SAY and Gain DO? • Typical tasks include • visiting Motivated local R., Age 23 College student schedules • New, contemporary branding He hears that his organization’s volunteers He sees the potential for qualitative study by small,Roger historic sites and natureeducational initiatives Specific focus/discipline • spirit Multi-disciplinary might lack an which to assess the extent of coSheentrepreneurial says that historic preservation organizations within small to mid-size • Leader in NFP-B, needs funding • Skilled with funders Wants to expand network of localStudent Aid - Intramural could be an important factor to driving opetition among at thenetworking historic •preservation urban areas might view each other relationships as competitors and does research to • Close personal • Student, cooperation community. assess the act of•cooperation and its barriers, as well as tactical, strategic, entrepreneurs New website Sports Office and evaluative considerations. • Frustrated by small•local market Junction, NY Hopewell • Typical tasks include • researching Friend of Claire C., Eric D., and her user-base/donors Elise R. Pain Gain What does he SAY and DO? • Skilled at feeling empathy • Small and new • Strong commitment • Hasand experience in social-science personally connecting with her • Low funding • Resources research He says barriers to cooperation between organizations other than target audience funding and talent include issues related to logistics, scheduling, and • Partnerships • Motivated by variety of project resource scarcity• but he does want to emphasize the issue of trust based Woman-owned types on prior bad experiences. • Wants to own a for-profit business • Frustrated by the laissez-faire • Typical tasks include managing Pain Gain over 5 projects at a time • Various schedules • Theoretical perspectives of learning/growing college students • Skilled at the laws within the • Minimal time availability • Close-knit historic preservation process • Experience in design thinking •

There is an opportunity for collaboration between

How might we help Funders & Talent open up funder

• •

reframing: opportunity map and/or funding opportunity?

tactical considerations

research to prototyping to end-use.

For Non-profits from Funders & Talent For Non-profits from Funders & Talent Non-profits believe that, in order to collaborate, • •

willing to collaborate to respond to a community need

as connections, while providing support & Talent who aren’t in funder networks or serving thinkingongoing are integrated support, and buildinvolved, trust withand collaborating Establish a clear purpose with desired outcomesan organization’s • Be transparent about challenges, costs • NonExplore all support fundersas can offer, not just grants ongoing support, and and building trust throughout connections, not providing as a foundation from profits? restructuring mistrusting Non-profits. Don’t be afraid to ask for help processes for collaboration. expertise required • Translate goals into language all partners can use is an opportunity for collaboration between For Non-profits from FundersThere & Talent

is anwilling opportunity Strategic: Are the funders &There talent to to apply design thinking for Non-profits and Funders & Talent in local initiate/mandate collaboration between the Historic Preservation to increase collaboration non-profits? between each other and ultimately supporting

How might we help collaborating Non-profits be

Non-profits by applying design thinking to NonCategories

other Non-profits should be transparent about their Develop a communications plan • If you’ve gone through strategic restructuring, share establish •3a clear Understand that it’s impossible to not getbeing everyone’s 2 transparent about their process, profits transparent about their process,

Tactical, strategic,

process, establish a clear purpose and goals, and ask

purpose and goals, ask questions, and explore all at some point, you’ve lacking a clear purpose and goals, and afraid to ask Establish an end goal with clear expectations your buy-in; got to move forward questions, while exploring all funding options and notexperiences with other non-profits

and evaluative funding options with each other?

just grants.

considerations funders

considerations

Competition and its catalysts

High funding and talent

figure 5-10 Prototype Development and Testing: Page 78

talent

cultural climate

questions or explore all funding options with each Activities other.

considerations Cooperation and its barriers

Opportunities for Innovation

Operating 9

1. Participants reviewed Personas. (8 min.)

5 How might we help collaborating Non-profits establish an end goal, develop a communications Marketing Designing plan, share stories of strategic-restructuring, and focus on quality of buy-ins with each other and Funders & evaluative strategic Talent?

What does she SEE? What does he THINK and FEEL? ym no desab ,sretcarahc lanoitcfi era sElise anosreR., P Age 24

empathy map: Claire C.

• Be willing to provide unrestricted funds

design criteria for prototype: considerations

She sees time constraints and other leisure taht ecneidua tegrat eht gnitneserper ,hcraeser Personas are fictional characters, based on my activities, including movies, in NFP-A, needs talent yehT .noitelevision, titepo-oc rof and krowemarf ym e•su thLeader gim He thinks that most formal cooperation in his organization involves research, representing the target audience that sports events,cnaseircompetition. epxe ,sdeen ’sresu ym dnatsrednu•em Interior pleh Designer, Carpenter artistic projects yet feels that cooperation in his community,semost likely might use my framework for co-opetition. They .slaog dna ,sroivaheb help me understand my users’ needs, experiences, • Cornall-on-Hudson, NY involves operational activities like sharing of venues, production, and behaviors, and goals. resources. • Friend of Eric D. and Roger R. • Has a good sense of competition What does he HEAR? What does he SEE? • Motivated by solitude and nature What does she SAY and DO? What does she THINK and FEEL? • Wants to own a for-profit business Eric D., Age 21 He hears innovative organizations like He sees funders increasingly favoring nonFrustrated by extreme Personas are fictional characters, based on my She saysthrough that thespecial Hudson Valley has a small market forShe thethinks large number of historic • Leader in NFP-A, needs talent collaborating promotions profits which cooperate with•each other cooperation that might be considered informal includes research, representing the target audience that organizations that emerged to compete interactive for resources but she does between organizations consumerism related preservation to cross-promotion, joint projects, and as a result, collaboration as sharing of talent and feels that emerging • Student, Biomedical Lab might use my framework for co-opetition. They recognize thatinclusion some contributors donate to multiple non-profits and her audiences tendrelationships are important. • Typical tasks include contacting shared ads, and in each other’s a trend. building collaborative help me understand my users’ needs, experiences, Assistant to include large proportion of ‘crossover’ attendees who attend a variety of arts events. behaviors, and goals. processaand program books. executive directors • Beacon, NY • Skilled at digital media and • Classmate and friend of Claire C., What does she HEAR? What does she SEE? communications Pain Gain Friend of Elise R. and Roger R.

For Funders & Talent from Opportunities Funders & Talent

• ‘Walk the talk:’ model partnership and collaboration

come together to openPrinciples up funder networks and Non-profits by applying design thinking to Funders of design For Non-profits from Non-profits For serve Non-profits from Non-profits Non-profits from Non-profits Tactical: Are the non-profits networks, serve as connections, provide For ongoing

empathy map: Eric D.

What does she HEAR?

For Funders & Talent from Funders & Talent How might we...

Funders & Talent believe that other Funders There is an opportunity for collaboration between • &Help grantees find additional funders • Be more intentional about sharing resources How might we help Funders & Talent find activities Talent should come together to find activities for Non-profits by applying design thinking to Funders and connections, help grantees, provide unrestricted building connections and help grantees, while willing & Talent searching activities and connections, helping funds, and share resources with each other for to provide unrestricted funds and share resources with grantees, wanting to provide unrestricted funds, and For Funders & Talent from Non-profits For Funders & Talent fromcollaborating Non-profitsNon-profits? For Funders & Talent from Non-profits each other. not sharing resources with each other.

Sub-Research Question 3: How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

opportunities for design matrix

the table

empathy map: Elise R.

Sub-Research Question 2: How might we describe non-profit organizational systems and position them as a guiding framework for collaboration between competitors?

Funding

Contextual Research

collaboration between Non-profits through strategic restructuring of their cultural climates.

Evaluative: Are the non-profits willing to collaborate to advance a shared goal?

There is an opportunity for collaboration between Non-profits by applying design thinking to Formal preservation art Non-profits1.without an established end goaland or communications plan, not strategically restructuring and sharing2. their stories, and focusing on quantity of Educational & design partnerships buy-ins with each other and Funders & Talent.

3. Special promotions related to joint projects Overlaps in between 4. Cross-promotion involving shared ads considerations signify consideration of cultural Inclusion in each other’s program/process climates and5.competition between non-profits for 6. Redevelopment services funding and talent.

books

7. Sharing of donor/subscriber mailing lists and contact information 6

8. Sharing of venues 9. Sharing of production 10. Informal sharing of resources

2. Participants reviewed Research Findings, Design Criteria, and Design Opportunities. (8 min.) “Speed-dating Style” Each participant took 8 minutes per section. The three main “dates” were the three concepts. They also had 8 minutes to capture feedback after each “date.”

Note: Participants chosen also completed the Co-creative Workshop. See Page 39 for Developmentally Members of NYSHA. Their mxjttmi.ly feedback was recorded online.

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concept testing with target audience: protocol

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adaptive reuses: concept idea Adaptive reuse, interior design, and re-development projects for nonprofits in historic preservation will give design managers an opportunity to help competing organizations cooperate and sustain their community’s built assets through applying designed regulations for a circular economy with market and social considerations.

Wh pay Agra S.fpphuei oea.EE t

ndi

Encourages co-opetition through: Community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals

Secondary Source: IDEO Design Thinking. (n.d.).Retrieved from https://designthinking. ideo.com

adaptive reuses: concept development

Personas: Contextual Scenario

PMI Analysis: Contextual Scenario

NFP-A: Not-for-profit organization in need of talented volunteers NFP-B: Not-for-profit organization in need of funding/donations

2. Framework (insight) Assimilating NFP-A needs volunteers but doesn’t have the workplace for proper training like NFP-B so he uses a co-working and redevelopment system.

Diverging Elise R. of NFP-A doesn’t have a dedicated desk-space or enough colleagues for a dedicated workplace.

1. Observation (context)

3. Imperative (idea) Converging Increase talent for NFP-A through designing, marketing, funding, and operating a coworking space for both NFP-A and B, which they both helped design together and share resources within.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

4. Solution (experience)

Total Points: +4

Co-opetition

Prototype: Social Enterprise Model

viability

real estate development, historic preservation, interior design projects

cultural innovation

process innovation

desirability

co-working space, organizational collaboration system

feasibility

functional innovation

technology, project and design management, community engagement

co-opetition = experience innovation through a social enterprise in adaptive reuses of historic sites into co-working spaces for local non-profits.

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5. Participants “dated” Concept B: Educational Partnerships (8 min.)

educational partnerships: concept idea

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Facilitating co-creative workshops for non-profits in historic preservation will give design managers an opportunity to help competing organizations cooperate and creatively problem-solve through applying principles of participation/ experience, brainstorming, lateral thinking, and the tangible artifact. Encourages co-opetition through: Community needs, funding opportunities, & advancing shared goals

3. Participants “dated” Concept A: Adaptive Reuses (8 min.)

Secondary Source: IDEO Design Thinking. (n.d.).Retrieved from https://designthinking. ideo.com

co-creative workshops: concept development

Personas: Contextual Scenario

PMI Analysis: Contextual Scenario

NFP-A: Not-for-profit organization in need of talented volunteers NFP-B: Not-for-profit organization in need of funding/donations

Scenario: • Increased funding for NFP-B through facilitatation of co-creative workshops for both NFP-A and B in prototyping marketing, designing, & operating activities achieving both missions.

2. Framework (insight) Assimilating NFP-B needs funding but isn’t as creative as Elise R. of NFP-A to propose effective fundraisers so he uses a co-creative workshop.

Diverging Roger R. of NFP-B needs to create a new way to manage the creative side of his funding projects and activities.

1. Observation (context)

3. Imperative (idea) Converging Increase funding for NFP-B through facilitating workshops for both NFP-A and B in prototyping funding, marketing, designing, & operating activities achieving both missions.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, & advancing shared goals.

4. Solution (experience)

Total Points: +5

Co-opetition

Prototype: Social Enterprise Model

viability

training, creative problem-solving, lateral thinking, brainstorming

cultural innovation

process innovation

desirability

tangible artifact, participation/ experience, facilitator/ moderator

feasibility

functional innovation

technology, project and design management, community engagement

co-opetition = experience innovation through a social enterprise in co-creative workshops for problem-solving between similar non-profits.

7. Participants “dated” Concept C: Co-creative Workshops (8 min.)

feedback capture grid: adaptive reuses concept One thing that I liked the most (Comment)

One thing that I dont understand (Question)

One thing that could be improved (Critique)

One new idea to consider (Idea)

feedback capture grid: educational partnerships concept One thing that I liked the most (Comment)

One thing that I dont understand (Question)

One thing that could be improved (Critique)

One thing that I dont understand (Question)

Total time: 64 minutes

Prototype Development and Testing: Page 79

6. Participants captured feedback for Concept B. (8 min.)

One new idea to consider (Idea)

feedback capture grid: co-creative workshops concept One thing that I liked the most (Comment)

4. Participants captured feedback for Concept A. (8 min.)

One thing that could be improved (Critique)

One new idea to consider (Idea)

8. Participants captured feedback for Concept C. (8 min.)

figure 5-12

concept testing with target audience: process Testing my three main ideas in order to understand where the kinks were was crucial for success. It helped me further discover the needs and expectations of users, evaluate the designs, understand user behavior, prevent error, prevent failure, and minimize risk. More importantly, my participants and I considered the activity an exploratory test. It was geared toward understanding the thought processes, if all the main points were being portrayed, and shedding light on the intuitiveness of the concepts. Prototype A: Adaptive Reuses

Prototype B: Educational Partnerships

+ â&#x2C6;&#x2020; ?

the artistic component

aligns w/ community missions

do others know adaptive reuse?

what about preserving original use?

interdisciplinary

long project commitments

what is competition like?

why formal coopetition?

define coworking

understanding of process

partner w/ co. in rhinebeck

combine retail development

funding opportunities

green/ sustainability

Other buildings at Carnwath

implement product use

+ â&#x2C6;&#x2020; ?

use of nyhsa initiatives

service learning

Prototype C: Co-creative Workshops

why/what museums?

elementary & high schools?

education is key

we are students

how to reach design programs?

workplace & museum combo?

tourism aspect

current partnerships

education in design thinking

paid internships

more specific or wider audience

museum partnerships

online classes

virtual/ interactive exhibits

Prototype Development and Testing: Page 80

+ â&#x2C6;&#x2020; ?

previous experience

theoretical aspects

can bard facilitate/ moderate?

why just creativity?

hands-on

small groups

what is cocreative?

multiples of same workshop?

larger group protocols

viable problems/ solutions

use upcoming nyc workshop

monthly workshop series

audience focus

simplicity/ understanding

workshops on facilitating workshops

public poll on what to train on

concept testing findings: highlights Elliana R. Adaptive Reuses: “Is there still a chance to preserve the original uses of certain sites?” Educational Partnerships: “Education is key in encouraging innovation adoption.” Co-creative Workshops: “Facilitate a workshop on facilitating workshops.” Ethan D. Adaptive Reuses: “Contact Founders/Designers of CO. in Rhinebeck, NY.” Educational Partnerships: “Improve tourism aspect of combining education w/ museums.” Co-creative Workshops: “Its great that we already have previous experience with this.” Cheyenne C. Adaptive Reuses: ”Its exactly what this community wants and needs.” Educational Partnerships: ”How can you partner with design or preservation programs?” Co-creative Workshops: “Increase viability of real problems to solve.” Richard R. Adaptive Reuses: “Improve clarity on sustainability and increase green aspect.” Educational Partnerships: “Create virtual and interactive exhibits.” Co-creative Workshops: “A system of the same workshops or different kinds?”

Prototype Development and Testing: Page 81

what if all three concepts were combined ‘under one roof’? - Ethan D.

validation: ”ah-ha” moment Refined Opportunity Statement[1]

[1]: See Figure 4-3: Page 72 for Reframing: Opportunity Map [2]: See Appendix F: Pages 139 to 143 for Validation: Schematic Interior Design

what if all three concepts were combined, literally, ‘under one roof’? With my background in interior architecture and as a separate project with the New York Historic Sites Alliance, I was able to propose a schematic design for the organization’s workplace in January, 2019[2]. It is to be placed within the Frances Reese Cultural Center, owned by the Town of Wappinger, and housing the Sports Museum of Dutchess County. The building is just a component of Carnwath Farms Historic Site and Park. Joseph D. Cavaccini, Executive Director, Town Historian, and Maintenance & Restoration Director of Friends of Carnwath -- the non-profit redeveloping the Cultural Center -- approved of the design. He, along with the NYHSA and Town Supervisor, will be setting up a Town Board meeting. What if I ran with this opportunity, and designed the structure of a co-working system to be placed within the rest of the undeveloped and unused Cultural Center? Can this system incorporate adaptive reuses, educational partnerships, and co-creative workshops? Can competitors/collaborators come together to redevelop and use this space? Can this system be used continuously with other historic sites and non-profits?

Prototype Development and Testing: Page 82

table 5-7

validation: strategic decision-making

My final concept direction geared towards co-working and co-opetition to not only encourage similar and local non-profits in historic preservation to collaborate and redevelop spaces, but unite them by re-using these spaces as their workplace to share resources, and ultimately, share talent and funding through marketing, designing, and operating activities. It was through the process below that my real insight manifested into something that strategically restructures the communityâ&#x20AC;&#x2122;s cultural climate by integrating design thinking for external sustainable advantage between non-profits, funders, and talent and increasing collaboration within the community. 1. concept ideas

2. development process

3. further exploration

4. concept testing

5. validation

a. mind maps: uses of design thinking, competition, & cooperation

c. considerations: community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals

e. prototypes: experience-innovations through a social enterprise

g. feedback captures: NYHSA four pillars: historic preservation, education, community building, & tourism

i. insights: NYHSA schematic workplace design, January 2019

b. visualization: innovative communication methods

d. activities: funding, designing, marketing, & operating

f. experiences: cultural, process, & functional innovations

h. combined concepts: facilitation of adaptive reuse, education, & creativity

j. chosen concept: framework for co-working/ co-opetition

Prototype Development and Testing: Page 83

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validation: chosen concept ‘Under One Roof’ Concept Based on the environmental analyses from my observational and other qualitative research, I brought in an element of spatial awareness to my project as a tangible artifact. In order to maximize the opportunities for design, I combined my developed concepts ‘under one roof.’ This means that I must construct a system in which co-creative workshops and educational partnerships are housed within the same space through collaborative, adaptive re-use projects between similar and local non-profits. The result is a space within an existing building, both co-designed and occupied by non-profits and schools, and managed by design thinking professionals.

historic sites

figure 5-13 funders & talent design manager local non-profits

io.is 0559

Strategically restructure the cultural climate of the historic preservation community Increase collaboration between local non-profits, funders, and talent Facilitate co-opetition between local non-profits through adaptive re-use projects within historic sites Unite the local community under one roof

educational partnerships

co-opetition strategic restructuring

AD83m Design manager createsRhaetian a co-working system to... 1. 2. 3. 4.

[1]: What Is Coworking? (2018, April 21). Retrieved from https://www.coworker.com/lab/what-is-coworking

adaptive re-use co-working

cultural climate

Local non-profits, funders, and talent use the co-working system to collaboratively... 5. Co-design their own workplace 6. Participate in co-creative workshops within their own workplace 7. Foster educational partnerships within their own workplace

Prototype Development and Testing: Page 84

co-creative workshops

What is co-working?[1]

“Coworking is not just about the sharing of infrastructure and cost, it is about belonging to a community, accessibility and sustainability. It is the new way of working and sharing. Spaces are designed to provide a productive and collaborative environment for their dynamic inhabitants, and created without corporate constraints on what is perceived to be an “office” environment offering flexible memberships to suit most needs.”

[1]: See Appendix F: Pages 139 to 143 for Validation: Schematic Interior Design

refining and assessing: reframe

“In 2005, the Town of Wappinger officially dedicated the dormitory building of Carnwath Farms as the Frances Reese Cultural Center and welcomed its first tenant, the Sports Museum of Dutchess County. The luncheon raised over $30,000 for the restoration of the Carnwath Manor and hosted Hillary Clinton as its guest of honor.” - Joey Cavaccini, Town of Wappinger Historian

Context: NYHSA Workplace Design We intend to use a five-year plan, in which each year is divided into a design phase, for the renovation of a section of the Frances Reese Cultural Center for the growth and development of the New York Historic Sites Alliance (NYHSA) and Carnwath Farms Historic Site and Park. [1]

We believe our revival of the south side of the building will spark and inspire the revival of the entire site. Our goal is to design a community workplace which simplifies lives by sharing resources and minimizing impact upon the environment. Members from a wide range of disciplinary backgrounds and social motives will come together to work and collaborate in harmony. The design will promote sense of place and community by providing many opportunities to interact with the site and network from within and outside the community.

figure 5-14 Spatial Context Reframing for Final Prototype: Internal and External Co-working Spaces

7 4

PHASE 01:

Remove east-side partitions to create open workspace and break area; expose concrete columns and industrial ceilings; repairs and painting of area

2. Carnwath Manor

PHASE 02:

Remove north-west side partitions to create break area; repairs and painting of area; furnish board room

3. Frances Reese Cultural Center

PHASE 03:

1. Carnwath Farms Historic Site & Park

4. Sports Museum of Dutchess County 5. Co-working Spaces

5 6

6. NYHSA Workplace 7. Historic Preservation Community

5 5

Note: Figure 5-13 does not represent size relations. It is only meant to reframe the context and scope for which my project will be implemented.

PHASE 04: PHASE 05:

Prototype Development and Testing: Page 85

Remove pantry partitions; ADA-compliant bathroom renovation; re-finish all concrete floors Remove kitchen walls and renovate; lighting and heating/air conditioning updates Switch board room and break area (remove existing glass wall and add new glass wall to north-east side)

“project co+design”: chosen concept, preliminary branding figure 5-15

The NYHSA CoP Initiative at Carnwath Co-opetition and Co-working with Communities of Practice at the Frances Reese Cultural Center and the Hudson Valley

NYHSA: New York Historic Sites Alliance, Inc. CoP: Communities of Practice (Lave & Wenger, 1991) HSP: Historic Site & Park

Prototype Development and Testing: Page 86

PROJECT CO+DESIGN is the first initiative of its kind in New York’s Hudson Valley region. We bring together the New York Historic Sites Alliance, Friends of Carnwath Farms HSP, Wappingers Historical Society, and other local organizations under one roof to co-design community workplaces and participate in cocreative workshops. What makes Project Co+Design unique is our human-centered, design-thinking approach to work and education. We partner with local schools to provide our members with talent, increased funding, and instill a culture of learning and doing while reviving and interacting with heritage sites.

refining and assessing: business model canvas figure 5-16 Wappinger Historical Society

Friends of Carnwath

New York Historic Sites Alliance

Co-creative workshops

educational partnerships

Collaboration & community building

Adaptive reuse projects

Bard College & DCC

Shared resources

Preservation/revival of historic sites

sustainability & accessibility

Participatory designing

Memberships

Donors/ funders

Small, local nonprofits

Co-working

Talent/ volunteers

Historic preservation community

College students Context research & design thinking

Frances Reese Cultural Center

Grant proposals

Organizational behavior

Rent/ utilities, insurance

Marketing, operating, designing, funding

Research & development

Hudson Valley

Local colleges/ universities

Memberships/ subscriptions

Real estate investments

Co-creative workshops

Private & public events

Prototype Development and Testing: Page 87

Turning my concept into something tangible meant reflecting systematically on my business model, so I can focus on it segment by segment. This also meant more brain dumping by filling out the segments that sprung to my mind first and then worked on the empty segments to close the gaps. The following pages reveal my SWOT assessments for each of the building blocks. Some of them, such as the value proposition, have changed since midterm. I also have added key activities and am clearer about some of the key partners and resources at this point. Please note that the following set of non-exhaustive questions were supplied in Business Model Generation and are not quantitative. Its emphasis is on the thought process that jump-started my own assessments.

refining and assessing: strengths & weaknesses 08

Our Value Propositions are well aligned with customer needs

Our Value Propositions have strong network effects

There are strong synergies between our products and services

Our customers are very satisfied

plus minus

table 5-8

Our Value Propositions and customer needs are misaligned

Our Value Propositions have no network effects

There are no synergies between our products and services

We have frequent complaints

Our margins are poor

Our revenues are unpredictable

Our revenues are transactional with few purchases

We depend on a single Revenue Stream

Cost/Revenue Assessment 05

We benefit from strong margins

Our revenues are predictable

We have recurring Revenue Streams and frequent repeat purchases

Our Revenue Streams are diversified

Note: See Figure 5-16: Page 87 for Business Model Canvas and Appendix H: Pages 156 to 159 for Opportunities and Threats

Prototype Development and Testing: Page 88

Certainty of Evaluation, 1-10

Importance to my Business Model (Canvas), 1-10

Value Proposition Assessment

Secdonary Source: Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

refining and assessing: strengths & weaknesses plus minus

Our Revenue Streams are sustainable

We collect revenues before we incur expenses

We charge for what customers are really willing to pay for

Our pricing mechanisms capture full willingness to pay

Our costs are predictable

Our Cost Structure is correctly matched to our business model

Our operations are cost-efficient

We benefit from economies of scale

table 5-9

Our revenue sustainability is questionable

We incur high costs before we collect revenues

We fail to charge for things customers are willing to pay for

Our pricing mechanisms leave money on the table

Our costs are unpredictable

Our Cost Structure and business model are poorly matched

Our operations are cost-inefficient

We enjoy no economies of scale

Note: The “plus” and “minus” bubbles were not meant for scoring, but for a visual representation of where my business model might lean -- either to the left towards strengths, or to the right towards weaknesses. I learned that even though my assessments within each building block varied almost evenly between “plus” and “minus,” there is no wrong or right way to look at this. Meaning, in developing an innovation, there doesn’t have to be a balance at this stage. Overall, my ratings on the far left and right of the tables deemed most important in determining value within each building block.

Prototype Development and Testing: Page 89

Certainty of Evaluation, 1-10

Importance to my Business Model (Canvas), 1-10

Cost/Revenue Assessment (continued)

Secdonary Source: Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

plus minus

Our Key Resources are difficult for competitors to replicate

Resource needs are predictable

We deploy Key Resources in the right amount at the right time

We efficiently execute Key Activities

Our Key Activities are difficult to copy

Execution quality is high

Balance of in-house versus outsourced execution is ideal

We are focused and work with partners when necessary

We enjoy good working relationships with Key Partners

table 5-10 Our Key Resources are easily replicated

Resource needs are unpredictable

We have trouble deploying the right resources at the right time

Key Activity execution is inefficient

Our Key Activities are easily copied

Execution quality is low

We execute too many or too few activities ourselves

We are unfocused and fail to work sufficiently with partners

Working relationships with Key Partners are conflict-ridden

Note: See Figure 5-16: Page 87 for Business Model Canvas and Appendix H: Pages 156 to 159 for Opportunities and Threats

Prototype Development and Testing: Page 90

Certainty of Evaluation, 1-10

Importance to my Business Model (Canvas), 1-10

Infrastructure Assessment

refining and assessing: strengths & weaknesses 06

Customer churn rates are low

Customer base is well segmented

We are continuously acquiring new customers

Our Channels are very efficient

Our Channels are effective

Channel reach is strong among customers

Customers can easily see our Channels

Channels are strongly integrated

Channels provide economies of scope

plus minus

table 5-11

Customer churn rates are high

Customer base is unsegmented

We are failing to acquire new customers

Our Channels are inefficient

Our Channels are ineffective

Channel reach among prospects is weak

Prospects fail to notice our Channels

Channels are poorly integrated

Channels provide no economies of scope

Note: See Figure 5-16: Page 87 for Business Model Canvas and Appendix H: Pages 156 to 159 for Opportunities and Threats

Prototype Development and Testing: Page 91

Certainty of Evaluation, 1-10

Importance to my Business Model (Canvas), 1-10

Customer Interface Assessment

Secdonary Source: Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

Channels are well matched to Customer Segments

Strong Customer Relationships

plus minus

table 5-12

Relationship quality correctly matches Customer Segments

Relationships bind customers through high switching costs

Our brand is strong

Channels are poorly matched to Customer Segments

Weak Customer Relationships

Relationship quality is poorly matched to Customer Segments

Customers switching costs are low

Our brand is weak

Assessing the strengths and weaknesses of my Business Model Canvas helped me understand how the nine building blocks relate to each other and the different ways these relationships can be changed to increase efficiency or effectiveness. I identified my strengths and weaknesses on the left side of the Canvas, and the opportunities and threats on the right side of the Canvas. This method provided a great foundation for further strategy discussions and decision-making for business and marketing. I learned that the strengths of my Customer Relationships affected how well my Value Proposition relates to given Customer Segments. Also, the number of Key Activities and Resources I have to fund affected my Cost Structure and overall profitability. Therefore, it was important to come up a level and analyze the Canvas as a whole, considering where my overall strengths and weaknesses lie in the current business model. Further, my opportunities and threats could lead to more innovation and new business opportunities.

Prototype Development and Testing: Page 92

Certainty of Evaluation, 1-10

Importance to my Business Model (Canvas), 1-10

Customer Interface Assessment (continued)

Note: See Figure 5-16: Page 87 for Business Model Canvas and Appendix H: Pages 156 to 159 for Opportunities and Threats

refining and assessing: new business model canvas I updated my building blocks while sustaining terms that all business professionals would be familiar with. Importantly, the Canvas still provides the context and frame of reference that the SWOT analysis alone lacked - defining the key areas of my project in a structured, standardized way. Using my assessments, I was able to continue designing, challenging, and experimenting with future business models, with where my project was going, where I could take it in the future, what changes I could make - and then used insights from these experiments to shape cultural climates for the betterment of Historic Preservation communities.

figure 5-17 original note Wappingers Historical Society

Friends of Carnwath HSP

New York Historic Sites Alliance

Bard College & DCC

DT, GHHN, RRCA

Co-creative workshops Adaptive reuse projects Talent database management

Context research & design thinking Organizational culture

Rent/ utilities, insurance

Marketing, operating, designing, funding

educational partnerships

Research & development

Historic real estate crowdfunding

Grant proposals

Shared resources

Collaboration & community building Historic real estate crowdfunding

Preservation/revival of historic sites

sustainability & accessibility Funding & talent

Memberships

Participatory designing

Design, creative, Co-working facility & change mgt.

Donors/ funders

Small, local nonprofits

College students Frances Reese Cultural Center

Virtual platforms

Local colleges/ universities

Historic preservation

Memberships/ subscriptions

Historic real estate crowdfunding

Co-creative workshops

Talent/ volunteers

Historic preservation community

revised/ added note

DCC: Dutchess County Community College DT: Dutchess Tourism GHHN: Greater Hudson Heritage Network HSP: Historic Site and Park RRCA: Rombout Rural Cemetery Association

Private & public events

Note: See Page 99 for a breakdown of the final Business Model Canvas

Prototype Development and Testing: Page 93

final design to market:

Final Prototype Business Model Canvas Business/Implementation Plan

95 99 103

project co+design: final plan

1 2 3 4 5 6 one organization needs talent and one needs funding; both are within the historic preservation community and have similar missions.

design manager provides creative, facility, change, and project mgmt through designing, marketing, operating, and funding activities.

design manager is consulted to find a site in need of revival; organizations acquire site as an asset through crowd-funding strategies.

partnered local schools provide talent for sustainable advantage in exchange for cooperative education for their students

Final Design to Market: Page 95

Note: See Page 98 for description of the three Co-â&#x20AC;&#x2122;s: Co-designing, Co-working, and Co-opetition

organizations are guided through a co-design process using theories of co-opetition to reuse the space for co-working together.

the community facilitates and participates in co-creative workshops on crowdfunding more real estate for other local organizations.

figure 6-1

figure 6-2

project co+design: final prototype

Final Design to Market: Page 96

Note: Visit http://colonjohn20. wixsite.com/codesign for our homepage/entry-point. See Page 97 for description of website (prototype) and the process of building it.

figure 6-3

project co+design: final prototype Minimum Viable Product (MVP)[1] Using Wix.com for my MVP meant creating a website for free to further test with my target audience. My website gives users the opportunity to buy a membership, rent a space, subscribe to our newsletter, interact with our blog, and create an account to connect with other members. A “talent database” for members would be a near-future addition. More importantly, it is a virtual platform for “customers” to collaborate and learn from each other. On top of every page is a fixed header which includes our tag-line, menu, social buttons, member login, and store cart. The homepage greets users with a gallery of alternating photos displaying co-creative workshops and renderings of potential spaces. While the rest of the homepage might focus on using the Frances Reese Cultural Center as the test-site for my prototypes, there is still some introduction to the process behind my conceptual development. The “about” page focuses on the processes, including the slides used to create this book. Even though a Wix site might be a pared down version of my big idea, I hope it displays sufficient features that satisfy early adopters. Moreover, I hope to give enough value that people are willing to donate and/or use it initially; it demonstrates enough future benefit to retain early adopters; and it provides a feedback loop to guide future development. Using my MVP as a development technique might involve assumption that early adopters can see the vision or promise of the final product and provide the valuable feedback needed to guide the project forward. To avoid being wasteful, I need the right expertise to think beyond the “product” to the full offering and business model, and act on what I’ve learned. Therefore, to reach my goals, it will be important to perform further analysis on the functionality, reliability, usability, and overall design of “colonjohn20.wixsite.com/codesign” [1]: Ries, E. (2017). The lean startup: How today’s entrepreneurs use continuous innovation to create radically successful businesses. New York: Currency.

Final Design to Market: Page 97

Note: Visit http://colonjohn20. wixsite.com/codesign for our homepage/entry-point.

figure 6-4

CO-DESIGNING

CO-WORKING

CO-OPETITION

PROJECT CO+DESIGN helps organizations design their own workplaces.

PROJECT CO+DESIGN increases collaboration between communities from the inside-out.

PROJECT CO+DESIGN combines cooperation with competition for external sustainable advantage.

“Communities of Practice (CoP)” links to:

“Organizational culture” links to:

“New words” links to:

“(The Business Dictionary)” links to:

“Co-opetition” links to:

http://wenger-trayner.com/introduction-to-communities-ofpractice

“Participatory Design (Co-Design)” links to:

http://gothamculture.com/what-is-organizational-culture-definition

http://www.businessdictionary.com

http://participateindesign.org/approach/what

“Co-working” links to:

http://www.coworker.com/lab/what-is-coworking

Final Design to Market: Page 98

http://www.yorku.ca/etopia/docs/conference/McDonald.pdf

http://www.strategy-business.com/article/17483?gko=30cb6

project co+design: final business model canvas Infrastructure

Offering

Key Activities:

Value Propositions:

The most important activity in executing PROJECT CO+DESIGN's value proposition is providing entrepreneurial talent for small, local organizations through a talent database and partnerships with local colleges and universities. But to do so, these organizations will collaborate with each other, their funders and volunteers, design managers, schools, and the rest of the community to crowd-fund historic real estate and revive them as cultural centers with coworking spaces to be used for co-creative workshops and further communal, adaptive reuse projects.

Key Resources:

The resources that are necessary to create value for members of PROJECT CO+DESIGN are contextual research, design thinking, organizational culture, and historic preservation. These are considered our assets and needed to sustain and support the business.

Key Partners:

For small organizations in the Hudson Valley with similar missions who are seeking ways to collaborate in order to increase funding and talent, our model offers a new cultural phenomenon designed to dissolve barriers and facilitate connection. We do this by guiding organizations through a design thinking process in a structured, informative format that requires divergence, convergence, and innovative communications. Unlike others that operate in frameworks primarily dedicated to specific cultures, which tend to stratify communities by technical understanding, our approach is based in research that reveals the underlying organizational models that each group holds in relation to the other in order to suggest opportunities for how we might change our perceptions – so that we may increase the odds of success in local initiatives – by integrating design thinking and collaboration as a key competitive advantage.

In order to optimize operations and reduce risks of our business model, we cultivated a different kind of “buyer-supplier” relationship in order to focus on our core activities. “Strategic alliances” that can potentially legitimize PROJECT CO+DESIGN might include the New York Historic Sites Alliance, Wappingers Historical Society, Friends of Carnwath Farms Historic Site and Park, Bard College, and Dutchess County Community College.

Final Design to Market: Page 99

Note: See Page 24 for Value Proposition and Onliness Statement within Project Positioning.

Customers Customer Segments:

Channels:

To build an effective business model, we identified which “customers” we try to serve. Based on their different needs and attributes, the various sets of customers have been segmented to ensure appropriate implementation of strategy to meet the characteristics of selected groups of “clients.” Our different types of customer segments include:

PROJECT CO+DESIGN has the potential to deliver value to targeted organizations through different Channels within virtual platforms[1], the Frances Reese Cultural Center[2], and local college and universities. They are effective by distributing our Value Proposition in ways that are fast, efficient, and costeffective.

Mass Market: New York State and New York City, New Jersey, Hudson River Valley National Heritage Area, and Historic Preservation communities

Customer Relationships:

Niche Market: Small, local non-profit and for-profit organizations Segmented: Donors/funders, talent/volunteers, and college students Multi-Sided Platform/Market: For a smooth day-to-day business operation, we serve mutually dependent “Customer Segments.” PROJECT CO+DESIGN provides services to co-working members while simultaneously assisting schools who seek to implement experiential learning

[1]: Visit http://colonjohn20.wixsite.com/codesign for our homepage/entry-point. Our website gives users the opportunity to buy a membership, rent a space, subscribe to our newsletter, interact with our blog, and create an account to connect with other members. A “talent database” for members would be a near-future addition.

To ensure the survival and success of PROJECT CO+DESIGN, we identified the types of relationships necessary to create with our Customer Segments. Various forms include: Personal Assistance: Our form of “employee-customer” interaction involves services in Creative Management, Facilities Management, Change Management, and Design/Project Management. Dedicated Personal Assistance: The most intimate and hands-on personal assistance in which our design thinkers are assigned involve handling all the needs and questions of our members and their membership plans as well as activities in participatory designing and co-working. [2]: The Frances Reese Cultural Center is a building on Carnwath Farms Historic Site and Park in Wappingers Falls, New York with the potential to house the New York Historic Sites Alliance’s workplace in which we designed for the revival, growth, and development of the entire site and its benefiting organizations.

Final Design to Market: Page 100

project co+design: final business model canvas Customers (continued)

Finances

Customer Relationships (continued):

Cost Structure:

Self Service: Some of our Customer Relationships translate from indirect interaction between the “company” and the “clients” by providing tools needed for members to serve themselves easily and effectively. These are found within virtual platforms[1]. Automated Services: We will utilize systems similar to self-service but more personalized with the ability to identify individual members and their preferences. A “talent database” would benefit from these features by helping members find volunteers from our “suggestions” based on the skills needed for their projects. Communities: Community building allows for direct interactions among different members of PROJECT CO+DESIGN. The co-working community platform produces a scenario where knowledge can be shared and problems are solved between different and similar organizations. Co-creation: A personal relationship is created through our members’ direct input to the final outcome of our “products/services.” Co-creative workshops is the Key Activity for design thinking, our contextual research, the participatory design of our adaptive reuse projects/sites, and our activities in real estate crowd-funding, marketing, and operating day-to-day.

The most important monetary consequences even while operating under different business models involve rent/utilities, insurance, research and development, and our activities in marketing, operating, designing, and funding. Classes of Business Structures: Cost-Driven – We focus on minimizing all costs and having no frills. Value-Driven – We focus on creating value for our services. Characteristics of Cost Structures: Fixed Costs – There might be costs that are unchanged across different applications like salaries, rent, and more. Variable Costs – There might be costs that vary depending on the amount of production of goods or services like fundraising events and more. Economies of Scale – There might be costs that go down as the amount of goods are ordered or produced.

Final Design to Market: Page 101

Finances (continued)

Note: See Page 93 for Refining and Assessing: New Business Model Canvas within Prototype Development and Testing

Cost Structure (continued):

Economies of Scope – There might be costs that go down due to incorporating other businesses which have a direct relation to our original services.

Revenue Streams:

The ways in which PROJECT CO+DESIGN makes income from each Customer Segment involve membership and subscription fees, rentals, real estate crowdfunding, co-creative workshops, and public and private events. Several ways we might generate a revenue stream include: Asset Sale – We might sell ownership rights to physical goods by implementing our business model within different historic sites.

Lending/Leasing/Renting – We might give exclusive rights to an asset for particular periods of time in order to execute our Value Propositions within a space. Licensing – There might be revenue generated from charging for the use of a protected intellectual property that complies with our rules and regulations.

Usage Fee – There might be money generated from the use of particular services from our design thinking professional and virtual platforms.

Brokerage Fees – There might be revenue generated from an intermediate service between two parties for further acquisition and development of historic sites and real estate.

Subscription Fees – There might be revenue generated by selling access to continuous services from our design thinking professionals and virtual platforms.

Advertising – There might be revenue generated from charging fees for advertising our members’ products and services.

Final Design to Market: Page 102

project co+design: implementation plan

figure 6-5

Direction: Strategy drives our business model. We want to grow within new market segments. Our strategic goals involve implementing PROJECT CO+DESIGN as a prototype in the field by communicating, involving, and executing new Customer Segments, Channels, and Key Activities. This drives the business model by continuously requiring adaptation and modification in response to market reactions and synergies or conflicts between prototypes.

Skills/mindset: Our business model calls for people with particular mindsets. Implementing design thinking requires entrepreneurial mechanisms which will bring our services to market. This gives members significant leeway, which means co-working with proactive, but dependable, free-thinkers and continuously assessing solutions.

Motivation: In order to closely monitor how our risk/reward expectations play out against actual results, particular attention needs to be paid to managing uncertainties. Our business model requires a reward system involving motivating members to work towards our collective goals with a focus on community performance.

strategy

people

rewards

structure

processes

Final Design to Market: Page 103

Power: The characteristics of our business model determines the optimal organizational structure for its execution. Implementing our model in an established business calls for a highly decentralized structure in which our new operations can be integrated with their business models and our prototypes.

Information: Our business model demands certain information-flows, processes, and work-flows in order to operate at a sustainably low-cost. Our processes for automated and lean operations are rigorously and continuously checked for quality and value. We will scan the environment to rethink and rejuvenate our business.

[1]: See Page 105 for Primary Stakeholder’s Implementation Plan: Roadmap using a six-step designthinking process to implement Co-opetiton Activities.

Primary Stakeholders The NYHSA’s staff must come together to manage these four Key Activities that implement PROJECT CO+DESIGN’s collaborative model with its Key Partners. While role assignments are subject to change, it is important that the team is on board with the Roadmap[1] to our initiative’s adoption which focuses on the cooperation between similar, local organizations within our community seeking funding and talent. As Design Manager, I must oversee the creative and transformational processes, the physical spaces of our facilities, and overall execution of our projects.

[2]: See Page 47 for Co-creative Facilitation: Main Activity and “Instructions for Process.”

Designing

Operating

Marketing

Funding

Final Design to Market: Page 104

Co-opetition Activities Once roles are understood, implementing our strategy, structure, processes, rewards, and people may begin. The NYHSA will follow the same six-step designthinking process practiced during my Co-creative Facilitation[2], except from a new perspective. Each step of the Roadmap not only involves communication between Primary Stakeholders and Key Partners, but the implementation of our Co-opetition Activities between the NYHSA and it’s potential Co-workers and Co-creators of a new, developmental/entrepreneurial culture in the Hudson Valley’s Historic Preservation community.

Secondary Source: Design Thinking: A Method for Creative Problem Solving. (2019). Retrieved from https://www.ideou.com/pages/design-thinking

project co+design: implementation plan

table 6-1

frame a question

gather inspiration

generate ideas

make ideas tangible

test to learn

share the story

Anticipated Duration: 3 - 6 months

Anticipated Duration: 1 - 3 years

Anticipated Duration: 3 - 6 months

Anticipated Duration: Ongoing

Key Deliverables Recognition of PROJECT CO+DESIGN

Key Deliverables Identification of new Customer Segments, Channels, and Key Activities

Key Deliverables Finalize negotiations with Key Partners

Key Deliverables Pre-construction marketing

Key Deliverables Continued maintenance of sites

Formalize partnerships and Key Resources

Install co-working spaces within the Frances Reese Cultural Center

Continued positive publicity

Key Deliverables Enable members to willingly communicate or interact with each other

Continued but more discreet marketing campaign

Enable potential friendships or subcommunities

Possible phase approach to sites (increasingly more added every year)

Continued maintenance and positive publicity

Site identification for future adaptive reuse projects Approval of historic sites Application and approval of initial funding

Direction to members and builders on information and community dynamics (perhaps with crowd-sourced design input)

Initial positive publicity Initial marketing push

Approval of design direction Construction of NYHSA workplace

Methods Facilitated concept generation sessions with Stakeholders to identify ideal Finances

Methods Formal oversight of installation

Formal process (design input, review, approval)

Facilitated sessions with Key Partners to ensure mutually-beneficial relationships

Town and grant funding

Formal meetings and oversight of design/build

Formal oversight of partnerships and Key Resources

Initial marketing through local news organizations, touting: 1. The history, 2. Positivity in Wappingers, 3. Local trades, 4. Impact to education/tourism, 5. Workplace design

Potential Challenges Time: Coordination of Key Partners, and balancing of schedules

Potential Challenges Time: Management of Key Partners and deadlines

Potential Challenges Time: Constant management and evolution of Key Partners

Funding: Securing adequate funds for initial and/or phased launch

Logistics: Coordination of designers, tradespeople, and contractors for successful completion

Logistics: Co-working design updates for new partners

Methods Secondary and primary research Facilitated concept generation sessions Neighborhood meetings

Logistics: Securing intended historic sites

Methods Facilitated concept generation sessions with Key Partners

Teaser marketing for build

Potential Challenges Logistics: Must have real-time maintenance of sites to ensure first impressions are positive

Final Design to Market: Page 105

User-enabled marketing campaign Methods Formal oversight and management of Customer Segments, Channels, and Key Activities

Methods Continuous oversight proliferation via social media

Discreet marketing through media & stories of people interacting with sites

Discreet marketing through stories of sub-communities and connections/ friendships formed

Potential Challenges Logistics: Must have real-time maintenance of sites to ensure continued impressions are positive

Potential Challenges Time: Following up with project success stories in real-time for effective marketing campaigns Logistics: Must maintain constant oversight of social media to ensure overall messaging stays positive

roadmap derived from mark guarraia dmgt 748 fall 2014

Anticipated Return on Investment (ROI) Return on investment is difficult to measure, as returns are not tangible or easily quantifiable. That being said, gains are anticipated in three distinct areas:

Increased Collaboration

Donors/funders, talent/volunteers, and non-profit organizations within the Hudson Valleyâ&#x20AC;&#x2122;s historic preservation community can expect to cooperate through designing, marketing, operating, and funding their initiatives together in the same workspace.

Increased Localism

Whether from current residents, businesses, or tourists, the region can expect an increase in its appeal and even external interest. Positive publicity, coupled with marketing and user-generated buzz, will enhance our reputation within and outside of the regionâ&#x20AC;&#x2122;s limits.

Crowd-funded Commercial Real Estate

Addressing initiated/mandated funder & talent wants/needs and tackling local adaptive re-use projects by community building and employing financial and market analysis approaches maximizes ROI through an increase of shareholders and funded initial explorations.

Final Design to Market: Page 106

conclusions & recommendations

conclusions recommendations

108 109

conclusions PROJECT CO+DESIGN: The NYHSA CoP Initiative A Social Enterprise

I’ve realized that business strategy has been around for a long time but today’s technology has made it more easily applicable. Enterprises can make decisions and adjust to environments quicker with the use of strategy and technology. Those competing in today’s market are agile and ready to refine their business model before others. But most importantly, this capstone confirmed my conception that the human side of business strategy and the alignment of culture, values, people, and behaviors is key in designing a transformation. I never expected to master every concept presented in this final course within 10 weeks. To further enhance my learning, I will use what I learned to go even deeper in the field. As I wrapped up my final classwork for this degree, there still might have been some things I felt hazy on but by continuously conducting independent research and working on them, I will have a clearer understanding. I appreciated the opportunities that SCAD provided to bring my own perspectives to the table when it came to using their tools and frameworks. The online collaborative environment visibly empowered my classmates and I to make the most of this experience. That is why I want to continue learning, growing, and influencing communities by applying human-centered design approaches to solve their problems. That is why my final project translated into a vision for a community of mission-driven design-thinkers who are looking to have as much impact as possible and collaboratively working to get the social sector at large to take a humancentered approach to problem-solving too. Market competition shouldn’t be a threat; it should be an opportunity. I want to emphasize the compatibility between the “old” and “new” and create an ethic of harmonious intervention into both historic and “modernized” settings.

Conclusions & Recommendations: Page 108

Umbrella Question

How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

recommendations PROJECT CO+DESIGN: The NYHSA CoP Initiative Students and Professionals in Design Thinking

Work towards a more human and less tedious approach to the challenging business of innovation. Try getting even closer to your target audience and their needs. Thrive beyond the old industrial system and humanize the interface between businesses and people. Focus less on generating new ideas and more on understanding how they might actually work. Unify people from a range of disciplines into a team that brings trans-disciplinary thinking to tackle a problem all at once.

Staff, Volunteers, and Donors of Non-Profits

Find others in different socio-economic demographics, geographies, communities, and organizations who might easily change their behavior whenever they realize they have the capacity, readiness, and willingness to do so. Target desired results for the people who need the most impact. Focus first on challenging local individuals with problems to be the initial leaders, product designers, principal investors, and prime deliverers of the most effective solutions.

Hudson Valleyâ&#x20AC;&#x2122;s Historic Preservation Community

Understand that saving sites and buildings weaves together a complex tapestry of other important social needs including economic and social equity and development. Insist on a compromising approach to heritage conservation. Launch multi-disciplinary dialogs on the future of historic sites and include those in finance, affordable housing, community development, sustainability, and other fields. Consider new opportunities for impact, confront uncomfortable truths about falling short, and be vigilant in finding and embracing new, creative tools for preservation.

Conclusions & Recommendations: Page 109

Umbrella Question

How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

references:

Annotated Bibliography Additional Sources List of Figures List of Tables

111 114 115 117

annotated bibliography American Psychological Association. (2010). Publication Manual of the American Psychological Association (6th ed.). Washington, DC: Author. The “Publication Manual” is the style manual of choice for writers, editors, students, and educators. Although it is specifically designed to help writers in the behavioral sciences and social sciences, anyone who writes non-fiction prose can benefit from its guidance. Advice is provided on how to present information, including text, data, and graphics, for publication in any type of format. Bandarin, F., & van, O. R. (2012). Historic urban landscape: managing heritage in an urban century. https://0-ebookcentral.proquest.com.library.scad.edu This book offers a comprehensive overview of the intellectual developments in urban conservation. Examples are drawn from urban heritage sites worldwide from Timbuktu to Liverpool to demonstrate key issues and best practice. It offers an invaluable resource for architects, planners, surveyors and engineers worldwide working in heritage conservation, as well as for local authority conservation officers and managers of heritage sites. Kreitner, R., & Kinicki, A. (2013). Organizational Behavior (10th ed.). McGraw-Hill Irwin. Kreitner and Kinicki’s approach to organizational behavior is based on the authors’ belief that reading a comprehensive textbook is hard work; however, the process should be interesting and sometimes even fun. Key topics, such as diversity in organisations, ethics, and globalisation, are recommended by the Association to Advance Collegiate Schools of Business (AACSB) and the Association of Collegiate Business Schools and Programs (ACBSP). Kreps, C. (2003). Liberating culture: cross-cultural perspectives on museums, curation and heritage preservation. https://0-ebookcentral.proquest.com.library.scad.edu Using examples of indigenous models from Indonesia, the Pacific, Africa and native North America, Christina Kreps illustrates how the growing recognition of indigenous curation and concepts of cultural heritage preservation is transforming conventional museum practice. Liberating Culture explores the similarities and differences between Western and nonWestern approaches to objects, museums, and curation, revealing how what is culturally appropriate in one context may not be in another. Lockwood, T. (2009). Design thinking: Integrating innovation, customer experience, and brand value. Allworth Press. This book explores point-of-views, techniques, methods, and hands-on case studies from international thought leaders. It covers design thinking methods; design thinking in service design; design thinking in brand building; and design thinking in creating customer experiences. Design thinking confirms that design, as a process and as an output, has greater opportunity to add value to the triple bottom line than any other business function.

References: Page 111

Lu, J. (2015). Which nonprofit gets more government funding?: Nonprofits’ organizational attributes and their receipts of government funding. Nonprofit Management and Leadership, 25(3), 297-312. Based on a survey of human service nonprofits in Maryland, this research finds that non-profits with higher bureaucratic orientation, stronger domain consensus with government, and longer government funding history are more likely to receive government contracts and grants. Government represents one of the most important funding sources for nonprofit organizations. Lutz Allen, S., Smith, J. E., & Da Silva, N. (2013). Leadership style in relation to organizational change and organizational creativity: Perceptions from nonprofit organizational members. Nonprofit Management and Leadership, 24(1), 23-42. This article examines the relationship between leadership style and members’ perceptions of the psychological climate for organizational change readiness and psychological climate for organizational creativity. Transformational leaders have a direct positive relationship with psychological climate for organizational change readiness and organizational creativity. As the environment within which organizations act continues to change and becomes increasingly competitive, maintaining an organizational climate that supports change and encourages creativity is a key objective for organizational leaders. Martin, R. L. (2009). The design of business: Why design thinking is the next competitive advantage. Boston, MA: Harvard Business Press. Martin shows how leading companies such as Procter & Gamble, Cirque du Soleil, RIM, and others use design thinking to push knowledge through the stages in ways that produce breakthrough innovations and competitive advantage. As knowledge advances across the stages, productivity grows and costs drop -- creating massive value for companies. Muratovski, G. (2016). Research for designers: A guide to methods and practice. Los Angeles: Sage Publications. This book clearly explains how effective cross-disciplinary discovery and delivery of strategic solutions to complex problems needs to begin with targeted and credible research of the problem area, the ecosystem, the context, and the stakeholders involved. This book is useful to strategists and decision-makers as it can expand their problem-solving toolkit to incorporate design research and practice in the pursuit of new, original and better outcomes. Neumeier, M. (2006). Zag: The number one strategy of high-performance brands. Peachpit Press. This book is based on a simple but challenging mandate: ‘When everyone zigs, zag’. Zagging is the art of positioning a product or company in order to eliminate or minimize competition Companies that zig (i.e., head in the same direction as their competitors) have no choice but to compete on price.

References: Page 112

annotated bibliography Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley. Business Model Generation features practical innovation techniques used today by leading consultants and companies worldwide, including 3M, Ericsson, Capgemini, Deloitte, and others. It is for those ready to abandon outmoded thinking and embrace new models of value creation. It explains the most common Business Model patterns, based on concepts from leading business thinkers, and helps reinterpret them for my own context. Reference, L. L. (2018). Non-profit organizations research guide. http://guides.ll.georgetown.edu/nonprofits This quick topic guide was created for students conducting introductory research in the area of non-profit organizations. While not comprehensive, it provides a listing of the more important, current and relevant materials available in this subject area. Rogers, E. M. (2003). Diffusion of innovations (5th ed.). New York: Free Press. The diffusion process consists of a few individuals who first adopt an innovation, then spread the word among their circle of acquaintances -- a process which typically takes months or years. But there are exceptions: some innovations may have spread more rapidly than any other innovation in the history of humankind. It explains how new ideas spread via communication channels over time. Such innovations are initially perceived as uncertain and even risky. Stipe, R. E. (Ed.). (2003). Richer heritage: historic preservation in the twenty-first century. https://0-ebookcentral.proquest.com.library.scad.edu Surveying the past, present, and future of historic preservation in America, this book features fifteen essays by some of the most important voices in the field. Contributors include preservationists, local-government citizen activists, an architect, landscape architects, environmentalists, an archaeologist, a real-estate developer, historians, a Native American tribal leader, an ethnologist, and lawyers. This book can be an essential, thought-provoking guide for professionals as well as administrators, volunteers, and policy makers involved in preservation efforts. Stone, T.L. (2010). Managing the design process, concept development. Rockport Publishers, Inc. This book illustrates the point where theory meets practice in the design studio environment and examines design management concepts and methods in real-world applications. It features many image-rich case studies to illustrate the fundamentals of design management. The information is not something that is typically taught in design (or business) school -- itâ&#x20AC;&#x2122;s learned on the job, making this an invaluable reference for designers.

References: Page 113

additional sources: contact list New York Historic Sites Alliance Ethan Dickerman, Vice-President & Founder Richard Recchia, President & Founder Cheyenne Cutter, Director of Educational Outreach Elliana Ramirez, Merchandise Manager Panelists of “Creating a Non-profit as a Student” Participants of “Design Thinking for the NFP”

SCAD Design Management Bruce Claxton FIDSA, Professor DMGT 748 Students SCAD Preservation Design Professor

Bard Center for Civic Engagement Assistant Dean & Moderator of “MLK Day of Engagement 2019” Hellenic-American Chamber of Commerce Branding & Communications Director at Pembrooke & Ives & Moderator of “Design For A Better World” The Center for Urban Pedagogy Executive Director & Facilitator of “Designing with Communities: Methodology Workshop”

References: Page 114

Greater Hudson Heritage Network President & Dutchess County Historian Dutchess Tourism President & CEO Wappingers Historical Society Joseph Cavaccini, Town Historian Rombout Rural Cemetery Association Paul Dickerman, Trustee

Note: All photos are taken by author

list of figures: Pages A1 to 69

figure 1-1: Portrait of author

Page A1

figure 3-10: Co-creative Facilitation: Main activity, progress 1

Page 49

figure 1-2: Preliminary mind map of research topics (2018)

Page 02

figure 3-11: Main activity, progress 2

Page 49

figure 1-3: Preliminary mind map of project scopes (2019)

Page 07

figure 3-12: Main activity, progress 3

Page 50

figure 1-4: Preliminary mind map of project scopes (2019)

Page 09

figure 3-13: Main activity, Objects 1, 2, 3, & 4

Page 50

figure 3-1: Facilitating Creative Thinking, 2018: activity board

Page 40

figure 3-14: Main activity, Object 7

Page 50

figure 3-2: Co-creative Facilitation: Welcome, snacks & drinks

Page 43

figure 3-15: Main activity, progress 4

Page 50

figure 3-3: Welcome, table/supplies setup 1

Page 43

figure 3-16: Main activity, complete process board

Page 51

figure 3-4: Welcome, table/supplies setup 2

Page 44

figure 3-17: Co-creative Facilitation: Cool-down, progress 1

Page 54

figure 3-5: Co-creative Facilitation: Warm-up, sketching

Page 44

figure 3-18: Cool-down, progress 2

Page 54

figure 3-6: Warm-up, writing

Page 44

figure 3-19: Cool-down, end result

Page 55

figure 3-7: Warm-up, progress

Page 44

figure 3-20: Co-creative Facilitation: Take-home kit

Page 58

figure 3-8: Warm-up, end result

Page 45

figure 3-21: Personas, Insight Map: Topic of Interest

Page 64

Page 48

figure 4-1: Design Criteria for Prototype: Considerations

Page 69

figure 3-9: Co-creative Facilitation: Main activity, board

References: Page 115

list of figures: Pages 70 to 103 figure 4-2: Design Criteria for Prototype: Activities

Page 70

figure 4-3: Reframing: Opportunity Map

Page 72

figure 5-13: Validation: Chosen Concept

Page 84

figure 5-1: Prototype Ideas: Concept 1, Cultural Consultancy

Page 153

figure 5-14: Refining & Assessing: Context Reframe

Page 85

figure 5-2: Concept 2, Adaptive Reuses

Page 74

figure 5-15: Chosen Concept: Preliminary Branding

Page 86

figure 5-3: Concept 3, Virtual Platform

Page 153

figure 5-16: Refining & Assessing: Business Model Canvas

Page 87

figure 5-4: Concept 4, Educational Partnerships

Page 74

figure 5-5: Concept 5, Co-creative Workshops

Page 74

figure 6-1: Final Prototype: Storyboard

Page 95

figure 5-6: Concept 6, Historic Trails System

Page 153

figure 6-2: MVP: Wix Site 1

Page 96

figure 5-7: Further Exploration: Prototype A, Adaptive Reuses

Page 77

figure 6-3: MVP: Wix Site 2

Page 97

figure 5-8: Prototype B, Educational Partnerships

Page 77

figure 6-4: MVP: Wix Site 3

Page 98

figure 5-9: Prototype C, Co-creative Workshops

Page 77

figure 6-5: Final Business Implementation Plan

figure 5-10: Concept Testing: Protocol 1

Page 78

Page 79

figure 5-11: Protocol 2

figure 5-12: Process

figure 5-17: New Business Model Canvas

References: Page 116

Page 80

Page 93

Page 103

list of tables: Pages 04 to 57 table 1-1: Competing Value Culture Framework (CVCF)

Page 04

table 3-1: Map of Research Space

Page 26

table 1-2: Target Audience: Preliminary Examples

Page 06

table 3-2: Research Matrix: Sub-research question 1

Page 150

table 1-3: Scope of Project

Page 10

table 3-3: Sub-research question 2

Page 151

table 2-1: Positioning 2x2: Collaborator/Competitor, NYHSA

Page 14

table 3-4: Sub-research question 3

Page 152

table 2-2: RRCA

Page 15

table 3-5: Research Protocol: Part 1

Page 30

table 2-3: WHS

Page 16

table 3-6: Part 2

Page 123

table 2-4: DT

Page 148

table 3-7: Part 3

Page 124

table 2-5: GHHN

Page 149

Page 36

table 2-6: Positioning 2x2: Value & Cultural Climate

Page 17

table 3-8: Research Synthesis, Graph: RRCA, Questionnaire table 3-9: NYHSA, Interview

Page 19

table 3-10: Co-creative Facilitation: Schedule

Page 42

Page 21

table 3-11: Journey Map: NYHSA, Warm-up

Page 46

Page 22

table 3-12: NYHSA, Main Activity

Page 53

Page 23

table 3-13: Journey Map: NYHSA, Feedback

Page 57

table 2-7: Impact vs. Profitability

table 2-8: Zag Steps: 1 - 5

table 2-9: 6 - 11

table 2-10: Zag Steps: 12 - 17

References: Page 117

Page 38

list of tables: Pages 57 to 92 table 3-14: Research Synthesis, Personas: NFP-A vs. NFP-B

Page 59

table 5-6: Concept 6, Historic Trails System

Page 154

table 3-15: Empathy Map: Elise R.

Page 60

table 5-7: Validation: Strategic Decision-Making

Page 83

table 3-16: Eric D.

Page 61

table 5-8: Refining and Assessing: Strengths & Weaknesses

Page 88

table 3-17: Claire C.

Page 62

table 5-9: Strengths & Weaknesses 1

Page 89

table 3-18: Roger R.

Page 63

table 5-10: Strengths & Weaknesses 2

Page 90

table 3-19: Research Findings at-a-Glance

Page 65

table 5-11: Strengths & Weaknesses 3

Page 91

table 4-1: Opportunities for Design Matrix

Page 67

table 5-12: Strengths & Weaknesses 4

Page 92

table 4-2: Opportunities for Design Map

Page 68

table 5-13: Threats & Opportunities 1

Page 156

table 5-1: Concept Scenarios: Concept 1, Cultural Consultancy

Page 154

table 5-14: Threats & Opportunities 2

Page 157

table 5-2: Concept 2, Adaptive Reuses

Page 75

table 5-15: Threats & Opportunities 3

Page 158

table 5-3: Concept 3, Virtual Platform

Page 154

table 5-16: Threats & Opportunities 4

Page 159

table 5-4: Concept 4, Educational Partnerships

Page 75

table 5-5: Concept 5, Co-creative Workshops

Page 75

References: Page 118

appendices:

Appendix A: Timeline Appendix B: Research Protocol Appendix C: Consent Forms Appendix D: Survey & Questionnaire Appendix E: Interview Transcription Appendix F: Validation: Schematic Interior Design Appendix G: Working Wall in Progress Appendix H: Tables and Figures

120 123 126 129 138 139 144 148

Note: See Pages 121 & 122 for specific break-down

timeline with milestones January 7th, 2019 - March 14th, 2019

Project Planning Unit 01

Project Complete Unit 10

Conducting Research Unit 02 - Unit 05 & Unit 08

Business Planning Unit 09

Market Analysis Unit 04 - Unit 05

Refining the Prototype Unit 08 - Unit 09

Appendix A: Page 120

Assessment and Validation Plan Unit 08

Research Synthesis Unit 06

Exploration and Protyping Unit 07

timeline with milestones: first half January 7th, 2019 - Februrary 10th, 2019

Unit 01

Unit 02

Unit 03

Unit 04

Unit 05

Jan. 07, 2019 Jan. 13, 2019

Jan. 14, 2019 Jan. 20, 2019

Jan. 21, 2019 Jan. 27, 2019

Jan. 28, 2019 Feb. 03, 2019

Feb. 04, 2019 Feb. 10, 2019

Project Planning • Final Proposal refinement • Secondary research complete • Research Protocol documents • Process Book outline template

Conducting Research • Distribute online surveys • Refine Final Project Proposal peer-review • Research Protocol peer-review • Process Book Outline template peer-review • Provide primary research status • Provide working wall status

Conducting Research • Distribute online questionnaires • Interviews • Document “Creating a Nonprofit as a College Student” • Facilitate “Design Thinking for the NFP” • Provide primary research status • Provide working wall status

Conducting Research • Provide primary research status • Provide working wall status

Conducting Research • Document “Design for a Better World”

Market Analysis • Identify first opportunities and their implications for conceptual solutions

Market Analysis • Provide market analysis status • Provide working wall status • Provide Project Positioning status • Provide Project Positioning status • Provide ZAG Steps 1-6 • Provide Value Proposition • Mid-Term Reviews - Research Presentations

Background reading: • Jones, T.L. Managing the Design Process, Concept Development. Rockport Publishers Inc. 2010. Chapter 3, 4 • Neumeier, M. Zag: The Number One Strategy of High-Performance Brands. Peachpit Press. 2006. Part 1

Background reading: • Jones, T.L. Managing the Design Process, Concept Development. Rockport Publishers Inc. 2010. Chapter 6

Background reading: • Neumeier, M. ZAG: The Number One Strategy of High-Performance Brands. Peachpit Press. 2006. Part 2

Background reading: • Goodwin, K. “Getting from Research to Personas: Harnessing the Power of Data” Cooper. com, http://www.cooper.com/ journal/2002/11/getting_from_ research_to_perso.html/ • Perfetti, C. “Goal-Directed Design: An Interview with Kim Goodwin,” http://www.uie.com/articles/goal_ directed_design/

Appendix A: Page 121

timeline with milestones: second half Februrary 11th, 2019 - March 14th, 2019

Unit 06

Unit 07

Unit 08

Unit 09

Unit 10

Feb. 11, 2019 Feb. 17, 2019

Feb. 18, 2019 Feb. 24, 2019

Feb. 25, 2019 Mar. 03, 2019

Mar. 04, 2019 Mar. 10, 2019

Mar. 11, 2019 Mar. 14, 2019

Research Synthesis • Provide working wall status • Provide research gap fillers and personas • Initial Concept Exploration

Exploration and Prototyping • Provide working wall status • Provide initial concepts • Provide refined prototypes

Conducting Research • Document “Designing with Communities: Methodology Workshop”

Refining the Prototype • Provide working wall status • Provide refined prototype • Provide testing plan

Background reading: • Neumeier, M. Zag: The Number One Strategy of High-Performance Brands. Peachpit Press. 2006. Part 1

Assessment and Validation Plan • Provide working wall status • Provide refined concepts

Business Planning • Provde final prototype

Project Complete • Provide Business Model Canvas • Graduation Show Poster • Final Process Book (digital format) • Final Presentation • Course Reflection

Background reading: • Carlson, A. and Manktelow, J. “Brainstorming: Generating Many Radical, Creative Ideas,” MindTools: http://www.mindtools. com/brainstm.html (accessed July 13, 2012). -- Tischler, Linda, “Seven Secrets to Good Brainstorming,” http://www.fastcompany.com/ articles/2001/03/kelley.html

Refining the Prototype • Provide working wall status • Provide refined concepts • Provide refined prototype • Provide testing plan

Appendix A: Page 122

Note: See Table 3-5: Page 30 for Research Protocol including participtaing contacts

table 3-6

research protocol

Organization

Research Area

Research Method

Research Question

Contact

Time

Location

Wappingers Historical Society*

B. Local non-profits C. Historic preservation community

1. Survey 4. Questionnaire

Sub-Research Questions 2 and 3

Joseph C.

1 & 4. Thursday; Jan. 17; Unit 02

1. OL; Google Forms 4. OL; email

Dutchess Tourism*

B. Local non-profits C. Historic preservation community

1. Survey 4. Questionnaire

Sub-Research Questions 2 and 3

President & CEO

1 & 4. Friday; Jan. 18; Unit 02

1. OL; Google Forms 4. OL; email or phone

Bard Center for Civic Engagement (BCCE)*

B. Local non-profits

2. Document â&#x20AC;&#x153;MLK Day of Engagement 2019â&#x20AC;? 4. Questionnaire

Sub-Research Question 2

Assistant Dean & Moderator

2 & 4. Monday; Jan. 21; Unit 03

2. Bard College; NYS 4. OL; email or phone

Greater Hudson Heritage Network (GHHN)*

B. Local non-profits C. Historic preservation community

1. Survey 4. Questionnaire

Sub-Research Questions 2 and 3

President & Dutchess County Historian

1 & 4. Tuesday; Jan. 22; Unit 03

1. OL; Google Forms 4. OL; email

* Unable to participate

Appendix B: Page 123

NYC: New York City NYS: New York State OL: Online

table 3-7 Organization

Research Area

Research Method

Research Question

Contact

Time

Location

SCAD Preservation Design*

A. Design Thinking C. Historic preservation community

1. Survey 4. Questionnaire

Sub-Research Questions 1 and 3

Professor

1 & 4. Wednesday; Jan. 23; Unit 03

1. OL; Google Forms 4. OL; email

2. Wednesday; Feb. 06; Unit 08

2. HACC; NYC

Hellenic-American Chamber of Commerce (HACC)*

A. Design Thinking B. Local non-profits

2. Document “Design for a Better World”

Sub-Research Questions 1 and 2

Branding & Communications Director at Pembrooke & Ives and Moderator

The Center for Urban Pedagogy (CUP)*

A. Design Thinking B. Local non-profits

2. Document “Designing with Communities: Methodology Workshop”

Sub-Research Questions 1 and 2

Executive Director & Facilitator

2. Thursday; Feb. 06; Unit 08

2. The Drawing Center; NYC

SCAD Design Management

A. Design Thinking

Document feedback throughout process

Sub-Research Question 1

Bruce C.

Unit 01 through Unit 10

OL; SCAD eLearning

* Unable to participate

Appendix B: Page 124

research protocols: completed process board, january 2019 Note: See Table 3-12: Page 53 for Main Activity: Insights and Observations Actual size is 24â&#x20AC;? x 36â&#x20AC;?

Appendix B: Page 125

consent form: questionnaires & workshops SCAD

SCAD

Integrating Design Thinking: Co-opetition Between Non-Profit Organizations

Informed Consent Form

The following information provides an introduction to field research that will be conducted online, in New York City, and in New York State between January 2019 and March 2019, by John Colón, Design Management graduate student at the Savannah College of Art and Design.

purpose of study

research questions

data collection methodology Data will be collected through: 1. Online Survey 2. Questionnaires 3. Interviews

4. Observation 5. Audio-Recording 6. Photos

I voluntarily agree to participate in an interview/inquiry performed by students at the Savannah College of Art and Design. I understand that this interview/inquiry is being conducted by John Colón, in order to identify the following opportunities for design management:

Co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage. I understand that the evaluation methods may include: ¨ ¨ ¨ ¨ ¨

Online Surveys Questionnaires Interviews Audio-Recording Photos

I grant permission for the interview/inquiry to be recorded and transcribed, and to be used only by John Colón for analysis of interview data. I grant permission for this data generated from the above methods to be used in an educational setting. I understand that only if requested, any identifiable information in regard to my name and/or company name will be removed from any material that is made available to those not directly involved in this study.

___________________________________________ Printed Name

data management • •

Participants will have the option for the researcher to anonymize their data prior to sharing the body of work Data will be stored via the researcher’s hard drive

contact information

___________________________________________ Signature

___________________________________________ Date

Appendix C: Page 126

signed consent forms

Paul D.

Ethan D.

Richard R.

Appendix C: Page 127

Cheyenne C.

Elliana R.

RESEARCHER'S NAME OR INSTITUTION The study will be conducted by a M.A. Design Management student at the Savannah College of Art and Design (SCAD). STUDY PURPOSE The purpose of this study is to gather information about people related to non-profit organizations within the historic preservation community of the northeast who face competition in a changing cultural climate.

online survey: consent form

RESEARCH METHOD AND DATA COLLECTION A survey portion of the study will be conducted online. A link to the survey will be provided to participants. STUDY REQUIREMENTS Questionnaire surveys will be conducted online by participants on a desktop computer or mobile device. It is required that participants have internet access to complete the online surveys.

Integrating Design Thinking: Co-opetition Between Non-Profit Organizations The focus of this study is applying design thinking and using organizational culture to transpire organizational effectiveness and collaboration between competing non-profits through qualitative research in the field. * Required

HOW DATA WILL BE COLLECTED, STORED AND USED The online surveys will be stored on password protected Google Forms. No names will be collected for surveys. WITHDRAWAL STATEMENT At any time should the participant wish to decline or redraw their participation from the study, they can do so without any prejudice or consequence. RISK STATEMENT There are no anticipated risks to this study that could cause discomfort or adverse effects.

Consent Form

BENEFITS STATEMENT The benefit to participants could be the increase in socially innovative projects within their local community.

You have been asked to participate in a research study about design thinking, local non-profits, and the historic preservation community. The participant was selected because they replied to a request for participants online or in-person. Please read the consent form to participate in the study.

CONFIDENTIALITY/ANONYMITY STATEMENT All information will remain confidential and be used for the sole purpose of this study. All participants will remain anonymous. Results of the survey will be made available to participants on request. COMPENSATION There is no compensation associated with this study.

TITLE OF STUDY Integrating Design Thinking: Co-opetition Between Non-Profit Organizations RESEARCHER'S NAME OR INSTITUTION The study will be conducted by a M.A. Design Management student at the Savannah College of Art and Design (SCAD). STUDY PURPOSE The purpose of this study is to gather information about people related to non-profit organizations within the historic preservation community of the northeast who face competition in a changing cultural climate. RESEARCH METHOD AND DATA COLLECTION A survey portion of the study will be conducted online. A link to the survey will be provided to participants. STUDY REQUIREMENTS Questionnaire surveys will be conducted online by participants on a desktop computer or mobile device. It is required that participants have internet access to complete the online surveys.

Skip to question 78.

Thank you for taking this

CONTACT DETAILS Please direct any questions or concerns to jcolon21@student.scad.edu Checking the box below indicates that you will participate in the research study and that you have read and understood the consent form. 1. Confirmation of consent form * Mark only one oval. I agree and understand the consent form and would like to continue with the survey. Skip to question 2. I do not agree with the consent form and wish to withdraw from this survey. out this form.

78. Is there anything else you'd like to

Stop filling

Appendix C: Page 128

BENEFITS STATEMENT The benefit to participants could be the increase in socially innovative projects within their local community.

Mark only one oval. New Jersey New York City New York State Other:

online survey: warm-up questions Other:

5. Do you know what 'design thinking' is? * Mark only one oval. Yes No Maybe

Warm-up Questions

Female

Desktop computer/laptop Mobile device/tablet Other: Other:

Please share a little bit about yourself and your relation to design thinking, non-profits, and/or historic preservation communities. 2. Gender * Mark only one oval.

9. What device do you use the most for collaborating? * Mark only one oval.

6. Have you ever applied 'design thinking'? * Mark only one oval.

9. What device do you use the most for collaborating? * Mark only one oval.

Yes

Desktop computer/laptop

Mobile device/tablet

Maybe

Other:

Male Prefer not to say Other: 3. What is your age? * Mark only one oval.

7. How often do you collaborate on your works or projects? * Mark only one oval. Often

Word Document

Sometimes

PowerPoint

Depends on the project

Under 18

Never

18 - 24

Other:

4. Where are you located? * Mark only one oval.

XL Spreadsheet 10. WhatAdobe file types do you share the most with online collaboration? * Photoshop Check all that apply. Adobe Illustrator

8. What is your most preferred way for collaborating with others? * Check all that apply. In-person Email

Adobecollaborative Photoshop projects do you work on at once? * 11. How many Mark Adobe only one oval. Illustrator

Social Media

Less than 3 Portable Document Format (PDF)

New York City

Depends on the project

3-5 Other:

New York State

Other:

5. Do you know what 'design thinking' is? * Mark only one oval. Yes

9. What device do you use the most for collaborating? * Mark only one oval. Desktop computer/laptop Mobile device/tablet Other:

78. Is there anything else you'd like to

11. How many collaborative projects do you work on at once? * Mark only one oval.

Co-opetition

Will Kenton Less of Investopedia defines 'co-opetition' as “the act of cooperation between competing than 3 organizations” and “a type of strategic alliance” (2018). 3-5 12. Do youMore or your collaborate with your competitors? * thanorganization 5 Mark only one oval.

Will Kenton No of Investopedia defines 'co-opetition' as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018). Depends on the project

6. Have you ever applied 'design thinking'? * Mark only one oval.

12. Do youOther: or your organization collaborate with your competitors? * Mark only one oval.

Yes Maybe

More than 5

Yes Co-opetition

Maybe

Thank you for taking this

PowerPoint Other: XL Spreadsheet

New Jersey

Other:

Skip to question 78.

Word Document Portable Document Format (PDF)

25 - 40 over 40

10. What file types do you share the most with online collaboration? * Check all that apply.

Appendix D: Page 129 Word Document

Yes do you or your organization collaborate with your competitors? * 13. How often Mark only No one oval. Often Depends on the project Sometimes Other:

Adobe Illustrator

Neutral

Portable Document Format (PDF) Other:

Very unlikely

11. How many collaborative projects do you work on at once? * Mark only one oval. Less than 3 3-5 More than 5

Neutral

Unlikely

15. How safe do you think your or your organization's information would be with a competitor? * Mark only one oval.

Unwilling

online survey: co-opetition questions

Co-opetition

Will Kenton of Investopedia defines 'co-opetition' as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018). 12. Do you or your organization collaborate with your competitors? * Mark only one oval. Yes No Depends on the project Other: 13. How often do you or your organization collaborate with your competitors? * Mark only one oval.

Very safe Safe

Neutral

Willing

Unsafe

Neutral

Very unsafe

Unwilling

16. How trusting would you or your organization be in sharing information with a competitor? * Mark only one oval.

Willing

Neutral

Untrusting

Unwilling

17. Would you or your organization be willing to collaborate with a competitor if it meant more funding? * Mark only one oval. Willing

Sometimes

Neutral

Depends on the project

Unwilling

Very likely Likely

21. Would you or your organization be willing to collaborate with a competitor if it meant increasing local tourism? * Mark only one oval. Willing Neutral

Skip to question 78.

Unwilling

Never

14. How likely would you or your organization be to share information with a competitor? * Mark only one oval.

20. Would you or your organization be willing to collaborate with a competitor if it meant preserving your local history? * Mark only one oval.

Trusting

Often

Other:

19. Would you or your organization be willing to collaborate with a competitor if it meant educating the public? * Mark only one oval.

18. Would you or your organization be willing to collaborate with a competitor if it meant fostering and building community? * Mark only one oval. Willing

Design-thinking professional or student Staff, volunteer, or donor of non-profit

Neutral

Thank you for taking this

22. Which of these best describes you? * Mark only one oval.

Skip to question 23. Skip to question 33.

Staff, volunteer, or donor of non-profit in the historic preservation community question 44.

Unwilling

Historic preservation professional or student

Neutral

None of the above

Skip to question 64.

Skip to question 78.

Unlikely

15. How safe do you think your or your organization's information would be with a competitor? * Mark only one oval.

19. Would you or your organization be willing to collaborate with a competitor if it meant educating the public? * Mark only one oval. Willing

Very safe

Neutral

Safe

Unwilling

Very unsafe 16. How trusting would you or your organization be in sharing information with a competitor? * Mark only one oval. Trusting Neutral

23. How much experience do you have in design thinking? * Mark only one oval.

3 - 7 years

20. Would you or your organization be willing to collaborate with a competitor if it meant preserving your local history? * Mark only one oval. Willing

7 - 12 years More than 12 years Powered by

24. How much experience do you have in the non-profit sector? * Mark only one oval.

Neutral Unwilling

Design-Thinking Professional or Student

Less than 3 years

Neutral Unsafe

78. Is there anything else you'd like to

Skip to question 78.

Very unlikely

Appendix D: Page 130

None Less than 3 years

Skip to

Note: See Pages 31 to 33 for Online Survey: Results, Analysis, & Impact

online survey: main questions

Questions will be distributed to my target audience in multiple-choice format through Google Forms. There will also be optional long-answer questions taken from the Questionnaire. Research Area A: Design Thinking

Research Area B: Local Non-Profits

Design thinking professionals or students in NJ, NYC, NYS, and elsewhere

Staff, volunteers, or donors of non-profits in NJ, NYC, NYS, and elsewhere

23. How much experience do you have in design thinking? 24. How much experience do you have in the non-profit sector? 25. How much experience do you have in the historic preservation community? 26. What is the size of your organization? 27. Have you or your organization ever applied design thinking to achieve intended outcomes? 28. Have you or your organization ever applied design thinking to transpire collaboration between competitors?

33. How much experience do you have in the non-profit sector? 34. How much experience do you have in design thinking? 35. How much experience do you have in the historic preservation community? 36. What is the size of your organization? 37. Which option best describes your organizational culture? 38. Have you or your organization ever applied innovative communication methods and/or frameworks to transpire collaboration between competitors? 39. Which of these best describes why you donate and/or volunteer? 40. How many non-profits do you donate to and/or volunteer for?

Research Area C: Historic Preservation Community Historic preservation professionals or students in NJ, NYC, NYS, and elsewhere

Skip to question 78.

Local Non-Profits in the Historic Preservation Community (above questions plus...)

Complete survey can be found at:

https://goo.gl/forms/S1s4CcNfuYmEYR1r2

48. Have you or your organization ever applied design thinking to achieve intended outcomes? 49. Have you or your organization ever applied design thinking to transpire collaboration between competitors? 51. Which option best describes your communityâ&#x20AC;&#x2122;s cultural climate? 55. How many non-profits in the historic preservation community do you donate to and/or volunteer for?

Appendix D: Page 131

64. How much experience do you have in the historic preservation Thank you for taking this community? 65. How much experience do you have in the non-profit sector? 66. How much experience do you have in design thinking? 67. What is the size of your organization? 68. Have you or your organization ever applied design thinking to achieve intended outcomes? 69. Have you or your organization ever applied design thinking to transpire collaboration between competitors? 70. Which option best describes your organizational culture? 78. Is there anything else you'd like to 71. Which option best describes your communityâ&#x20AC;&#x2122;s cultural climate? 72. Have you or your organization ever applied innovative communications and/or frameworks to transpire collaboration between competitors?

Yes

Female

Male

46.2%

Prefer not to say 38.5%

7.7%

Maybe

23.1%

online survey: results 38.5%

46.2%

Integrating Design Thinking: Co-opetition Between Non-Pro8t Organizations 13 responses Integrating Design Thinking: Co-opetition Consent Form Non-Pro8t Organizations Between

Last updated: 02/03/2019

What is your age?

Have you ever applied 'design thinking'?

What device do you use the most for collaborating?

13 responses

Yes

Under 18 18 - 24

38.5%

25 - 40

Desktop computer/ laptop

30.8%

38.5%

Mobile device/tablet

Maybe

E-mail. / in person

over 40 15.4%

7.7% 30.8% 30.8%

13 responses

61.5%

46.2%

Consent Form

Con8rmation of consent form 13 responses

I agree and understand the consent form and would like to continue with the survey.

Where are you located?

How often do you collaborate on your works or projects?

What 8le types do you share the most with online collaboration?

13 responses

do not and agree with II agree the consent the form and understand wish to withdraw consent form and from this would likesurvey. to continue with the survey.

100%

I do not agree with the consent form and wish to withdraw from this survey.

100%

7.7%

30.8%

New York City

Sometimes

Colorado Pennsylvania

7.7%

California DC West Virginia and Italy

XL Spreadsheet

Never

7.7% 23.1%

North Carolina

61.5%

9 (69.2%) 3 (23.1%)

PowerPoint

Depends on the project

New York State 7.7%

Word Document

Often

New Jersey 7.7%

38.5%

2 (15.4%)

Adobe Photoshop

0 (0%)

Adobe Illustrator Portable Document Format (PDF) non of the above Google docs, sheets Links

0 (0%) 8 (61.5%) 1 (7.7%) 1 (7.7%) 1 (7.7%)

Warm-up Questions

Warm-up Questions Gender

Do you know what 'design thinking' is?

What is your most preferred way for collaborating with others?

How many collaborative projects do you work on at once?

13 responses

Gender

46.2%

Female

Yes

Male

Prefer not to say

13 responses

7.7%

38.5%

23.1%

In-person

Less than 3 23.1%

3-5

Maybe

More than 5

38.5%

0 (0%)

Depends on the project 0

What is your age?

Have you ever applied 'design thinking'?

13 responses

15.4%

5 (38.5%)

Social Media 46.2%

8 (61.5%)

61.5%

6 (46.2%) 5

Appendix D: Page 132

Co-opetition

More than 5

13 responses

15.4%

Willing Neutral Unwilling

61.5% 7.7%

online survey: results

Co-opetition

Do you or your organization collaborate with your competitors?

How safe do you think your or your organization's information would be Would you or your organization be willing to collaborate with a with a competitor? competitor if it meant educating the public? 13 responses

13 responses

No Depends on the project

53.8%

Very safe

Willing

Safe

Neutral

Unwilling

No responses yet for this question. Design-thinking 15.4%

Unsafe 7.7%

7.7%

Very unsafe

61.5%

92.3% 23.1%

15.4%

professional or student

Staff, volunteer, or donor of non-profit Staff, volunteer, or donor of non-profit in the historic preservâ&#x20AC;Ś Historic preservation

How might you describe organizational culture? professional or stuâ&#x20AC;Ś

30.8%

Whichmight of these you? methods? How you best applydescribes design-thinking 13responses responses 0

13 responses

Yes 46.2%

92.3%

None of the above

0 responses

No responses yet for this question.

How often do you or your organization collaborate with your competitors? 13 responses

How often do you or your organization collaborate with your competitors? Often

13 responses

Sometimes 23.1%

61.5%

7.7% 23.1%

Would you or your organization be willing to collaborate with a competitor if it meant preserving your local history?

13 responses

Depends on the project Often Never

Design-Thinking Professional or Student How might you apply innovative communications and/or frameworks within and outside organizations? 0 responses

Trusting

Willing

Sometimes

Neutral

Depends on the project

Untrusting

Unwilling

Never 61.5%

How trusting would you or your organization be in sharing information with a competitor?

76.9%

No responses yet for this question.

7.7% 100%

7.7%

15.4%

Staff, Volunteer, or Donor of Non-Pro>t(s)

How likely would you or your organization be to share information with a competitor?

Would you or your organization be willing to collaborate with a competitor if it meant more funding?

Would you or your organization be willing to collaborate with a competitor if it meant increasing local tourism?

How much experience do you have in the non-pro8t sector?

13 responses

2 responses

How likely would you or your organization be to share information with a competitor? 13 responses

7.7%

Very likely

Willing

Less than 3 years

Likely

Neutral

3 - 7 years

Unwilling

7 - 12 years

Neutral

30.8%

15.4% 7.7% 7.7%

30.8%

15.4%

Unlikely Very likely Very unlikely Likely

More than 12 years 7.7%

Unlikely

100%

92.3%

Neutral Very unlikely

38.5%

23.1%

76.9%

7.7%

38.5%

Which of these best describes you? Appendix D: Page 133

Would you or your organization be willing to collaborate with a competitor if it meant fostering and building community?

13 responses

How much experience do you have in design thinking? 2 responses

Less than 3 years

Less than 5 individuals

3 - 7 years

5 - 10 individuals

7 - 12 years

25%

10 - 20 individuals

More than 12 years 100%

100%

7 - 12 years More than 12 years

37.5%

20 - 50 individuals 50 - 100 individuals More than 100 individuals

Note: See Pages 31 to 33 for Online Survey: Results, Analysis, & Impact

N/A

37.5%

Last updated: 02/03/2019

How much experience do you have in design thinking?

Which option best describes your organizational culture?

How many non-pro8ts do you donate to and/or volunteer for?

How much experience do you have in design thinking?

2 responses

8 responses

None

Clan: cohesive, participative, leader as mentor, bonded…

50%

Less than 3 years 3 - 7 years

0 responses How might

More than 12 years

Less than 3 years 25%

25%

3 - 7 years 7 - 12 years

No responses yet for this question.

More than 12 years

0 responses

Hierarchal: ordered, uniform leader as a…

No responses yet for this question.

Rational: competitive/ acquisitive, leader… N/A

50%

None

50%

7 you apply innovation3 -frameworks to your organizational More than 7 system as a non-pro8t? N/A

Developmental: creative, adaptive leader as risk-taker…

7 - 12 years 100%

How might you apply innovation frameworks to your organizational system as a non-pro8t? Less than 3

50%

Staff, Volunteer, or Donor of Non-Pro>t(s) in the Historic Preservation Community Staff, Volunteer, or Donor of Non-Pro>t(s) in the Historic Preservation Community Staff, Volunteer, or Donor of Non-Pro>t(s)

How much experience do you have in the historic preservation community?

Have you or your organization ever applied innovative communication methods and/or frameworks to transpire collaboration between competitors?

How much experience do you have in the non-pro8t sector?

What is the size of your organization? 8 responses What is the size of your organization?

2 responses

8 responses

50%

None

Yes

Less than 3 years

3 - 7 years

Maybe

How much experience do you have in the non-pro8t sector? Lessyour than 3 years How might you describe and use organizational system as a non8 responses 3 - 7 years 37.5% pro8t? 7 - 12 years

7 - 12 years

0 responses

More than 12 years

12.5%

No responses yet for this question. 12.5%

50%

12.5%

More than 12 years Less than 3 years

12.5% 12.5%

3 - 7 years

37.5%

100%

12.5%

7 - 12 years

50%

More than 12 years

12.5%

50%

Less than 5 individuals Less 5 5 - 10than individuals individuals 10 - 20 individuals 5 - 10 individuals 20 - 50 individuals 10 - 20 individuals 50 - 100 individuals 20 - 50 individuals More than 100 50 - 100 individuals individuals More than 100 N/A individuals N/A

50%

How might you describe innovation frameworks? 0 responses

What is the size of your organization?

Which of these best describes why you donate and/or volunteer?

2 responses

How much experience do you have in the historic preservation community? No responses yet for this question.

8 responses

Have you or your organization ever applied design thinking to achieve intended Have yououtcomes? or your organization ever applied design thinking to achieve 8 responses outcomes? intended 8 responses

Less than 5 individuals 5 - 10 individuals 10 - 20 individuals 20 - 50 individuals 100%

50 - 100 individuals More than 100 individuals N/A

General values of the organization Benchmarks for your success

2 responses

25%

0 (0%)

7 - 12 years More than 12 years

37.5%

0 (0%) To learn and/or educate the public

0 (0%)

To increase local tourism

0 (0%)

N/A

0 (0%)

Yes

3 - 7 years

0 (0%)

1 (50%)

0.0

Which option best describes your organizational culture?

Less than 3 years

1 (50%)

37.5%

75%

No Yes Maybe No

75%

Maybe

25% 25%

0.5

1.0

Appendix D: Page 134

How much experience do you have in design thinking? 8 responses

2 responses 2 responses 50% 50%

None Less Nonethan 3 years 3 - 7 years Less than 3 years

7 years 3 -- 12 7 years More 12 years 7 - 12than years

Note: See Pages 31 to 33 for Online Survey: Results, Analysis, & Impact

More than 12 years

online survey: results

50% 50%

How might you relate your community’s cultural climate to design thinking and collaboration?

Have you or your organization ever applied design thinking to transpire collaboration between competitors?

Which option best describes your community's cultural climate?

8 responses

8 responses Which option best describes your community's cultural climate?

12.5%

Yes No

37.5%

12.5%

Maybe

25% 25%

37.5% 37.5%

How much experience do you have in design thinking? experience do you have in design thinking?

Our community is one of traditional though, rooted in memories of the not so distant past. In order to aid in How much responses preservation we must offer our fellow citizens multiple avanues towards a new tomorrow. For if we2do that, we may be able to satisfy more parties involved. 2 responses Paul D

participative, leader Developmental: as mentor, bonded… creative, adaptive leader as risk-taker… Developmental:

50%

Our community could use some "design thinking"

25%

Hierarchal: ordered, Rational: competitive/ uniform leader as a… acquisitive, leader…

25%

Rational: competitive/ N/A acquisitive, leader…

8 responses

8 responsesframeworks and/or

to transpire collaboration between competitors?

How much experience do you have in the historic preservation community? 2 responses

37.5%

Hierarchal: ordered, uniform leader as a…

12.5%

Rational: competitive/ acquisitive, leader…

Yes

37.5%

What is the size of your organization? What is the size of your organization? 2 responses

Less than 3 years

No Yes Maybe

50%

Less than 5 individuals

50%

5 - 10than individuals Less 5 10 - 20 individuals individuals

3 - 7 years

20 50individuals individuals 5 - -10

7 - 12 years

50 individuals 10 - 100 20 individuals

More than 12 years

Maybe

25%

More than 100 20 - 50 individuals individuals 50 - 100 individuals

100%

25%

50%

N/A More than 100 individuals N/A

37.5%

N/A

25%

50%

2 responses

8 responses

Developmental: creative, adaptive leader as risk-taker…

50%

Historic Preservation Professional or Student

Have you or your organization ever applied innovative communications and/oryou frameworks to transpireever collaboration betweencommunications competitors? Have or your organization applied innovative

37.5%

Less Nonethan 3 years 3 - 7 years Less than 3 years

More than 12 years

Which option best describes your organizational culture?

Clan: cohesive, participative, leader as mentor, bonded…

None

7 years 3 -- 12 7 years More 12 years 7 - 12than years

N/A

25%

50%

creative, adaptive Hierarchal: ordered, leader risk-taker… uniformas leader as a…

37.5%

25%

Clan: cohesive, participative, leader as mentor, bonded… Clan: cohesive,

3 responses

50%

37.5%

Which of these best describes why you donate and/or volunteer? 8 responses

How many non-pro8ts in the historic preservation community do you donate to and/or volunteer for? 8 responses

General values of the organization

2 responses

Less than 3

4 (50%) 25% 6 (75%)

7 (87.5%)

0.0

4 (50%)

Less than 3 years

More than 7

3 - 7 years

N/A

7 - 12 years

50% 50%

More than 12 years

Yes No Maybe Yes No Maybe

75% 50%

0 (0%) 2.5

5.0

7.5

How many non-pro8ts do you donate to and/or volunteer for? 8 responses

None

5 (62.5%)

To increase local tourism N/A

50%

3-7

3 (37.5%)

To learn and/or educate the public

Have you or your organization ever applied design thinking to achieve intended outcomes? Have you or your organization ever applied design thinking to achieve 2 responses intended outcomes? 2 responses

6 (75%)

Benchmarks for your success

How much experience do you have in the non-pro8t sector?

50% 50%

Staff, Volunteer, or Donor of Non-Pro>t(s) in the Historic Preservation Community

How much experience do you have in design thinking?

Appendix D: Page 135 2 responses

Have you or your organization ever applied design thinking to transpire collaboration between competitors? Have you or your organization ever applied design thinking to transpire 2 responses collaboration between competitors?

50%

Yes No Maybe

Last updated: 02/03/2019 Have you or your organization ever applied design thinking to transpire collaboration between competitors?

Have you or your organization ever applied innovative communications and/or frameworks to transpire collaboration between competitors?

2 responses

50%

Yes

50%

No Maybe

Yes No Maybe

50%

Which option best describes your organizational culture?

Historic Preservation Professional or Student

2 responses

50%

Clan: cohesive, participative, leader as mentor, bonded… Developmental: creative, adaptive leader as risk-taker… Hierarchal: ordered, uniform leader as a… Rational: competitive/ acquisitive, leader…

50%

N/A

How might you describe your historic preservation community? 2 responses

Some committed professionals and dedicated volunteers Good

Which option best describes your community's cultural climate? 2 responses

50%

N/A

Appendix D: Page 136

answered questionnaire: RRCA

Note: See Table 3-8: Page 36 for Insights and Observations

Paul Dickerman, Trustee Rombout Rural Cemetery Association (RRCA) How might you describe and use your organizational system as a non-profit? The Rombout Rural Cemetery operates in a relatively informal manner. We follow the guidelines that are specified to us by both standard corporation and NYS Board of Cemetery rules, yet remain relatively flexible in our social/business approach. We do however, seek to present the RRC as organized as any other large cemetery organizations. How might you describe innovation frameworks? A structure by which an individual or organization seeks to develop their interaction skills both among the members of the organization and with the community. How might you apply innovation frameworks to your organizational system as a non-profit? We may wish to begin using digital forms of communication which would allow for easier communication and digital workspace. Furthermore, the resources available via digital media may allow for greater storage of information regarding the cemetery, its operation, and plans. How might you describe your historic preservation community? Rich with enthusiasm for the cause of preservation. While we seek to cooperate amongst each other and the greater community, there are some who seem less open to cooperation due to their territorial nature. How might you describe your communityâ&#x20AC;&#x2122;s cultural climate? Our community is not as cohesive as it was just a few decades ago, in part, due to a large influx of people from Westchester. However, there remains pride and love amongst those who have long lived here and those new to the area; together this brings hope to the possibility that the community will come together stronger than ever in the near future. How might you describe design thinking? A form of thought that takes into account the materiality, context, and visuals of a product or system for the betterment of its use both individually and among a community. How might you collaborate with your competitors? Try to create a local consortium on cemeteries that would allow for equal advertising and sharing of information so each organization has a better chance at selling plots. Also working with funeral homes. Other than that the RRCA has no competitors. How might you relate your communityâ&#x20AC;&#x2122;s cultural climate to design thinking and collaboration? If we think about form and how people respond to said form, perhaps we can use it to aid in the process of building cohesion among historic organizations and members of the community.

Appendix D: Page 137

interview transcription Interviewer: John Colón Interviewee: Ethan Dickerman, Founder and Vice-President of the New York Historic Sites Alliance, Inc. (NYHSA) Date: Wednesday; January 16, 2019 Setting: Private space; New York State

Note: See Table 3-9: Page 38 for Insights and Observations

John: And how might you describe your historic preservation community? Do you think they can apply innovation frameworks in a much bigger scale than the NYHSA?

John: Good afternoon and thanks again for your time. You’ve taken the online survey already and seen the optional questions at the end but I requested you skip those as I was going to be interviewing you with some of the same questions afterwards. Ethan: Yeah, I very briefly saw them but decided not to think much about it until the actual interview. John: Great! Since you’re familiar with my project already, we’ll jump to the first question. No right or wrong answers! How might you describe and use your organizational system as a non-profit? Ethan: What do you mean by organizational system? John: It’s the structure that outlines how certain activities are directed in order to achieve NYHSA’s goals. Ethan: We’re corporate and hierarchal yet rooted in a level of equality.

Ethan: They’re quite passionate and devoted but this can sometimes lead to being guarded or territorial. It’s definitely possible if more and more organizations within the community worked together, non-profit or for-profit. John: That being said, how might you describe your community’s cultural climate? Ethan: Conservative politically and semi-conservative socially. John: You just mentioned that your community can apply innovation frameworks by organizations working together. Do you think there’s competition? How might you collaborate with your competitors? Ethan: Yeah, the more traditional, untraditional, non-profit, and for-profit organizations work together, the more likely the community can apply innovation frameworks. Historic Preservation is naturally multi-disciplinary, but sometimes the competition still stems from within one discipline. If more of our organizations are willing to collaborate, then our community as a whole will be more willing to collaborate with other communities. I think, as the NYHSA, we can start by initiating joint projects and community events. John: We’ll get back to that. Now, how might you describe design thinking?

John: Equality of what? Ethan: The Alliance is committed to promoting equality, diversity and inclusion in all senses of words both internally and externally. John: Then how might you describe innovation frameworks? Ethan: Probably a system by which people employ both traditional and untraditional approaches to solve contemporary issues. John: How might you apply innovation frameworks to your organizational system as a non-profit? Ethan: I try to bring in theories and approaches from multiple disciplines allowing for a more wide angle view of the issues at hand. My current studies in anthropology and archaeology taught me the significance of multi-disciplinary collaboration. I want to see what humans can really do and create both individually and together.

Ethan: I’ve learned that design thinking is a way of thinking that prompts one to look at the materiality and physicality of an object, structure, or system, which allows them to see the visual influences of the aforesaid things. John: You also said that your historic preservation community can be conservative politically and semiconservative socially. How might you relate your community’s cultural climate to design thinking and collaboration? Ethan: Good question! Our community is one of traditional thought, rooted in memories of the not so distant past. In order to aid in preservation we must offer our fellow citizens multiple avenues towards a new tomorrow. For if we do that, we may be able to satisfy more parties involved. I’d definitely like to learn more ways to employ creative problem solving in the NYHSA and beyond. I know that there’s a design process for innovation but how can we use that to create systems or frameworks for businesses? We should start there and the community will follow, especially if a positive change takes place.

Appendix E: Page 138

validation: schematic interior design

Note: All work was previously completed by author. For the complete packet, visit: https:// issuu.com/johncolon/docs/nyhsa_ schematicworkplace_0119_rs

HSA

Carnwath Farms January 2019

Striving to unite residents, communities, and visitors through our shared history.

riv

a b c d

ath farm

s ln.

The Frances Reese Cultural Center & a

f g h i

c b

carnw

Coworking Space

parking lot mansion chapel reese cultural center & sports museum of dutchess county administration building carriage house viewing patio upper parking lot north viewing & respite area south viewing & respite area kiosk

Note: Site map is derived from Wappinger Greenway Trail Map

Unused Space

Staircase / Elevator

wh l rd

uth

farm border greenway trail roads cobblestone rd.

sid

st-

ler

g f

-si

sid

st-

lev

railroad

lev

New York Historic Sites Alliance, Inc. Founded August 2018

Workplace Schematic Design

January 2019

tor

ele

Sports Museum

HSA SCOPE OF WORK

NYHSA Workplace

hil

SITE MAP

Striving to unite residents, communities, and visitors through our shared history.

Carnwath Farms Historic Site & Park is a “99.7 acre estate overlooking the majestic Hudson River and home to an 1850 Italianate Style manor, 1873 Carriage House, 1870 Ice House, Reese Cultural Center (Home to the Sports Museum of Dutchess County), chapel, and the future home of the town of Wappinger Museum & Visitor Center.”[1]

Appendix F: Page 139

[1]: Wappinger Greenway Trail Committee and Joey Cavaccini

e lev

ase

irc

sta

try

ntr

Scale: 1/16” = 1’-0”; Scope: NYHSA Workplace = approximately 1,300 ft2 net

03 PA G E

Note: Ground level is unused space

07 PA G E

HSA

Existing Conditions January 2019

Striving to unite residents, communities, and visitors through our shared history.

Existing Conditions January 2019

SITE DIAGRAMS

SITE IMAGES

EXISTING FLOOR PLAN

b-1 view of dining room

41'-1"

b-2 view from south-east corner

kitchen

dining

bed

Natural Light

Direct sunlight will come primarily from the southeast side during the afternoon

Ventilation

The greatest winds will come primarily from the south-west side and the river

bed

b-3 view of large bedroom from north

Scale: 1/16” = 1’0”

b-4 view of large bedroom from south

bath

b-5 view of bathroom

5'-2"

chimney

33'-1"

pantry

16'-2"

entry

b-1 b-6 view of kitchen

bed

Zoning

staircase

living

Darkest shade is bedrooms, middle is living room, and lightest is kitchen/dining & bathroom

Circulation

The longest path runs horizontally while the vertical axes break up the rooms

b-2

b-3

b-4

Note: a-4 through c-2 are within scope

16'-3"

Scale: 1/8” = 1’-0”

08 PA G E

Column Grid

Columns and beams wont be moved; the grid lines typically signify placement of beams

Geometry

The yellow, solid line boxes are equal in size and the red, dotted line boxes are equal in size

Appendix F: Page 140

10 PA G E

12 PA G E

b-5

b-6

Note: All work was previously completed by author. For the complete packet, visit: https:// issuu.com/johncolon/docs/nyhsa_ schematicworkplace_0119_rs

validation: schematic interior design

HSA

Budgeting January 2019

Striving to unite residents, communities, and visitors through our shared history.

Interior Design Concept

We intend to use a five-year plan, in which each year is divided into a design phase, for the renovation of a section of the Frances Reese Cultural Center for the growth and development of the New York Historic Sites Alliance and Carnwath Farms Historic Site and Park.

PHASE 01:

Remove east-side partitions to create open workspace and break area; expose concrete columns and industrial ceilings; repairs and painting

PHASE 02:

Remove north-west side partitions to create break area; repairs and painting of area; furnish board room

Workplace Schematic Design January 2019

PRELIMINARY FINANCES

PHASE 04: PHASE 05:

Area

Product

Cost

Phase 01

Workspace

Furniture

xx.xx

Finishes Equipment Furniture

xx.xx xx.xx

Break area Ceiling

N Phase 02

Break area

Board room

Phase 03

Phase 04

Bathroom

Phase 05

Material

$xxx.xx Finishes Equipment

xx.xx xx.xx

Furniture

xx.xx $xxx.xx xx.xx

Finishes Equipment

xx.xx xx.xx

Flooring

Material

xx.xx

Kitchen

Furniture Finishes

xx.xx xx.xx

Equipment

xx.xx

Utilities

xx.xx

Board room

Furniture Finishes

Equipment

PA G E

xx.xx xx.xx

Furniture

General

FURNITURE SCHEMES

Phase

$xxx.xx

(pie chart of each product cost)

Phases correspond to year; Areas are flexible in use and each include FF&E;

Finishes

xx.xx

Equipment

xx.xx

Existing Plan

Three bedrooms; one bathroom; corridor; kitchen/pantry; dining room; living room

Phase 01

Open workspace

Scale: 1/16” = 1’0”

Product does not include donated material/tools and labor; Most labor is invested through sweat equity; Total Costs include estimated quantity and are preliminary

$xxx.xx

Phase 02

Phase 03

Phase 04

Phase 05

Break area

Pantry partitions; ADA bathroom

$xxx.xx $xxxx.xx

Total Budget:

PHASE 03:

Final Plans & Sections January 2019

Phase 01 Phase 02 Phase 03

Material

Phase 04

Utilities

Phase 05

(pie chart of each phase cost)

Appendix F: Page 141

16 PA G E

Kitchen

Board room

18 PA G E

HSAHSAHSA 5'-4"

5'-4"

3'-0"

2'-6"

Striving to unite residents, communities, and visitors through our shared history.

3'-6"

2'-0"

2'-10"

Striving to unite residents, communities, and visitors through our shared history.

3'-6"

2'-10"

3'-0"

2'-0"

5'-0"

16'-2"

west

2'-6"

3'-8"

View of South-Side

View of East-Side

4'-2"

Scale: 1/8” = 1’-0”

13'-6"

23 PA G E

13'-6" 14'-6"

5'-4"

14'-6"

Appendix F: Page 142

3'-2"

PA G E

Scale: 1/8” = 1’-0”

5'-4"

east

3'-2"

4'-2"

2'-9"

15'-9" 3'-8" 7'-7"

2'-9"

6'-10"

north

3'-4"

5'-0"

south

15'-9"

west

6'-10"

5'-0"

14'-6" 13'-6"

14'-6"

5'-4"

2'-0"

staircase

1'-11"

View of North-Side

3'-2"

entry

13'-5"

workspace

3'-6"

2'-10"

View of West-Side 2'-0"

13'-6"

2'-6"

3'-6"

2'-10"

8'-8"

workspace

4'-2"

north

board

bath

5'-0"

3'-8"

5'-0"

east

south

5'-4"

3'-0"

break

4'-2"

15'-9"

3'-0"

kitchen

FINAL SECTIONS

2'-9"

3'-8"

5'-4"

2'-9"

6'-10"

15'-9"

FINAL SECTIONS

6'-10"

FINAL FLOOR PLAN

Striving to unite residents, communities, and visitors through our shared history.

24 PA G E

Note: All work was previously completed by author. For the complete packet, visit: https:// issuu.com/johncolon/docs/nyhsa_ schematicworkplace_0119_rs

validation: schematic interior design Phases January 2019

Phases January 2019

INTERIOR PERSPECTIVES

Phases January 2019

INTERIOR PERSPECTIVE & DETAIL

16"

INTERIOR PERSPECTIVES

Scale: 1/2” = 1’0”

60"

Phase 01

Phase 04

Open workspace

32”

60 ”

48"

33"

Kitchen

Phase 02 Break area

Phase 05

Phase 03

25 PA G E

Pantry partitions; ADA bathroom

Appendix F: Page 143

26 PA G E

Board room

27 PA G E

working wall: units 02 & 03

Note: Actua s ze s 24” x 36”

part 03 will be completed by unit 03, part 02 by unit 04

the process: 01. Project Framing Subject of Study Problem Statement Target Audience Purpose of Project Scope of Project Significance of Study

## ## ## ## ## ## ##

02. Project Positioning Opportunity Statement Positioning ZAG Steps Value Proposition Onliness Statement

## ## ## ## ## ##

change ‘cultural climate’ to something else

GHHN: Greater Hudson Heritage Network NYHSA: New York Historic Sites Alliance, Inc. RRCA: Rombout Rural Cemetery Association WHS: Wappingers Historical Society

primary

secondary

primary

CUP (2019) HACC (2019) GHHN (2019)

Kreps (2003) Bandarin & van (2012)

SCAD PRES Faculty and Students (2019) GHHN (2019)

Georgetown Law (2018) Kreps (2003) Lutz, Smith, & Da Silva (2013) Stipe (2003)

secondary sources

secondary

primary

Stipe (2003)

Dutchess Tourism (2019) GHHN (2019) NYHSA (2019) RRCA (2019) WHS (2019)

co-creative: verify attendance by Wednesday

Design Thinking for the NFP: Co-opetition & the Tangible Artifact This activity will take you through a six-step design process used to create a tangible artifact that will allow you to judiciously cooperate with your competitor. But what is the artifact? Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

historic preservation community

local non-profits

primary sources

secondary sources

generate ideas

share the story

NFP-A: Question 1

NFP-A: Object 1 Function

NFP-AA: Object 5 Strength 1

NFP-A: Object 7 Title 1

NFP-AB: Strength of NFP-A 1

NFP-AB: Object 7 Strength 1

Ethan Dickerman

Age: 21-25 Location: Fishkill, NY Occupation: Student, Student Aid -Admissions Office

Age: 21-25 Location: Fishkill, NY Occupation: Student, Archaeology Lab Assistant

President, Founder

NFP-AB: Object 7 Strength 2

Warm-up Questions

Courtney G. B.; Will T.

Ethan D.; Richard R.; Paul D.; Mary K. V.; Cammie 3. What is your age? * J.; Will T. •

Under 18

New York State Other:

NFP-AB: Object 7 Strength 3

Prefer not to say Other:

4. Where are you located? * Mark only one oval.

New York City New York State

5. Do you know what 'design thinking' is? * Mark only one oval.

NFP-BB: Object 6 Strength 2

NFP-B: Object 7 Title 4

NFP-BA: Strength of NFP-B 2

NFP-AB: Object 7 Strength 4

Other:

Desktop computer/laptop

Yes

Mobile device/tablet

No Maybe

Word Document PowerPoint

Sometimes

XL Spreadsheet

Depends on the project

Yes

Email Social Media Depends on the project Other:

Desktop computer/laptop Mobile device/tablet Other:

No Maybe

Word Document

NFP-AABB: Object 7 Sketch

NFP-AB: Object 7 Refined Function

NFP-AB: Object 7 Refined Sketch

NFP-AB: Object 7 Title

Often Sometimes Depends on the project Never Other: 8. What is your most preferred way for collaborating with others? * Check all that apply. In-person Email Social Media Depends on the project

XL Spreadsheet Adobe Photoshop Adobe Illustrator Portable Document Format (PDF) Other:

Unlikely

Adobecollaborative Photoshop projects do you work on at once? * 11. How many Mark Adobe only one oval. Illustrator

Very unlikely

Very safe

More than 5

Safe

Yes No Depends on the project Other:

Often Sometimes Depends on the project

Other:

14. How likely would you or your organization be to share information with a competitor? * Mark only one oval.

Less than 3 Portable Document Format (PDF)

Very likely

3-5 Other:

Likely

More than 5

11. How many collaborative projects do you work on at once? * Mark only one oval.

Co-opetition

Neutral Unlikely Very unlikely

Will Kenton Less of Investopedia defines 'co-opetition' as “the act of cooperation between competing than 3 organizations” and “a type of strategic alliance” (2018). 15. How safe do you think your or your organization's information would be with a competitor? 3-5 12. Do youMore or your collaborate with your competitors? * thanorganization 5 Mark only one oval.

* Mark only one oval. Very safe Safe

Will Kenton No of Investopedia defines 'co-opetition' as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018). Depends on the project

Neutral

12. Do youOther: or your organization collaborate with your competitors? * Mark only one oval.

Very unsafe

Unsafe

Yes do you or your organization collaborate with your competitors? * 16. How trusting would you or your organization be in sharing information with a competitor? 13. How often * Mark only No one oval. Mark only one oval.

Often Depends on the project Sometimes Other:

Depends on the project

Trusting Neutral Untrusting

13. How often do you or your organization collaborate with your competitors? * Never Mark only one oval. 17. Would you or your organization be willing to collaborate with a competitor if it meant more Other: funding? * Often Mark only one oval.

Sometimes

Depends on the project Never

11. How many collaborative projects do you work on at once? * Mark only one oval.

Willing Neutral Unwilling

Other:

Less than 3 3-5 More than 5

Co-opetition

12. Do you or your organization collaborate with your competitors? * Mark only one oval. Yes No Depends on the project Other: 13. How often do you or your organization collaborate with your competitors? * Mark only one oval.

Sometimes Depends on the project

Neutral Unlikely

Very unlikely

Very safe Safe Neutral Unsafe

Very unsafe

Rombout Rural Cemetery Association Paul Dickerman, Trustee

Organization

John: That being said, how might you describe your community’s cultural climate? Ethan: Conservative politically and semi-conservative socially. John: You just mentioned that your community can apply innovation frameworks by organizations working together. Do you think there’s competition? How might you collaborate with your competitors?

John: It’s the structure that outlines how certain activities are directed in order to achieve NYHSA’s goals.

John: We’ll get back to that. Now, how might you describe design thinking?

John: Equality of what?

Ethan: I’ve learned that design thinking is a form of thought that prompts one to look at the materiality and physicality of an object, structure, or system, which allows them to see the visual influences of the aforesaid things.

New York Historic Sites Alliance, Inc. (NYHSA)

B. Local non-profits C. Historic preservation community

1. Survey 2. Document “Creating a Non-profit as a Student” 3. Facilitate “Design Thinking for the NFP” 4. Interview Ethan D.

Sub-Research Questions 2 and 3

new paltz HPC presentation cancelled replacement? Contact

Time

Location

Ethan D.; Richard R.; Cheyenne C.; Elliana R.

1. Wednesday; Jan. 16; Unit 02 2. Monday; Jan. 21; Unit 03 3. Friday; Jan. 25; Unit 03 4. Wednesday; Jan. 16; Unit 02

1. OL; Google Forms 2. Bard College; NYS 3. Trinity Parish House; NYS 4. Private space; NYS

Willing 48. Have you or your organization ever applied design thinking to achieve intended outcomes? Neutral 49. Have you or your organization ever applied design thinking to transpire Unwilling collaboration between competitors?

51. Which option best describes your community’s cultural climate? 55. How many non-profits in the historic preservation community do you

19. Would you or your organization be willing to collaborate with a competitor if it meant educating the public? * Mark only one oval.

Neutral

Willing

Unsafe

Neutral

Very unsafe

Unwilling

16. How trusting would you or your organization be in sharing information with a competitor? * Mark only one oval. Trusting Neutral Untrusting 17. Would you or your organization be willing to collaborate with a competitor if it meant more funding? * Mark only one oval. Willing Neutral Unwilling

20. Would you or your organization be willing to collaborate with a competitor if it meant preserving your local history? * Mark only one oval.

Willing

Neutral

Unwilling

B. Local non-profits C. Historic preservation community

1. Survey 4. Interview

Sub-Research Questions 2 and 3

Wappingers Historical Society

B. Local non-profits C. Historic preservation community

1. Survey 4. Questionnaire

Sub-Research Questions 2 and 3

Joey C.

1 & 4. Thursday; Jan. 17; Unit 02

1. OL; Google Forms 4. OL; email

Dutchess Tourism

B. Local non-profits C. Historic preservation community

1. Survey 4. Interview

Sub-Research Questions 2 and 3

Mary K. V.

1 & 4. Friday; Jan. 18; Unit 02

1. OL; Google Forms 4. OL; email or phone

1 & 4. Wednesday; Jan. 16; Unit 02

1. OL; Google Forms 4. Private space; NYS

NFP-AB: Object 8 Strength 3 (Moderates) events in a format that empowers users to update + refine in a dynamic + evolving culture

NFP-BB: Object 6 Strength 2 Grant-proposal-writing ‘pen’ directly aimed at gaining funds and allows us to ‘train’ our volunteer base in ‘grant-writing’

how o w p opos ?

Low Profitability

Neutral

Unwilling

20. Would you or your organization be willing to collaborate with a competitor if it meant preserving your local history? * Mark only one oval. Willing

Neutral

Unwilling

Willing Neutral Unwilling

RRCA

Design-thinking professional or student Staff, volunteer, or donor of non-profit

Skip to question 23. Skip to question 33.

Staff, volunteer, or donor of non-profit in the historic preservation community question 44. Historic preservation professional or student

Age: 21-25 Location: Red Hook, NY Occupation: Student, Cheese Packer

NYHSA DT Internal Focus Focus on: smoothing and integration

GHHN

RRCA

External Focus Focus on: competition and differentiation

Skip to

Mechanistic-type Processes Focus on: control, order, stability

Opportunities • Collaboration • Co-opetition • Design/redevelopment services • Educational partnerships

Threats • Raised awareness and concern for competitors unwilling to collaborate or plotting sabotage

(Krietner & Kinicki, 2013)

u fi m

23. How much experience do you have in design thinking? * Mark only one oval. Less than 3 years 3 - 7 years

7 - 12 years

More than 12 years

24. How much experience do you have in the non-profit sector? * Mark only one oval. None

Less than 3 years 3 - 7 years

7 - 12 years More than 12 years 25. How much experience do you have in the historic preservation community? * Mark only one oval. None Less than 3 years 7 - 12 years More than 12 years 26. What is the size of your organization? * Mark only one oval. Less than 5 individuals 10 - 20 individuals 50 - 100 individuals More than 100 individuals N/A

Neutral Unwilling 20. Would you or your organization be willing to collaborate with a competitor if it meant preserving your local history? * Mark only one oval. Willing Neutral Unwilling

Other:

Unit 03

Appendix G: Page 144

Unit 09

Unit 06

Refining the Prototype Unit 08 - Unit 09

Assessment and Validation Plan Unit 08

Exploration and Protyping Unit 07

Clan Culture cohesive, participative, leader as mentor, bonded by loyalty/tradition, emphasis on morale

Developmental Culture creative, adaptive leader as risk-taker, bonded by entrepreneurship, emphasis on innovation

Hierarchal Culture ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability

Rational Culture competitive/acquisitive, leader as goal-oriented, bonded by competition, emphasis on winning

External Focus Focus on: competition and differentiation

Interviewer: John Colón Interviewee: Ethan Dickerman, Founder and Vice-President of the New York Historic Sites Alliance, Inc. (NYHSA) Date: Wednesday; January 16, 2019 Setting: Private space; New York State

John: And how might you describe your historic preservation community? Do you think they can apply innovation frameworks in a much bigger scale than the NYHSA?

John: That being said, how might you describe your community’s cultural climate?

Ethan: Yeah, I very briefly saw them but decided not to think much about it until the actual interview.

Lessons What can they teach us for our network? • Innovative thinking • Local history • Collaboration

Collaboration Opportunities Where or how do we overlap? • Human-centered • Workshops • Design thinking

c o c oc ss oc ss o

Ethan: Conservative politically and semi-conservative socially. John: You just mentioned that your community can apply innovation frameworks by organizations working together. Do you think there’s competition? How might you collaborate with your competitors?

Mo cp n s mo sp c fic

Ethan: Yeah, the more traditional, untraditional, non-profit, and for-profit organizations work together, the more likely the community can apply innovation frameworks. Historic Preservation is naturally multi-disciplinary, but sometimes the competition still stems from within one discipline. If more of our organizations are willing to collaborate, then our community as a whole will be more willing to collaborate with other communities. I think, as the NYHSA, we can start by initiating joint projects and community events. John: We’ll get back to that. Now, how might you describe design thinking?

w u

John: It’s the structure that outlines how certain activities are directed in order to achieve NYHSA’s goals. Ethan: We’re corporate and hierarchical yet rooted in a level of equality.

Ethan: What do you mean by organizational system?

Homepage What is the entry point to their network? • Website, email, phone • Founders

Research Synthesis

Unit 04 - Unit 05

(Krietner & Kinicki, 2013)

Objectives Members What is their network’s What categories do value? they fall into? • Historic • Student, volunteer preservation, • Millennial tourism, education, • Part-time & community • Hudson Valley building • Advocacy

Approach How do they create value? • Umbrella organization • Membership-based

Market Analysis

John: Great! Since you’re familiar with my project already, we’ll jump to the first question. No right or wrong answers! How might you describe and use your organizational system as a non-profit?

http://www.nyhsa.org

Skip to question 64.

Design-Thinking Professional or Student

Business Planning

u u

figure 3-9

Weaknesses • Small and new • College student schedules • Low funding

Mechanistic-type Processes Focus on: control, order, stability

u u

Unit 10

Skip to question 78.

Never

Unit 02

Age: 21-25 Location: Newburgh, NY Occupation: Graphic Designer, Screen Printer

Project Complete

positioning: competitors/collaborators

WHS

Low Impact

Unwilling

20 - 50 individuals

Willing

Cheyenne Cutter

Director of Educational Outreach

Unwilling

Neutral

Unit 02 - Unit 05 & Unit 08

Internal Focus Focus on: smoothing and integration

Neutral

Willing

Conducting Research

Unit 01

** w

Relationship-based Processes Focus on: flexibility, individuality, and spontaneity

GHHN

High Profitability

Project Planning

Merchandise Manager

1. What was something you liked or was notable today? Ethan D.: I liked the high level of interaction and amount of thought in this event.

Relationship-based Processes Focus on: flexibility, individuality, and spontaneity

Vice President, Founder

4. What are some ideas for further exploration? Cheyenne C.: For further ideas, we kind of started off with two very simple questions that were kind of related but still very different and I feel like it would be very interesting to actually flesh-out mock organizations to try to attempt this because then we wouldn’t be talking about vague problems and vague solutions. We could actually dive into more details where those issues were. Because I’m thinking of that ‘Problem Statement Worksheet’ you gave us that one time, where it asked what’s the issue you perceive and what are solutions for the thing. It actually made you think more heavily into what those direct things are and I think you can heavily influence the artifacts produced too.

NYHSA

5 - 10 individuals

19. Would you or your organization be willing to collaborate with a competitor if it meant educating the public? * Mark only one oval.

NFP-A: Object 7 - Title 2 ‘Book of Loving all’

High Impact

Skip to question 78.

Willing

Age: 21-25 Location: Fishkill, NY Occupation: Student, Archaeology Lab Assistant

Sub-Research Question 3: How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

Competing Values Cultural Framework (CVCF):

table 1-2

Ethan Dickerman

Age: 21-25 Location: Fishkill, NY Occupation: Student, Student Aid -Admissions Office

design organizational and collaborative structures

cu u c m umb qu s o ?*

u u

3. What questions were raised for you? Richard R.: I was curious as to what this might look like in a professional setting with two actually competing organizations which have, perhaps, history behind one another that we might not have had here – where they’re significantly more fleshed-out as organizations. How would this concept be then taken to account for those other factors like long-term ‘history’ between sites, for instance?

NFP-AB: Object 7 Refined Function Technology; ‘grantpurpose’; Universal

WHS

Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

Richard Recchia

define elements of the new economy

Sub-Research Question 1: Sub-Research Question 2: . How might we describe How might we describe nondesign thinking methods and profit organizational systems apply them towards promoting and position them as a guiding developmental cultures and framework for collaboration innovative communications? between competitors?

u N HSA

2. Please give some constructive criticism. Elliana R.: We cut back on small talk and focused more on the activity. I feel like we cut people off a lot and some of us haven’t learned that from the last time.

NFP-AA: Object 5 Strength 2 Always looking at the ‘upward & direct’

a collaborative, innovative, and developmental community is generated

Willing

22. Which of these best describes you? * Mark only one oval.

None of the above

19. Would you or your organization be willing to collaborate with a competitor if it meant educating the public? * Mark only one oval.

NFP-A 1 They have a lot of ‘money’ and ‘talent’ to ‘love’

NFP-AB: Object 7 Function Cultural object; ‘Pile (beam)/pen hybrid’ that attaches to ‘Grant Book’ and only gives + receives ‘love.’

21. Would you or your organization be willing to collaborate with a competitor if it meant increasing local tourism? * Mark only one oval.

12 sections, ~80 questions

18. Would you or your organization be willing to collaborate with a competitor if it meant fostering and building community? * Mark only one oval.

Rombout Rural Cemetery Association (RRCA)

Paul D.

m w mmu

Elliana Ramirez

John: You also said that your historic preservation community can be conservative politically and semi-conservative socially. How might you relate your community’s cultural climate to design thinking and collaboration?

Research Area C: Historic Preservation Community Historic preservation professionals or students in NJ, NYC, NYS, and elsewhere

m p wh p of s? NFP-AB: Strength President, Founder

Ethan: Good question! Our community is one of traditional thought, rooted in memories of the not so distant past. In order to aid in preservation we must offer our fellow citizens multiple avenues towards a new tomorrow. For if we do that, we may be able to satisfy more parties involved. I’d definitely like to learn more ways to employ creative problem solving in the NYHSA and beyond. I know that there’s a design process for innovation but how can we use that to create systems or frameworks for businesses? We should start there and the community will follow, especially if a positive change takes place.

NYHSA interview success, need more (accessibility) Research Area Research Method Research Question

historic preservation leaders adopt innovation frameworks

poss b p umb s o 0

NFP-A: Question 2 How do we make them feel like they can relate?

co om o -p ofi s o p ofi

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage.

Wappingers Historical Society Joey Cavaccini, Town Historian

SCAD Design Management Bruce Claxton FIDSA, Professor DMGT 748 Students

16. How trusting would you or your organization be in sharing information with a competitor?

Trusting

fund n s ta ent

3 - 7 years

18. Would you or your organization be willing to collaborate with a competitor if it meant fostering and building community? * Mark only one oval.

Will Kenton of Investopedia defines 'co-opetition' as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

Often

Likely

15. How safe do you think your or your organization's information would be with a competitor? * Mark only one oval.

Research Area B: Local Non-Profits

* Staff, volunteers, or donors of non-profits Mark only one oval. in NJ, NYC, NYS, and elsewhere

Never

questions for general public - only counting specific questions if local

10. What file types do you share the most with online collaboration? * Check all that apply.

PowerPoint

Neutral

13. How often do you or your organization collaborate with your competitors? * Mark only one oval.

PowerPoint Other: XL Spreadsheet

Yes Co-opetition

Yes

7. How often do you collaborate on your works or projects? * Mark only one oval.

Likely

12. Do you or your organization collaborate with your competitors? * Mark only one oval.

Word Document Portable Document Format (PDF)

9. What device do you use the most for collaborating? * Mark only one oval.

Very likely

* https://goo.gl/forms/S1s4CcNfuYmEYR1r2 Mark only one oval.

3-5

Co-opetition

10. WhatAdobe file types do you share the most with online collaboration? * Photoshop Check all that apply. Adobe Illustrator

Other:

bard workshop & interview cancelled weather reschedule?

14. How likely would you or your organization be to share information with a competitor? * Mark only one oval.

Neutral 33. How much experience do you have in the non-profit sector? 64. How much experience do you have in the historic preservation Untrusting 34. How much experience do you have in design thinking? community? 35. How much experience do you have in the historic preservation 65. How much experience do you have in the non-profit sector? community? 66. How much experience do you have design thinking? 17. Would you or your organization be willing to collaborate with aincompetitor if it meant more funding? * 36. What is the size of your organization? 67. What is the size of your organization? 37. Which option best describes your organizational culture?Mark only one oval. 68. Have you or your organization ever applied design thinking to achieve 38. Have you or your organization ever applied innovative communication intended outcomes? Willing methods and/or frameworks to transpire collaboration between 69. Have you or your organization ever applied design thinking to Neutral competitors? transpire collaboration between competitors? 39. Which of these best describes why you donate and/or volunteer? 70. Which option best describes your organizational culture? Unwilling 40. How many non-profits do you donate to and/or volunteer for? 71. Which option best describes your community’s cultural climate? 14. How likely would you or your organization be to share information with a competitor? * 72. Have you or your organization ever applied innovative Mark only one oval. 18. Would you or your organization be willing to collaborate with a competitor if it meant Local Non-Profits in the Historic Preservation Community communications and/or frameworks to transpire collaboration fostering and building community? * Very likely (above questions plus...) between competitors? Mark only one oval.

Will Kenton of Investopedia defines 'co-opetition' as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

10. What file types do you share the most with online collaboration? * Check all that apply.

Often

Never

8. What is your most preferred way for collaborating with others? * Check all that apply. In-person

Research Area A: Design Thinking

The Center for Urban Pedagogy Christine Gaspar, Executive Director & Facilitator of “Designing with Communities: Methodology Workshop”

Ethan: We’re corporate and hierarchical yet rooted in a level of equality.

John: How might you apply innovation frameworks to your organizational system as a non-profit?

## ## ## ## ## ##

## ## ## ## ## ## ## ## ## ## ##

Dutchess Tourism Mary Kay Vrba, President & CEO

Ethan: I try to bring in theories and approaches from multiple disciplines allowing for a more wide angle view of the issues at hand. My current studies in anthropology and archaeology taught me the significance of multi-disciplinary collaboration. I want to see what humans can really do and create both individually and together.

02. Project Positioning Opportunity Statement Positioning ZAG Steps Value Proposition Onliness Statement

o s sp c fi pos o lead necessary transformation

03. Research Activities and Synthesis Research Space Research Methodology Research Questions Matrix Consent Forms Research Protocols Interview & Survey Questions/Transcripts Research Activities Data Processing & Analysis Data Maps Research Findings at a Glance

Greater Hudson Heritage Network William Tatum III, Ph.D, President & Dutchess County Historian

John: Then how might you describe innovation frameworks?

## ## ## ## ## ## ##

SCAD Preservation Design Courtney Grunninger Bonney AICP LEED, Professor

Hellenic-American Chamber of Commerce Alexia Sheinman, Branding & Communications Director at Pembrooke & Ives & Moderator of “Design For A Better World”

John: And how might you describe your historic preservation community? Do you think they can apply innovation frameworks in a much bigger scale than the NYHSA?

Ethan: Probably a system by which people employ both traditional and untraditional approaches to solve contemporary issues.

Design thinking professionals or students in NJ, NYC, NYS, and elsewhere

Bard Center for Civic Engagement Cammie Jones, Assistant Dean & Moderator of “MLK Day of Engagement 2019”

Complete survey can be found at: 15. How safe do you think your or your organization's information be with donate to and/or would volunteer for? a competitor?

Less than 3

Other:

7. How often do you collaborate on your works or projects? * Mark only one oval.

Maybe

NFP-AB: Object 7 Function

Unit 07

Ethan: The Alliance is committed to promoting equality, diversity and inclusion in all senses of words both internally and externally.

11. How many collaborative projects do you work on at once? * Mark only one oval.

Mobile device/tablet Other: 9. What device do you use the most for collaborating? * Mark only one oval.

6. Have you ever applied 'design thinking'? * Mark only one oval.

NFP-AB: Refined Question

Exploration and Protyping

John: Great! Since you’re familiar with my project already, we’ll jump to the first question. No right or wrong answers! How might you describe and use your organizational system as a non-profit?

Other:

Maybe

Other:

NFP-B: Object 4 Function

Unit 08

Ethan: What do you mean by organizational system?

• How might you describe your community? • How might you describe your Word Document climate? PowerPoint • How might you describe design thinking? XL Spreadsheet • How might you collaborate with your competitors? Adobe Photoshop • How might you relate your community’s cultural Adobe Illustrator Portable Document Format (PDF) climate to design thinking and collaboration?

Desktop computer/laptop

New Jersey

NFP-B: Question 4

Assessment and Validation Plan

01. Project Framing Subject of Study Problem Statement Target Audience Purpose of Project Scope of Project Significance of Study

New York Historic Sites Alliance Ethan Dickerman, Vice-President & Founder Richard Recchia, President & Founder Cheyenne Cutter, Director of Educational Outreach Elliana Ramirez, Merchandise Manager Panelists of “Creating a Non-profit as a Student” & Participants of “Integrating Design Thinking”

External Focus Focus on: competition and differentiation

Mechanistic-type Processes Focus on: control, order, stability

23. How much experience do you have in design thinking? 24. How much experience do you have in the non-profit sector? 25. How much experience do you have in the historic preservation community? 26. What is the size of your organization? historic preservation 27. Have you or your organization ever applied design thinking to achieve intended outcomes? 28. Have 10. What file types do you share the most with online collaboration? * you or your organization ever applied design thinking to transpire collaboration between competitors? Checkcultural all that apply. community’s

9. What device do you use the most for collaborating? * Mark only one oval.

Yes

18 - 24

NFP-AB: Strength of NFP-A 2

Unit 08 - Unit 09

Ethan D.; Richard R.; Paul D.; Mary K. V.; Will T.; Courtney G. B.

How18might you describe and use your organizational - 24 25 - 40 system as a non-profit? 40 • Howover might you describe innovation frameworks? •4. Where Howare might you apply innovation frameworks to your you located? * Mark only one oval. organizational system as a non-profit?

25 - 40

NFP-B: Object 7 Title 3

Refining the Prototype

Rational Culture competitive/acquisitive, leader as goal-oriented, bonded by competition, emphasis on winning

Ethan: Yeah, I very briefly saw them but decided not to think much about it until the actual interview.

Research Area C: Desktop computer/laptop Mobile device/tablet Historic Preservation Community Other:

New Jersey

over 40

NFP-BB: Object 6 Strength 1

Unit 09

Hierarchal Culture ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability

Developmental Culture creative, adaptive leader as risk-taker, bonded by entrepreneurship, emphasis on innovation

(Krietner & Kinicki, 2013)

Other:

Research Area B: Prefer not to say Local Non-Profits Other: Male

New York City

Under 18

NFP-B: Object 3 Function

Business Planning

Clan Culture cohesive, participative, leader as mentor, bonded by loyalty/tradition, emphasis on morale

9. What device do you use the most for collaborating? * Mark only one oval.

Female

Mark only one oval.

• How might you describe design thinking? • How might you apply design thinking methods? • How might you describe organizational culture? • How might you apply innovative communications?

3. What is your age? * Mark only one oval.

NFP-B: Question 3

Unit 10

minimal survey results this week - counting until unit 09

Male

NFP-BA: Strength of NFP-B 1

Project Complete

Age: 21-25 Location: Red Hook, NY Occupation: Student, Cheese Packer

RRCA questionnaire successful, need GHHN, Dutchess & SCAD PRES

Female

NFP-A: Object 7 Title 2

Unit 06

Internal Focus Focus on: smoothing and integration

Director of Educational Outreach

Age: 21-25 Location: Newburgh, NY Occupation: Graphic Designer, Screen Printer

2. Gender * Mark only one oval.

NFP-AA: Object 5 Strength 2

Research Synthesis

Unit 04 - Unit 05

Cheyenne Cutter

Merchandise Manager

Bandarin & van (2012) Kreps (2003) Stipe (2003)

Warm-up Questions

NFP-A: Object 2 Function

Market Analysis

Vice President, Founder

Elliana Ramirez

Please share a little bit about yourself and your relation to design thinking, non-profits, and/or historic preservation communities.

Instructions:

Richard Recchia

Other:

NFP-A: Question 2

Unit 02 - Unit 05 & Unit 08

How might you relate your community’s cultural climate to design thinking and collaboration? If we think about form and how people respond to said form, perhaps we can use it to aid in the process of building cohesion among historic organizations and members of the community.

5. Do you know what 'design thinking' is? * Mark only one oval.

Conducting Research

How might you collaborate with your competitors? Try to create a local consortium on cemeteries that would allow for equal advertising and sharing of information so each organization has a better chance at selling plots. Also working with funeral homes. Other than that the RRCA has no competitors.

Please share a little bit about yourself and your relation to design thinking, non-profits, and/or historic preservation communities.

test to learn

Unit 01

How might you describe design thinking? A form of thought that takes into account the materiality, context, and visuals of a product or system for the betterment of its use both individually and among a community.

review activity instructions before beginning make ideas tangible

Relationship-based Processes Focus on: flexibility, individuality, and spontaneity

Project Planning

need signed consent forms from all contacts

additional sources: contact list

Competing Values Cultural Framework (CVCF):

table 1-2

How might you describe your community’s cultural climate? Our community is not as cohesive as it was just a few decades ago, in part due to a large influx of people from Westchester. However, there remains a pride and love amongst those who have long lived here and those new to the area; together this brings hope to the possibility that the community will come together stranger than ever in the near future.

table 3-1

audience

2. Gender * Mark only one oval.

gather inspiration

four pillars of NYHSA included in survey questions

How might you apply innovation frameworks to your organizational system as a non-profit? We may wish to begin using digital forms of communication, which would allow for easier communication and digital workspace. Furthermore, the resources available via digital media may allow for greater storage of information regarding the cemetery, its operation, and plans.

Dutchess Tourism (2019) HACC (2019) GHHN (2019) NYHSA (2019) RRCA (2019) WHS (2019)

the process:

Sub-Research Question 3: How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

unit 03: working wall

ed t map to exc ude epeats*

m u

design organizational and collaborative structures

cultural climate in umbrella question?

How might you describe innovation frameworks? A structure by which an individual or organization seeks to develop their interaction skills both among the members of the organization and with the community.

Research Area A: Design Thinking

frame a question

a collaborative, innovative, and

leader developmental to community is frameworks generated organization to still need co-opetition mind map Will Kenton of Investopedia defines co-opetition toascommunity “the act of cooperation between competing organizations” of target ” (2018). and “a type of strategic alliance” innovation

How might you describe your historic preservation community? Rich with enthusiasm for the cause of preservation. While we seek to cooperate amongst each other, and the greater community there are some who seem less open to cooperation due to their territorial nature.

Kreps (2003) Lutz, Smith, & Da Silva (2013) Rogers (2003)

primary sources

historic preservation leaders adopt innovation

define elements of the new economy

Sub-Research Question 1: Sub-Research Question 2: . How might we describe How might we describe nondesign thinking methods and profit organizational systems apply them towards promoting and position them as a guiding framework for collaboration developmental cultures and between competitors? innovative communications?

How might you describe and use your organizational system as a non-profit? The Rombout Rural Cemetery operates on a relatively informal manner. We follow the guidelines that are specified to us by both standard corporation and NYS Board of Cemetery rules, yet remains relatively flexible in our social/business approach. We do however, seek to present the RRC cemetery as organized as any other large cemetery organizations.

Stone (2010) Neumeier (2006) Lockwood (2009) Muratovski (2016) Martin (2009)

secondary

BCCE (2019) Dutchess Tourism (2019) HACC (2019) GHHN (2019) NYHSA (2019) RRCA (2019) WHS (2019)

economy = non-profit vs. forprofit

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage.

Paul Dickerman, Trustee Rombout Rural Cemetery Association

BCCE: Bard Center for Civic Engagement CUP: The Center of Urban Pedagogy HACC: Hellenic-American Chamber of Commerce

secondary sources

design thinking

## ## ## ## ## ## ## ## ## ## ##

data map = journey map?

map of research space primary sources

purpose of study = dmgt goals lead necessary transformation

possibly add page numbers to 01

cultural climate

CUP (2019) HACC (2019) SCAD DMGT Faculty and Students (2019)

unit 02: working wall

edit map to exclude repeats

w m w THR m u

Sketch your definition of ‘co-opetition.’ Two opposing magnets bound together by a ‘structure’

What gives NYHSA a competitive edge? Bringing together a network of ‘community stakeholders’ to leverage compounding effects of ‘economies of scale’

figure 3-5

figure 3-6

figure 3-7

figure 3-8

working wall: units 04 & 05

25%

12.5%

Developmental: creative, adaptive leader as risk-taker…

�o� �� o� �es�r��e �n� �se �o�r or��n��on�� s�s�e� �s � non� pro��

Hierarchal: ordered, uniform leader as a… Rational: competitive/ acquisitive, leader…

25%

co-creative: exercise for final prototype?

37.5% - Yes, 37.5% - Maybe

Staff, Volunteer, or Donor of Non-Pro>t(s) in the Historic Preservation Community

Clan: cohesive, participative, leader as mentor, bonded…

RRCA: insights & observations 37.5%

N/A

NYHSA: insights & observations

�� er��n

�epen�s on ��e pro�e��

Journey Map & Cultural Characteristics

•

Remaining relatively flexible in social/ business approach

“Materiality, context, and visuals”

“Less open to cooperation” “Territorial nature” Historic Preservation

“Think about form & how people respond” Design Thinking

• •

•

Retaining pride and love amongst those who have long lived here and those new to the area

“Local consortium on cemeteries” “Equal advertising” “Building cohesion” Co-opetition

Elliana R., Ethan D., Cheyenne C., & Richard R. New York Historic Sites Alliance, Inc. (NYHSA)

• •

Committed to promoting equality, diversity and inclusion in all senses of words both internally and externally Learning the significance of multidisciplinary collaboration

• •

Stemming competition from one discipline Studying anthropology and archaeology

“Conservative politically & semiconservative socially”

“Corporate and hierarchal” “Rooted in equality”

Innovative

Working together with more organizations, non-profits and for-profits within the community Offering fellow citizens multiple avenues towards a new tomorrow

“Guarded or territorial”

Local Non-profit

•

Learning the design process for innovation

• • •

•

Employing creative problem solving in the NYHSA and beyond Willing to collaborate with other communities Satisfying more parties involved

Starting to create a systems or frameworks for businesses and the community will follow

“Joint projects and community events”

“Physicality of an object, structure, or system”

Historic Preservation

Design Thinking

“Traditional thought” “Frameworks for businesses” Co-opetition

empathy map: Elise R.

talent = funding?

find more digital collaboration tools for nonprofits

What does he THINK and FEEL?

What does she HEAR?

What does she SEE? She sees time constraints and other leisure activities, including movies, television, and sports events, as competition.

Unit 04

Eric D., Age 21 • Leader in NFP-A, needs talent • Student, Biomedical Lab Assistant Beacon, NY Classmate and friend of Claire C., Friend of Elise R. and Roger R. • Has no artistic abilities • Motivated by large, urban adaptive reuse projects • Wants to decrease financial debt • Frustrated by lack of communication between non-profits • Typical tasks include visiting historic sites • Skilled at networking with funders • •

What does he HEAR?

What does he SEE?

He hears innovative organizations like collaborating through special promotions related to cross-promotion, joint projects, shared ads, and inclusion in each other’s process and program books.

What does she THINK and FEEL?

Elliana R., Ethan D., Cheyenne C., & Richard R. New York Historic Sites Alliance, Inc. (NYHSA)

What does he THINK and FEEL?

Claire C., Age 22 • Leader in NFP-B, needs funding • Student, Meat Packer • Annandale-on-Hudson, NY • Classmate and friend of Eric D., friend of Roger R. • Has Autism Spectrum Disorder • Motivated by small, local educational initiatives • Wants to expand network of local entrepreneurs • Frustrated by small local market • Typical tasks include researching her user-base/donors • Skilled at feeling empathy and personally connecting with her target audience

empathy in pers of fictional characters journey map non-fiction

What does he HEAR?

What does he SEE?

He hears that his organization’s volunteers might lack an entrepreneurial spirit which could be an important factor to driving cooperation

He sees the potential for qualitative study to assess the extent and nature of coopetition among the historic preservation community.

influenced by co-creative facilitation exp. What does he SAY and DO?

He says barriers to cooperation between organizations other than funding and talent include issues related to logistics, scheduling, and resource scarcity but he does want to emphasize the issue of trust based on prior bad experiences.

Unit 06

Assessment and Validation Plan

Unit 08 - Unit 09

Leveraging compounding effects of ‘economies of scale’ Looking to incorporate the entire community, not just the easy sections Running the organization as young, determined, and innovative thinkers

• •

Reviewing the purpose of NFP’s along with the mission of the NYHSA Discussing previous creative-thinking workshop in October 2018

**bard workshop & interview cancelled reschedule?

Competitive Edge of the NYHSA

• •

• • •

For Funders & Talent from Funders & Talent • Find activities that require more people to come to the table For Funders & Talent from Non-profits • Recognize that developing strategies, plans,

Sub-Research Question 2: How might we describe non-profit organizational systems and position them as a guiding framework for collaboration between competitors? For Funders & Talent from Funders & Talent

• •

Switching to other team and writing down values in the other team, returning to original teams, & sketching refined object that achieves needs using strongest values Writing down different values of final object in other NFP’s and a final title of the object

“Train our volunteer base”

Working in Teams

two more workshops, THREE more questionnaires*

How might we...

For Funders & Talent from Funders & Talent • Be willing to provide unrestricted funds • Be more intentional about sharing resources For Funders & Talent from Non-profits • Recognize that building trust is part of the process

For Non-profits from Non-profits

• Establish a clear purpose with desired outcomes

• Be transparent about challenges, costs involved, and

• Explore all support funders can offer, not just grants

How might we help Funders & Talent find activities and connections, help grantees, provide unrestricted funds, and share resources with each other for collaborating Non-profits?

How might we help Funders & Talent open up funder networks, serve as connections, provide ongoing support, and build trust with collaborating Non-profits?

There is an opportunity for collaboration between Non-profits by applying design thinking to Funders & Talent who aren’t in funder networks or serving as connections, not providing ongoing support, and mistrusting Non-profits.

How might we help collaborating Non-profits be transparent about their process, establish a clear purpose and goals, ask questions, and explore all funding options with each other?

For Non-profits from Funders & Talent

• If you’ve gone through strategic restructuring, share

• Understand that it’s impossible to get everyone’s buy-in; at some point, you’ve got to move forward

• •

Observant

Keeping disucssions and conversation on topic Simplifying amount of instructions and steps throughout the process Creating scenarios using problems specific to the NYHSA

•

Organizing feedback gathered from my research Gathering lessons learned with the group

to increase collaboration between...

Sharing lessons learned with the group Steering conversation towards quadrants not receiving enough input Discussing how to synthesise the feedback received

Debriefing

Designing

Marketing

Operating

Flexible

Allowing for easier communication, digital workspace, & greater storage of information

• •

•

Seeking to cooperate amongst each other and the greater community

Operating on a relatively informal manner Following standard corporation rules

•

Seeking to present the RRC as organized as any other large cemetery organizations

“NYS Board of Cemetery guidelines”

“Rich with enthusiasm”

“Communication” Local Non-profit

Designing a product or system for the betterment of its use both individually and among a community

•

Remaining relatively flexible in social/ business approach

“Materiality, context, and visuals”

“Less open to cooperation”

“Storage”

•

“Territorial nature” Historic Preservation

“Think about form & how people respond” Design Thinking

Funding

Design, marketing, operational, and funding each represent categories of activity and required components of co-opetiton. Important factors in driving cooperation include a Developmental Culture, entrepreneurial spirit, creativity, and the use of new resources. Important factors in building relationships necessary for cooperation include affinity of organizational missions/purpose, art/design/preservation expertise, openness in terms of communication, personal integrity, mutual respect, and trust. Barriers include prior bad experiences, resource scarcity, trust, scheduling, funding, and logistics.

ultimately supporting collaboration between...

Designing

Marketing

Opportunities for innovation: assessed through tactical considerations, strategic considerations, evaluative considerations, cooperation, barriers to cooperation, and competition between local non-profits in historic preservation.

...in local Historic Preservation

3. Cross-promotion involving shared ads

Non-profits supporting Non-profits

4. Inclusion in each other’s program/process books 5. Sharing of donor/subscriber mailing lists and contact information

Non-profits and Funders & Talent Through... • Funded implementation • Funded initial exploration • Lead investors • Endorsements

6. Sharing of venues ...for strategic restructuring of their cultural climates

Operating

Funders & Talent supporting Non-profits

7. Sharing of production

Funding

8. Informal sharing of resources 7

“Local consortium on cemeteries” “Equal advertising” “Building cohesion” Co-opetition

mmu

Journey Map & Cultural Characteristics

•

• •

Committed to promoting equality, diversity and inclusion in all senses of words both internally and externally Learning the significance of multidisciplinary collaboration “Corporate and hierarchal” “Rooted in equality”

Devoted • •

• •

Stemming competition from one discipline Studying anthropology and archaeology

“Conservative politically & semiconservative socially” “Guarded or territorial”

“Passionate and devoted”

“Multi-disciplinary” Local Non-profit

Innovative

Working together with more organizations, non-profits and for-profits within the community Offering fellow citizens multiple avenues towards a new tomorrow

Historic Preservation

•

Elliana R., Ethan D., Cheyenne C., & Richard R. New York Historic Sites Alliance, Inc. (NYHSA)

•

Learning the design process for innovation

Bound

Creative

Prompting one to look at the materiality and physicality of an object Making positive change within organizations and community

• • •

•

Employing creative problem solving in the NYHSA and beyond Willing to collaborate with other communities Satisfying more parties involved

Starting to create a systems or frameworks for businesses and the community will follow

“Joint projects and community events”

“Visual influences” “Physicality of an object, structure, or system” Design Thinking

“Traditional thought” “Frameworks for businesses” Co-opetition

description

As participants arrive

• Snacks, drinks, conversation, and getting reacquainted. Clay is supplied.

Warm-Up

20 mins.

• Participants review and discuss previous creative-thinking workshop in October 2018 • They are taught the definitions of ‘design thinking,’ ‘co-opetiton,’ and ‘tangible artifact.’ • Review the purpose of other, local not-for-profits (NFP) and the mission of the New York Historic Sites Alliance, Inc. (NYHSA)

Main Activity

40 mins.

• Instructions are reviewed and teams are assigned. Participants will write down questions, thoughts and ideas throughout as well as create small sketches. All of these are done both individually, in teams, and all together. • They design an object that solves their problem. Process can be repeated for furthur exploration.

Cool-Down

10 mins.

• Participants reflect on the purpose of the activity and complete an Idea Capture Grid exercise.

Debriefing

05 mins.

• A ball is passed around so that each person has an opportunity his/her reactions and answer questions about the activity and the topic at hand. • Participant feedback is collected through recorded interviews.

Closure

05 mins.

• Participants assemble a take-home kit with reference and reminder materials.

m w feedback: insights & observations

main activity: insights & observations Journey Map & Cultural Characteristics

Creative

• • •

Opposing variables Bounding together Structuring opposition

• • •

Stimulating creative thinking and playing with clay Sketching own definition of ‘co-opetiton’ Learning definitions of ‘design thinking,’ ‘co-opetition,’ and ‘tangible artifact’

• •

Communicating love Distrusting relationships

Introduction to Co-opetition

Economic

Elliana R., Ethan D., Cheyenne C., & Richard R. New York Historic Sites Alliance, Inc. (NYHSA)

Competitive

Young

• • •

• •

Reviewing the purpose of NFP’s along with the mission of the NYHSA Discussing previous creative-thinking workshop in October 2018

Competitive Edge of the NYHSA

•

John Colon, Facilitator Design Thinking for the NFP: Co-opetition & the Tangible Artifact

Journey Map & Cultural Characteristics

•

• • •

Co-opetitive

Finding passionate volunteers whose talents and intellect can be combined for achieving the goal of financial selfsufficiency Simplifying what both teams really need, other than funding or talent

Writing down unique driving question Molding unique imaginary object that will increase funding or talent Writing down object’s unique function

“Talent & intellect for financial self-sufficiency”

Strengthening ideas and competitive edge of teams Converging ideas between teams for preliminary prototyping of solutions to funding and talent

•

Merging unique objects and their functions into two different team-objects and writing down their strengths Molding new objects individually that achieve the functions of both previous objects, titling them, and writing them down

•

Critical

Cooperative •

• •

•

• •

Finding values in the other team and designing a solution together based off these values Completing a process board of divergence and convergence and a framework that allows for cooperation and communication Switching to other team and writing down values in the other team, returning to original teams, & sketching refined object that achieves needs using strongest values Writing down different values of final object in other NFP’s and a final title of the object

“Train our volunteer base” “Years of research and experience”

Working Individually

5 6

Unit 05

Appendix G: Page 145

* u u

s o b c oops

table 3-10

time

Welcome

Total: 90 mins.

warm-up: insights & observations

o m s o m co o o

Recommendations

1. Formal preservation and art 2. Special promotions related to joint projects

Non-profits and Non-profits

Retaining pride and love amongst those who have long lived here and those new to the area

Allowing for a more wide angle view of the issues at hand Seeing what humans can really do and create both individually and together

co-creative facilitation: schedule

stage

Working in Teams

u CO TITION

� ��

w u

Journey Map & Cultural Characteristics

Collaborating Between Teams

Inquisitive

• • •

Keeping disucssions and conversation on topic Simplifying amount of instructions and steps throughout the process Creating scenarios using problems specific to the NYHSA

• •

Organizing feedback gathered from my research Gathering lessons learned with the group

su o s oo

Cool-down

Observant •

Creative

•

Helping the Historic Preservation Community in communication and collaboration through creative workshops Facilitating larger groups in a streamlined and strategic workshop

• • •

Sharing lessons learned with the group Steering conversation towards quadrants not receiving enough input Discussing how to synthesise the feedback received

Debriefing

� Findings

For... • Sharing goals • Responding to a community need of collaboration • Initiated/mandated funder & talent wants/needs • Less competition of funders & talent • Responding to a funding opportunity

•

New website

Unit 07

reframing: opportunity map

Funders & Talent and Funders & Talent

• •

Trying to create a local consortium so each organization has a better chance at selling plots Working with funeral homes Lacking competitors

Funders & Talent supporting Funders & Talent

Non-profits supporting Funders & Talent

Equal

Cohesive •

•

Need more recommend -ations or more general

Applying design thinking to/for...

Helping the Historic Preservation Community in communication and collaboration through creative workshops Facilitating larger groups in a streamlined and strategic workshop

• • •

Ethan Dickerman, Vice-President & Founder New York Historic Sites Alliance, Inc. (NYHSA)

Journey Map & Cultural Characteristics

Enthusiastic

Creative

•

Cool-down

opportunities for design map

• Translate goals into language all partners can use

For Non-profits from Funders & Talent • Develop a communications plan

• • •

Inquisitive

design criteria for prototype

Opportunities

Sub-Research Question 3: How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

For Funders & Talent from Non-profits

Collaborating Between Teams

opportunities for design matrix

Insights

• ‘Walk the talk:’ model partnership and collaboration

your experiences with other non-profits

•

“Years of research and experience”

• Help grantees find additional funders

expertise required

Working Individually

• Provide ongoing support, not just startup funds

• Establish an end goal with clear expectations

Strengthening ideas and competitive edge of teams Converging ideas between teams for preliminary prototyping of solutions to funding and talent

•

“Talent & intellect for financial self-sufficiency”

• Let the collaborating partners guide the work

• Don’t be afraid to ask for help

• •

m NYHSA: insights & observations

Paul Dickerman, Trustee Rombout Rural Cemetery Association (RRCA)

Journey Map & Cultural Characteristics

Communicative

Critical

Cooperative •

Writing down unique driving question Molding unique imaginary object that will increase funding or talent Writing down object’s unique function

• Open up funder networks and serve as connections

structures, and relationships takes time

Co-opetitive

Finding passionate volunteers whose talents and intellect can be combined for achieving the goal of financial selfsufficiency Simplifying what both teams really need, other than funding or talent

u RRCA: insights & observations

Gain New, contemporary branding Multi-disciplinary Close personal relationships

Exploration and Protyping

Unit 08

John Colon, Facilitator Design Thinking for the NFP: Co-opetition & the Tangible Artifact

Journey Map & Cultural Characteristics

Competitive

Young

• • •

research findings at-a-glance

He thinks building collaborative relationships means communication, artistic excellence, and compatibility of missions but feels his competitors have low availability of new resources and creativity.

What does she SEE?

She sees the need for trust, mutual respect, personal integrity, openness before co-opetition among non-profits can be seen as a thing of nature.

Economic

Communicating love Distrusting relationships

empathy map: Roger R.

She thinks cooperation that might be considered informal includes interactive sharing of talent between organizations and feels that building collaborative relationships are important.

What does she HEAR?

He sees funders increasingly favoring nonprofits which cooperate with each other and as a result, collaboration emerging as a trend.

empathy map: Claire C.

She hears that structured and guided interviews of her competitors’ top leaders might get her information which can lead to an increase in funding for her organization.

• •

Introduction to Co-opetition

He thinks that most formal cooperation in his organization involves artistic projects yet feels that cooperation in his community most likely involves operational activities like sharing of venues, production, and resources.

What does she SAY and DO?

Stimulating creative thinking and playing with clay Sketching own definition of ‘co-opetiton’ Learning definitions of ‘design thinking,’ ‘co-opetition,’ and ‘tangible artifact’

empathy map: Eric D.

She says that historic preservation organizations within small to mid-size urban areas might view each other as competitors and does research to assess the act of cooperation and its barriers, as well as tactical, strategic, and evaluative considerations.

Opposing variables Bounding together Structuring opposition

• • •

What does she THINK and FEEL?

She hears her competitors expressing discomfort with the concept of competing and agreeing that competition for available money from a small pool of funders, donors, and ticket buyers is challenging.

Creative

• • •

She thinks organizations that are in the same type of business as hers as well as different types of businesses which sell the same product/ service are her major competitors and feels out of touch with those who volunteer for these organizations.

research synthesis: personas, NFP-A vs. NFP-B Based on the Preliminary Examples (Table 1-3: Page ##) of my Target Audience, the artifacts/data collected from my Co-Creative Facilitation, and my Journey Maps, I have refined four Personas and created more personal Scenarios with perspectives from the experience of a refined, simulated co-opetiton between two non-profits with similar missions. I have also created Empathy Maps for each Persona, providing a deeper insight on their cultural environment.

Bound

Creative

Prompting one to look at the materiality and physicality of an object Making positive change within organizations and community

“Visual influences”

“Passionate and devoted”

“Multi-disciplinary”

•

Unit 09

•

Research Synthesis

Unit 04 - Unit 05

Refining the Prototype

Business Planning

Unit 10

Low Impact

feedback: insights & observations

main activity: insights & observations Journey Map & Cultural Characteristics

Feeling •

Devoted

Allowing for a more wide angle view of the issues at hand Seeing what humans can really do and create both individually and together

Developmental Culture

“Rich with enthusiasm”

“Communication” Local Non-profit

Designing a product or system for the betterment of its use both individually and among a community

•

Organizational Structure

“NYS Board of Cemetery guidelines”

•

“Storage”

•

Thinking

Doing

Seeking to present the RRC as organized as any other large cemetery organizations

Developmental Culture

Seeking to cooperate amongst each other and the greater community

•

Doing

•

Operating on a relatively informal manner Following standard corporation rules

Organizational Structure

Allowing for easier communication, digital workspace, & greater storage of information

•

Trying to create a local consortium so each organization has a better chance at selling plots Working with funeral homes Lacking competitors

Hierarchal Culture

Thinking

•

Equal

Cohesive •

Hierarchal Culture

Feeling

Flexible

Mechanistic-type Processes Focus on: control, order, stability

warm-up: insights & observations

Ethan Dickerman, Vice-President & Founder New York Historic Sites Alliance, Inc. (NYHSA)

�orpor��e �n� �e�r�r�� e� roo�e� �n � �e�e� o� e��

Feeling

Journey Map & Cultural Characteristics

Enthusiastic

Communicative

need to SCAN signed consent forms*

Non-profits donating to and/or volunteering for: 62.5% - Less than 3

Applied design thinking to transpire collaboration between competitors:

Project Complete

• • •

� � � ��

Developmental Culture

N/A

�� op��on �es� �es�r��es �o�r or��n��on�� re�

Organizational Structure

More than 7

25%

75%

��

Market Analysis

Unit 02 - Unit 05 & Unit 08

Pain

Resources: activity board, ball, large paper, markers/pens, paper, post-its, take-home kit

Hierarchal Culture

3-7

Different culture chosen in survey than observed

Conducting Research

Unit 01

College student schedules Specific focus/discipline

He sees the potential for qualitative study to assess th

Feeling

Maybe

37.5%

Non-profits in the historic preservation community donating to and/or volunteering for: 75% - Less than 3

Less than 3

25%

Applied design thinking to achieve intended outcomes:

75% - Maybe

Yes 37.5%

Maybe

37.5%

Paul Dickerman, Trustee Rombout Rural Cemetery Association (RRCA)

�o� ��n� non�pro��s �n ��e ��s�or�� preser��on �o��n�� o �o� �on��e �o �n��or �o��n�eer �or�

8 responses

25%

Project Planning

• •

u u

What does he SEE?

He hears that his organization’s volunteers might lack an entrepreneurial spirit which could be an important factor to driving cooperation

Thinking

��e �o� or �o�r or��n��on e�er �pp��e� �nno��e �o��n��ons �n��or �r��e�or�s �o �r�nsp�re �o��or��on �e��een �o�pe��ors�

Yes 37.5%

7 - 12 years More than 12 years

Gain

What does he HEAR? Eric D., Age 21 • Leader in NFP-A, needs talent • Student, Biomedical Lab Assistant • Beacon, NY • Classmate and friend of Claire C., Friend of Elise R. and Roger R. • Has no artistic abilities • Motivated by large, urban adaptive reuse projects • Wants to decrease financial debt • Frustrated by lack of communication between nonprofits • Typical tasks include visiting historic sites • Skilled at networking with funders

Developmental Culture

8 responses

Less than 3 years 3 - 7 years

25%

50%

�

��

�

High Profitability

Strong commitment Resources Partnerships Woman-owned

He thinks building collaborative relationships means communication, artistic excellence, and compatibility of missions but feels his competitors have low availability of new resources and creativity.

What does he SEE? He sees funders increasingly favoring nonprofits which cooperate with each other and as a result, collaboration emerging as a trend.

Feeling

��e �o� or �o�r or��n��on e�er �pp��e� �es��n ��n��n� �o �r�nsp�re �o��or��on �e��een �o�pe��ors�

None 25%

RRCA

• • • •

Claire C., Age 22 • Leader in NFP-B, needs funding • Student, Meat Packer • Annandale-on-Hudson, NY • Classmate and friend of Eric D., friend of Roger R. • Has Autism Spectrum Disorder • Motivated by small, local educational initiatives • Wants to expand network of local entrepreneurs • Frustrated by small local market • Typical tasks include researching her user-base/donors • Skilled at feeling empathy and personally connecting with her target audience

What does he THINK and FEEL?

What does he HEAR?

WHS

Feeling

�o� �� e�per�en�e �o �o� ��e �n �es��n ��n��n�� 8 responses

WHS

Low Profitability

Pain

Small and new Low funding

Doing

Donating and/or volunteering:

Size of organization:

50% - 5 to 10 individuals

External Focus Focus on: competition and differentiation

• •

He hears innovative organizations like collaborating through special promotions related to cross-promotion, joint projects, shared ads, and inclusion in each other’s process and program books.

Thinking

62.5%

GHHN

RRCA

87.5% - To preserve local history

N/A

25%

NYHSA DT Internal Focus Focus on: smoothing and integration

Applied innovative communications and/or frameworks to transpire collaboration between competitors: 37.5% - Yes, 37.5% - Maybe

Experience in design thinking: 50% - None

Rational: competitive/ acquisitive, leader…

25%

Community’s cultural climate: 37.5% - Hierarchal: ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability

Experience in the historic preservation community:

37.5% - Less than 3 years, 37.5% - 3 to 7 years

N/A

Hierarchal: ordered, uniform leader as a…

37.5%

Experience in the non-profit sector: 50% - Less than 3 years

Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

w m

Developmental Culture

7.5

3-7 More than 7

Gain

What does he SAY and DO?

Doing

5.0

37.5%

Legacy Paid employees Large organization International initiatives

He says developing funds by sharing resources such as donor/subscriber mailing lists and contact information with other organizations is rare since he does recognize that they are competing for very little donor funding.

Organizational Structure

2.5

Less than 3

Developmental: creative, adaptive leader as risk-taker…

• • • •

She sees the need for trust, mutual respect, personal integrity, openness before co-opetition among non-profits can be seen as a thing of nature.

ym no desab ,sretcarahc lanoitcfi era sanosreP taht ecneidua tegrat eht gnitneserper ,hcraeser yehT .noititepo-oc rof krowemarf ym esu thgim He thinks that most formal cooperation in his organization involves cneirepxe ,sdeen ’sresu ym dnatsrednu em pleh artistic projects yet feels that cooperation in his community,semost likely .slaog dna ,sroivaheb

Hierarchal Culture

4 (50%) 0 (0%)

Clan: cohesive, participative, leader as mentor, bonded…

25%

Maybe

Pain

What does she SEE?

She hears that structured and guided interviews of her competitors’ top leaders might get her information which can lead to an increase in funding for her organization.

What does he THINK and FEEL?

Feeling

N/A

�o� ��n� non�pro��s �o �o� �on��e �o �n��or �o��n�eer �or� 8 responses

12.5%

No 75%

GHHN

Fou P s us p o o p

Thinking

To increase local tourism

�� op��on �es� �es�r��es �o�r �o��n��s ��r�� e� 8 responses

Yes

More than 12 years

�

NYHSA

Technical infrastructure Restricted donations

involves operational activities like sharing of venues, production, and resources.

Developmental Culture

��e �o� or �o�r or��n��on e�er �pp��e� �es��n ��n��n� �o ��e�e �n�en�e� o��o�es� 8 responses

Less than 3 years 3 - 7 years 7 - 12 years

25% 37.5%

Thinking

8 responses

Organizational culture: 37.5% - Hierarchal: ordered, uniform leader as administrator, bonded by rules/policies emphasis on predictability

7 (87.5%)

Rational: competitive/ acquisitive, leader…

0.0

�o� �� e�per�en�e �o �o� ��e �n ��e ��s�or�� preser��on �o��n��

~10 Anonymous Responses Staff, Volunteer, or Donor of Non-Profits in the Historic Preservation Community

What does she SEE? She sees time constraints and other leisure activities, including movies, television, and sports events, as competition.

What does she SAY and DO?

a collaborative, innovative, and developmental community is generated

Doing

5 (62.5%)

She thinks cooperation that might be considered informal includes interactive sharing of talent between organizations and feels that building collaborative relationships are important.

What does she HEAR?

What does she HEAR? She hears her competitors expressing discomfort with the concept of competing and agreeing that competition for available money from a small pool of funders, donors, and ticket buyers is challenging.

She says that the Hudson Valley has a small market for the large number of historic preservation organizations that emerged to compete for resources but she does recognize that some contributors donate to multiple non-profits and her audiences tend to include a large proportion of ‘crossover’ attendees who attend a variety of arts events.

Organizational Structure

6 (75%)

N/A

25%

3 (37.5%)

High Impact

Feeling

12.5%

N/A

50%

6 (75%) 4 (50%)

Benchmarks for your success

bus ness oppo t� un t es

What does she THINK and FEEL?

design organizational and collaborative structures

historic preservation leaders adopt innovation frameworks

Hierarchal Culture

General values of the organization

To learn and/or educate the public

Hierarchal: ordered, uniform leader as a…

Thinking

More than 100 individuals

8 responses

Developmental: creative, adaptive leader as risk-taker…

37.5%

Doing

12.5% 50%

�� o� ��ese �es� �es�r��es �� o� �on��e �n��or �o��n�eer�

Clan: cohesive, participative, leader as mentor, bonded…

25%

10 - 20 individuals 20 - 50 individuals 50 - 100 individuals

Developmental Culture

5 - 10 individuals 12.5%

Doing

Less than 5 individuals

12.5%

Developmental Culture

�� op��on �es� �es�r��es �o�r or��n��on�� re� 8 responses

12.5%

7 - 12 years More than 12 years

12.5%

Relationship-based Processes Focus on: flexibility, individuality, and spontaneity

Hierarchal Culture

�� s ��e s��e o� �o�r or��n��on� 8 responses

Less than 3 years 3 - 7 years

37.5%

cultural climate used in research synthesis

US P RSONA IN SCempathy NARIOS map: Claire C. *

empathy map: Eric D.

Feeling

37.5%

four pillars of NYHSA included in design opportunities

http://www.nyhsa.org

define elements of the new economy

s +

empathy map: Elise R.

The focus of this project is applying design thinking and using organizational culture to transpire organizational effectiveness and collaboration between competing non-profits through qualitative research in the field.

• •

Thinking

Unit 07

Staff, Volunteer, or Donor of Non-Pro>t(s) in the Historic Preservation Community

�o� �� e�per�en�e �o �o� ��e �n ��e non�pro�� se��or�

10 week time frame = less primary sources than thought

Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

Exploration and Protyping

Unit 08

## ## ## ##

Developmental Culture

Unit 06

Assessment and Validation Plan

Unit 08 - Unit 09

06. Final Design to Market Final Prototype Business Model Canvas Business/Implementation Plan

There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage.

Doing

Unit 09

## ## ## ## ## ## ##

unit 05: working wall lead necessary transformation

Organizational Structure

Research Synthesis

Unit 04 - Unit 05

Refining the Prototype

Business Planning

Unit 10

05. Prototype Development and Testing Prototype Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation

Hierarchal Culture

Maybe

Collaboration Opportunities Where or how do we overlap? • Human-centered • Workshops • Design thinking

## ## ## ## ##

Feeling

Market Analysis

Unit 02 - Unit 05 & Unit 08

Project Complete

Homepage What is the entry point to their network? • Website, email, phone • Founders

04. Design Opportunities and Criteria, Reframing Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

Thinking

Conducting Research

Unit 01

Yes

37.5%

Approach How do they create value? • Umbrella organization • Membership-based

Lessons What can they teach us for our network? • Innovative thinking • Local history • Collaboration

Doing

Project Planning

��e �o� or �o�r or��n��on e�er �pp��e� �es��n ��n��n� �o �r�nsp�re �o��or��on �e��een �o�pe��ors�

25%

NYHSA subject of most synthesis online survey: analysis

Threats • Raised awareness and concern for competitors unwilling to collaborate or plotting sabotage

Members What categories do they fall into? • Student, volunteer • Millennial • Part-time • Hudson Valley

Organizational Structure

funding vs. talent online survey: results

Opportunities • Collaboration • Co-opetition • Design/redevelopment services • Educational partnerships

a collaborative, innovative, and developmental community is generated

one wo kshop undocumen ed

u m

Organizational Structure

historic preservation leaders adopt innovation frameworks

�o� �� o� �pp�� nno��on �r��e�or�s �o �o�r or��n��on�� s�s�e� �s � non�pro��

�o responses �e� �or ��s ��es��on�

design organizational and collaborative structures

There is an opportunity for co-opetition between non-profit Historic Preservation organizations through integrating design thinking for external sustainable advantage.

## ## ## ##

06. Final Design to Market Final Prototype Business Model Canvas Business/Implementation Plan

define elements of the new economy

Developmental Culture

## ## ## ## ## ## ##

lead necessary transformation

Objectives What is their network’s value? • Historic preservation, tourism, education, & community building • Advocacy

the process process:

New York Historic Sites Alliance, Inc. (NYHSA) Weaknesses • Small and new • College student schedules • Low funding

Strengths • Experience in design thinking • Theoretical perspectives of learning/growing college students • New, contemporary branding • Multi-disciplinary • Close personal relationships

Thinking

05. Prototype Development and Testing Prototype Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation

Doing

## ## ## ## ##

previous experience design thinking with me

Organizational Structure

04. Design Opportunities and Criteria, Reframing Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

unit 04: working wall

Organizational Structure

the process:

goals specified in positioning

Hierarchal Culture

midterm process book next week!

Hierarchal Culture

part 04 complete, 05 & 06 in unit 09 - RESEARCH STILL ONGOING

Hierarchal Culture

Note: Actua s ze s 24” x 36”

working wall: units 06 & 07 part 04 complete, 05 & 06 in unit 07, one more workshop to attend

nyhsa initiatives = concept building

the process: 04. Design Opportunities and Criteria, Reframing Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

## ## ## ## ##

05. Prototype Development and Testing Prototype Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation

## ## ## ## ## ## ##

Funders & Talent

��i��

��a��

Educational Partnerships

i��

8EEa

Refining the Prototype Unit 08 - Unit 09

�i��a ji

�

�iii�

�i��i�i��

�e�i��

�

��

��a��t�

�i

�� Rhaetian i��i� ��

Concept 5: Co-creative Workshops

Concept 6: Historic Trails System

�a�i�itatin� �o-�reati�e wor�s�ops for non-profits in �istori� preservation will give design managers an opportunity to help �o�petin� or�ani�ations �ooperate an� �reati�e�� prob�e�solve through applying principles of participation/experience, brainstor�in�� atera� t�in�in�� an� t�e tan�ib�e artifa�t�

Encourages co-opetition through: Community needs, funding opportunities, funder-initiated �o��aboration� � a��an�in� s�are� �oa�s

Encourages co-opetition through: Community needs, funding opportunities, & advancing shared goals

� �istori� �rai�s ��ste� for non-profits in �istori� preser�ation� �onne�tin� �o�a� sites� �u�tura� �enters� an� businesses� wi�� i�e design managers an opportunity to help competing organizations cooperate, increase local tourism, and help the local economy t�rou�� app��in� �estination fra�ewor�s� �urrent�future pro�ra��in�� business tra�e�� an� nationa� �erita�e�

Diverging Claire C. of NFP-B just received news that NFP-A received the grant they both applied for.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, & advancing shared goals.

Diverging Elise R. of NFP-A doesn’t have a dedicated desk-space or enough colleagues for a dedicated workplace.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

Diverging Eric D. of NFP-A lacks the digital skills to effectively communicate with the volunteers he is in search for.

1. Observation (context)

storyboarding?

Concept 1: Cultural Consultancy

2. Framework (insight)

Assimilating NFP-A needs talent but isn’t aware of the Virtual Platform NFP-B uses to gain their abundance of volunteers.

Converging Increase talent for NFP-A through allowing for online networking with NFP-B and help on each other’s marketing, designing, funding, and operating activities.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

4. Solution (experience)

Concept 2: Adaptive Reuses

Assimilating NFP-A is partnered with a museum that has free space but doesn’t have enough volunteers to give educational tours so he contacts local institutions.

Diverging Claire C. of NFP-B wants to create an exhibit but doesn’t have the funding or museum to build it.

1. Observation (context)

Concept 3: Virtual Platforms

3. Imperative (idea)

2. Framework (insight)

Assimilating NFP-B needs funding but isn’t as creative as Elise R. of NFP-A to propose effective fundraisers so he uses a co-creative workshop.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

Diverging Roger R. of NFP-B needs to create a new way to manage the creative side of his funding projects and activities.

4. Solution (experience)

Concept 4: Educational Partnerships

1. Observation (context)

Encourages co-opetition through: Community needs, funding opportunities, & advancing shared goals

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, & advancing shared goals.

Converging Increase talent for NFP-A through connecting both sites into a tourism/ destination-focused trail system, incorporating funding, marketing, designing, & operating activities.

Diverging Eric D. of NFP-A will be renovating and preserving a historic site in the same neighborhood as another historic site.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

business models?

Concept 5: Co-creative Workshops

Concept 2: Adaptive Reuses

Concept 3: Virtual Platforms

Concept 4: Educational Partnerships

Concept 5: Co-creative Workshops

Concept 6: Historic Trails System

Scenario: • Increased talent for NFP-A through online networking with NFP-B and help on each other’s marketing, designing, funding, and operating activities.

Scenario: • Increased funding for NFP-B through facilitatation of co-creative workshops for both NFP-A and B in prototyping marketing, designing, & operating activities achieving both missions.

Scenario: • Increased talent for NFP-A through connection of sites into a tourism/destinationfocused trail system, incorporating funding, marketing, designing, & operating activities.

Plus: • Cooperation, increased local tourism, and help to the local economy through applying destination frameworks. (+7) Minus: • NFP-B is renovating/preserving a site and is ahead of NFP-A in the process because of their larger project management team. (-7) Interesting: • Opportunity for unity of current/future programming, business travel, and national heritage. (+6) • Eric D. of NFP-A will be renovating and preserving a historic site in the same neighborhood as NFP-B’s similar project. (-8)

Total Points: +4

Total Points: +5

Total Points: -2

Total Points: +2

Total Points: +4

Unit 06

Total Points: -1

•

• • • •

Gain

Strong commitment Resources Partnerships Woman-owned

empathy map: Roger R.

Gain New, contemporary branding Multi-disciplinary Close personal relationships

What does he THINK and FEEL?

Eric D., Age 21 • Leader in NFP-A, needs talent • Student, Biomedical Lab Assistant • Beacon, NY • Classmate and friend of Claire C., Friend of Elise R. and Roger R. • Has no artisti� abi�ities • Motivated b� �ar�e� urban adaptive reuse projects • Wants to �e�rease finan�ia� �ebt • Frustrated b� �a�� of �o��uni�ation between nonprofits • Typical tasks include visiting historic sites • Skilled at networ�in� wit� fun�ers

What does he HEAR?

What does he SEE?

He hears that his organization’s volunteers �i��t �a�� an entrepreneuria� spirit w�i�� ou�� be an i�portant fa�tor to �ri�in� cooperation

He sees the potential for qualitative study to assess the extent and nature of coopetition among the historic preservation community.

What does he SAY and DO? He says barriers to �ooperation between or�ani�ations ot�er t�an funding and talent include issues related to logistics, scheduling, and resour�e s�ar�it� but �e does want to e�p�asi�e t�e issue of trust base� on prior ba� e�perien�es�

• •

Various schedules Minimal time availability

Pain

Gain • �� • Close-knit • Experience in design thinking • High funding and talent

New website

co-creative facilitation: schedule time

description

Welcome

As participants arrive

• �na��s� �rin�s� �on�ersation� an� �ettin� rea��uainte�� a� is supp�ie��

20 mins.

• �arti�ipants re�iew an� �is�uss pre�ious �reati�e-t�in�in� wor�s�op in ��tober �� • ��e� are tau��t t�e �efinitions of ��esi�n t�in�in�� o-opetiton�� an� �tan�ib�e artifa�t�� • �e�iew t�e purpose of ot�er� �o�a� not-for-profits �� an� t�e �ission of t�e �ew �or� �istori� �ites ��ian�e� �n��

Main Activity

40 mins.

• Instructions are reviewed and teams are assigned. Participants will write down questions, thoughts and ideas throughout as well as �reate s�a�� s�et��es� �� of t�ese are �one bot� in�i�i�ua�� in tea�s� an� a�� to�et�er� • ��e� �esi�n an ob�e�t t�at so��es t�eir prob�e�� ro�ess �an be repeate� for furt�ur e�p�oration�

Cool-Down

10 mins.

• �arti�ipants re�e�t on t�e purpose of t�e a�ti�it� an� �o�p�ete an ��ea �apture �ri� e�er�ise�

�ebriefin�

05 mins.

• � ba�� is passe� aroun� so t�at ea�� person �as an opportunit� �is��er rea�tions an� answer �uestions about t�e a�ti�it� an� t�e topi� at hand. • �arti�ipant fee�ba�� is �o��e�te� t�rou�� re�or�e� inter�iews�

Roger R., Age 23 • Leader in NFP-B, needs funding • Student, Student Aid - Intramural �� • Hopewell Junction, NY • Friend of Claire C., Eric D., and Elise R. • Has experience in social-science research • Motivated b� �ariet� of pro�e�t types • Wants to own a for-profit business • Frustrated b� t�e �aisse�-faire • Typical tasks include managing over 5 projects at a time • Skilled at the laws within the historic preservation process

04. Design Opportunities and Criteria, Reframing Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

## ## ## ## ##

05. Prototype Development and Testing Prototype Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation

## ## ## ## ## ## ##

06. Final Design to Market Final Prototype Business Model Canvas Business/Implementation Plan

## ## ## ##

idea/feedback capture grid used again

table 3-10

Warm-Up

05 mins.

Closure

education + museums + tourism = 01?

concept testing with target audience: protocol ��the takeaways

• �arti�ipants asse�b�e a ta�e-�o�e �it wit� referen�e an� re�in�er �ateria�s�

4. Participants capture fee�ba�� for Concept A. (8 min.)

One thing that could be improved (Critique)

One new idea to consider (Idea)

6. Participants capture fee�ba�� for Concept B. (8 min.)

feedback capture grid: educational partnerships concept One thing that I liked the most (Comment)

Note: Includes primary and secondary research and results most related to my Research Questions and Target Audience

One thing that could be improved (Critique)

Secondary Source: �onprofit �trategic �estructuring.

�ugust ��. �etrieved from http��pndblog. How might we��, describe design thinking methods typepad.com�pndblog��infographic-nonprofitand apply themstrategic-restructuring.html towards promoting developmental cultures and innovative communications?

•

• •

empathy map: Roger R.

• Legacy She • Paid employees interviews of her competitors’ top leaders • which Largecan organization might get her information lead to an increase in funding for her • International initiatives

•

Various schedules Minimal time availability

Pain

Leader in NFP-A, needs talent Student, Biomedical Lab Assistant Beacon, NY

• • •

Leader in NFP-B, needs funding Student, Meat Packer Annandale-on-Hudson, NY

He sees the potential for qualitative study to assess the extent and nature of coopetition among the historic preservation community.

Roger R., Age 23 • Leader in NFP-B, needs funding • Student, Student Aid - Intramural �� Hopewell Junction, NY Friend of Claire C., Eric D., and Elise R. Has experience in social-science research Motivated by variety of project types Wants to own a for-profit business Frustrated by the laissez-faire Typical tasks include managing over 5 projects at a time • Skilled at the laws within the historic preservation process • •

Strong commitment

1. Participants review Personas. (8 min.)

• •

Gain �� Close-knit Experience in design thinking High funding and talent

• • •

��

Prototype A: Adaptive Reuses

�� & Talent

Funders

& Talent

Non-

��

Strategic:

��

Tactical, strategic, and evaluative considerations

��

Marketing Funders &

Talent

Non-

Categories Activities

��

Evaluative: �� 1. ��

There is an opportunity to apply design thinking for ��and �� Funders & Talent in local Historic Preservation to increase collaboration between each other and ultimately supporting collaboration between �� through strategic restructuring of their cultural climates.

2. Educational & design partnerships Funders & Talent

what if all 3 concepts were literally combined under one roof?? Prototype B: �gure �-� Cooperation and its barriers

Opportunities for Innovation

funders

Operating

�gure �-�

Funding

Contextual Research

3. Special promotions related to joint projects 4. Cross-promotion involving shared ads

One thing that I dont understand (Question)

strategic considerations

One new idea to consider (Idea)

8. Sharing of venues

8. Participants capture fee�ba�� for Concept C. (8 min.)

9. Sharing of production

10. Informal sharing of resources

2. Participants review Research Findings, Design Criteria, and Design Opportunities. (8 min.)

feedback capture grid: co-creative workshops concept One thing that I liked the most (Comment)

One thing that could be improved (Critique)

“Speed-dating Style”

Each participant takes 8 minutes per section. The three main “dates” are the three concepts.. They also have 8 minutes to capture feedback after each “date.”

Educational Partnerships

One thing that I dont understand (Question)

Tactical: �re the non-pro�ts willing to collaborate to respond to a community need and/or funding opportunity? Strategic: Are the funders & talent willing to initiate/mandate collaboration between the non-pro�ts�

talent

evaluative considerations

cultural climate

7. Sharing of donor/subscriber mailing lists and contact information

She thinks organizations that are in the same type of business as hers as well as different types of businesses which sell the same product/service are her major competitors and feels out of touch �it� t�os� ��o �olunt��r for t��s� or�ani�ations�

What does she SEE? She sees time constraints and other leisure activities, including movies, television, and sports ��nts� as co�p�tition�

What does she SAY and DO? She says that the Hudson Valley has a small market for the large number of historic preservation organizations that emerged to compete for resources but she does r�co�ni�� t�at so�� contri�utors �onat� to �ultipl� non-profits an� ��r au�i�nc�s t�n� to inclu�� a lar�� proportion of �crosso��r� att�n��s ��o att�n� a �ari�t� of arts ��nts�

• •

Technical infrastructure Restricted donations

Pain

Overlaps in between considerations signify consideration of cultural climates and competition between non-pro�ts for funding and talent.

• • • •

Legacy Paid employees Large organization International initiatives

Gain

viability

cultural innovation

process innovation

desirability

co-working space, organizational collaboration system

feasibility

functional innovation

technology, project and design management, community engagement

cultural innovation

What does he THINK and FEEL?

�gure �-�

desirability

tour guides, interns/volunteers, contextual research, human resources

feasibility

functional innovation

Marketing

technology, project and design management, community engagement

cultural innovation

What does he SEE? He sees funders increasingly favoring nonprofits ��ic� coop�rat� �it� �ac� ot��r and as a result, collaboration emerging as a tr�n��

reframing: opportunity map 2

technology, project and design management, community engagement

Tactical, strategic, and evaluative considerations

feasibility

functional innovation

Funding • •

process innovation

desirability

tangible artifact, participation/ experience, facilitator/ moderator

Operating

Categories

Activities

Marketing

Designing

College student schedules ��

Pain

• • • •

What does she HEAR?

What does she SEE? She sees the need for trust, mutual respect, personal integrity, openness ��for� co-op�tition a�on� non-profits can �� s��n as a t�in� of natur��

What does she SAY and DO?

Pain

• • • •

Gain

Strong commitment Resources Partnerships Woman-owned

What does he HEAR?

What does he SEE?

He hears that his organization’s volunteers might lack an entrepreneurial spirit which could be an important factor to driving cooperation

He sees the potential for qualitative study to assess the extent and nature of coopetition among the historic preservation co��unit��

co-opetition = experience innovation through a so�ia� enterprise in �o-�reati�e wor�s�ops for prob�e�-so��in� between si�i�ar non-profits�

Operating 9

Funding

• •

Various schedules Minimal time availability

Pain

Gain • �� • Close-knit • Experience in design thinking • High funding and talent

Personas: Contextual Scenario

Contextual Research

10.

Research & development

fi om co om s o sc ?

Memberships/ subscriptions

Real estate investments

soc fi o o

Co-creative workshops

Private & public events

to ��lp co�p�tin� or�ani�ations coop�rat� an� sustain t��ir co��unit��s �uilt ass�ts t�rou�� applying designed regulations for a circular �cono�� it� �ar��t an� social considerations. Encourages co-opetition through: Community needs, funding opportunities, funder-initiated collaboration, & advancing s�ar�� oals

m fi p o o p

� �� m

Unit 10

design criteria for prototype: considerations

Designing

Unit 07

Appendix G: Page 146

Applying design thinking for...

to increase collaboration between...

co-opetition Principles of design thinking are integrated as a foundation from research to prototyping to end-use.

s cu u c m co

Marketing

Operating

Funding

Tactical: �re t�e non-profits �illing to collaborate to respond to a community need and/or funding opportunity?

tactical considerations

funders

talent

Strategic: Are the funders & talent willing to initiate/mandate collaboration between the non-profits� Evaluative: �re t�e non-profits �illing to collaborate to advance a shared goal?

cultural climate

Funders & Talent supporting Funders & Talent

��supporting Funders & Talent

Funders & Talent and Funders & Talent

��supporting ��

��and Funders & Talent

Conducting Research Unit 02 - Unit 05 & Unit 08

Business Planning Unit 09

Market Analysis

Refining the Prototype Unit 08 - Unit 09

Unit 04 - Unit 05

Assessment and Validation Plan Unit 08

Research Synthesis Unit 06

Exploration and Protyping Unit 07

The focus of this project is applying design thinking and using organizational culture to transpire organizational effectiveness and collaboration between �� through qualitative research in t�� fi�l��

��and ��

evaluative considerations Overlaps in between considerations signify consideration of cultural climates and competition �et�een non-profits for funding and talent.

Prototype: Social Enterprise Model

Unit 01

strategic considerations

Informal sharing of resources

PMI Analysis: Contextual Scenario

Talent/ volunteers

Historic preservation community

-hous s ou sou c x cu o ?

Project Planning

4. Cross-promotion involving shared ads

9. Sharing of production

Marketing, operating, designing, funding

Hudson Valley

Local colleges/ universities

Project Complete

3. Special promotions related to joint projects

8. Sharing of venues

Frances Reese Cultural Center

fin cowo n

7. Sharing of donor/subscriber mailing lists and contact information 6

Donors/ funders

Small, local nonprofits

Co-working

Grant proposals

Roger R., Age 23 • Leader in NFP-B, needs funding • Student, Student Aid - Intramural �� • Hopewell Junction, NY • Friend of �lair� �� ric �� an� �lis� �� • Has experience in social-science research • Motivated by variety of project types • Wants to o�n a for-profit �usin�ss • Frustrated by the laissez-faire • Typical tasks include managing over 5 projects at a time • Skilled at the laws within the historic preservation process

6. Redevelopment services 10

co-opetition = experience innovation through a social enterprise in educational partnerships with local schools and museums.

Participatory designing

Memberships

sustainability & accessibility

Secondary Source: IDEO Design Thinking.

What does he THINK and FEEL? He thinks building collaborative relationships means communication, artistic excellence, and compatibility of missions but feels his competitors �a�� lo� a�aila�ilit� of n�� r�sourc�s an� cr�ati�it��

Eric D., Age 21 • Leader in NFP-A, needs talent • Student, Biomedical Lab Assistant • Beacon, NY • Classmate an� fri�n� of �lair� �� ri�n� of �lis� �� an� �o��r �� • Has no artistic abilities • Motivated by large, urban adaptive reuse projects • Wants to ��cr�as� financial ��t • Frustrated by lack of communication between nonprofits • Typical tasks include visiting historic sites • Skilled at networking with funders

5. Inclusion in each other’s program/process books

co-opetition = experience innovation through a social enterprise in adaptive reuses of historic sites into �o-wor�in� spa�es for �o�a� non-profits�

i �a� ��a ��a�� i

Preservation/revival of historic sites

Organizational behavior

adaptive reuses:

Collaboration & community building

College students Context research & design thinking

ta ent database?

Shared resources

educational partnerships

Adaptive reuse projects

Claire C., Age 22 • Leader in NFP-B, needs funding • Student, Meat Packer • Annandale-on-Hudson, NY • Classmate an� fri�n� of �ric �� fri�n� of �o��r �� • Has Autism Spectrum Disorder • Motivated by small, local educational initiatives • Wants to expand network of local entrepreneurs • Frustrated by small local market • Typical tasks include researching her user-base/donors • Skilled at feeling empathy and personally connecting with her target audience

1. Formal preservation and art

Cooperation and its barriers

Opportunities for Innovation

Co-creative workshops

Bard College & DCC

ss s mo us ss

o c ss s?

What does she THINK and FEEL?

2. Educational & design partnerships Competition and its catalysts

Rent/ utilities, insurance

+ ∆ ?

She thinks cooperation that might be considered informal includes interactive sharing of talent between organizations and feels that �uil�in� colla�orati�� r�lations�ips ar� i�portant�

She hears that structured and guided interviews of her competitors’ top leaders might get her information which can lead to an increase in funding for her or�ani�ation�

Small and new Low funding

a collaborative, innovative, and developmental community is generated

Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

+ ∆ ?

• •

EXPAND on cr ter a!

Gain New, contemporary branding Multi-disciplinary Close personal relationships New website

There is an opportunity to apply design thinking for ��and Funders & Talent in local Historic Preservation to increase collaboration between each other and ultimately support collaboration between ��through strategic restructuring of their cultural climates.

empathy map: Claire C.

ym no desab ,sretcarahc lanoitcfi era sanosreP taht ecneidua tegrat eht gnitneserper ,hcraeser

What does he HEAR? He hears innovative organizations like collaborating through special promotions related to cross-promotion, joint projects, shared ads, and inclusion in each other’s proc�ss an� pro�ra� �oo�s�

What does he SAY and DO?

Designing

training, creative problem-solving, lateral thinking, brainstorming

process innovation

Elise R., Age 24 • Leader in NFP-A, needs talent • Interior Designer, Carpenter • Cornall-on-Hudson, NY • Friend of �ric �� an� �o��r �� • Has a good sense of competition • Motivated by solitude and nature • Wants to o�n a for-profit �usin�ss • Frustrated by extreme consumerism • Typical tasks include contacting executive directors • Skilled at digital media and communications

yehT .noititepo-oc rof krowemarf ym esu thgim He thinks that most formal cooperation in his organization involves cneirepxe ,sdeen ’sresu ym dnatsrednu em pleh artistic projects yet feels that cooperation in his community,semost likely .slaog dna ,sroivaheb involves operational activities like sharing of venues, production, and r�sourc�s�

viability

museum exhibits/ tours, service learning, internships

Friends of Carnwath

New York Historic Sites Alliance

u pos o s c o u p op + mo

N HSA m

Wappinger Historical Society

empathy map: Roger R.

He says developing funds by sharing resources such as donor/subscriber mailing lists and contact information with other organizations is rare since he does r�co�ni�� t�at t�� ar� co�p�tin� for ��r� littl� �onor fun�in��

viability

real estate development, historic preservation, interior design projects

historic preservation leaders adopt innovation frameworks

empathy map: Eric D.

One new idea to consider (Idea)

Prototype C: Co-creative Workshops

Evaluative: �re the non-pro�ts willing to collaborate to advance a shared goal?

Formal preservation and art

5. Inclusion in each other’s program/process books

What does he SAY and DO?

• • • •

��

�� Tactical:

��

reframing: opportunity map

��

Designing

6. Redevelopment services

• Resources He says barriers to cooperation between organizations other than funding and talent include issues related to logistics, scheduling, and • Partnerships resource scarcity• but he does want to emphasize the issue of trust based Woman-owned on prior bad experiences.

• •

��

Funders & Talent

��

What does he SEE?

• New, contemporary branding He hears that his organization’s volunteers • spirit Multi-disciplinary might lack an entrepreneurial which could be an important factor to driving • Close personal relationships cooperation • New website

Small and new Low funding

• • •

��

Competition and its catalysts

What does she SEE? What does he THINK and FEEL?

He thinks building collaborative relationships means communication, artistic excellence, and compatibility of missions but feels his competitors have low availability of new resources and creativity.

What does he HEAR? What does she SAY and DO?

College student schedules ��

• •

Plus: Comment Triangle: Critique Question mark: Question Light Bulb: Idea

Cornall-on-Hudson, NY

What does he SEE? What does she THINK and FEEL?

What does she HEAR? What does he SAY and DO?

Technical infrastructure Restricted donations

Funders & Talent

as a foundation from to end-use.

process, establish a clear purpose and goals, and ask just grants.

�� Funders & Talent should establish an end goal, while developing a communications plan for collaboration with other non-pro�ts, involving sharing stores of strategicrestructuring, yet focus on �uality of buy-ins, not �uantity.

taht ecneidua tegrat eht gnitneserper ,hcraeser in NFP-A, needs talent yehT .noititepo-oc rof krowemarf ym e•su thLeader gim ,secneirepxe ,sdeen ’sresu ym dnatsrednu•em Interior pleh Designer, Carpenter .slaog dna ,sroivaheb

empathy map: Claire C.

��

Funders & Talent

design criteria for prototype: considerations

co-opetition

as connections, while providing thinkingongoing support

��

other �� Develop a communications plan

Establish an end goal with clear expectations �uestions, while exploring all funding options and not

What does she SEE? What does he THINK and FEEL? ym no desab ,sretcarahc lanoitcfi era sanosreP

He hears collaborating through special promotions related to cross-promotion, joint projects, shared ads, and inclusion in each other’s

• •

��

come together to openPrinciples up funder networks and serve of ��

Establish a clear purpose with desired outcomesan organi�ation’s and building trust throughout

restructuring for collaboration. Don’t be afraid to ask for help processesresearch to prototyping

•

empathy map: Eric D.

What does he HEAR? What does she SAY and DO?

��

Funders & Talent Funders & Talent should come together to �nd activities for building connections and help grantees, while willing each other.

Recogni�e that developing strategies, plans, structures, and relationships takes time

�� •

What does she THINK and FEEL?

What does she HEAR? She hears discomfort with the concept of competing and agreeing that competition for available money from a small pool of funders, donors, and ticket buyers is

��

Find activities that require more people to come to the table

•

empathy map: Elise R.

+ ∆ ?

opportunities for design matrix

�� Insights ��

unrestricted funds and share resources with �� to provide ��

What does she THINK and FEEL?

co-opetition

tactical considerations

There is an opportunity for �� Historic Preservation organizations through integrating design thinking for external sustainable advantage.

reused feedback oop?

empathy map: Elise R.

design criteria for prototype: considerations Principles of design thinking are integrated as a foundation from research to prototyping to end-use.

unit 07: working wall

+ ∆ ?

same participants asked to date 3 concepts

Total: 90 mins.

feedback capture grid: adaptive reuses concept One thing that I liked the most (Comment)

��

Concept 6: Historic Trails System

Plus: • Cooperation and communication through applied principles in DMGT. (+8) Minus: • NFP-A needs talent but isn’t aware of the Virtual Platform NFP-B uses to gain their abundance of volunteers. (-9) Interesting: • Opportunity for UX & graphic design, humancomputer interactions, and ergonomics. (+8) • Eric D. of NFP-A lacks the digital skills to effectively communicate with the volunteers he is in search for. (-8)

• • •

stage

Goals & Expected Outcomes • �o re�iew personas� resear�� fin�in�s� �esi�n opportunities� an� �esi�n �riteria • �o �ui�e parti�ipants t�rou�� a fee�ba�� pro�ess • To explore the main issue of coordination and competition in our community • To increase the participants’ understanding of co-opetition

4. Solution (experience)

Concept 1: Cultural Consultancy

Pain

Resources: activity board, ball, large paper, markers/pens, paper, post-its, take-home kit

Idea Capture Grid: “Speed-dating” Style

Idea/Feedback Capture Grid

Assimilating NFP-B is renovating/preserving the other site and is ahead of NFP-A in the process because of their larger project management team so he wants to unite both sites.

Scenario: • Increased funding for NFP-B through managing both NFP-A‘s and B’s marketing, designing, and operating activities with an entrepreneurial spirit.

Plus: • Cooperation and maximi�ed �uanti�able results through applying a designed framework. (+9) Minus: • NFP-B needs funding but NFP-A is more creative with grant proposals. (-7) Interesting: • Opportunity for entrepreneurship, innovation, risk-taking, strategy, and change. (+8) • Claire C. of NFP-B just received news that NFP-A received the grant they both applied for. (-8)

What does she SAY and DO?

Pain

Small and new Low funding

Claire C., Age 22 • Leader in NFP-B, needs funding • Student, Meat Packer • Annandale-on-Hudson, NY • Classmate and friend of Eric D., friend of Roger R. • Has Autism Spectrum Disorder • Motivated b� s�a�� o�a� educational initiatives • Wants to e�pan� networ� of �o�a� entrepreneurs • Frustrated b� s�a�� o�a� �ar�et • Typical tasks include researching �er user-base��onors • Skilled at feeling empathy and personally connecting with her target audience

He thinks bui��in� �o��aborati�e re�ations�ips �eans �o��uni�ation� artisti� e��e��en�e� an� �o�patibi�it� of �issions but feels his competitors �a�e �ow a�ai�abi�it� of new resour�es an� �reati�it��

He sees funders increasingly favoring nonprofits w�i�� ooperate wit� ea�� ot�er an� as a resu�t� �o��aboration e�er�in� as a trend.

One thing that I dont understand (Question)

Concept 4: Educational Partnerships

3. Imperative (idea)

What does she SEE? She sees the need for trust, mutual respect, personal integrity, openness before �o-opetition a�on� non-profits �an be seen as a t�in� of nature�

ym no desab ,sretcarahc lanoitcfi era sanosreP taht ecneidua tegrat eht gnitneserper ,hcraeser

He says �e�e�opin� fun�s b� s�arin� resour�es su�� as �onor�subs�riber mailing lists and contact information with other organizations is rare since he does recognize that they are competing for very little donor funding.

been

��u�ationa� partners�ips wit� �o�a� institutions for non-profits in historic preservation will give design managers an opportunity to �e�p �o�petin� or�ani�ations �ooperate an� �row�bui�� t�eir �o��unit� t�rou�� esi�ne� fra�ewor�s for resear�� i�i� engagement, human resources, internships and service learning.

Converging Increase talent for NFP-A through designing, marketing, funding, and operating a coworking space for both NFP-A and B, which they both helped design together and share resources within.

What does she HEAR?

She says that historic preservation organizations within small to mid-size urban areas �i��t �iew ea�� ot�er as �o�petitors an� does research to assess t�e a�t of �ooperation an� its barriers� as we�� as ta�ti�a�� strate�i�� and evaluative considerations.

• •

He hears inno�ati�e or�ani�ations �i�e �o��aboratin� t�rou�� spe�ia� pro�otions related to cross-promotion, joint projects, shared ads, and inclusion in each other’s pro�ess an� pro�ra� boo�s�

• College student schedules • ��

social enterprise = final prototype

Concept 3: Virtual Platforms

Assimilating NFP-A needs volunteers but doesn’t have the workplace for proper training like NFP-B so he uses a co-working and redevelopment system.

Gain

Legacy Paid employees Large organization International initiatives

What does he SEE?

tangible artifact = concept for co-creative workshops

Use molded objects as prototypes?

Unit 07

�irtua� p�atfor�s t�rou�� t�e use of a �obi�e app for non-profits in historic preservation will give design managers an opportunity to help competing organizations cooperate and communicate through applying principles of UX & graphic design, human-computer interactions, and ergonomics.

wireframing?

Exploration and Protyping

Unit 08

Concept 2: Adaptive Reuses

2. Framework (insight)

• • • •

What does he HEAR?

Unit 06

Assessment and Validation Plan

bard & hht work

Adaptive reuse, interior design, and re-development projects for non-profits in �istori� preser�ation wi�� i�e �esi�n �ana�ers an opportunity to help competing organizations cooperate and sustain t�eir �o��unit��s bui�t assets t�rou�� app��in� �esi�ne� re�u�ations for a �ir�u�ar e�ono�� wit� �ar�et an� so�ia� �onsi�erations�

Converging Increase funding for NFP-B through managing both NFP-A‘s and B’s marketing, designing, and operating activities with an entrepreneurial spirit.

Pain

the process:

She hears that structured and guided interviews of her competitors’ top leaders might get her information which can lead to an increase in funding for her organization.

yehT .noititepo-oc rof krowemarf ym esu thgim He thinks that most formal cooperation in his organization involves cneirepxe ,sdeen ’sresu ym dnatsrednu em pleh artistic projects yet feels t�at �ooperation in �is �o��unit�,se�ost �i�e�� .slaog dna ,sroivaheb in�o��es operationa� a�ti�ities �i�e s�arin� of �enues� pro�u�tion� an� resources.

Research Synthesis

Unit 04 - Unit 05

a collaborative, innovative, and developmental community is generated

Concept 1: Cultural Consultancy

Assimilating NFP-B needs funding but NFP-A is more creative with grant proposals so she contacts a cultural consultancy to �nd what she’s missing.

Market Analysis

historic preservation leaders adopt innovation frameworks

� �onsu�tan�� fo�usin� on �e�e�op�enta� �u�ture wit�in non-profits in historic preservation will give design managers an opportunity to help competing organizations cooperate and maximize their �uantifiab�e resu�ts t�rou�� app��in� a �esi�ne� fra�ewor� wit� prin�ip�es of entrepreneurs�ip� inno�ation� ris�-ta�in�� strate�� an� change. Encourages co-opetition through: Community needs, funding opportunities, & advancing shared goals

What does she SAY and DO? She says t�at t�e �u�son �a��e� �as a s�a�� ar�et for t�e �ar�e nu�ber of �istori� preser�ation or�ani�ations t�at e�er�e� to �o�pete for resour�es but s�e does re�o�ni�e t�at so�e �ontributors �onate to �u�tip�e non-profits an� �er au�ien�es ten� to in��u�e a �ar�e proportion of ��rosso�er� atten�ees w�o atten� a �ariet� of arts e�ents�

Technical infrastructure Restricted donations

Elise R., Age 24 • Leader in NFP-A, needs talent • Interior Designer, Carpenter • Cornall-on-Hudson, NY • Friend of Eric D. and Roger R. • Has a good sense of competition • Motivated b� so�itu�e an� nature • Wants to own a for-profit business • Frustrated b� e�tre�e consumerism • Typical tasks include contacting executive directors • Skilled at digital media and communications

utilize opport. graphics in prototypes

Will Kenton of Investopedia defines co-opetition as “the act of cooperation between competing organizations” and “a type of strategic alliance” (2018).

cheyenne = education n��

design organizational and collaborative structures

There is an opportunity for �� Historic Preservation or�ani�ations t�rou�� inte�ratin� �esi�n t�in�in� for external sustainable advantage.

Co-creative Workshops

�

Unit 09

Adaptive Reuse

�h

�a� ��a ��h�ei �ea��

What does she SEE? She sees time constraints and other leisure activities, including movies, television, and sports events, as competition.

What does he SAY and DO?

Business Planning

Unit 10

Unit 02 - Unit 05 & Unit 08

Project Complete

informal vs. formal coopetition?

��tt�i��

What does she HEAR?

What does he THINK and FEEL?

Conducting Research

Unit 01

Co-working

explore, rethink, reframe, align

What does she THINK and FEEL? She thinks �ooperation t�at �i��t be �onsi�ere� infor�a� in��u�es intera�ti�e s�arin� of ta�ent between or�ani�ations an� feels that bui��in� �o��aborati�e re�ations�ips are i�portant�

empathy map: Eric D.

Project Planning

Strategic Restructuring Local ��

�� of the new economy

• •

Co-opetition

Design Manager

i e

lead necessary transformation

What does she THINK and FEEL? She thinks or�ani�ations t�at are in t�e sa�e t�pe of business as �ers as we�� as �ifferent t�pes of businesses w�i�� se�� t�e sa�e product/service are her major competitors and feels out of touch with those who volunteer for these organizations.

She hears her competitors expressing discomfort with the concept of competing and agreeing that competition for a�ai�ab�e �one� fro� a s�a�� poo� of fun�ers� �onors� an� ti��et bu�ers is challenging.

part 05 COMPLETE - part 06 complete: unit 09

personas used in concept scenarios empathy map: Claire C.

empathy map: Elise R.

## ## ## ##

06. Final Design to Market Final Prototype Business Model Canvas Business/Implementation Plan

�e�e��en��

unit 06: working wall

pains + gains from 2 x 2’s

Funders & Talent supporting ��

Through... • Funded implementation • Funded initial exploration • Lead investors • Endorsements

...for strategic restructuring of their cultural climates

lead necessary transformation

�� of the new economy

design organizational and collaborative structures

working wall: units 08 & 09

Cheyenne C.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Improve clarity on sustainability and increase green aspect.â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;A system of the same workshops or different kinds?â&#x20AC;?

research library = enable collaboration

Customer Interface Assessment 06

Customer churn rates are low

Customer base is well segmented

We are continuously acquiring new customers

Our Channels are very efficient

Our Channels are effective

Channel reach is strong among customers

Customers can easily see our Channels

Channels are strongly integrated

Channels provide economies of scope

organizations are guided through a co-design process using theories of co-opetition to reuse the space for co-working together.

5 5

Customer churn rates are high

Customer base is unsegmented

We are failing to acquire new customers

Our Channels are inefficient

Our Channels are ineffective

Channel reach among prospects is weak

Prospects fail to notice our Channels

Channels are poorly integrated

Channels provide no economies of scope

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝See Figure 5-15: Page ## for Business Model Canvas and Appendix F: Page ## for Opportunities and Threats

The NYHSA CoP Initiative at Carnwath Co-opetition and Co-working with Communities of Practice at the Frances Reese Cultural Center and the Hudson Valley

Customer Interface Assessment (continued) 08

Channels are well matched to Customer Segments

Strong Customer Relationships

Relationship quality correctly matches Customer Segments

Relationships bind customers through high switching costs

Our brand is strong

online classes?

+ â&#x2C6;&#x2020; ?

the artistic component

long project commitments

aligns w/ community missions

do others know adaptive reuse?

what about preserving original use?

define coworking

interdisciplinary

combine retail development

why formal coopetition?

Project Co+Design is the first initiative of its kind in New Yorkâ&#x20AC;&#x2122;s Hudson Valley region. We bring together the New York Historic Sites Alliance, Friends of Carnwath Farms HSP, Wappingers Historical Society, and other local organizations under one roof to co-design community workplaces and participate in cocreative workshops. What makes Project Co+Design unique is our human-centered, design-thinking approach to work and education. We partner with local schools to provide our members with talent, increased funding, and instill a culture of learning and doing while reviving and interacting with heritage sites.

Channels are poorly matched to Customer Segments

Weak Customer Relationships

Relationship quality is poorly matched to Customer Segments

Customers switching costs are low

Our brand is weak

Other buildings at Carnwath

partner w/ co. in rhinebeck

implement product use

service learning

develop + â&#x2C6;&#x2020; design ? criteria

+ â&#x2C6;&#x2020; ?

use of nyhsa initiatives

we are students

why/what museums?

elementary & high schools?

tourism aspect

education is key

current partnerships

how to reach design programs?

workplace & museum combo?

more specific or wider audience

museum partnerships

reinforce concept idea

small groups

can bard facilitate/ moderate?

Our Key Resources are difficult for competitors to replicate

Resource needs are predictable

We deploy Key Resources in the right amount at the right time

We efficiently execute Key Activities

Our Key Activities are difficult to copy

Execution quality is high

Balance of in-house versus outsourced execution is ideal

We are focused and work with partners when necessary

We enjoy good working relationships with Key Partners

simplicity/ understanding

monthly workshop series

Cost/Revenue Assessment (continued) 10

Our Revenue Streams are sustainable

We collect revenues before we incur expenses

public poll on what to train on

Our Key Resources are easily replicated Resource needs are unpredictable

08 07

Our pricing mechanisms capture full willingness to pay

Our costs are predictable

Our Cost Structure is correctly matched to our business model

Our operations are cost-efficient

We benefit from economies of scale

08 07

Execution quality is low

2 2

# , + ,

" , , 9

Private & public events

apply RESULTs = Analysis

â&#x20AC;&#x2DC;Under One Roofâ&#x20AC;&#x2122; Concept Based on the environmental analyses from my observational and other qualitative research, I brought in an element of spatial awareness to my project as a tangible artifact. In order to maximize the opportunities for design, I will be combining my developed concepts â&#x20AC;&#x2DC;under one roof.â&#x20AC;&#x2122; This means that I will construct a system in which co-creative workshops and educational partnerships are housed within the same space through collaborative, adaptive re-use projects between similar and local non-profits. The result is a space within an existing building, both co-designed and occupied by non-profits and schools, and managed by design thinking professionals.

funders & talent

What is co-working?[1]

cultural climate

â&#x20AC;&#x153;Coworking is not just about the sharing of infrastructure and cost, it is about belonging to a community, accessibility and sustainability. It is the new way of working and sharing. Spaces are designed to provide a productive and collaborative environment for their dynamic inhabitants, and created without corporate constraints on what is perceived to be an â&#x20AC;&#x153;officeâ&#x20AC;? environment offering flexible memberships to suit most needs.â&#x20AC;?

DMGT = Process first

We fail to charge for things customers are willing to pay for

Our pricing mechanisms leave money on the table

08 06

Value Proposition Assessment

Our costs are unpredictable

Our Cost Structure and business model are poorly matched

Our operations are cost-inefficient

We enjoy no economies of scale

plus minus

Our Value Propositions are well aligned with customer needs

Our Value Propositions have strong network effects

There are strong synergies between our products and services

Our Value Propositions have no network effects

Our customers are very satisfied

Our Value Propositions and customer needs are misaligned

There are no synergies between our products and services

We have frequent complaints

Cost/Revenue Assessment

We benefit from strong margins 4

Our revenues are predictable

We have recurring Revenue Streams and frequent repeat purchases

Our Revenue Streams are diversified

Our margins are poor

Our revenues are unpredictable

Our revenues are transactional with few purchases

complete swot analysis / standard one We depend on a single Revenue Stream

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝See Figure 5-15: Page ## for Business Model Canvas and Appendix F: Page ## for Opportunities and Threats

Designing

Marketing

Operating

new thinking tools?

Funding

Project Planning Unit 01

Conducting Research Unit 02 - Unit 05 & Unit 08

Unit 10

Business Planning Unit 09

Market Analysis Unit 04 - Unit 05

Research Synthesis Unit 06

Refining the Prototype Unit 08 - Unit 09

Assessment and Validation Plan Unit 08

Exploration and Protyping Unit 07

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝considerations

go beyond physical space

Unit 08

PROCESS improvements = breakthrough ideas

tactical considerations

funders

talent

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Are the funders & talent willing to initiate/mandate collaboration between the non-profits? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Are the non-profits willing to collaborate to advance a shared goal?

strategic considerations

cultural climate

Applying design thinking for...

to increase collaboration between...

Funders & Talent supporting Funders & Talent

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝supporting Funders & Talent

Funders & Talent and Funders & Talent

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝supporting ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝and Funders & Talent

evaluative considerations

ultimately supporting collaboration between... For... â&#x20AC;˘ Sharing goals â&#x20AC;˘ Responding to a community need of collaboration â&#x20AC;˘ Initiated/mandated funder & talent wants/needs â&#x20AC;˘ Less competition of funders & talent â&#x20AC;˘ Responding to a funding opportunity ...in local Historic Preservation

The focus of this project is applying design thinking and using organizational culture to transpire organizational effectiveness and collaboration between ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ through qualitative research in the field.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝and ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Overlaps in between considerations signify consideration of cultural climates and competition between non-profits for funding and talent.

Funders & Talent supporting ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Through... â&#x20AC;˘ Funded implementation â&#x20AC;˘ Funded initial exploration â&#x20AC;˘ Lead investors â&#x20AC;˘ Endorsements

...for strategic restructuring of their cultural climates

lead necessary transformation

a collaborative, innovative, and developmental community is generated

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Contact Founders/Designers of CO. in Rhinebeck, NY.â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Improve tourism aspect of combining education w/ museums.â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Its great that we already have previous experience with this.â&#x20AC;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;?How can you partner with design or preservation programs?â&#x20AC;?

Will Kenton of Investopedia defines co-opetitionďż˝as â&#x20AC;&#x153;the act of cooperation between competing organizationsâ&#x20AC;? and â&#x20AC;&#x153;a type of strategic allianceâ&#x20AC;? (2018).

ways to address threats

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Improve clarity on sustainability and increase green aspect.â&#x20AC;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ 06

Customer churn rates are low

Customer base is well segmented

We are continuously acquiring new customers

Our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are very efficient

Our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are effective

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ reach is strong among customers

Customers can easily see our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are strongly integrated

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ provide economies of scope

5 5

Customer churn rates are high

Customer base is unsegmented

We are failing to acquire new customers

Our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are inefficient

Our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are ineffective

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ reach among prospects is weak

Prospects fail to notice our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are poorly integrated

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ provide no economies of scope

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Do we depend excessively on one or more ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝?

Which ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are likely to disappear in the future?

design mgt= proj mgt?

Which costs threaten to grow more quickly than the revenues they support?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ of the new economy

design organizational and collaborative structures

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝implementation plan

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ In order to closely monitor how our risk/reward expectations play out against actual results, particular attention needs to be paid to managing uncertainties. Our business model requires a reward system involving motivating members to work towards our collective goals with a focus on community performance.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Co-opetition and Co-working with Communities of Practice at the Frances Reese Cultural Center and the Hudson Valley

What ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ might be disrupted?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

+ â&#x2C6;&#x2020; ?

the artistic component

aligns w/ community missions

do others know adaptive reuse?

what about preserving original use?

interdisciplinary

long project commitments

what is competition like?

why formal coopetition?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ is the first initiative of its kind in New Yorkâ&#x20AC;&#x2122;s Hudson Valley region. We bring together the New York Historic Sites Alliance, Friends of Carnwath Farms HSP, Wappingers Historical Society, and other local organizations under one roof to co-design community workplaces and participate in cocreative workshops. What makes Project Co+Design unique is our human-centered, design-thinking approach to work and education. We partner with local schools to provide our members with talent, increased funding, and instill a culture of learning and doing while reviving and interacting with heritage sites.

define coworking

understanding of process

partner w/ co. in rhinebeck

combine retail development

funding opportunities

green/ sustainability

service learning

why/what museums?

Other buildings at Carnwath

implement product use

+ â&#x2C6;&#x2020; ?

use of nyhsa initiatives

elementary & high schools?

education is key

we are students

how to reach design programs?

workplace & museum combo?

tourism aspect

current partnerships

education in design thinking

paid internships

more specific or wider audience

museum partnerships

online classes

virtual/ interactive exhibits

design + â&#x2C6;&#x2020; criteria ? developed

previous experience

theoretical aspects

can bard facilitate/ moderate?

why just creativity?

hands-on

small groups

what is cocreative?

multiples of same workshop?

less specific UX visual pres.

larger group protocols

viable problems/ solutions

Could our market be saturated soon?

Are competitors threatening our market share?

How likely are customers to defect?

How quickly will competition in our market intensify?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ The characteristics of our business model determines the optimal organizational structure for its execution. Implementing our model in an established business calls for a highly decentralized structure in which our new operations can be integrated with their business models and our prototypes.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Our business model demands certain informationflows, processes, and work-flows in order to operate at a sustainably low-cost. Our processes for automated and lean operations are rigorously and continuously checked for quality and value. We will scan the environment to rethink and rejuvenate our business.

Unit 09

Appendix G: Page 147

Preservation/revival of historic sites

sustainability & accessibility

Historic real estate crowdfunding

Funding & talent

public poll on what to train on

ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ 5

Are any of our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ in danger of deteriorating?

Could we generate recurring revenues by converting products into services? Could we better integrate our products or services?

Which additional customer needs could we satisfy?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Based on the environmental analyses from my observational and other qualitative research, I brought in an element of spatial awareness to my project as a tangible artifact. In order to maximize the opportunities for design, I will be combining my developed concepts â&#x20AC;&#x2DC;under one roof.â&#x20AC;&#x2122; This means that I will construct a system in which co-creative workshops and educational partnerships are housed within the same space through collaborative, adaptive re-use projects between similar and local non-profits. The result is a space within an existing building, both co-designed and occupied by non-profits and schools, and managed by design thinking professionals.

# , +

What complements to or extensions of our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are possible?

What other jobs could we do on behalf of customers?

" , ,

Is the quality of our activities threatened in any way?

Are we in danger of losing any partners?

Memberships/ subscriptions

when to test

Talent/ volunteers

Historic preservation community

College students Frances Reese Cultural Center

Virtual platforms

co-opetition huge bonus in start-up

Historic real estate crowdfunding

Private & public events

Co-creative workshops

[1]: What Is Coworking? (2018, April 21). Retrieved from https://www.coworker.com/lab/what-is-coworking/

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ 5. Co-design their own workplace 6. Participate in co-creative workshops within their own workplace 7. Foster educational partnerships within their own workplace

DMGT = process first

Small, local nonprofits

figure 5-12

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

1. Strategically restructure the cultural climate of the historic preservation community 2. Increase collaboration between local non-profits, funders, and talent 3. Facilitate co-opetition between local non-profits through adaptive re-use projects within historic sites 4. Unite the local community under one roof

Are we too dependent on certain partners?

Donors/ funders

Design, creative, facility & change mgt.

review validation sequence

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Might our partners collaborate with competitors?

Co-working

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝chosen chosen concept

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ 2

Participatory designing

Memberships

Local colleges/ universities

workshops on facilitating workshops

Are our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ in danger of becoming irrelevant to customers?

Do competitors threaten our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝?

Collaboration & community building

economies of scale vs scope?

Research & development

simplicity/ understanding

use upcoming nyc workshop

monthly workshop series

Shared resources

Historic real estate crowdfunding

Historic preservation

audience focus

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

compare to personas?

Marketing, operating, designing, funding

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

revise â&#x20AC;&#x153;servicesâ&#x20AC;?

1 2 3 4 5 6 ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Our business model calls for people with particular mindsets. Implementing design thinking requires entrepreneurial mechanisms which will bring our services to market. This gives members significant leeway, which means co-working with proactive, but dependable, freethinkers and continuously assessing solutions.

Is the quality of our resources threatened in any way?

The NYHSA CoP Initiative at Carnwath

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝[1]

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

For small organizations in the Hudson Valley with similar missions who are seeking ways to collaborate in order to increase funding and talent, our model offers a new cultural phenomenon designed to dissolve barriers and facilitate connection. We do this by guiding organizations through a design thinking process in a structured, informative format that requires divergence, convergence, and innovative communications. Unlike others that operate in frameworks primarily dedicated to specific cultures, which tend to stratify communities by technical understanding, our approach is based in research that reveals the underlying organizational models that each group holds in relation to the other in order to suggest opportunities for how we might change our perceptions â&#x20AC;&#x201C; so that we may increase the odds of success in local initiatives â&#x20AC;&#x201C; by integrating design thinking and collaboration as a key competitive advantage.

In order to optimize operations and reduce risks of our business model, we cultivated a different kind of â&#x20AC;&#x153;buyer-supplierâ&#x20AC;? relationship in order to focus on our core activities. â&#x20AC;&#x153;Strategic alliancesâ&#x20AC;? that can potentially legitimize PROJECT CO+DESIGN might include the New York Historic Sites Alliance, Wappingers Historical Society, Friends of Carnwath Farms Historic Site and Park, Bard College, and Dutchess County Community College.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Could we face a disruption in the supply of certain resources?

Rent/ utilities, insurance

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;A system of the same workshops or different kinds?â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ 5

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Create virtual and interactive exhibits.â&#x20AC;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝strengths & weaknesses

educational partnerships

Grant proposals

Organizational culture

what if all three concepts were combined â&#x20AC;&#x2DC;under one roofâ&#x20AC;&#x2122;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Increase viability of real problems to solve.â&#x20AC;?

ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝

Talent datase management

Context research & design thinking

blue = new

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;?Its exactly what this community wants and needs.â&#x20AC;?

## ## ## ##

ďż˝ďż˝ďż˝ďż˝ďż˝

Co-creative workshops Adaptive reuse projects

Bard College & DCC

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Education is key in encouraging innovation adoption.â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Facilitate a workshop on facilitating workshops.â&#x20AC;?

historic preservation leaders adopt innovation frameworks

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Strategy drives our business model. We want to grow within new market segments. Our strategic goals involve implementing PROJECT CO+DESIGN as a prototype in the field by communicating, involving, and executing new Customer Segments, Channels, and Key Activities. This drives the business model by continuously requiring adaptation and modification in response to market reactions and synergies or conflicts between prototypes.

co-opetition

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Are the non-profits willing to collaborate to respond to a community need and/or funding opportunity?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝â&#x20AC;&#x153;Is there still a chance to preserve the original uses of certain sites?â&#x20AC;?

Are our margins threatened by competitors? By technology?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Project Complete

Principles of design thinking are integrated as a foundation from research to prototyping to end-use.

## ## ## ## ## ## ##

Which costs threaten to become unpredictable?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝strengths strengths & weaknesses

05. Prototype Development and Testing Prototype Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

co-creative workshops

co-working

Friends of Carnwath HSP

New York Historic Sites Alliance

DT, GHHN, RRCA

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

## ## ## ## ##

Are competitors threatening to offer better price or value?

educational partnerships adaptive re-use

Wappingers Historical Society

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝highlights

There is an opportunity for ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Historic Preservation organizations through integrating design thinking for ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

04. Design Opportunities and Criteria, Reframing Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

Are substitute products and services available?

co-opetition

local ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝working wall

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝See Figure 5-15: Page ## for Business Model Canvas and Appendix F: Page ## for Opportunities and Threats

strategic restructuring

5. Co-design their own workplace 6. Participate in co-creative workshops within their own workplace 7. Foster educational partnerships within their own workplace

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

[1]: What Is Coworking? (2018, April 21). Retrieved from https://www.coworker.com/lab/what-is-coworking/

figure 5-12

design manager

Our revenue sustainability is questionable

FINAL push FINISH book

06. Final Design to Market Final Prototype Business Model Canvas Business/Implementation Plan

historic sites

Design manager creates a co-working system to...

We incur high costs before we collect revenues

part 06 COMPLETE - part 07 complete: unit 10

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Co-creative workshops

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝chosen chosen concept

contribute to final concept Working relationships with Key Partners are conflict-ridden

We are unfocused and fail to work sufficiently with partners

Key Activity execution is inefficient Our Key Activities are easily copied

We execute too many or too few activities ourselves

We have trouble deploying the right resources at the right time

plus minus

We charge for what customers are really willing to pay for

Real estate investments

Memberships/ subscriptions

workshops on facilitating workshops

use upcoming nyc workshop

benefit from economies of scale?

Research & development

plus minus

fill in placeholder texts

Local colleges/ universities

audience focus

viable problems/ solutions

what is cocreative?

multiples of same workshop?

why just creativity?

virtual/ interactive exhibits

larger group protocols

hands-on

theoretical aspects

online classes

education in design thinking

paid internships

previous experience

Infrastructure Assessment

plus minus 5 5

green/ sustainability

understanding of process

what is competition like?

funding opportunities

Hudson Valley

Certainty of Evaluation, 1-10

describe the 3 â&#x20AC;&#x153;co-â&#x20AC;?s in book?

Marketing, operating, designing, funding

Rent/ utilities, insurance

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Co-creative Workshops

Talent/ volunteers

Historic preservation community

Small, local nonprofits

Frances Reese Cultural Center

Grant proposals

Certainty of Evaluation, 1-10

the the community facilitates and participates in co-creative co-creative workshops on crowdfunding more real real estate for other local organizations.

plus minus

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Educational Partnerships

Donors/ funders

Co-working

sustainability & accessibility

Organizational behavior

- Ethan D.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Create virtual and interactive exhibits.â&#x20AC;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ Adaptive Reuses

Participatory designing

Memberships

College students Context research & design thinking

Importance to my Business Model (Canvas), 1-10

Richard R.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝strengths & weaknesses

Collaboration & community building

Preservation/revival of historic sites

combined â&#x20AC;&#x2DC;under one roofâ&#x20AC;&#x2122;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;?How can you partner with design or preservation programs?â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Increase viability of real problems to solve.â&#x20AC;?

Will Kenton of Investopedia defines co-opetition as â&#x20AC;&#x153;the act of cooperation between competing organizationsâ&#x20AC;? and â&#x20AC;&#x153;a type of strategic allianceâ&#x20AC;? (2018).

Shared resources

educational partnerships

Adaptive reuse projects

Bard College & DCC

Certainty of Evaluation, 1-10

contribute to 4-6?

local schools provide organizations with talent for sustainable advantage in exchange for cooperative education for their students

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Its great that we already have previous experience with this.â&#x20AC;?

Certainty of Evaluation, 1-10

design d esign manager provides creative, facility, and a nd change management through designing, marketing, m arketing, operating, and funding activities.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ need of revival; organizations acquire site as an asset through crowd-funding strategies.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Contact Founders/Designers of CO. in Rhinebeck, NY.â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Improve tourism aspect of combining education w/ museums.â&#x20AC;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;?Its exactly what this community wants and needs.â&#x20AC;?

1 2 3 4 5 6 one organization needs talent and one needs funding; both are within the historic preservation community and have similar missions.

a collaborative, innovative, and developmental community is generated

Importance to my Business Model (Canvas), 1-10

## ## ## ##

Ethan D.

Importance to my Business Model (Canvas), 1-10

## ## ## ## ## ## ##

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Education is key in encouraging innovation adoption.â&#x20AC;? ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Facilitate a workshop on facilitating workshops.â&#x20AC;?

historic preservation leaders adopt innovation frameworks

Friends of Carnwath

Co-creative workshops

Certainty of Evaluation, 1-10

05. Prototype Development and Testing Prototype Ideas Concept Development Process Further Exploration of Diverse Concepts Concept Testing with Target Audience Concept Testing Findings Validation

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ â&#x20AC;&#x153;Is there still a chance to preserve the original uses of certain sites?â&#x20AC;?

Certainty of Evaluation, 1-10

## ## ## ## ##

New York Historic Sites Alliance

Wappinger Historical Society

elaborate on whats new from a design what if all three concepts were process

Elliana R.

04. Design Opportunities and Criteria, Reframing Opportunities for Design Matrix Opportunities for Design Map Design Criteria for Prototype Reframing

06. Final Design to Market Final Prototype Business Model Canvas Business/Implementation Plan

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝highlights

Importance to my Business Model (Canvas), 1-10

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ working wall

dig back to last quarter

Importance to my Business Model (Canvas), 1-10

part 05 COMPLETE - part 06 complete: unit 09

Importance to my Business Model (Canvas), 1-10

Note: Actual size is 24â&#x20AC;? x 36â&#x20AC;?

Do we have cross-selling opportunities either internally or with partners?

What other ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ could we add or create? Can we increase prices?

PROCESS improvements = breakthrough ideas

more specific â&#x20AC;&#x153;next stepsâ&#x20AC;?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝[1]

Where can we reduce costs?

Using Wix.com for my MVP meant creating a website for free to further test with my target audience. My website gives users the opportunity to buy a membership, rent a space, subscribe to our newsletter, interact with our blog, and create an account to connect with other members. A â&#x20AC;&#x153;talent databaseâ&#x20AC;? for members would be a near-future addition. More importantly, it is a virtual platform for â&#x20AC;&#x153;customersâ&#x20AC;? to collaborate and learn from each other. On top of every page is a fixed header which includes our tag-line, menu, social buttons, member login, and store cart. The homepage greets users with a gallery of alternating photos displaying co-creative workshops and renderings of potential spaces. While the rest of the homepage might focus on using the Frances Reese Cultural Center as the test-site for my prototypes, there is still some introduction to the process behind my conceptual development. The â&#x20AC;&#x153;aboutâ&#x20AC;? page focuses on the processes, including the slides used to create this book. Even though a Wix site is a pared down version of our big idea, we hope it displays sufficient features that satisfy early adopters. Moreover, we hope to give enough value that people are willing to donate and/or use it initially; demonstrate enough future benefit to retain early adopters; and provides a feedback loop to guide future development. Using my MVP as a development technique might involve assumption that early adopters can see the vision or promise of the final product and provide the valuable feedback needed to guide the project forward. To avoid being wasteful, I need the right expertise on to think beyond the â&#x20AC;&#x153;productâ&#x20AC;? to the full offering and business model, and act on what Iâ&#x20AC;&#x2122;ve learned. Therefore, to reach my goals, it will be important to perform further analysis on the functionality, reliability, usability, and overall design.

ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝

Can we replace one-time transaction revenues with recurring revenues? What other elements would customers be willing to pay for?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝(continued) Are there cross-selling opportunities with partners? Could partner ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ help us better reach customers? Could partners complement our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝?

Could we serve new ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝?

ďż˝ďż˝ďż˝ďż˝ ďż˝ďż˝ďż˝ďż˝ 4

ďż˝ďż˝ďż˝ďż˝

Could we better serve our customers through finer segmentation?

How could we improve channel efficiency or effectiveness?

Could we integrate our ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ better?

focus on implementation PLUS MANAGEMENT

Could we use less costly resources to achieve the same result? Which ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ could be better sourced from partners? Which ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ are under-exploited? Do we have unused intellectual property of value to others? Could we standardize some ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝? How could we improve efficiency in general?

Would I.T. support boost efficiency?

Are there outsourcing opportunities?

Could greater collaboration with partners help us focus on our core business?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝(continued)

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ How can we benefit from a growing market?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ 3

Could we find new complementary partner ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝? Could we increase margins by directly serving customers? Could we better align ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ with ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

To build an effective business model, we identified which â&#x20AC;&#x153;customersâ&#x20AC;? we try to serve. Based on their different needs and attributes, the various sets of customers have been segmented to ensure appropriate implementation of strategy to meet the characteristics of selected groups of â&#x20AC;&#x153;clients.â&#x20AC;? Our different types of customer segments include: Mass Market: New York State and New York City, Hudson River Valley National Heritage Area, and Historic Preservation communities Niche Market: Small, local non-profit and for-profit organizations Segmented: Donors/funders, talent/volunteers, and college students Multi-Sided Platform/Market: For a smooth day-to-day business operation, we will serve mutually dependent â&#x20AC;&#x153;customer segments.â&#x20AC;? PROJECT CO+DESIGN will provide services to co-working members while simultaneously assisting schools who seek to implement experiential learning

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

PROJECT CO+DESIGN has the potential to deliver value to targeted organizations through different channels within virtual platforms[1], the Frances Reese Cultural Center[2], and local college and universities. They are effective by distributing our value proposition in ways that are fast, efficient, and costeffective.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

To ensure the survival and success of PROJECT CO+DESIGN, we identified the types of relationships necessary to create with our customer segments. Various forms include: Personal Assistance: Our form of â&#x20AC;&#x153;employee-customerâ&#x20AC;? interaction involves services in Creative Management, Facilities Management, Change Management, and Design/Project Management. Dedicated Personal Assistance: The most intimate and hands-on personal assistance in which our design thinkers are assigned involve handling all the needs and questions of our members and their membership plans as well as activities in participatory designing and co-working.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝(continued)

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝(continued)ďż˝ Self Service: Some of our customer relationships translate from indirect interaction between the â&#x20AC;&#x153;companyâ&#x20AC;? and the â&#x20AC;&#x153;clientsâ&#x20AC;? by providing tools needed for members to serve themselves easily and effectively. These are found within virtual platforms[1].

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

Automated Services: We will utilize systems similar to self-service but more personalized with the ability to identify individual members and their preferences. A â&#x20AC;&#x153;talent databaseâ&#x20AC;? would benefit from these features by helping members find volunteers from our â&#x20AC;&#x153;suggestionsâ&#x20AC;? based on the skills needed for their projects.

Classes of Business Structures: Cost-Driven â&#x20AC;&#x201C; We focus on minimizing all costs and having no frills.

Is there potential to improve customer follow-up?

How could we tighten our relationships with customers?

Could we improve personalization?

How could we increase switching costs?

Have we identified and â&#x20AC;&#x153;firedâ&#x20AC;? unprofitable customers? If not, why not? Do we need to automate some relationships?

Communities: Community building allows for direct interactions among different members of PROJECT CO+DESIGN. The co-working community platform produces a scenario where knowledge can be shared and problems are solved between different and similar organizations. Co-creation: A personal relationship is created through our membersâ&#x20AC;&#x2122; direct input to the final outcome of our â&#x20AC;&#x153;products/services.â&#x20AC;? Co-creative workshops is the key activity for design thinking, our contextual research, the participatory design of our adaptive reuse projects/sites, and our activities in real estate crowd-funding, marketing, and operating day-to-day.

Value-Driven â&#x20AC;&#x201C; We focus on creating value for our services. Characteristics of Cost Structures: Fixed Costs â&#x20AC;&#x201C; There might be costs that are unchanged across different applications like salaries, rent, and more. Variable Costs â&#x20AC;&#x201C; There might be costs that vary depending on the amount of production of goods or services like fundraising events and more. Economies of Scale â&#x20AC;&#x201C; There might be costs that go down as the amount of goods are ordered or produced.

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝(continued) ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝(continued) (continued)ďż˝ Economies of Scope â&#x20AC;&#x201C; There might be costs that go down due to incorporating other businesses which have a direct relation to our original services.

new thinking tools?

ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝ďż˝

The ways in which PROJECT CO+DESIGN makes income from each customer segment involve membership and subscription fees, rentals, real estate crowdfunding, co-creative workshops, and public and private events. Several ways we will generate a revenue stream include: Asset Sale â&#x20AC;&#x201C; We might sell ownership rights to physical goods by implementing our business model within different historic sites. Usage Fee â&#x20AC;&#x201C; There might be money generated from the use of particular services from our design thinking professional and virtual platforms. Subscription Fees â&#x20AC;&#x201C; There might be revenue generated by selling access to continuous services from our design thinking professionals and virtual platforms.

Lending/Leasing/Renting â&#x20AC;&#x201C; We might give exclusive rights to an asset for particular periods of time in order to execute our value propositions within a space. Licensing â&#x20AC;&#x201C; There might be revenue generated from charging for the use of a protected intellectual property that complies with our rules and regulations. Brokerage Fees â&#x20AC;&#x201C; There might be revenue generated from an intermediate service between two parties for further acquisition and development of historic sites and real estate. Advertising â&#x20AC;&#x201C; There might be revenue generated from charging fees for advertising our membersâ&#x20AC;&#x2122; products and services.

DCEDC: Dutchess County Economic Development Corporation DC: Dutchess County

positioning: competitors/collaborators

table 2-4

Dutchess Tourism, Inc. Strengths • Paid employees • Large organization • Partnerships • Woman-owned • High funding and talent • International initiatives

Weaknesses •

Opportunities • Collaboration • Co-opetition • Educational & design partnerships • Raised awareness

Threats • Minimal time availability • Raised awareness and concern for competitors unwilling to collaborate or plotting sabotage

Objectives What is their network’s value? • Destination marketing for Dutchess County • Bring tourism dollars to area businesses by promoting DC assets to nation

Members What categories do they fall into? • Umbrella of DCEDC • Baby boomer • Gen X • Full-time • Dutchess County

Lessons What can they teach us for our network? • Economic climate • National and local marketing • Tourism

Approach How do they create value? • External marketing, promotions/ publicity, retention/ expansion, publications, product development, major events

Homepage What is the entry point to their network? • Website, email, phone • DCEDC • Workplace

Collaboration Opportunities Where or how do we overlap? • Workshops • Marketing/branding • Design opportunities

http://www.dutchesstourism.com

Appendix H: Page 148

positioning: competitors/collaborators

table 2-5

Greater Hudson Heritage Network (GHHN) Strengths • Paid employees • Large organzation • Partnerships • High funding and talent

Weaknesses • Restricted donations

Opportunities • Collaboration • Co-opetition • Educational & design partnerships • Raised awareness • ‘Collections Needs Assessment’

Threats • Minimal time availability • Raised awareness and concern for competitors unwilling to collaborate or plotting sabotage

Objectives What is their network’s value? • Serve museum and history communities • Exploration and preservation of heritage and culture Approach How do they create value? • Professional standard advancement • Organizational capacity • Regional steward network

http://www.greaterhudson.org

Appendix H: Page 149

Members What categories do they fall into? • Baby boomer • Gen X • Full-time • Hudson Valley

Lessons What can they teach us for our network? • Heritage • National and local marketing • Consulting

Homepage What is the entry point to their network? • Website, email, phone • Workplace • New York State Council on the Arts

Collaboration Opportunities Where or how do we overlap? • Workshops • Design thinking • Marketing/branding • Design opportunities

table 3-2 Sub-Research Question 1: How might we describe design thinking methods and apply them towards promoting developmental cultures and innovative communications?

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

What do I need to know?

Why do I need to know this?

What type of data is needed?

Sub-sub Research Question 1a: How might we describe and use design thinking methods?

Specific design thinking methods and how, when, and why are they are used. Additionally, the methods that are best suited for nonprofits

To clarify how design thinking is applied and to understand how this application can best fit non-profits.

Secondary (qual): SCAD DMGT curriculum, methodolgy books, Diffusion of Innovations. Primary (qual): personal review of past projects

Sub-sub Research Question 1b: How might organizational cultures apply innovative communications?

Organizational cultures oriented towards innovative communications. An understanding of the relationship between organizational culture and communications

To understand the relationship between organizational culture and communications within the context of non-profits and historic preservation

Secondary (qual): historic pres overviews, organizational culture analysis. Primary (qual): organizational culture expert interviews, historic pres expert interviews

What types of research methods are needed?

Who do I contact for collecting this data?

When do I need to get a hold of this data?

What will I be learning from this data?

What might I be missing? How might I be wrong?

Secondary (qual): SCAD Library, personal library Primary (qual): personal portfolio, self-reflection

S: Literature review P: Self-reporting, curriculum audits, expert and professor interviews on skype. Collected by note-taking, audit visualization, transcription. End result is coded table of applicable design thinking methods

Design thinking subject matter experts, DMI, DMGT professors, research librarian

Fall 2018 through Winter 2019

Which design thinking methods are best suited for non-profits and why

May not learn every method available

Secondary (qual): SCAD Library, personal library Primary (qual): workplaces, townhall meetings

S: Literature review, P: Self-reporting, curriculum audits, expert and professor interviews on skype. Collected by notetaking, transcription. End result is analysis of convergence and divergence

Case study authors, subject matter experts, behavior leaders, Innovation Institutes, research librarian

Fall 2018 through Winter 2019

How to identify and leverage organizational cultures oriented towards innovative communications

Maybe not enough case studies on similar innovation frameworks

Where can I find this data?

Appendix H: Page 150

derived from gabi campagna dmgt 757 fall 2016

table 3-3 Sub-Research Question 2: How might we describe non-profit organizational systems and position them as a guiding framework for collaboration between competitors?

Sub-sub Research Question 2a: How might we describe and use non-profit organizational systems?

Sub-sub Research Question 2b: How might innovation frameworks guide collaboration between competitors?

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

What do I need to know?

Common types of organizational systems and the research methods and areas of practice that construct these systems. The ways in which these systems manifest themselves in competition

Specific innovation frameworks that can be extracted from organizational design. The similarities and differences between competitive behavior and behavior supported by innovation.

What types of research methods are needed?

Who do I contact for collecting this data?

Why do I need to know this?

What type of data is needed?

Where can I find this data?

To understand the current context of non-profit organizational systems from which to pull inspiration and methods for the creation of a new model or framework

Secondary (qual): non-profit organizational systems overview, key case studies of methods integrated into the workplace or other contexts outside of nonprofits. Primary (qual): non-profit organizational systems expert interviews

Secondary (qual): SCAD Library, online research articles, non-profit library databases. Primary (qual): organizational designers and those who have implemented systems in the past

S: Literature review P: Non-profit organizational systems expert interviews on Skype. Collected by note-taking, transcription. End result is rigorous and inclusive analysis of nonprofit organizational systems

Non-profit organizational systems experts, organizational design experts, research librarian

To understand the connection between organizational systems and a future innovation framework in a more tactical and applicable manner

Secondary (qual): inno. framworks overview, key case studies of methods integrated into workplaces or contexts outside of non-profits, behavioral analysis in competition vs. inno. Primary (qual): inno. frameworks expert interviews, non-profit competition expert interviews

Secondary (qual): SCAD Library, online research articles, non-profit library databases, Primary (qual): organizational designers and those who have implemented systems in the past, non-profit competitors

S: Literature review P: Non-profit organizational expert interviews, field observations as fly on the wall, nonprofit organization observation in historic pres. communities that have implemented innovation frameworks, town hall meetings. Collected by note-taking, transcription, images, live mapping. End result is visual comparison of innovation and competition.

Non-profit organizational systems experts, non-profit organization leaders and volunteers, competing nonprofits, research librarian

Appendix H: Page 151

When do I need to get a hold of this data?

What will I be learning from this data?

What might I be missing? How might I be wrong?

Fall 2018 through Winter 2019

How to use nonprofit organizational systems as a tool for mapping competitor behaviors and activities towards the creation of an inclusive framework

May cause some abnormalities as the end result will not be an organization system, but a framework or model inspired by nonprofit organizational system methods and practices

Fall 2018 through Winter 2019

How to use innovation as a point of convergence and divergence to both analyze and inform competitive practices and behaviors

May be hard to get an objective behavioral understanding from the leaders and volunteers themselves, interviews may need to be supplemented with secondary research

table 3-4 Sub-Research Question 3: How might we describe historic preservation communities and their cultural climates as they relate to design thinking and collaboration?

Umbrella Question: How might we use design thinking to transpire collaboration between competing non-profits in historic preservation?

What do I need to know?

Sub-sub Research Question 3a: How might we describe historic preservation communities?

The characteristics and parameters of a historic preservation non-profit and the key features and different typologies that exist within this category. The key case studies for this study as informed by further research and a narrowing of scope. The ways in which these organizations interact with one another in the larger context of the industry as a whole

Sub-sub Research Question 3b: How might we relate the cultural climate of historic preservation communities to design thinking and collaboration?

The cultural climate of historic preservation communities and how it affects the community as a whole. The current ways in which innovation is incorporated into cultural climate. Potential ways for design thinking and collaboration to be integrated into different non-profits

What types of research methods are needed?

Who do I contact for collecting this data?

Secondary (qual): SCAD Library. Primary (qual): historic preservation experts (reach out to DMGT faculty for their input as well as recommended connections to others in industry)

S: Literature review P: Historic preservation expert interviews at home and Skype. Collected by notetaking, transcription. End result is 2x2 mapping of the industry, ecosystem mapping of nonprofits in the industry

Historic preservation leaders, volunteers, and other community members, and research librarian

Secondary (qual): SCAD Library Primary (qual): organizational designers and those who have implemented systems in the past, non-profit competitors

S: Literature review P: Historic preservation expert interviews at home and Skype. Collected by notetaking, transcription. End result is 2x2 mappings of cultural climate and collaboration

Historic preservation leaders, volunteers, and other community members, and research librarian

Why do I need to know this?

What type of data is needed?

Where can I find this data?

To understand the business context in which this study is positioned

Secondary (qual): historic pres. comm. case studies, volunteer & leader testimonies. Primary (qual): interview with historic preservation experts and community members

To understand how the positioned context is conducive to collaboration as a tool for strategic and organizationdriven innovation.

Secondary (qual): non-profit case studies, key literature on cultural climate Primary (qual): collaboration expert interviews, cultural climate expert interviews

Appendix H: Page 152

When do I need to get a hold of this data?

What will I be learning from this data?

What might I be missing? How might I be wrong?

Fall 2018 through Winter 2019

The primary components of the business context in which my study is situated

Such a large industry and community, I may be missing another filter to help narrow down the scope

Fall 2018 through Winter 2019

How collaboration will be integrated into the design of historic preservation non-profits and across the community as a whole

The differences and nuances within each non-profit may require a slightly different integration of design thinking and collaboration and not a one-sizefits all integration

derived from gabi campagna dmgt 757 fall 2016

[1]: See Figure 4-1: Page 69 for Design Criteria for Prototype: Considerations *See Concept Ideas: Pages 74 to 75 for Concepts 2, 4, & 5, which scored highest on PMI Anlayses: Page 76

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*Concept 1: Cultural Consultancy

A consultancy focusing on Developmental Culture within non-profits in historic preservation will give design managers an opportunity to help competing organizations cooperate and maximize their quantifiable results through applying a designed framework with principles of entrepreneurship, innovation, risk-taking, strategy, and change. Encourages co-opetition through: Community needs, funding opportunities, & advancing shared goals

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Note: Co-opetition in each concept is assessed through tactical, strategic, and evaluative considerations including design thinking and competition[1]

figure 5-1 Developmentally

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Virtual platforms through the use of a mobile app for non-profits in historic preservation will give design managers an opportunity to help competing organizations cooperate and communicate through applying principles of UX & graphic design, human-computer g interactions, and ergonomics.

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M Encourages co-opetition through: Community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals

EizEOfp.i'iEE Appendix H: Page 153

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*Concept 3: Virtual Platforms

*Concept 6: Historic Trails System A Historic Trails System for non-profits in historic preservation, connecting local sites, cultural centers, and businesses, will give design managers an opportunity to help competing organizations cooperate, increase local tourism, and help the local economy through applying destination frameworks, current/future programming, business travel, and national heritage. Encourages co-opetition through: Community needs, funding opportunities, & advancing shared goals

NFP-A: Not-for-profit organization in need of talented volunteers NFP-B: Not-for-profit organization in need of funding/donations

concept development process: scenarios table 5-1

table 5-3

table 5-6

2. Framework (insight) Assimilating NFP-B needs funding but NFP-A is more creative with grant proposals so she contacts a cultural consultancy to find what she’s missing.

Diverging Claire C. of NFP-B just received news that NFP-A received the grant they both applied for.

Converging Increase funding for NFP-B through managing both NFP-A‘s and B’s marketing, designing, and operating activities with an entrepreneurial spirit.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, & advancing shared goals.

Assimilating NFP-A needs talent but isn’t aware of the Virtual Platform NFP-B uses to gain their abundance of volunteers.

Diverging Eric D. of NFP-A lacks the digital skills to effectively communicate with the volunteers he is in search for.

3. Imperative (idea) Converging Increase talent for NFP-A through allowing for online networking with NFP-B and help on each other’s marketing, designing, funding, and operating activities.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

1. Observation (context)

Concept 1: Cultural Consultancy

Note: See Figure 4-3: Page 72 for Reframing: Opportunity Map and Table 3-14: Page 59 for Research Synthesis: Personas, NFP-A vs NFP-B

Assimilating NFP-B is renovating/preserving the other site and is ahead of NFP-A in the process because of their larger project management team so he wants to unite both sites.

Converging Increase talent for NFP-A through connecting both sites into a tourism/ destination-focused trail system, incorporating funding, marketing, designing, & operating activities.

Diverging Eric D. of NFP-A will be renovating and preserving a historic site in the same neighborhood as another historic site.

Accomodating Co-opetition between both NFP’s is achieved through community needs, funding opportunities, funder-initiated collaboration, & advancing shared goals.

4. Solution (experience)

Concept 3: Virtual Platforms

Appendix H: Page 154

Concept 6: Historic Trails System

NFP-A: Not-for-profit organization in need of talented volunteers NFP-B: Not-for-profit organization in need of funding/donations

concept development process: PMI analyses

Note: See Figure 4-3: Page 72 for Reframing: Opportunity Map and Table 3-14: Page 59 for Research Synthesis: Personas, NFP-A vs NFP-B

Concept 1: Cultural Consultancy

Concept 3: Virtual Platforms

Concept 6: Historic Trails System

Scenario: • Increased funding for NFP-B through managing both NFP-A‘s and B’s marketing, designing, and operating activities with an entrepreneurial spirit.

Scenario: • Increased talent for NFP-A through online networking with NFP-B and help on each other’s marketing, designing, funding, and operating activities.

Scenario: • Increased talent for NFP-A through connection of sites into a tourism/destinationfocused trail system, incorporating funding, marketing, designing, & operating activities.

Plus: • Cooperation and maximized quantifiable results through applying a designed framework. (+9) Minus: • NFP-B needs funding but NFP-A is more creative with grant proposals. (-7) Interesting: • Opportunity for entrepreneurship, innovation, risk-taking, strategy, and change. (+8) • Claire C. of NFP-B just received news that NFP-A received the grant they both applied for. (-8)

Total Points: +2

Total Points: -1

Total Points: -2

Appendix H: Page 155

table 5-13

refining the prototype: threats & opportunities

Value Proposition Threats Are substitute products and services available?

Are competitors threatening to offer better price or value?

minus minus

Infrastructure Threats

Cost/Revenue Threats

minus

Are our margins threatened by competitors? By technology?

Do we depend excessively on one or more Revenue Streams?

Which Revenue Streams are likely to disappear in the future?

Which costs threaten to become unpredictable?

Which costs threaten to grow more quickly than the revenues they support?

Secondary Source: Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

Note: See Pages 87 to 93 for Refining and Assessing: Business Model Canvas, Strengths & Weaknesses, and Updates

Appendix H: Page 156

Could we face a disruption in the supply of certain resources? Is the quality of our resources threatened in any way? What Key Activities might be disrupted? Is the quality of our activities threatened in any way?

Are we in danger of losing any partners?

Might our partners collaborate with competitors?

Are we too dependent on certain partners?

table 5-14

refining the prototype: threats & opportunities

Customer Interface Threats Could our market be saturated soon?

minus plus

Value Proposition Opportunities

Are our Channels in danger of becoming irrelevant to customers?

Are any of our Customer Relationships in danger of deteriorating?

Are competitors threatening our market share?

How likely are customers to defect?

How quickly will competition in our market intensify? Do competitors threaten our Channels?

Note: See Pages 87 to 93 for Refining and Assessing: Business Model Canvas, Strengths & Weaknesses, and Updates

Appendix H: Page 157

Could we generate recurring revenues by converting products into services? Could we better integrate our products or services?

Which additional customer needs could we satisfy? What complements to or extensions of our Value Proposition are possible? What other jobs could we do on behalf of customers?

Secondary Source: Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

table 5-15

Cost/Revenue Opportunities

plus plus

Infrastructure Opportunities

Can we replace one-time transaction revenues with recurring revenues?

Could we use less costly resources to achieve the same result?

What other elements would customers be willing to pay for?

Which Key Resources could be better sourced from partners?

Do we have cross-selling opportunities either internally or with partners?

What other Revenue Streams could we add or create? Can we increase prices?

Where can we reduce costs?

Appendix H: Page 158

Which Key Resources are under-exploited? Do we have unused intellectual property of value to others? Could we standardize some Key Activities? How could we improve efficiency in general?

Would I.T. support boost efficiency?

Are there outsourcing opportunities?

Could greater collaboration with partners help us focus on our core business?

table 5-16

refining the prototype: threats & opportunities

Infrastructure Opportunities (continued) Are there cross-selling opportunities with partners? Could partner Channels help us better reach customers? Could partners complement our Value Proposition?

plus plus

How can we benefit from a growing market?

Customer Interface Opportunities (continued)

plus

Customer Interface Opportunities 5

Could we better serve our customers through finer segmentation?

How could we improve channel efficiency or effectiveness?

Could we serve new Customer Segments?

Could we integrate our Channels better?

Secondary Source: Osterwalder, A. (2010). Business model generation: A handbook for visionaries, game changers, and challengers. Wiley.

Appendix H: Page 159

Could we find new complementary partner Channels? Could we increase margins by directly serving customers? Could we better align Channels with Customer Segments? Is there potential to improve customer follow-up?

How could we tighten our relationships with customers?

Could we improve personalization?

How could we increase switching costs?

Have we identified and â&#x20AC;&#x153;firedâ&#x20AC;? unprofitable customers? If not, why not? Do we need to automate some relationships?