EXPERIENCE THE WHY Learning Internal Culture Change Through Transformational Engagement
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Cover Image: Figure 1: Experiential culture exhibit. Retrieved from http://www.metalculture.com/.
FOR ALWAYS GUIDING ME This project is dedicated to my mother for always encouraging me to push myself further and for teaching me to never let fear stand in the way of reaching for my dreams; to my brothers whose adventure seeking spirits inspire me to never stop exploring life and to my grandparents, Geoffrey and Barbara Meadows, who were the original gogetters that ignited my curiosity for life and appreciation for the creative exploration of all things new.
Figure 2: Interactive exhibit. Author’s image.
EXPERIENCE THE WHY Learning Internal Culture Change Through Transformational Engagement
Sara J. Martin
Savannah College of Art and Design, School of Design Savannah, Georgia
SARA J. MARTIN
The following pages have been submitted to fulfill the capstone project requirement for the Master of Arts in Design Management from the School of Design at the Savannah College of Art and Design. DMGT-748: Design Management M.A. Final Project June, 2016 Professor: Tom Hardy Department Chair: Bill Lee School of Design Dean: Victor Ermoli College President: Paula Wallace
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Figure 3: Secondary research. Author’s image.
DESIGN MANAGEMENT is a creative and strategic opportunity finding practice fueled by comprehensive research and comprised of human centered design, multi-disciplinary collaboration and a visionary mindset aimed at generating and diffusing innovation.
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ACKNOWLEDGMENTS I would like to express my gratitude to my department chair, Professor Bill Lee, for inspiring me to push myself further; to Professor Owen Foster and Professor Giselle Rahn for instilling in me the confidence to believe that I had the skill and drive to belong at SCAD; and to Professor Tom Hardy and Bruce Claxton for showing me how to bridge the gap between theory and practical application. I would also like to thank all of the students that challenged me endlessly to redefine leadership. Thank you for teaching me that there is always one more thing to learn and that the best way to lead is by remembering to follow. Finally, I would like to acknowledge and thank the countless participants who helped make this project a reality for me. I would specifically like to acknowledge Kelsey Logan Bradley, Aniela Chertavian, Bruce Claxton, Tom Hardy, Matthew Harrigan, Mark Hovde, Steven Martin and Steve Nedvidek. iv
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tell me and I forget show me and I may remember involve me and I learn benjamin franklin Figure 4: Desk top view. Author’s image.
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INTRODUCTION The purpose of this study is to develop strategic communication and learning guidelines that can be adapted to different corporate culture change cases in order to create a permanent shift in unimaginative environments so that they will embody design thinking as the universal and inherent strategy. These guidelines will aim to use design thinking to generate an emotional connection with the audience through engaging participation and contribution. The aim is to tell the internal culture story to an employee based audience with the same attention to detail and experience-motivated commitment that is applied when telling the external brand story to customers. The ultimate culture shift will allow companies to remain flexible and competitive through innovation by simultaneously aligning with the needs of their consumers and their employees.
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CONTENT ii iv vi
Design Management Acknowledgments Introduction
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Framing
The Objective Problem Statement Opportunity Challenge Target Audience Significance Scope
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Positioning
Topic Analysis Competitor Canvas The Environment Subject Validation Opportunity Development Value Proposition Onliness Statement
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Research
Re-framing Ecosystem Map Methodology Research Questions Data Collection Interviews Surveys Observations Probe Recap
Insights
Affinitizing Insights at a Glance Insights & Opportunities Framework Personas
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Concepts
Ideation Early Concepts
Evaluation
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Final Design Introduction Identity Content Evaluation Reflection
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Take-aways
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References
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Appendix
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About the Author
Conclusions Next Steps Recommendations Annotated Bibliography Additional References Figures
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The Objective Problem Statement Opportunity Challenge Target Audience Significance Scope
Figure 5: Secondary research references. Author’s image.
Figure 6: Research books. Author’s image.
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THE OBJECTIVE Develop participatory “context-driven� learning and communication guidelines to activate the evolution of a noninnovative corporate culture into a community that comprehensively embodies the design thinking mindset.
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PROBLEM STATEMENT Corporate America is plagued with unimaginative business cultures that create roadblocks for the ideating and risk-taking activities needed for innovative solutions and competitive flexibility. This is paired with the rapidly growing desire to be the next big innovative company which has stimulated the growth of contrived innovative environments. Marked by superficial symbols of innovation and unsuccessful attempts at capturing an authentically creative mindset, these cultures fail to understand the discipline behind design thinking and the commitment required to permanently evolve a corporate culture to embody these practices. The very change management processes utilized to affect culture are bogged down by dated methods which fail to establish permanent change. A sticking point for culture change initiatives can be found in the learning and communication strategies which tend to employ telling the audience through listless mediums. 5
OPPORTUNITY CHALLENGE There is an opportunity to construct a strategic approach to communicating a culture change initiative that directly involves the audience through engaging “context-driven” experiences which embody the same design thinking principles they’ll be inspired to adopt. Successfully teaching the new culture story will evolve an non-innovative corporate culture into an authentic environment that embodies design thinking as the instinctive and universal approach to problem solving. This strategy will strive to provide guidelines that will activate universal contribution and ultimately emotional buy-in through involvement and co-creation.
Figure 7: Office space. Retrieved from http://www.paulwhitelam.com/office-photography/.
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TARGET AUDIENCE With built in flexibility and encouragement for constant evolution, this study and the resulting strategy will aim to simultaneously benefit the practice of design thinking and key change agents in consulting practices and/or corporations seeking to activate authentically innovative entities.
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SIGNIFICANCE to the design thinker... This project allowed the researcher to bridge the gap between prior experience in noninnovative large corporate culture environments and knowledge gained through the design management program. Personal exposure to the waste of resources generated through stagnant and outdated systems, inspired the researcher to tackle the problem by utilizing design thinking principles and processes with the hope to apply this approach in corporations desperately seeking and needing innovative transformation.
to the design management field... The introduction of design thinking into change management learning and communication techniques and ultimately into non-innovative business cultures will expand the usefulness of design management methods.
to the world... This approach will advance business practices to embody creative thought which will allow them to remain agile and competitive. Breathing design thinking into culture rather than strategy will advance collaboration and subsequently intrinsic incentivization through authentic contribution therefore improving the quality of work-life by activating moments of delight. 8
SCOPE This study will be completed over the course of 10 weeks from March 29th, 2016 through June 2nd, 2016. Preliminary research, refinement and planning will be conducted in the six months leading up to the start of the project. Research will be conducted within U.S. based multinational corporations with a focus on change management consulting practices, cultures desiring to morph into design thinking environments, communications and learning disciplines and experts in the field of design management. Focus will be given to consulting practices in Boston, MA and Washington, DC. Corporate cultures will be observed through The Home Depot, Chick-Fil-A and Porsche in Atlanta, GA, a technology firm in Austin, TX and pharmaceutical companies in the greater Philadelphia area. Finally, experts in the field of design management will be queried in Savannah, GA. This study will not simply generate creative problem solving activities for temporary infiltration but is focused on permanent change achieved through continuous involvement. The focus will be on change management communication and learning strategies. The goal will be to evolve these strategies to activate a culture shift in an unimaginative corporate environment while applying design thinking to training in order to diffuse culture change and inspire adoption. The study will focus primarily on large corporate environments but with the aim of being universally applicable to individual departments and/or smaller enterprises. 9
Figure 8: References. Author’s image.
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Figure 9: Data points. Author’s image.
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Topic Analysis Competitor Canvas The Environment Subject Validation Opportunity Development Value Proposition Onliness Statement
Figure 10: Computer history museum. Retrieved from http://www.computerhistory.org/.
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TOPIC ANALYSIS In order to develop a strong understanding of the innovative nature of this subject area, a competitor analysis was conducted as a key component of the research process. Along with this, an initial review of the topic itself was completed to determine validity.
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COMPETITOR CANVAS Exploring the market space through a competitor strategy canvas provided much needed background on how this particular topic is being approached currently and what aspects are still needing to be developed. Ten potential entities in the space of design and managerial consulting practices were chosen as potential competition for this strategy. They were evaluated across 10 metrics related to the topic and on a scale from 1 to 10 (10 being the highest rating). Two key points became clear through this exercise. The first is that some practices are tackling design thinking well (even in terms of strategy) and some are focused on managerial practices and specifically culture change, but very few are deliberately melding the two into one practice. Another key piece is that while quite a few practices provided experiential education and training as part of their strategy, there are not too many that also deliver interactive artifacts as a piece of the learning puzzle. Two companies outside of the scope of the US (Culture Consultancy and Doblin) were examined as well due to the apparent attempt to approach business culture strategy through traditional design thinking methods. These companies, along with IDEO and gothamCulture, provide a great deal of insight on how to tackle culture change utilizing design thinking strategy.
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Figure 11: Strategy canvas. Author’s image.
10 9 8 7 6 5 4 3 2 1
Adaptive Path
Bain
Continuum
Culture Consultancy
Deloitte
Doblin
Fjord
IDEO
gothamCulture
Peer Insight
St or
yt el
lin g
nt el e
Br oa
d
Cl ie
en te re d rC
n U se
re at io Co -c
Ed pe uc rien at tia io l n In D te el ra iv c er tiv ab e le s Cl ea rM es sa ge Ex po su re
Ex
re tu Cu l
D
es
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n
Th i
Ch a
nk in
ng e
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THE ENVIRONMENT positioning map The positioning map to the right depicts the competitive landscape that this strategy will face. There are a number of consultancies that have mastered traditional change management methods, some of which focus on culture change specifically. There are also consultancies that understand design thinking processes and apply them to projects that are primarily focused on traditional roles for design. There are some corporations that have successfully adapted their cultures to be more innovation and one or two who have specifically utilized design thinking processes to do so. Than there are many cultures and industries where innovation has yet to take root. Companies are stagnant and outdated. Among all of these cohorts there are some players who truly understand the power of creating experiences. Although most of this is focused outward to the consumer some of the efforts do revolve around aligning external brand stories with internal culture experiences for the employees. This examination has highlighted that no one company is truly capturing all of these ingredients well. 17
Figure 12: Positioning map. Author’s image.
EXPERT Google
Frog Design
IDEO
Chick-Fil-A
Lextant
Amazon Porche
DESIGN
Fjord Product Design Teams
IBM
D-School
CULTURE
NOVICE
Accenture
Software Industry
Government Agencies
Financial Industry Moody’s
THINKING
Retail Industry Sears
McKinsey
CHANGE
EXPERT
Bain
Booz-Allen
Deloitte Zappos
Southwest
Harvard
Consultancy Corporation University
NOVICE
Experiential 18
Figure 13: Opportunity space. Author’s image.
EXPERT Google
Frog Design
IDEO
Chick-Fil-A
Lextant
Amazon Porche
DESIGN
Fjord Product Design Teams
DESIGN THINKING CULTURE CHANGE THROUGH EXPERIENTIAL LEARNING
IBM
D-School
CULTURE
NOVICE
Accenture
Software Industry
Government Agencies
Financial Industry Moody’s
THINKING
Retail Industry Sears
McKinsey
CHANGE
EXPERT
Bain
Booz-Allen
Deloitte Zappos
Southwest
Harvard
Consultancy Corporation University
NOVICE 19
Experiential
opportunity space The space of the market that has not been fully saturated when it comes to consulting practices, is in utilizing design thinking as a solution for business strategy. Business strategy can be most improved by promoting a culture shift that will allow individual employee contributors to feel needed and heard through experiential learning environments that encourage them to cocreate. The new approach in this space would be a consulting practice and strategy that is focused on creating change and innovation through activation of the employee base through culture branding while specifically using design thinking as not only the tool for progress but as the end state.
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SUBJECT VALIDATION In order to validate the strength of the research topic a SWOT analysis was conducted. This highlighted key strengths including the value of context driven and user centered design as well as the importance of utilizing emotional connection to drive behavioral shifts. The model also helped uncover a threat that touches on the possibility that the demand for corporate culture branding is a temporary reaction to the improvement in the job market. Some key weaknesses around this topic have to do with the fact that culture change is hard to measure and therefore hard to sell to traditional quantitative and profit driven business practices. The key opportunity uncovered is that at the current pace of change companies will fail without innovation. Innovation cannot exist without people who feel comfortable and capable of contributing their ideas and supporting the new.
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Strengths
Weaknesses
Context driven and user centered
No concrete method
Inclusive collaboration
Need to win over laggards
Experiential learning
Costly without clear ROI
Ecosystem approach
Lack of leadership buy-in
Emotional connections change behavior
Need continuous proof from external sources
Opportunities High demand for change
Figure 14: SWOT analysis. Author’s image.
Threats
Chance to co-create through existing education platforms
Supply and demand for jobs turns back in the company’s favor diminishing immediate need for culture branding
Control in the hands of the employees creates better quality of life
Established managerial consulting practices diluting the solution and creativity
Highly competitive environment demands innovation for survival
Quick and easy but inauthentic alternatives
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OPPORTUNITY DEVELOPMENT ZAG 17 Steps These steps were developed by Marty Neumeier as a tool to find your ‘ZAG’. Finding an innovative path to lead your concept and your business forward is critical to remaining relevant. Each checkpoint covers four keys elements including differentiation, focus, trend and communication. These elements are necessary to uncover and explain the new.
Figure 15: Collaborative space. Retrieved from http://invisionstudio.com/.
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EXPERIENCE CULTURE Who Are You? L.E.A.R.N. is a communication and learning strategy in the form of a fieldbook aimed at providing a transformative experience to employees.
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ACTIVATE CREATIVITY What Do You Do? This approach helps change agents effectively activate a culture of innovation through design thinking principles in order to maintain a competitive edge.
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TRUE INNOVATION What’s the Vision? We provide a communication and learning approach to corporate culture change that delivers moments of delight to the employees by ensuring brand-culture experience is seamless between consumer and employee.
Figure 16: White-board walls. Retrieved from https://www.ifma.org/.
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CULTURE IS KING What Are You Riding? We seek to tap into the demand for innovative corporate cultures, transformative employee experiences and design thinking maturing into a business strategy process. L.E.A.R.N. captures these trends with the understanding that the meeting of two disciplines (change management and design thinking) is developing and the need to create delightful employee experiences is gaining momentum.
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THE CHANGE AGENTS Who Shares the Space? Top managerial consulting agencies and small design shops are all catching on to the demand for design thinking as a business development and strategy approach and the need for competitive employee experiences through branded corporate culture. The space is still developing but promises to advance quickly. These embedded consulting practices are the top contenders in this space.
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LEARNING EVOLUTION What Makes You The Only? This approach provides guidelines to ensure a participatory “context-driven� communication and learning strategy that will effectively engage employees and change behaviors to activate an innovative culture centered around design thinking.
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SIMPLE TO START What Should You Add or Remove? As this strategy is applied, changes that can lead to more effective iterations will become more apparent. Specifics will be added to create a more comprehensive toolbox for change agents going forward. A broad-strokes approach to initial guidelines will not be lost however as the strategy must remain adaptable.
Figure 17: Collaborative spaces. Retrieved from http://welshco.com/resources-and-news/tips/2014-best-spaces-work.
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CURIOUS EMPLOYEES Who Loves You? Employees and change agents with a curiosity for new and engaging approaches will gravitate towards this approach. It’s aim is to create moments of delight for the employees as they undergo drastic behavioral transformations.
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STUCK LAGGARDS Who’s the Enemy? Individuals within the organizations who do not show interest in new approaches to business will present a huge challenge. These employees represent a category of people that are stuck in their status quo and don’t see change as being worth the effort. They not only present an obstacle for themselves but also can poison the overall environment against change.
Figure 18: Collaborative spaces at Standford’s D.School. Retrieved from http://www.fastcompany.com/.
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L.E.A.R.N. What Do They Call You? L.E.A.R.N.: A tips & tricks guide to activating an innovative culture LISTEN EXPERIENCE AUTHENTICATE REFLECT NARRATE
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A FIELDBOOK FOR CULTURE CHANGE How Do You Explain Yourself? L.E.A.R.N. provides you with a pocket sized set of tips, tricks and guidelines for generating a comprehensive communication and learning strategy. This approach will inspire culture change through delightful employee experiences based on design thinking practices and aimed at generating an innovative environment.
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PROVE EFFECTIVENESS How Do You Spread the Word? Awareness will be driven primarily through affective application of the approach and storytelling aimed at celebrating successes. Content creation will center around potential and actual application to prove effectiveness and win over users.
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THROUGH APPLICATION How Do They Engage With You? Change agents engage with this approach by purchasing the guidebook, applying the tips & tricks and communicating their successes and failures back.
Figure 19: Millennium Bridge. Author’s image.
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TIPS & TRICKS What Do They Experience? Change agents experience a concise set of guidelines to lead them on a successful culture change communication journey.
Figure 20: SCAD Museum interactive installation. Retrieved from http://www.pentagram.com/#/blog/37686.
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EXPERIENCE CONTEXT How Do You Earn Loyalty? Through personal application and proof of success, a change agent will become loyal to this method. Proof of successful case studies will win over potential new users.
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TELLING THE STORY How Do You Extend Your Success? Continuing to tell the story of specific applications of the approach will extend awareness. By putting the tips and tricks into practical use will also allow the approach to be refined and improved through each new iteration.
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COPYRIGHT & TRADEMARK How Do You Protect Your Portfolio? The guidebook will be published with the proper copyright. The business developed from the approach will trademark any proprietary tools and models that develop through iteration.
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Figure 21: Sense-making activities. Author’s image.
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VALUE PROPOSITION For consultants and/or internal change agents who are pursuing a corporate culture evolution using design thinking as a key driver to provide transformative experiences for the employees affected. We do this by providing guidelines that encourages active participation and cocreation with the employees to ensure commitment and accelerate behavior transformation. Unlike other strategies, we provide a unique user-entered and delight driven focus to ensure engagement. 42
ONLINESS STATEMENT This is the only communication and learning strategy that provides guidance to harness design thinking while simultaneously focusing on interactive techniques to promote engagement and generate delight points that will effectively shift behaviors.
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Figure 22: Interactive learning. Author’s image.
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Figure 23: Working wall. Author’s image.
3
Re-framing Ecosystem Map Methodology Research Questions Data Collection Interviews Surveys Observations Probe Recap
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Figure 24: Original ecosystem map. Author’s image.
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RE-FRAME original ecosystem map Throughout the course of the past six months this project has moved from a very broad focus to one that is much more narrow and manageable in the required time-frame. Originally the research ecosystem map (shown left) was designed to illustrate the following topic: Designing a strategic framework to move a non-creative corporate culture to one that embodies design thinking as strategy requires a thorough understanding of four key subject matters. Change management consulting practices, corporate culture, design thinking strategies in business and creativity driven value will each contribute to a holistic understanding needed for the generation of a corporate culture design thinking evolution.
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second iteration: ecosystem map Over time it became apparent this project was too broad. When exploring the subject matter in more detail more narrow areas of the topic began to take shape to inspire a re-frame. The typical change management projects would include stages that very closely paralleled the design thinking process. These projects began with a period of auditing the status quo, discussion and planning, diffusion and iteration and finally evaluation and support. Inside the planning stage was a critical step that would continue over the majority of the change management project; communications.
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Figure 25: Detailed ecosystem map. Author’s image.
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Change Management
Engaged Learning Communications
Design Thinking
Business Strategy
Brand Story Culture Campaign
Goals
Tools
Drivers
Leadership Diffuse
Surveys Competition
Prove
Success Stories
Clarity
Management
Interviews
Investigate
Voice
Inspire Concept Development
Emotional Connection
Rationale
Innovative Corporate Culture
Rapid Prototyping
Educate
Discover
Empower
Observation
Develop
Early Design Language Speakers
Evaluation
Ownership Buy-in
Posters
Inform
Communications
Motivate
Responsibility
Needs Values
Positivity
Engage
Non-innovative Corporate Culture
Bootcamp Innovators
Define
Cross Department Efforts Insights
Proof of Concept
Involve
ROI
Innovation Center Built Environment
Workshop
Engaging Managers
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Stick
Speakers
Apply
Cohesive
Empathy
Emails
Brainstorm
Enable
Deliver
Final Prototype
Value Add
Support Deliver
Continuous Action
Specifics
Integrity
Belasen, A. (2008) Besson, T. (2015) Borja de Mozota, B. (2003) Brown, T. & Martin, R. (2015) Coward, T. & Fathers, J. (2005) Csikszent, M. (1996) Duarte, N. & Zanchez, P. (2016) Dunne, D. & Martin, R. (2006) Erwin, K. (2014) Gambetti, R. & Quigley, S. (2013) Garner, G. (2015) Goodwin, D., Mallinger, M. & O’Hara, T. (2009) Hampden-Turner, C. (1990) Hsieh, T. (2010) Katzenbach, J. R., Kronley, C. & Steffen, I. (2012) Kim, C. & Mauborgne, R. (2015) Kim, K. & Yoo, Y. (2015) Kolko, J. (2015) Kotter, J. (2012) Krawford, K. (2010) Lehrer, J. (2012) Lockwood, N. (2004) Lockwood, T. (2010) Martin, R. (2009) Neumier, M. (2007) Prather, C. (2010) Richardson, R. A. (2013) Van den Steen, E. (2010) Wyatt, T. (2014)
ECOSYSTEM MAP After re-framing and narrowing the topic, a final iteration of the research ecosystem map was created. The diagram to the left illustrates what was uncovered during secondary research. The map simultaneously demonstrates how to move from a non-innovative corporate culture to an innovative culture while displaying strong parallels between design thinking, change management and learning. Design thinking and change management have a strong existing link in process. They both undergo an auditing phase, followed by a creation phase, a diffusion phase and a support phase. Engaged learning should follow a similar trajectory as displayed in the diagram. This map also illustrates the relationship between goals, tools and drivers for each sub topic. Finally, it shows the important and link between communications, the brand story, the culture campaign and business strategy. The key to the immediate left shows the relationship between secondary research references and the topics. Figure 26: Re-framed ecosystem map. Author’s image.
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METHODOLOGY This study has been conducted as a contextual research project that is shaped by qualitative research both primary and secondary. Primary research has been conducted through interviews, surveys, observations and a probe. These methods create a strong foundational understanding of change management communication practices, corporate culture, design thinking practices and participatory learning. Contextual research has also been bolstered by key personal experiences with non-innovative corporate cultures.
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data processes and analysis Data collected throughout this study has been analyzed through an iterative working wall. Various models have been employed to uncover hidden truths including but not limited to 2x2’s, a strategy canvas, mind maps and a convergence map. Along with these sense making models; personas and empathy maps have been constructed to better understand the target audience. This process serves to construct a concise, engaging and universally applicable communications and learning strategy for the development of a design thinking culture.
Figure 27: SCAD Museum. Retrieved from http://scaddistrict.com/.
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Figure 28: Interview. Author’s image.
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RESEARCH QUESTIONS How might we create a participatory “context-driven� communication and learning strategy that inspires permanent adoption of corporate culture change by utilizing design thinking principles?
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Figure 29: Research questions matrix. Author’s image.
What is change management and how is it communicated? What are the building blocks of corporate culture?
what? What are successful and unsuccessful change management communication methods? In what ways have change management communication efforts stood the test of time? How do change management communication strategies apply to culture change? In what way does change management communication plans address teaching and training?
What is the difference between an innovative and a non-innovative corporate culture? What causes people to form habits and patterns of behavior?
In what areas has design thinking been employed as strategy? What features within design thinking practices are most effective for organizational effectiveness? How can design thinking be used to uncover the needs of a corporate culture?
How does involvement beget permanent adoption?
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• how to affect lasting change • how to infiltrate through co-creation
What attributes contribute to an innovative corporate culture?
What methods can be employed to evolve behavior to move towards a new collective value set?
How is design thinking applied as strategy?
why?
What about a full engagement adds longevity to learning and adoption of something new? How does traditional communication techniques differ from new methods in terms of understanding gained? Can the value of communication through participation and contribution be measured?
• how cultures develop from environment • how to change habits by restructuring conditions
• where is design thinking useful in business • how to apply design thinking in business
• what can be gained from participation driven communication through design thinking processes.
data type & collection
where?
secondary & primary qualitative data collected through secondary research, interviews and a survey.
academic journals, books and articles. interviewees and survey respondents.
consultants practicing change management communications.
week 3
a thorough discussion on how to create permanency within change management communications may be hard to find. teaching and training may have to be researched outside of change management.
secondary & primary qualitative data collected through secondary research, interviews, observations and a survey.
academic journals, books and articles. interviewees, survey respondents and personal experience and cultural probe participants.
colleagues and peers in non-innovative corporate cultures
week 2
the intricacies that each individual case of culture presents.
secondary & primary qualitative data collected through secondary research, interviews, observations and a survey.
academic journals, books and articles. interviewees, survey respondents and personal experience.
experts in the field of design management and managerial level professionals in business strategy.
week 3
a universal approach to applying design thinking processes. intricacies will exist in each specific case of application.
secondary & primary qualitative data collected through secondary research, interviews, a cultural probe and a survey.
academic journals, books and articles. interviewees, survey respondents, and personal experience.
educators and trainers in corporations and consultancies.
week 4
differentiating which pieces are critical for participatory engagement and which can be more traditional
who?
when?
challenges
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DATA COLLECTION Primary research data was collected through interviews, surveys, observations and a probe. In order to facilitate these activities various research protocols were generated. A set of interview questions, survey questions, a probe (including a survey and journal prompts), consent forms, and an observation form. The detailed protocols are located in the appendix.
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Figure 30: Data protocols. Author’s image.
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INTERVIEWS
Figure 31: Interviewee buckets. Author’s image.
Interview candidates were selected based off of the research topic areas to the right. Individuals who had expertise in one or all of the four key topics (Design thinking, communications and learning, change management and corporate culture) were critical to round out early insights and key pieces of information. The interview participants are listed below with two anonymous participants.
Design Thinking Expert
Communications and Learning
Change Management
Corporate Culture Expert
Washington, DC Kelsey Logan-Bradley Big 4 Consulting Practice Organizational Capability, Professional Development 61
Atlanta, GA Aniela Chertavian Porshe
Culture and Innovation Intern
Savannah, GA Bruce Claxton
Savannah College of Art and Design Design Management Professor
Savannah, GA Tom Hardy
Savannah College of Art and Design
Design Management Professor 62
Atlanta, GA Matthew Harrigan The Home Depot Corporate Communications and Public Relations
Philadelphia, PA Mark Hovde Certara Strategy and Corporate Development
Boston, MA Steven Martin EMC Senior Program Manager 63
Atlanta, GA Steve Nedvidek Chick-Fil-A Innovation Specialist
Austin, TX Anonymous
Technology and Consulting Corporation Design Program and Teaching Lead
Austin, TX Anonymous
Technology and Consulting Corporation Design Program Leadership and Development 64
SURVEYS Two separate surveys were conducted to gain further insights on corporate cultures and communication approaches. The first survey explored existing creativity and collaboration in corporate cultures. This survey highlighted how much value people place on knowing the ‘why’ behind their work. The second survey focused on how information was communicated and how people learn. This survey uncovered that most environments still live inside the powerpoint presentation. It was also apparent that respondents desire to learn new things through hands-on application. There is an opportunity to expand the methods used for communicating information and for teaching employees about new initiatives related to culture.
Figure 32: Pen and notebook. Retrieved from http://stacyennis.com/.
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Figure 33: Survey 1 results. Author’s image.
understanding corporate culture
age Please rank the below on a scale of how important these things are for you in your work experience (0 being not important and 5 being important). understanding why your work is important to the client creative problem solving understanding why your work is important to the company sex
team collaboration collaboration with other teams/ departments access to senior management time for side projects
0
1
2
3
4
5
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tell ‘em what you told ‘em age
sex
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How is information about corporate culture communicated in your organization?
In what form are presentations most frequently given to communicate internal information?
Figure 34: Survey 2 results. Author’s image.
In what form do you most prefer to learn how to do something new?
How was training for your current job executed?
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OBSERVATIONS Without easy access to large corporate environments and innovation centers, observations were conducted at two local museums in Savannah, the SCAD Museum of Art and the Jepson Center. The decision was made to observe museums due to the fact that there are many parallels between the way a museum exhibit is built and the way a corporation can create engaging interactive opportunities for communication and learning. Observations were conducted while using the AEIOU model (Activities, Environments, Interactions, Objects and Users). The permanent digital table top installation at the SCAD Museum of Art is a strong example of an interactive learning artifact. At the Jepson Center, the sound installation and glass house exhibits (to the right) demonstrate interactive, creative and beautiful ways to communicate information and engage the audience. These observations uncovered that there is a lot that can be learned from the arts for developing communications and learning strategies.
Figure 35: Jepson Center: Format No. 1: interactive sound installation by Foo Skou. Retrieved from http://www.telfair.org.
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PROBE A final observation approach was employed through a probe to assess creativity and collaboration in the workplace. Participants were scouted out in a variety of fields ranging from traditionally creative (an advertising agency) to traditionally non-creative (an economic forecasting and analysis firm). For the most part, this probe confirmed assumptions about creative fields versus non-creative fields. Creative fields had significantly more scheduled and unscheduled brainstorming time and demonstrated less dissatisfaction through mundane activities. There were exceptions to this but for the most part traditionally quantitatively driven environments presented more barriers for creativity and less job satisfaction. This probe helped highlight the value of integrating creative engagement in the workplace.
Figure 36: Jepson Center: Glass House by Therman Statom. Retrieved from http://www.telfair.org.
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Figure 37: Data points on working wall. Author’s image.
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RECAP During the research phase extensive secondary research helped to shape the understanding of the subject matter and lay the foundation for primary research. During primary research a total of 9 interviews, 2 surveys, 2 observations and 1 cultural probe (with 8 participants) were conducted.This information would all be gathered on the working wall and analyzed through affinitization.
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Figure 38: Stage one of affinitizing. Author’s image.
73
4
Affinitizing Insights at a Glance Insights & Opportunities Framework Personas
Figure 39: Data points at the beginning of affinitizing. Author’s image.
75
AFFINITIZING After collecting information during the research phase, it was important to affinitize and group the data to uncover key insights. By utilizing a three stage method, a total of 12 key insights were uncovered. These were backed by 34 sub-insights and 120 original groupings.
76
INSIGHTS AT A GLANCE Through a working wall and affinitizing, 12 key insights (shown right) were defined. These were grouped one step further to clarify major themes that were surfacing from the research. These themes include trust, pride, delight, empathy and purpose. These themes represent the ingredients necessary to engage the audience and create commitment when undergoing a large scale culture change. These ingredients will prove useful when crafting an experiential learning strategy in order to shift a corporate environment to a design thinking driven culture.
77 77
Figure 40: Insight framework. Author’s image.
We’re Outside The Box
Did I Do That?
Let’s Have A Mixer
Delight Me Dynamically
PRIDE DELIGHT Baby Steps
TRUST
What Would Leadership Do?
ENGAGED EMPATHY
Prove It
PURPOSE Go Big And Go Home
Draw Me In
Walk In My Shoes
Customployee
Make The Cut
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BABY STEPS When undergoing an exhaustive cultural change in a large organization, incremental steps should be implemented to engender trust and bring your target audience along for the ride without overwhelming them with complicated and foreign messaging.
opportunity There is an opportunity to build a change management communications strategy that focuses on early and frequent involvement from the population undergoing the transformation while simultaneously creating a safe environment built around celebrating successes from the previous culture and fostering a healthy appreciation for constructive failure.
79
HOW MIGHT WE... 1. 2. 3. 4.
highlight and celebrate the good from the previous culture? create an environment and conversation that encourages failure and utilizes it as a key learning mechanism? build trust early by involving the people being most effected by the change in the creation process at the start? keep messaging clear and concise especially when facing the larger audience?
80
Communicate your message in small incremental changes that incorporate the good from the previous culture. I need a safe place to share ideas without fear of failure.
Create a clear and simple message that is easy to adopt and follow. 81
Figure 41: ‘Baby steps’ insight data. Author’s image.
“
We’re trying to create that boundary between innovation and Porsche’s existing style. Aniela Chertavian
So we’d hit our goals but then I’d have a creative thinking workshop and I’d say okay now I want the ‘get fired ideas’. - Bruce Claxton
We have the values wheel and as a model it’s something everyone can easily see and get behind. - Matt Harrigan 82
PROVE IT In order for change to truly occur the audience needs to understand and believe the purpose for the shift and witness strong evidence to quickly persuade them to adjust behaviors and long held mental models.
opportunity There is an opportunity to build in outside experts and audience participation into your communication and learning strategy in order to engender trust and prove the validity of your campaign.
83
HOW MIGHT WE... 1. 2. 3. 4.
bring in outside experts that directly and indirectly relate to your message in order to augment validity? create touch-points of participation for the audience to prove the value of the campaign? create a clear message that is easy to get behind and follow? continuously celebrate inside and outside cases of success?
84
Give me context and outside proof to make me believe it. Co-creation of a clear value set unifies your audience and proves authenticity.
85
Figure 42: ‘Prove it’ insight data. Author’s image.
“
We started bringing design thinking into culture change and showed people existing case studies to show why it was relevant. - Kelsey Logan-Bradley
People will believe an outsider before they believe you. - Tom Hardy Unify the company’s mind, behavioral and visual expression, through a consistent and high quality application of program standards. - Belasen, A. 86
WHAT WOULD LEADERSHIP DO? There is absolutely not substitute for a strong leader. Without buy-in from the top, major corporate culture change initiatives, communication plans and learning strategies are doomed to fail. People look to their superiors for guidance through spoken and unspoken directives.
opportunity There is an opportunity to move the change from the leadership level and highlight the involvement, commitment and faith that these authority figures have in the campaign for everyone to see and hear through transparent honest two-way channels of communication.
87
HOW MIGHT WE... 1. 2. 3. 4. 5.
ensure the CEO is backing the plan early on? gain the trust and commitment from other upper levels of leadership? create channels for easy honest conversations between leadership and the broader audience? make the CEO and other top leadership poster men and women for the campaign? bring top leadership in for critical touch points with audience during training? 88
Commitment and buy-in from the CEO makes all the difference. Consistency and transparency between what is said and done creates trust. Honest two-way communication from all levels is critical to adapt and reach success.
89
Figure 43: ‘What would leadership do?’ insight data. Author’s image.
“
I think it’s about communicating your failures and communicating your weaknesses. I think it’s very important for us to express the failures along the way to be transparent. - Steve Martin
My guess on culture is that there are some core principles. One of which is listening to other people and communicating clearly. - Mark Hovde.
The CEO was a real gentlemen and a very admired guy and he would hound these core beliefs as being really important to him. - Bruce Claxton 90
WE’RE OUTSIDE THE BOX Creating truly innovative ideas is about disruption from the current trajectory which can be more easily accomplished when you collaborate with individuals from a variety of backgrounds, skill sets and perspectives.
opportunity There is an opportunity to create conditions for people from multiple backgrounds and disciplines to come together in order to solve complex problems and create positive disruption within your organization.
91
HOW MIGHT WE... 1. 2. 3.
4.
hire people with eclectic backgrounds and successfully utilize their knowledge to create innovation? find and support innovative individuals from multiple departments to participate? create a physical space where individuals across the organization can come together to help each other solve complex issues.? create a program that encourages people to help and encourage each other? 92
It’s about non-linear thinking that leads to disruption to solve complex issues. Collaboration and varied skill sets promote great idea generation.
93
Figure 44: ‘We’re outside the box’ insight data. Author’s image.
“
Creativity in it’s various forms has become the number one engine of economic growth. Neumeier, M
Someone from a varied background can be very insightful and don’t worry they’ll learn your process quickly. - Steve Martin We invite the community from all across campus to collaborate and help people get unstuck and that gives them a break from their own stuff as well. - Steve Nedvidek. 94
DID I DO THAT? Tapping into people’s individual and collective pride over a job well done can encourage and fuel change while giving them the opportunity to work with their peers whom they trust more than the larger organization.
opportunity There is an opportunity to tap into the pride that comes from individual contribution and simultaneously the feeling of being part of a team and something bigger than oneself.
95
HOW MIGHT WE... 1. 2. 3. 4. 5.
give people the chance to put their own little (or big) spin on the campaign? reward curiosity with multifaceted opportunities for learning and personal development? allow people to organically get together to learn from one another? encourage ground level socialization and storytelling around successes and breakthrough ideas? use individual contributions to clearly be incorporated in future message iterations? 96
Decentralize to take a grassroots approach that will allow me to contribute. Pride and ownership is a huge motivator for change. Incentivize me to contribute. Create a place and culture centered around learning and curiosity for my personal development. Engage me early in fast prototyping to ensure fresh iterative thinking. 97
Figure 45: ‘Did I do that?’ insight data. Author’s image.
“
We actually brought in some theater folks and created an improv class but we didn’t call it that because we didn’t want to scare people away. People got into it and had a lot of fun. - Anonymous.
You had to convince people from the ground up you couldn’t just tote the corporate card. - Tom Hardy We didn’t initially understand the importance of active learning as completely as we needed. In a few short months we adapted to be much more interactive. - Anonymous 98
DRAW ME IN Creating an environment and campaign that reaches a point that it feeds off of it’s own acclaim is the ultimate tipping point that should be hailed a critical milestone to getting even your indifferent audience engaged.
opportunity There is an opportunity to create a physical space and cultural campaign example that inspire buy-in from your broader audience by acting like a beacon that people are actively trying to join by utilizing sharable artifacts, symbols and positive language.
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HOW MIGHT WE... 1. 2. 3. 4. 5.
build a central physical location that is attractive and engaging? set up an experimental group to test and showcase the new in action? create portable, delightful and engaging artifacts that people can share to tell the story? generate identifiable fun symbols and language associated with the change? incorporate the message in high traffic and otherwise dull environments so it’s never out of site? 100
Create a space that acts like a magnet and gives me resources to be creative. Artifacts, symbols and walk by impact help spread the word with positive speak. Reach critical mass with your audience to create a snowball effect. Culture is the key to re-engaging me and my indifferent friends.
101
Figure 46: ‘Draw me in’ insight data. Author’s image.
“
People were like how can I become a part of this culture; it became a magnet. - Steve Nedvidek
Employment brand is now public information so if you’re not a great place to work people find out fast. - Bersin, J. You need a critical mass of committed people to get the heel draggers to come along. - Weber, C. 102
LET’S GET TOGETHER It’s important for people to feel like they have the opportunity to socialize and feed off of the energy of others in the workplace.
opportunity There is an opportunity to tap into people’s innate desire to socialize as a mechanism for improving the campaign and spreading the word.
103
HOW MIGHT WE... 1. 2.
3.
create occasions with the sole focus of providing the opportunity to casually socialize? create the appearance of casual interactions while incorporating prompts to socialize the messages behind the campaign? capitalize off of improving technology to ensure socializing is continuing to occur as the trend for remote work-lives increases?
104
Improving technology allows me to more authentically engage and socialize at a distance. I am social and want to engage and learn how to interact with other people more effectively.
105
Figure 47: ‘Let’s get together’ insight data. Author’s image.
“
We have a voting system so once you get like x amount of supporters then it goes into this production mode. - Aniela Chertavian
You need to train people on people management. - Tom Hardy You can track what your employees are saying about your company on social media where they feel more open to share. - Anonymous 106
DELIGHT ME DYNAMICALLY Creating a variety of fun interactive touch-points for the employee to receive the messages behind the campaign will drastically increase engagement and adoption of the new culture.
opportunity There is an opportunity to be purposeful in the creation of language, artifacts, exhibits and toolkits so that the messaging and the way in which it is delivered is immersive and emotionally engaging so as to generate high levels of excitement and adoption of the culture change.
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HOW MIGHT WE... 1. 2. 3. 4.
eliminate old language that drags authentic productivity down? encourage formal and informal hubs for storytelling of culture successes? develop a holistic change strategy that diversely and immersively engages the audience? encourage productivity through play in a way that creates moments of delight?
108
Existing communication is boring and bogged down by jargon. Collective memory is driven by creative and engaging
storytelling. Content rich dynamic communication is at the center of a great organization. Immersive human experiences are emotionally engaging and the new status quo for employees.
109
Figure 48: ‘Delight me dynamically’ insight data. Author’s image.
“
Collective accounts serve as precedent for individual assumptions, decisions, and action. - Jacobsen, D.
Timberland prints fun anecdotes in their shoe boxes - Survey 2
We had a video campaign where we did some humorous video shorts and then we did a poster series for the innovation speaker series...it’s really a variety of things. - Aniela Chertavian 110
WALK IN MY SHOES Understanding your audience is essential for generating a communications and learning plan that will truly hit home and the only way to authentically understand the environment and people in it is through empathic auditing techniques which should be incorporated early and as an ongoing aspect of the overall plan.
opportunity There is an opportunity to understand your audience by creating empathetic auditing techniques before beginning to communicate the culture change and incorporating these techniques directly into the learning process so that they feel authentic and are a tandem effort.
111
HOW MIGHT WE... 1. 2. 3. 4.
create measurements that garner honest responses especially from those that would otherwise remain silent? use design research techniques, like observation, to uncover the existing state through what is being done and not just what is being said? build rewards and incentives that simultaneously act to provide key insights into employee satisfaction that aren’t solely based on money? incorporate auditing metrics directly into communication and learning so that they’re more discrete and illicit more honest responses? 112
Get to know all of us (the silent majority) through a simple introduction and collaboration that is iterative. Culture is about what they do, not what they say. Create empathy by experiencing what they do. Create simple clear measurements to truthfully assess my satisfaction and progress (don’t just base it on money). Use auditing while teaching to uncover problems. Find ways to do so for authentic results. 113
Figure 49: ‘Walk in my shoes’ insight data. Author’s image.
“
It’s all about follow up between the reviews. You needed to make sure things were on track. - Tom Hardy
This culture stuff...it may be that we don’t know how to measure it yet. - Mark Hovde I’ll run through the activities in the education sessions initially to get a sense of where people are and where the company is. - Aniela Chertavian 114
CUSTOMPLOYEE As customer experience reaches it’s stride the expectation for moments of delight in every interaction we have is increasing making it a requirement for companies to match the attention they give consumers to their own employees.
opportunity There is an opportunity to use exceptional customer experiences as a model for the creation of delightful employee experiences that meld the brand story and culture campaign into one unified message and experience.
115
HOW MIGHT WE... 1. 2. 3. 4.
make sure our employees are learning culture through engaging experiences that match what they encounter as consumers? align our brand story with our culture campaign so the corporate culture identity remains consistent? use existing interactive brand communication strategies to guide our internal storytelling? take care of employees so that they feel encouraged to provide excellent customer service? 116
Internal and external identities are irrevocably connected by people as is work life and home life. Take care of me (your employee) and I’ll take care of your customers.
117
Figure 50: ‘Customployee’ insight data. Author’s image.
“
If you want to know if a company has the health to survive long term and succeed...track the stories. Employees tell about culture� - Klotz-Guest, K. People are the heart and soul of any business enterprise. The degree to which they work together towards common objectives determines whether that endeavor succeeds fails or just muddles along in mediocrity. - Gambetti, R. & Quigley, S. 118
MAKE THE CUT It’s important to become aware of and appropriately manage the systems and people that hold back the momentum for culture change and those that can move it along at a faster rate.
opportunity There is an opportunity to discover who can most benefit your mission and utilize them as facilitators while simultaneously understanding who and what holds you back and how to best deal with those obstacles.
119
HOW MIGHT WE... 1.
2.
3.
give attention to the hiring process and align strategies in such a way that we attract the right talent and get them on board at the gate? uncover and acknowledge existing employees with an innovator’s mindset by making them champions to the cause? determine how to remove individuals and systems that prevent forward momentum with the least amount of negative reaction?
120
Hire and acknowledge the people with an innovator’s mindset then turn them into coaches. Old systems make machines out of companies and a pog out of me and I’m too negative to change.
121
Figure 51 ‘Make the cut’ insight data. Author’s image.
“
You try to get someone to 95% when they’re not a decision maker. Key decision makers only need about 80% of understanding so you really waste a lot of time socializing ideas among people who can’t help. - Steve Martin
We would get people to a point where they could take it back themselves and teach everyone else. - Kelsey Logan
Everybody would learn the model and so we couldn’t think outside of the model because we had learned the model. - Steve Nedvidek 122
GO BIG AND GO HOME It’s important to be honest from the onset about the difficult and time consuming nature of attempting a large scale change inside a corporate environment.
opportunity There is an opportunity to be frank about the potential duration and ongoing nature of a large corporate change while simultaneously tailoring your message to smaller audiences in order to make the adjustment more palatable.
123
HOW MIGHT WE... 1. 2. 3. 4.
acknowledge that the change in behavior, systems and mindsets will be difficult and time consuming? remind people that there is not necessarily an end state of success and that transformation is ongoing? eliminate conflicting demands that prevent your audience from knowing which efforts to prioritize? tailor your message to smaller audiences to make it easier to understand and adopt? 124
You have a large audience so create smarter tailored experiences to engage smaller groups. Conflicting demands and ingrained behaviors make it very difficult for large companies to change.
125
Figure 52: ‘Go big and go home’ insight data. Author’s image.
“
So now we were designing for segments. We really uncovered new needs. - Bruce Claxton Those companies that are kind of antiquated or they just do business the legacy way of doing business by just focusing on that core product and oversimplifying in order to scale up so it’s easy to on-board a ton of people at once. - Steve Martin 126
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Figure 53: Insight opportunity criteria. Author’s image.
na rso Pe
Va ri
ou
Collabora tio n
es
y| et
We Want
rces
So
PRIDE
cial |
We Want
Intriguin g
DELIGHT
e nc da ui
We Want to Feel
We Want
ENGAGED
TRUST
Un de
Proof | Authorit
y|
G
l Developm en tR
and rs t
ing | Consi
We Want
ste n
We Want
y
oach | Ce Appr leb ed rat or io ail
127
T
n
In of
PURPOSE
c
ative Behav nov ior
EMPATHY
FRAMEWORK By taking a closer look at the insights and the parent groupings, the framework to the left emerged. At the center of all the insights is the want from the audience to feel engaged. Ultimately to accomplish this the audience needs trust, pride, delight, empathy and purpose when presented with a major cultural change initiative. Each of the twelve insights encapsulates a criteria needed by the audience and to be incorporated into the concepts for the creation of a truly engaging communication and learning strategy to push culture change forward in a large organization. Subsequently, the development of insights, opportunities and this framework helped to surface four key personas (shown on the following pages) that should be addressed when developing a communications and learning plan. The motivated millennial represents a new hire geared for an innovation driven culture and excited by change. The combative curmudgeon embodies the individuals that will try to push back against change. The inquisitive inside man is a key change agent that can be tapped in order to socialize the message. Finally, the excited executive is paramount to the success of any culture change initiative. 128 128
PERSONAS Motivated Millennial Anna Mariner
Anna is a 29 year old new hire who works for your public relations department. She’s always wanted to work for a company that would prove to be dynamic and align strongly with her values. She has high expectations for how brands deliver consumer goods and services and expects the same from her employer. It’s important to me to be a part of the big picture
H e a r
We’re gonna teach you about design thinking
Think and Feel
I am excited to be doing something innovative and new It’s about empathy
129
Pride
A dynamic training center Values around creating engagement
How can I contribute? Participate in on-line activities
Pain
I love to learn
I don’t know who to reach out to with my ideas
Say and Do
I’m not sure that my ideas matter
Gain
S e e
Trust
Delight
Go to learning events
I’m really excited about this new way to solve problems
I’m not afraid to try new things and I see things from a fresh view
Purpose
Empathy Figure 54: Persona 1. Author’s image.
Combative Curmudgeon David Vincent David has been working at your company for 15 years as a manager in your finance department. He was hired to do a specific job. He doesn’t see any benefit in changing the way he approaches his work and he’s certainly not gonna take any advice from some outsider who doesn’t even understand what he does. Think and Feel
I really don’t like this!
H e a r
I am find doing the things the same way
You really need to get on board with this
I’m gonna quit if they make me do this Young people trying to teach me stuff I know already
Just give it a chance! I’m not gonna change the way I’m doing things. This isn’t going to last.
Pain They’ve done stuff like this before and it never changes anything.
Say and Do
I don’t want to learn about it. It’s a waste of time and I have stuff to do
Gain
Pride
S e e
Trust
Delight
I’ve seen this before.
The chance to learn and change attitudes
Quit and find better culture fit
Purpose
Empathy Figure 55: Persona 2. Author’s image.
130
Inquisitive Inside Man Brad Costello Brad is a 35 year old mid-level manager in your human resources department. He’s very curious about taking a new approach to producing a more innovative company culture. He wants to learn as much as possible so he can get other people on board with the idea. He’s vested in the business and is excited to transform it. I hope I can offer some background
H e a r
You have an innovative mindset You’d be a great coach and teacher How can this apply to my department?
Pain
I have other responsibilities I need to deal with first
I’m happy to be learning something new
Think and Feel This is really cool. I can’t wait to help!
Let me see if my boss will give me time to work on this
Say and Do Gain
An employee experience center A cool booklet explaining what the new culture is about
Pride
S e e
Trust
Delight
I’m gonna tell my friends
This is a chance for me to use my unique skill sets
This makes my work interesting again
Purpose
Empathy Figure 56: Persona 3. Author’s image.
131
Excited Executive Katherine Silva
Katherine is a C-Suite executive who has worked very hard to get where she is in the company. She values the business but can see it’s old approach is causing it to fail as a business. Katherine wants to save the business and is excited about a new approach involving creating empathy with the customer and the employee. I want to drive this charge
H e a r
Our applicant pool is declining
We need to do something
Think and Feel
I know we can do better
I’m worried about our future business Our profits are dropping
This is very important to me
Pain We are not keeping up with the broader competition
I’m willing to be a driving force for this. Tell me what to do
Say and Do
Our product is becoming irrelevant we need to innovate
Gain
Pride
Competitors providing strong cultures
A large organization that needs to change to stay relevant
S e e
Trust
Delight
I’ll get you some additional resources
A chance to be at the center of the transformation and guide it
Becoming an inspiration to the employees
Purpose
Empathy Figure 57: Persona 4. Author’s image.
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5
Ideation Early Concepts Evaluation
Figure 58: Ideating. Author’s image.
133
Figure 59: Crazy eights. Author’s image.
135
IDEATION The framework and design criteria developed from research and insights provided a base for which to conduct ideation. The technique ‘Crazy 8’s’ was utilized to produce a large quantity of concepts. How might we statements that repeatedly surfaced through several insights were taken into consideration for each round of ‘Crazy 8’s’. In each round concepts were developed to satisfy that opportunity. From here 3 final concepts were chosen to evaluate and to help shape the final solution. 136
EARLY CONCEPTS Concept 1: Pop-up Innovation Centers A mobile innovation center that brings the experience of going through design thinking and innovation workshops to various locations within the larger corporation. It will not only introduce ideas, products and services that embody the new innovative culture change but it will also act as a quick and dirty support center for those wishing to apply various methods to their own projects. This offers a low cost alternative to a traditional one stop shop innovation learning centers typically built at corporation headquarters. It also brings the new culture to the masses, allowing the entire employee base to feel involved and to get activated. When evaluating this concept across the 12 point design criteria, it was most lacking at creating a sense of authority. 137 137
Figure 60: Concept 1 evaluation. Author’s image.
Collaboration Personal Development Resources
Variety
Social
Authority
Intriguing
Guidance
Understanding
Proof
Celebration of Innovative Behavior
Consistency
Tailored Approach
138
Figure 61: Concept 2 evaluation. Author’s image.
Collaboration Personal Development Resources
Social
Authority
Intriguing
Guidance
Understanding
Proof
Celebration of Innovative Behavior 139
Variety
Consistency
Tailored Approach
Concept 2: B.L.I.S.S. B.L.I.S.S. or Building and Locational Interactive Sequential Storytelling is a concept aimed at building out musuem like exhibits throughout typical offices environments with the purpose of spreading the new value set that goes hand -in-hand with the new innovate culture. Rather than building a singular experience center this concept aims to incorporate experiences in your employees everday environment so they are consistenly and dynamically exposed to the message. Materials and mediums that allow for frequent updates will be utilized in order to prevent the message from becoming stale. B.L.I.S.S. promising to be strong at creating intrigue and understanding while also providing a variety driven story-telling approach. However, it falls short on a number of other design criteria. Figure 62: B.L.I.S.S. sketch. Author’s image.
140
Concept 3: Ted Talks Creating in-house ted talk-esque presentations will generate authenticity for the new innovative design thinking driven culture. The ted talk format is dynamic, concise and entertaining. Experts from both in and outside of the organization can particpate in the same event creating a sense of unity between experts and practitioners. These events can be presented as special occaisions with attention to publicity and a sense of exclusivity for the in-person event that will drive attendance while simultaneously providing universal access through such things as webcasting. Ted talks cover a number of design criteria well including: authority, proof, consistency, understanding and intrigue. Figure 63: Ted talks sketch. Author’s image.
141
Figure 64: Concept 3 evaluation. Author’s image.
Collaboration Personal Development Resources
Variety
Social
Authority
Intriguing
Guidance
Understanding
Proof
Celebration of Innovative Behavior
Consistency
Tailored Approach
142
Figure 65: Summary evaluation. Author’s image.
Collaboration Personal Development Resources
Social
Authority
Intriguing
Guidance
Understanding
Proof
Celebration of Innovative Behavior 143
Variety
Consistency
Tailored Approach
EVALUATION Each of these three intial concepts covered parts of the design criteria well and could be utilized as tools and approaches to different stages of a full scale communiations and learning strategy or plan. However, it is clear to see in the diagram to the left that none of these concepts hit the mark entirely across all twelve design criteria. In order to do that it will be important to keep in mind that an appropriate communication and learning strategy should be diverse, dynamic, thorough and ever changing. These three concepts and the others generated through Crazy 8’s have been used to generate a final design concept solution to create an experiential ‘contextdriven’ communications and learning strategy to push innovative culture through an organizaiton.
144
Figure 66: Hatch innovation center. Retrieved from https://tours.chick-fil-a.com/Home/Index
145
6
Introduction Identity Content Evaluation Reflection
Figure 67: Paper prototype of final design. Author’s image.
147
INTRODUCTION L.E.A.R.N stands for learning, experience, authenticate, reflect and narrate. This is the basis for the framework presented in a fieldbook style artifact. The purpose is to aid users at they lead and guide others along a corporate culture change campaign aimed at creating a design thinking driven environment. This fieldbook is meant to be used during the communication and learning stages of a change management initiative and provides tips and tricks for creating a participatory ‘context-driven’ approached embedded in creating a delightful experience for affected employees. 148
Figure 68: L.E.A.R.N. foundation. Author’s image.
PRIDE
NARRATE
DELIGHT
TRUST
ENGAGEMENT
LEARN
REFLECT
EMPATHY EXPERIENCE PURPOSE
149
AUTHENTICATE
Figure 69: L.E.A.R.N. branding. Author’s image.
IDENTITY L.E.A.R.N. was developed directly from the 5 key categories that surfaced as grouping of the 12 key insights derived from insights through affinitization. The diagram to the far left shows how the groups relate to the final concept.
ISTEN XPERIENCE U T H E N T I C AT E
To the immediate left branding elements have been created to help shape the style and identity of the fieldbook. Colors were chosen as they related to the insights framework. The logo itself is a reorganization of the insights framework. The font chosen encapculates a simplicity and playful nature of the overal L.E.A.R.N. and any materials developed. Finally, icons were chosen to capture each section of L.E.A.R.N. A survey for listen, tools for experience, a poster for authenticate, a discussion for reflect and personas with quotes for narrate.
EFLECT A R R AT E 150
CONTENT The main body of the fieldbook will be broken out into brief sections for each piece of the L.E.A.R.N. approach. However, the begining of the book will have an introduction and an innovation quiz. The end of the book with be equipped with recommendations, blank pages for notes and a wallet sized takeaway in a pocket in the back as an additional takeaway. The book is meant to be a part of a larger approach. This artifact will help educate change agents and give them the foundation set of tools they’ll need to get started on their journey to shifting the culture inside a large corporation to generate a design thinking innovative environment through participatory ‘context-drive’ experiences.
151
ing n n i g e b e h In t
1.
closing thoughts 4. LET’S DO THIS AGAIN! This was so much fun and I can’t wait to help you through another learning experience with a new audience. It’s important to keep in mind that patience is key as you go through this process. You’re an innovation rockstar and can totaly help others learn about L.E.A.R.N. Remember to be flexible! Be engaging! And enjoy the journey! So long for now!
A tips & tricks guide to activating an innovative culture
3.
2. WHO AM I?
WHO ARE YOU?
Hi, my name is L.E.A.R.N! I am a pocket-sized book for you to take wherever you go! To the left you can see the insights I came from. I’m here to teach you how to change corporate culture using design thinking activities and methods. Together we will listen, experience, authenticate, reflect and narrate with the people around us to help them feel engaged in your new culture! Let’s begin by finding out what type of innovator you are!
Let’s Find Out What Type of Innovator You Are! DISAGREE
to... I want STUCK IN THE MUD (4-9)
AGREE
I love strating new hobbies but don’t stick to the same one for too long.
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5
I frequently run across tasks in my work that seem uneccesarily complicated and wish I had time to fix them.
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When I start a new project in something I don’t understand I like to ask a lot of questions before I start.
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When I have to work with someone new on a long engagement I try to find ways to socialize with them.
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to... I want
me take u! yo with
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5
You are someone who can see that changes need to be made but feel like there is no point telling anyone about the things that bother you. In the past no one has listened or done anything about your ideas to fix problems.
Figure 70: General fieldbook pages. First part of book (1-3). Last part of book (4-7). Author’s image.
RULE BENDER (10-15) You look for the shortcuts. Anything that can make your job easier and get the job done more effectively even if it’s not sanctioned is your mission. You love sharing these new finds with others too. Work smarter not harder is your motto!
DISRUPTER STATUS (16-20) If it ain’ broke, why fix it? And if it is broke, why fix it? Why not just reinvent it. You know there are so many new and different ways to approach problems these days and all you want to do is use all of them and come up with more!
7.
ISTEN t o the people a r o u n d y o u . We a l l c a n learn from each other! XPERIENCE the new culture first hand. I t’ l l s t i c k w i t h y o u ! U T H E N T I C AT E what you learning and t e l l i n g . We w a n t p r o o f ! E F L E C T o n h o w fa r you’ve come and what you can change! A R R AT E t h e s t o r y of new culture successes. Celebrate wins!
c
2017 S. Martin Ltd.
152
EMPATHY Understanding your audience is essential for generating a communications and learning plan that will truly hit home and the only way to authentically understand the environment and people in it is through empathic auditing techniques which should be incorporated early and as an ongoing aspect of the overall plan. Figure 71: Listen questions. Author’s image.
How can we get to know each other? 153
Does our brand match our culture?
1. LET’S LISTEN! This was so much fun and I can’t wait to help you through another learning experience with a new audience. It’s important to keep in mind that patience is key as you go through this process. You’re an innovation rockstar and can totaly help others learn about L.E.A.R.N. Remember to be flexible! Be engaging! And enjoy the journey! So long for now!
Figure 72: Listen fieldbook pages. Author’s image. How can we get to know each other?
Does our brand match our culture?
2. TIPS
1. 2. 3. 4.
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
TRICKS How can we get to know each other?
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
How can we get to know each other?
How can we get to know each other? How can we get to know each other?
154
DELIGHT Creating an environment and campaign that reaches a point that it feeds off of it’s own acclaim is the ultimate tipping point that should be hailed a critical milestone to getting even your indifferent audience engaged. Figure 73: Experiencce questions. Author’s image.
Are we capturing their attention? 155
How can involve more people?
Are we keeping it fresh?
1. LET’S EXPERIENCE! This was so much fun and I can’t wait to help you through another learning experience with a new audience. It’s important to keep in mind that patience is key as you go through this process. You’re an innovation rockstar and can totaly help others learn about L.E.A.R.N. Remember to be flexible! Be engaging! And enjoy the journey! So long for now!
How can involve more people? Are we capturing their attention?
Figure 74: Experiencce fieldbook pages. Author’s image.
Are we keeping it fresh?
2. TIPS
1. 2. 3. 4.
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
TRICKS How can we get to know each other?
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
How can we get to know each other?
How can we get to know each other? How can we get to know each other?
156
TRUST When undergoing an exhaustive cultural change in a large organization, incremental steps should be implemented to engender trust and b Figure 75: Authenticate questions. Author’s image.
Are we telling people the leaders care? 157
How can we help them along the way? How can we prove this?
1. LET’S AUTHENTICATE! This was so much fun and I can’t wait to help you through another learning experience with a new audience. It’s important to keep in mind that patience is key as you go through this process. You’re an innovation rockstar and can totaly help others learn about L.E.A.R.N. Remember to be flexible! Be engaging! And enjoy the journey! So long for now!
How can we help them along the way? Are we telling people the leaders care?
Figure 76: Authenticate fieldbook pages. Author’s image.
How can we prove this?
2. TIPS
1. 2. 3. 4.
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
TRICKS How can we get to know each other?
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
How can we get to know each other?
How can we get to know each other? How can we get to know each other?
158
PURPOSE It’s important to become aware of and appropriately manage the systems and people that hold back the momentum for culture change and those that can move it along at a faster rate. Figure 77: Reflect questions. Author’s image.
How are we highlighting the good? 159
Are we breaking it down for each audience?
1. LET’S REFLECT! This was so much fun and I can’t wait to help you through another learning experience with a new audience. It’s important to keep in mind that patience is key as you go through this process. You’re an innovation rockstar and can totaly help others learn about L.E.A.R.N. Remember to be flexible! Be engaging! And enjoy the journey! So long for now!
Are we How are we breaking it highlighting the down for each good? audience?
Figure 78: Reflect fieldbook pages. Author’s image.
2. TIPS
1. 2. 3. 4.
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
TRICKS How can we get to know each other?
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
How can we get to know each other?
How can we get to know each other? How can we get to know each other?
160
PRIDE Creating truly innovative ideas is about disruption from the current trajectory which can be more easily accomplished when you collaborate with individuals from a variety of backgrounds, skill sets and perspectives. Figure 79: Narrate questions. Author’s image.
How are we helping people improve themselves? 161
Are there ample opportunities for collaboration?
1. LET’S NARRATE! This was so much fun and I can’t wait to help you through another learning experience with a new audience. It’s important to keep in mind that patience is key as you go through this process. You’re an innovation rockstar and can totaly help others learn about L.E.A.R.N. Remember to be flexible! Be engaging! And enjoy the journey! So long for now!
Are there ample opportunities for collaboration?
How are we helping people improve themselves?
Figure 80: Narrate fieldbook pages. Author’s image.
2. TIPS
1. 2. 3. 4.
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
TRICKS How can we get to know each other?
You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn You are someone who can see that changes need to be made but feel like there is no point telling anyone about ideas to fix problems.asnd;lfkjasmdnf.,amnsd.,mfn.a,mdsn.,mfn.,mn,.msna.,dmfn.as,mdfn
How can we get to know each other?
How can we get to know each other? How can we get to know each other?
162
Figure 81: L.E.A.R.N. evaluation. Author’s image.
Collaboration Personal Development Resources
Social
Authority
Intriguing
Guidance
Understanding
Proof
Celebration of Innovative Behavior 163
Variety
Consistency
Tailored Approach
EVALUATION As a self-contained fieldbook L.E.A.R.N. has ranked much higher than the initial concepts accross the 12 design criteria. The book itself is a unique way of communicating information and will provide variety in an otherwise run-ofthe-mill learning plan. The book is also an intriguing artifact that will promote understanding, guidance and consistency of the change message. It is loaded with tools to learn and apply allow the user to develop and expand their personal toolbox of resources. With plans in the future including elements like additional support material, workshops, and on-site support the broader concept promises to eventually capture all 12 of the design criteria fully.
164
REFLECTION As a self-contained fieldbook L.E.A.R.N. has ranked much higher than the initial concepts accross the 12 design criteria. The book itself is a unique way of communicating information and will provide variety in an otherwise run-ofthe-mill learning plan. The book is also an intriguing artifact that will promote understanding, guidance and consistency of the change message. It is loaded with tools to learn and apply allow the user to develop and expand their personal toolbox of resources. With plans in the future including elements like additional support material, workshops, and on-site support the broader concept promises to eventually capture all 12 of the design criteria fully.
165
Figure 82: L.E.A.R.N. concept & research ecosystem map overlay. Author’s image.
A U T H E N T I C AT E
Innovative Corporate Culture
LISTEN REFLECT
Non-innovative Corporate Culture
EXPERIENCE
N A R R AT E
166
7
Conclusion Next Steps Recommendations
Figure 83: Working wall. Author’s Image.
167
Figure 84: Umbrellas. Author’s image.
169
CONCLUSIONS This project has moved from a broad scope study of corporate culture and change managerment practicies to conclude with a flexible approach to tackling the key challenge when attempting to change the fundamental driver of culture, behavior. A as a guide for creating a participatory ‘context-driven’ learning experience, this study will help drive corporate culture change to evolve the behaviors and environment towards innovation through design thinking. 170
NEXT STEPS Testing The recommended immediate next step for this project would be to conduct initial user testing and guage reactions for several iterations through rapid prototyping. Key aspects of the recommended approach to testing are outlined to the right. It will be important to create a working physical prototype and present key elements including fieldbook content, L.E.A.R.N. identity features and basic concept introduction to a set of potential users to garner feedback. This feedback can then be used to create a second draft of the prototype which can be used for a second round of testing. It’s recommened that in person focus groups be used for at least 3 rounds while simultaneously running online surveys and probes. After these rounds of rapid prototyping, the next step would be to run a case study within a medium to large corporate environment. Application of this tool in a real environment will ultimately be the best well to test validity and make necessary improvements.
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Figure 85: Testing planl. Author’s image.
TESTING PLAN Form
People involved
Material used
Questions to ask
# of rounds
Duration
Focus Group
Individuals working in corporations
Prototype of fieldbook. Poster of logo
What content to add/ subtract? Is the concept strong?
3
1 hour
Online Survey
Broader audience
Qualtrics
Is the general concept strong? What logo to use?
4
5-10 minutes for 1 week
Probe
Gulfstream Center for Design students
Poster with branding & voting dots
What content to add/ substract? What branding?
2
under 2 minutes for 1 week
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Figure 86: Business canvas model. Author’s image.
KEY PARTNERS
KEY ACTIVITIES
VALUE PROPOSITION
CUSTOMER RELATIONS
CUSTOMER SEGMENTS
Investors
Brand development Publicity and application Secure clients and investors
Trust, Empathy, Pride, Purpose, Delight
Support and guidance through initial application
Managerial and culture consulting firms
For consultants and/or change agents pursuing corporate culture evolution using design thinking as a key driver for transformative experiences for employees.
CRM through web
Medium to large corporations
CHANNELS
Students in communications and learning fields
Publishers Consulting firms Medium to large corporations
KEY RESOURCES Marketing Advertising Case study partners Publishing Website
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Fieldbook publication Workshops Initial application Website and social media
COST STRUCTURE
REVENUE STREAMS
Printing and publishing Marketing and advertising Website Client development
Sale of fieldbook Consulting projects to assist with implementation Workshops Investors
Business Case L.E.A.R.N. has two major cases for business development. The first is through printing and publication of the fieldbook and any subsequent supporting materials. These can be sold and utilized by any end user. The second and more lucrative business case is for a consulting shop based on this particular approach to instigating and ensuring culture change from non-innovative environments to design thinking driven business. The consulting business can take several forms including directly participating with medium to large corporations in ongoing initiatives and creating workshops and other learning opportunities to share the L.E.A.R.N. approach through engaging exercises, activities and experiences to help assist anyone wishing to apply the method on their own. Profits will subsequently be driven by book sales, workshop attendance and project contracts.
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Feasibility Timeline The business around L.E.A.R.N. should be rolled out in several phases. The first phase, during year 1, should include additional testing and refinement of the main fieldbook product as well as any supporting documentation or handbooks that might be necessary to round out the approach. In year 2, publishing should be secured for the fieldbook and any supporting materials. At this time initial publicity and marketing efforts should be aggressive. Year 3 will be a prime time to create a workshop based on the approach for teaching others how to successfully implement the change effort into their business. The next phase, in year 4, will be focused on securing a ‘test’ client to run the approach on a small scale and secure any additional feedback for refinement of the fieldbook product. Finally, a consulting practice can begin to be developed that will house the approach and any associated workshops, future publications or services.
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2017
2018
2019
YEAR 2
YEAR 3
YEAR 4
2020 YEAR 5
2016 YEAR 1
Figure 87: Feasibility timeline. Author’s image.
TESTING & REFINEMENT
PRINT & PUBLISH
WORKSHOP CREATION
PRACTICAL APPLICATION
CONSULTANCY CREATION
Conduct several rounds of focus group style testing
Secure publishing of fieldbook and support material
Use feedback from testing and publication to create workshops
Create a business plan
Publish surveys
Secure initial financing
Secure a case study partner (potential alongside a higher education partner) Review findings and further refine
Secure strong initial client base
Publishing a second edition
Staff up (if necessary)
Leverage case study for publicity
Leverage business for book and workshop revenues
Create and execute probes Utilize testing feedback to ruther refine fieldbook and create support material
Begin marketing and publicizing through social media followed publications and business education
Test and refine workshops Publicize and seek attenance Secure additional financing
Secure third round of financing
176
177
RECOMMENDATIONS L.E.A.R.N. is created to be flexible and engaging so remember to enjoy the journey. A culture change in a large corporation is bound to be a daunting undertaking and can take years so it is important to be patient with yourself, the people around you and the organization. Also, flexibility is crucial to your inevitable success. Remember that change is the only thing that will and should remain constant as you generate and execute your culture change campaign. Learning from others along the way is the best method to introduce relavant change and variety. Producing an engaging and emotionally connective narrative experience for your new culture will be the best way to drive behavior change. Above all else stay energized and passionate. An authenitc commitment to your cause will instigate curiosity and inspire others to become champions to your cause.
Figure 88: Office hallway. Retrieved from http://pagethink.com/
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Figure 89: Research books. Author’s Image.
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8
Annotated Bibliography Additional References Figures
180
ANNOTATED BIBLIOGRAPHY Belasen, Alan T. (2008). The Theory and Practice of Corporate Communication: A Competing Values Perspective. Thousand Oaks, CA: Sage Publications, Inc. This books offers a unique and comprehensive approach of corporate communications. It highlights the importance of bridging the gap between external brand and internal identity communications efforts. It focusing on the Competing Values Framework for Corporate Communication (CVFCC). Besson, Taunee. (2015). Keys to a Great Corporate Culture: Improving Employee Engagement. CareerCast.com. This article highlights the importance of putting 181
time into design a corporate culture. It discusses the importance of communication and openness to change when address corporate culture change. Borja de Mozota, B. (2003). Design Management: Using Design to Build Brand Value and Corporate Innovation. New York, NY: Allworth Press. Design Management covers a base understanding of the theories and practices that make up the field. It outlines how to successfully integrate design thinking as a key component of business strategy. Brown, T. & Martin, R. (2015). Design for Action: How to Use Design Thinking to Make Great Things Actually Happen. Harvard Business Review, 93 (9). Martin and Brown discuss how to move design thinking forward to the next stages of application by highlighting the importance of understanding how to change business models and behaviors. They suggest treating the change from one thing to the next as a design challenge in and of itself. Coward, T. & Fathers, J. (2005). A Critique of Design Methodologies Appropriate to Private-Sector Activity in Development. Development in Practice, 15 (3/4). 451- 462.
Coward and Fathers discuss how design can be used in development practices. It focuses on different methodologies being utilized in the development of small enterprises. This helps illustrate the difference between how design thinking strategy works in small business as opposed to large corporations. Csikszent, Mihaly. (1996). Creativity: The Psychology of Discovery and Invention. New York, NY. Harper Collins Publishers. Creativity explores what is at the core of being creative by exploring personalities, work and environments that exemplify it. It highlights the importance of nurturing creativity as a critical element for our future success. Duarte, Nancy and Sanchez, Patti. (2016). Illuminate: Ignite Change Through Speeches, Stories, Ceremonies, and Symbols. New York, NY: Penguin Random House, LLC. Nancy and Patti discuss leading people through five stages of transformation using speeches, stories, ceremonies and symbols. It discussing how to turn an idea into a movement through case study examples ranging from IBM to Chick-Fil-A.
Dunne, D. & Martin, R. (2006). Design Thinking and How it Will Change Management Education: An Interview and Discussion. Academy of Management Learning & Education. 5 (4). 512-523 This interview discusses the importance of how design thinking can address the problems afflicting business schools to bring them forward to the practice of applying design methods to management. It discusses the application of design to business strategy and the rising importance of training employees on how to adopt these techniques. Erwin, Kim. (2014). Communicating the New: Methods to Shape and Accelerate Innovation. Hoboken, NJ: John Wiley & Sons, In. Erwin dives deep into various methods for setting the stage and activating diffusion of innovative ideas. She discusses how to create an environment and an experience that promotes the spread of innovation. Gambetti, Rossella and Quigley, Stephen. (2013). Managing Corporate Communication: A Cross-Cultural Approach. New York, NY: Palgrave MacMillan. This book discusses at length traditional and emerging 182
This book discusses at length traditional and emerging approaches to corporate communications. It discusses among other topics the need to bridge the gap between internal and external communication and the importance of creating stakeholder buy in.
This book focuses on how to capture the power behind corporate culture as a tool to energize employees. It discusses how companies have created massive turnarounds by addressing culture or have left the doors open for their demise by ignoring it.
Garner, Gillian. (2015). Shaping Corporate Culture with Your Brand: Bringing Your People and Your Brand Together. Brandinstinct.
Hsieh, Tony. (2010). Delivering Happiness: A Path to Profits, Passion, and Purpose. New York, NY: Hachette Book Group.
This article summarizes the importance of top talent when it comes producing a desired corporate culture.
Delivering Happiness chronicles Tony Hsieh’s experience of creating the successful brand behind Zappos. This book discusses passion and purpose as key drivers for generating profits and how to create a brand culture that delivers customer experience to emulate these ideas.
Goodwin, D., Mallinger, M., & O’Hara, T. (2009). Recognizing Organizational Culture in Managing Change. Graziadio Business Review, 12 (1). This article discusses the difficulty of having new business strategies stick within an organization in a permanent way. It highlights how business culture impacts whether or not change strategies will succeed or fail and what tools can be used in order to have more successful outcomes. Hampden-Turner, Charles. (1990). Creating Corporate Culture: From Discord to Harmony. Reading, MA: The Economist Books Limited. 183
Katzenbach, J. R., Kronley, C., & Steffen, I. (2012). Cultural Change That Sticks. Harvard Business Review, 90 (7/8), 110-115. This article discusses how to effectively and permanently shift a culture by following five key principles. The overall focus is on approaching a culture shift like a user centered design opportunity. The path for success is paved by empathy for the end user and by the implementation of co-creation efforts.
Kim, Chan W. and Mauborgne, RenĂŠe. (2015). Blue Ocean Strategy: How to Create Uncontested Market Space and Make the Competition Irrelevant. Boston, MA: Harvard Business School Publishing Corporation.
and how to go about creating one. It addresses how the need to adapt the ever increasingly complex world we live in, more and more businesses are applying the principles of design to the way people work.
This book walks through the strategy related to uncovering blue ocean opportunity through a systematic approach. It challenges the status quo of seeking ways to better your competition through incremental improvements by offering an alternative which allows businesses to position themselves in untapped markets.
Kotter, J. (2012). The Key to Changing Organizational Culture. Retrieved from http://www.forbes.com/ sites/johnkotter/2012/09/27/the-key-to-changingorganizational-culture/
Kim, K. & Yoo, Y. (2015). How Samsung Became a Design Powerhouse. Harvard Business Review, 93 (9).
John Kotter, the Chief Innovation Officer at Kotter International, offers insights around how companies frequently fail at effecting cultural change. He discusses the need to show rather than tell employees that a change has taken place.
This article discusses how Samsung started to allow their designers time to think about strategy. This allowed Samsung to evolve into a design thinking powerhouse by applying empathy, visualization, and market experimentation.
Krawford, K. (2010). Change Management & Change Process [Case Study]. Retrieved from http://www. academia.edu/2369683/Case_Study_Analysis_ on_an_Organisation_Change_Management_and_ Change_Process
Kolko, J. (2015). Design Thinking Comes of Age: The Approach, Once Used Primarily in Product Design, is Now Infusing Corporate Culture. Harvard Business Review, 93 (9).
This case study provides a brief overview of key factors needed to effectively implement change in an organization. It analyzes the successes and failures around a culture and strategy shift for TrueLocal. com.au a subsidiary of News Digital Media (NDM). It
This article discusses what a design-centric culture is
walks through the process of going from a casual and unstructured culture to one that facilitates stronger collaboration. Lehrer, Jonah. (2012). Imagine: How Creativity Works. New York, NY: Houghton Mifflin Harcourt Publishing Company. This book uncovers the idea that creativity is not a gift bestowed on the few but rather a set of thoughts that can be tapped into by anyone using a set of process and techniques. It provides key findings on how to stimulate and enhance the ability to tap into one’s creativity. Lockwood, N. (2004). Competitive Practices: Creating effective Cultural Organizational Change for Competitive Advantage [Case Study]. Society for Human Resources Management. This case study discusses the necessity of taking control of corporate culture and shaping it to benefit of business. The events around Avendra’s Associate Satisfaction Initiative are reviewed and analyzed through the lens of understanding how to successfully and positively shape corporate culture. Lockwood, T. (2010). Design Thinking: Integrating
Innovation, Customer Experience, and Brand Value. New York, NY: Allworth Press. This book makes the point that design thinking more than any other business function can add value if the processes and principles are applied to problem solving in any realm. It dives into how design thinking can be applied to creating innovation and to improving systems and business processes. This book is critical to the understanding of the application and benefit of design thinking in business environments. Martin, R. L. (2009). The Design of Business: Why Design Thinking is the Next Competitive Advantage. Boston, MA: Harvard Business Press. This book addresses the dilemma faced when companies crave innovation but have a lack of understanding of what it truly means to innovate. Roger Martin explores how design thinking can solve this process by providing managers with a set of tools to foster innovation. Neumeier, Marty. (2007). ZAG. Berkeley, CA: New Riders. ZAG describes a strategy for developing business
opportunities that allow organizations to zag away from the competition. This framework is used to develop the concepts that stem from the research for this project. Prather, C. (2010). Manager’s Guide to Fostering Innovation and Creativity in Teams. New York, NY: McGraw Hill Education. Charles Prather provides an in depth but digestible set of steps to follow to facilitate creative thinking and generate environments primed for innovative problem solving. This book provides key insights into how to overcome obstacles when introducing creative and innovative approaches. Richardson, R. A. (2013). Design Thinking for Non-Design Communities of Practice. Retrieved from Savannah College of Art and Design Digital Collections. Robyn explores how and why design thinking can be integrated into non-design groups. She attempts to demystify what design thinking means and how it can be easily transferred to non-design disciplines. Van den Steen, E. (2010). On the Origin of Shared Beliefs (and Corporate Culture). The RAND Journal of Economics, 41 (4). 617-648.
This article discusses where and how corporate culture is developed. It highlights shared beliefs and values along with screening, self-sorting, and managerdirected joint learning. The persistence of culture even through turnover and new strategy is also addressed. Along with these elements it discusses how a strong corporate culture can positively impact the business. Wyatt, Thom. (2014). 5 Secrets to Better Employee Engagement. Fast Company. Retrieved from http:// www.fastcompany.com/3028430/leadership-now/5secrets-to-better-employee-engagement This article discusses 5 key ways to ensure employee engagement especially during a major change. It also highlights the importance of defining and diffusing culture.
ADDITIONAL REFERENCES Apostolopoulos, John G.; Chou, Philip A.; Culbertson, Bruce; Kalker, Ton; Trott, Mitchell D.; and Wee, Susie (2012, April). The Road to Immersive Communication. Institute of Electrical and Electronic Engineers. 100, (4). Bersin, Josh. (2015, March 13). Culture: Why It’s the Hottest Topic in Business Today. Retrieved April, 2016, from http://www.forbes.com/ Beswick, C., Bishop, D. and Geraghty, J. (2016). Building a Culture of Innovation: A practical framework for placing innovation at the core of your business. London, England: CPI Group (UK) Ltd. Bosomworth, Danyl. (2013, April 22). Using Storytelling and Brand Values for Real Customer Engagement.
Retrieved April, 2016, from http://www.smartinsights. com/content-management/content-marketingcreative-and-formats/using-storytelling-brandvalues/ Cancialosi, Chris. (2015, June 09). How to Jumpstart a Stalled Corporate Culture of Innovation. Retrieved January, 2016, from http://www.gothamculture.com/ Cancialosi, Chris and Schneider, Stan. (2015, September 10). Shifting Organizational Culture to Enable Collective Impact. Retrieved January, 2016, from http://www. gothamculture.com/ Cappelli, Peter. (2016, July-August). It’s Time to Build a New HR. Harvard Business Review, 22-25. Baker-Sennett, Jacqueline; Goldsmith, Denise; Lacasa, Pilar; and Rogoff, Barbara. (1995, April-May). Development Through Participation in Sociocultural Activity. (67), 45-65. San Francisco, CA: Jossey Bass Publishers Corporate Excellence: Centre for Reputation Leadership. (2014, February). The Path to the Future of Corporate Communication Lies Through Engagement and Long-Term Relations.
Brown-Saracino, Brooke; Elsbach, Kimberly D.; and Flynn, Francis J. (2015, October). Managing Yourself Collaborating with Creative Peers. Harvard Business Review. 118-121. Dubil, Vitaliy. Hands-on Experience with Good Corporate Government. Retrieve April, 2016, from http://eca.state.gov/story/hands-experience-goodcorporate-governance. Farrand, Stuart. (2015, February 3). Redefine Business As Usual: An Introduction to Orghacking. Retrieved January, 2016, from http://www.gothamculture.com/ Frederick, Ann. What Are the Functions of a Corporate Culture Department? Demand Media. Gilmore, James H. and Pine, Joseph B. (2011). The Experience Economy. Boston, MA: Harvard Business Review Press. GothamCulture. (2015, July 07). How to Prepare For Successful Organizational Culture Change. Retrieved January, 2016, from http://www.gothamculture.com/ Guzman, Karen. (2015, April 13). Facebook’s Adam Wolff Explains the Company’s ‘Boot Camp’ Culture. Yale
School of Management. Hewitt Associates. (2009). Engagement and Culture: Engaging Talent in Turbulent Times. Retrieve April, 2016, from http://www.hewitt.com/ Jacobsen, Darcy. (2014, March 6). Transforming Company Culture Through Storytelling. Retrieved April, 2016, from http://www.globoforce.com/gfblog/2014/ transforming-company-culture-through-storytelling/ Johnson, J. (2014, August). Checking out Southwest’s Culture-Centric HQ. Retrieved March, 2016, from http:// www.airlinerreporter.com/2014/08/checking-outsouthwests-culture-centric-hq/ Kilian, Jennifer; Sarrazin, Hugo; and Yeon, Hyo. (2015, September). Building a Design-Driven Culture. McKinsey Digital. Klotz-Guest, Kathy. (2016, February). How Internal Storytelling Impacts Company Culture. Retrieved April, 2016, from http://www.convinceandconvert.com/ Melendez, Steven. (2015, October). Unhappy at Work? Swipe Right to Tell the Boss. Fastcompany.com. 68-70. 188
Minsker, Maria. (2015, July). Great Customer Experience Starts with the Right Corporate Culture: Engaged Employees Make for more Satisfied Customers. CRM Magazine. Morgan, Blake. (2015, February 2). 5 Ways Company Culture Can Improve Your Customer Experience. Retrieved March, 2016, from http://www.forbes.com/ Rogers, Everett M. (1995). Diffusion of Innovations. New York, NY: The Free Press. Stone, Terry Lee. (2010). Managing the Design Process: Concept Development - An Essential Manual for the Working Designer. Beverly, MA: Rockport Publishers, Inc. Temkin, Bruce. (2015, January 6). 8 CX Trends for 2015 (The Year of the Employee). Retrieved April, 2016, from https://experiencematters.wordpress.com/com Van Der Hoeven, Harold. (2012, November 20). Experience Centers Increasing Use of Interactivity for Brand Experience. Retrieved April, 2016, from https:// www.urbaninteractives.com/2012/11/experiencec e n t e r s - i n c re a s i n g - u s e - i n t e r a c t i v i t y - b r a n d experience/ 189
Vertun, Jeff. (2015, December 2). Office Space’s Reemergence as “Employee Experience Centers”. RetrievedApril, 2016, from http://losangelescomercialre. com/2015/12/02/office-spaces-re-emergence-asemployee-experience-centers/ Weber, Chelsea. (2015, July 23). Five Ways to Foster Commitment During Organizational Change. Retrieved January, 2016, from http://www.gothamculture.com/ Willard, Jonathan. (2008, November). Activating Brand Culture: Rethinking the Internal Communications Platform. (10). JWT Inside.
FIGURES Figure 1: Experiential culture exhibit. Retrieved from http://www.metalculture.com/.........................................................
Cover
Figure 2: Interactive exhibit. Author’s image.............................
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Figure 3: Secondary research. Author’s image.......................
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Figure 4: Desk birdseye. Author’s image.....................................
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Figure 5: Secondary research references. Author’s image.....................................................................................................................
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Figure 6: Research books. Author’s image................................
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Figure 10: Computer history museum. Retrieved from http://www.computerhistory.org/................................................,,
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Figure 11: Strategy canvas. Author’s image...............................
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Figure 11: Positioning map. Author’s image............................,,
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Figure 12: Opportunity space. Author’s image........................
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Figure 13: SWOT analysis. Author’s image.................................
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Figure 15: Collaborative space. Retrieved from http:// invisionstudio.com/....................................................................................
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Figure 16: White-board walls. Retrieved from https:// www.ifma.org/................................................................................................
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Figure 17: Collaborative spaces. Retrieved from http:// welshco.com/resources-and-news/tips/2014-bestspaces-work....................................................................................................
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Figure 18: Collaborative spaces at Standford’s D.School. Retrieved from http://www.fastcompany.co m/............................................................................................................................
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Figure 7: Office space. Retrieved from http://www. paulwhitelam.com/office-photography/...................................
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Figure 19: Millennium Bridge. Author’s image........................
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Figure 8: References. Author’s image............................................
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Figure 9: Data points. Author’s image............................................
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Figure 20: SCAD Museum interactive installation. Retrieved from http://www.pentagram.com/#/blog/3 7686........................................................................................................................
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Figure 21: Sense-making activities. Author’s image...........
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Figure 35: Jepson Center: Format No. 1: Interactive sound installation by Foo/Skou. Retrieved from http:// www.telfair.org/view/exhibitions/current-exhibitions/.
Figure 22: Interactive learning. Author’s image......................
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Figure 23: Working wall. Author’s image.....................................
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Figure 36: Jepson Center: Glass House by Therman Statom. Retrieved from http://www.telfair.org/view/ exhibitions/current-exhibitions/.......................................................
Figure 24: Original ecosystem Map. Author’s image..........
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Figure 25: Detailed ecosystem Map. Author’s image........
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Figure 37: Data points on working wall. Author’s image.
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Figure 26: Re-framed ecosystem Map. Author’s image.
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Figure 38: Stage one of affinitizing. Author’s image............
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Figure 27: SCAD Museum. Retrieved from http:// scaddistrict.com/.........................................................................................
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Figure 39: Data points at the beginning of affinitizing. Author’s image................................................................................................
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Figure 28: Interview. Author’s image..............................................
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Figure 40: Insight framework. Author’s image........................
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Figure 29: Research questions matrix. Author’s image....
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Figure 41: ‘Baby steps’ insight data. Author’s image...........
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Figure 30: Data protocols. Author’s image.................................
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Figure 42: ‘Prove it’ insight data. Author’s image...................
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Figure 31: Interviewee buckets. Author’s image....................
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Figure 43: ‘What would leadership do?’ insight data. Author’s image.................................................................................................
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Figure 44: ‘We’re outside the box’ insight data. Author’s image.....................................................................................................................
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Figure 45: ‘Did I do that?’ insight data. Author’s image.....
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Figure 46: ‘Draw me in’ insight data. Author’s image.........
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Figure 32: Pen and notebook. Retrieved from http:// stacyennis.com/...........................................................................................
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Figure 33: Survey 1 results. Author’s image...............................
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Figure 34: Survey 2 results. Author’s image..............................
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Figure 47: ‘Let’s get together’ insight data. Author’s image.....................................................................................................................
Figure 60: Concept 1 evaluation. Author’s image.................
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Figure 61: Concept 2 evaluation. Author’s image.................
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Figure 62: B.L.I.S.S. sketch. Author’s image................................
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Figure 63: Ted talks sketch. Author’s image.............................
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Figure 64: Concept 3 evaluation. Author’s image................
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Figure 65: Summary evaluation. Author’s image..................
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Figure 66: Hatch innovation center. Retrieved from https://tours.chick-fil-a.com/Home/Index..............................
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Figure 48: ‘Delight me dynamically’ insight data. Author’s image................................................................................................
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Figure 49: ‘Walk in my shoes’ insight data. Author’s image.....................................................................................................................
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Figure 50: ‘Customployee’ insight data. Author’s image.
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Figure 51: ‘Make the cut’ insight data. Author’s image......
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Figure 52: ‘Go big and go home’ insight data. Author’s image.....................................................................................................................
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Figure 53: Insights opportunity criteria. Author’s image..
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Figure 67: Paper prototype of final design. Author’s image.....................................................................................................................
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Figure 54: Persona 1. Author’s image.............................................
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Figure 68: L.E.A.R.N. foundation. Author’s image..................
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Figure 55: Persona 2. Author’s image.............................................
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Figure 69: L.E.A.R.N. branding. Author’s image......................
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Figure 56: Persona 3. Author’s image............................................
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Figure 70: General fieldbook pages. First part of book (1-3). Last part of book (4-7). Author’s image............................
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Figure 57: Persona 4. Author’s image.............................................
132 Figure 71: Listen questions. Author’s image.............................
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Figure 58: Ideating. Author’s image.................................................
133 Figure 72: Listen fieldbook pages. Author’s image.............
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Figure 59: Crazy eights. Author’s image.......................................
135 Figure 73: Experience questions. Author’s image................
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Figure 74: Experience fieldbook pages. Author’s image.
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Figure 75: Authenticate questions. Author’s image............
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Figure 88: Office hallway. Retrieved from http:// pagethink.com/.............................................................................................
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Figure 89: Research books. Author’s image............................
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Figure 76: Authenticate fieldbook pages. Author’s image.....................................................................................................................
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Figure 90: Tate Modern fibers exhibit. Author’s image.....
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Figure 77: Reflect quesions. Author’s image............................
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Figure A1: Original Gantt chart. Author’s image.....................
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Figure 78: Reflect fieldbook pages. Author’s image..........
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Figure B1: AEIOU observation sheet. Author’s image.......
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Figure 79: Narrate questions. Author’s image.........................
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Figure B2: Consent form page 1. Author’s image.................
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Figure 80: Narrate fieldbook pages. Author’s image.........
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Figure B3: Consent form page 2. Author’s image.................
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Figuer 81: L.E.A.R.N. evaluation. Author’s image...................
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Figure B4: Interview questions. Author’s image....................
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Figuer 82: L.E.A.R.N. concept and research ecosystem map overlay. Author’s image................................................................
Figure B5: Cultural probe page 1. Author’s image...............
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166 Figure B6: Cultural probe page 2. Author’s image...............
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Figure 83: Working wall. Author’s image....................................
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Figure 84: Umbrellas. Author’s image...........................................
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Figure 85: Testing plan. Author’s image......................................
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Figure C1: Kelsey Logan-Bradley consent. Author’s image.....................................................................................................................
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Figure 86: Business canvas model. Author’s image..........
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Figure C2: Aniela Chertavian consent. Author’s image..
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Figure 87: Feasibility timeline. Author’s image......................
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Figure C3: Bruce Claxton consent. Author’s image............
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Figure C4: Tom Hardy consent. Author’s image....................
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Figure C5: Matthew Harrigan consent. Author’s image..
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Figure C6: Mark Hovde consent. Author’s image.................
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Figure C7: Steve Martin consent. Author’s image................
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Figure C8: Steve Nevidek consent. Author’s image...........
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Figure D1: Interview transcript sample page 1. Author’s image.....................................................................................................................
Figure D8: Interview transcript sample page 8. Author’s image.....................................................................................................................
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Figure D9: Interview transcript sample page 9. Author’s image.....................................................................................................................
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Figure D10: Interview transcript sample page 10. Author’s image................................................................................................
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Figure D11: Interview transcript sample page 11. Author’s image...............................................................................................
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Figure E1: Survey 1 questions page 1. Author’s image.....
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Figure E2: Survey 1 questions page 2. Author’s image....
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Figure E3: Survey 1 questions page 3. Author’s image.....
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Figure E4: Survey 1 questions page 4. Author’s image....
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Figure E5: Survey 1 answers page 1. Author’s image.........
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Figure E6: Survey 1 answers page 2. Author’s image........
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Figure E7: Survey 1 answers page 3. Author’s image........
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Figure E8: Survey 1 answers page 4. Author’s image........
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Figure E9: Survey 1 answers page 5. Author’s image........
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Figure D2: Interview transcript sample page 2. Author’s image.....................................................................................................................
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Figure D3: Interview transcript sample page 3. Author’s image.....................................................................................................................
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Figure D4: Interview transcript sample page 4. Author’s image.....................................................................................................................
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Figure D5: Interview transcript sample page 5. Author’s image.....................................................................................................................
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Figure D6: Interview transcript sample page 6. Author’s image.....................................................................................................................
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Figure D7: Interview transcript sample page 7. Author’s image.....................................................................................................................
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Figure E10: Survey 1 answers page 6. Author’s image.....
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Figure E24: Survey 2 questions page 4. Author’s image.....................................................................................................................
Figure E11: Survey 1 answers page 7. Author’s image.......
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Figure E12: Survey 1 answers page 8. Author’s image......
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Figure E25: Survey 2 questions page 5. Author’s image.....................................................................................................................
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Figure E13: Survey 1 answers page 9. Author’s image......
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Figure E26: Survey 2 answers page 1. Author’s image.....
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Figure E14: Survey 1 answers page 10. Author’s image...
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Figure E27: Survey 2 answers page 2. Author’s image.....
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Figure E15: Survey 1 answers page 11. Author’s image....
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Figure E28: Survey 2 answers page 3. Author’s image.....
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Figure E16: Survey 1 answers page 12. Author’s image...
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Figure E29: Survey 2 answers page 4. Author’s image....
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Figure E17: Survey 1 answers page 13. Author’s image....
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Figure E30: Survey 2 answers page 5. Author’s image....
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Figure E18: Survey 1 answers page 14. Author’s image...
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Figure E31: Survey 2 answers page 6. Author’s image.....
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Figure E19: Survey 1 answers page 15. Author’s image...
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Figure E32: Survey 2 answers page 7. Author’s image.....
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Figure E20: Survey 1 answers page 16. Author’s image..
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Figure E33: Survey 2 answers page 8. Author’s image.....
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Figure E21: Survey 2 questions page 1. Author’s image..
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Figure E34: Survey 2 answers page 9. Author’s image....
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Figure E22: Survey 2 questions page 2. Author’s image.....................................................................................................................
Figure E35: Survey 2 answers page 10. Author’s image..
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227 Figure E36: Survey 2 answers page 11. Author’s image...
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Figure E37: Survey 2 answers page 12. Author’s image..
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Figure E23: Survey 2 questions page 3. Author’s image..................................................................................................................... 195
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Figure E38: Survey 2 answers page 13. Author’s image..
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Figure E39: Survey 2 answers page 14. Author’s image..
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Figure E40: Survey 2 answers page 15. Author’s image..
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Figure E41: Survey 2 answers page 16. Author’s image..
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Figure E42: Survey 2 answers page 17. Author’s image...
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Figure E43: Survey 2 answers page 18. Author’s image..
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Figure F1: Jepson Center observations. Author’s image.
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Figure F2: SCAD Museum of Art observations. Author’s image.....................................................................................................................
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Figure G1: Probe sample consent form (left). Author’s image.....................................................................................................................
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Figure G2: Probe sample survey. Author’s image................
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Figure G3: Probe sample Monday’s responses page 1. Author’s image................................................................................................
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Figure G4: Probe sample Monday’s responses page 2. Author’s image................................................................................................
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Figure G5: Probe sample Tuesday’s responses page 1. Author’s image................................................................................................
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Figure G6: Probe sample Tuesday’s responses page 2. Author’s image................................................................................................
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Figure G7: Probe sample Wednesday’s responses page 1. Author’s image..............................................................................
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Figure G8: Probe sample Wednesday’s responses page 2. Author’s image.............................................................................
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Figure G9: Probe sample Thursday’s responses page 1. Author’s image...............................................................................................
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Figure G10: Probe sample Thursday’s responses page 2. Author’s image...........................................................................................
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Figure G11: Probe sample Friday’s responses page 1. Author’s image................................................................................................
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Figure G12: Probe sample Friday’s responses page 2. Author’s image................................................................................................
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Figure H1: Research. Author’s image.............................................
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Figure H2: Working wall secondary research. Author’s image.....................................................................................................................
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Figure H3: Mind maps. Author’s image........................................
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Figure H4: Data points. Author’s image........................................
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Figure H5: Full working wall. Author’s image...........................
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Figure H6: Data groupings. Author’s image..............................
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Figure 91: Pitch event discussion. Author’s image.............
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Figure 90: Tate Modern: fibers exhibit. Author’s Image.
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APPENDIX A: PROJECT TIMELINE Week 1
Planning Refine Scope Schedule Interviews
Research Planning Additional Secondary Primary Documentation
Data Processing Sensemaking Synthesis
Solidifying Initial Exploration Refined Exploration
Prototyping Initial Testing and Validation Final
Implementation Plan Process Book Content & Design Print
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Week 2
Week 3
Week 4
Week 5
Week 6
Week 7
Week 8
Week 9
Week 10
Figure A1: Original Gantt chart. Author’s image.
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APPENDIX B: RESEARCH PROTOCOLS
Figure B1: AEIOU observation sheet. Author’s image.
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Figure B2: Consent form page 1. Author’s image.
Interview Questions The following questions will act as a guide to shape the conversation during the interview process. The interviews will focus on understanding change management techniques, design thinking as a strategy in business and various corporate environments and how they impact innovation.
Change Management 1. What does the word change management mean to you and how do you interact with this practice in your work? 2. What do you think the most important factor for success is when attempting to evolve a culture for a new client? 3. Can you walk me through your process at a high level when engaging a new client? 4. What project/client did you enjoy the least in terms of the number of speed-bumps along the way? Which project/client was the most successful for you and why? 5. How do you ensure continuous improvement? How do you measure success and when do you know when to consider a project complete? 6. Aside from the company culture what other types of projects have you worked on that required change management? 7. How do you teach and train your clients with regards to the change you’re implementing?
Design Thinking 1. In what areas have you employed design thinking as a strategy? 2. Have you applied design thinking methods outside of a traditional design function in a business setting? 3. Can you describe a time where the application of design thinking methods secured a successful outcome? Can you describe a time where it proved unsuccessful or troublesome? 4. How have you adjusted your approach or technique with design thinking over time? What pieces are weighted more/less heavily in practical application. 5. What features within design thinking practices are most effective for organizational effectiveness in your opinion? 6. Do you think design thinking could be utilized in managerial consulting to root out the strategic deficiencies in a corporate environment? 7. How would you sell design thinking as a strategic operations tool to someone unfamiliar with the practice?
Corporate Environments 1. What does corporate culture mean to you? How would you describe your company’s corporate culture? What do you think shapes that culture? 2. What do you think are your company’s core set of values? Do these allign with the day-to-day culture? Why/why not? 3. How would you define innovation? Can you provide me with an example of something that is innovative? Someone that is innovative? 4. In your opinion, what attributes contribute to an innovative corporate culture? 5. What characterists would signify a non-innovative or stuck culture/enivronment? 6. What bad habits/behaviors to you tend to engage in at work? Good? What caused these habits to form for you? 7. What would be an example of something that might cause you to change a habit at work? 8. Is it harder to change a work habit or a personal habit?
A Shift in Culture | Interview Questions
Figure B3: Consent form page 2. Author’s image.
Figure B4: Interview questions. Author’s image.
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Workplace Survey
Instructions
Please fill out the below survey at the beginning of the week.
Please begin by answering the survey questions with regards to your work enivronment before conducting this self-study. Next, please answer the below questions each night after your work day for 5 days.
1. Age Please discuss how many meetings you participated in today describing each one briefly and going in to detail on the most significant. (These can be informal/formal and with as little as 1 other person.)
2. Male
Female
3. What field/industry/employer do you work for?
2. How many people work in your company?
3. What is your job title/role?
10. How many jobs have you left because the job/company felt stale or stagnant? Please describe an planned/unplanned time spent brainstorming to solve a particular problem or situation. This could be as informal as helping a client (internal/external) with a question.
A Shift in Culture | Survey Questions
Figure B5: Cultural probe page 1. Author’s image.
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A Shift in Culture | Cultural Probe
Figure B6: Mark Hovde consent. Author’s image.
Please describe time you spent engaged in activities you felt were redundant/pointless/monotonous and if you had any time/authority to improve them. (What were the activities? How much time?)
Please describe any workarounds you used due to the fact that a particular process or system was not working properly/as required by the situation.
A Shift in Culture | Cultural Probe
Figure B7: Steve Martin consent. Author’s image.
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APPENDIX C: CONSENT Figure C1: Kelsey LoganBradley consent. Author’s image.
Figure C2: Aniela Chertavian consent. Author’s image.
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Figure C3: Bruce Claxton consent. Author’s image.
Figure C4: Tom Hardy consent. Author’s image.
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Figure C5: Matthew Harrigan consent. Author’s image.
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Figure C6: Mark Hovde consent. Author’s image.
Figure C7: Steve Martin consent. Author’s image.
Figure C8: Steve Nedvidek consent. Author’s image.
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APPENDIX D: TRANSCRIPT SAMPLE Figure D1: Interview transcript sample page 1. Author’s image.
Figure D2: Interview transcript sample page 2. Author’s image.
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Figure D3: Interview transcript sample page 3. Author’s image.
Figure D4: Interview transcript sample page 4. Author’s image.
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Figure D5: Interview transcript sample page 5. Author’s image.
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Figure D6: Interview transcript sample page 6. Author’s image.
Figure D7: Interview transcript sample page 7. Author’s image.
Figure D8: Interview transcript sample page 8. Author’s image.
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Figure D9: Interview transcript sample page 9. Author’s image.
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Figure D10: Interview transcript sample page 10. Author’s image.
Figure D11: Interview transcript sample page 11. Author’s image.
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APPENDIX E: SURVEYS Figure E1: Survey 1 questions page 1. Author’s image.
Figure E2: Survey 1 questions page 2. Author’s image.
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Figure E3: Survey 1 questions page 3. Author’s image.
Figure E4: Survey 1 questions page 4. Author’s image.
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Figure E5: Survey 1 answers page 1. Author’s image.
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Figure E6: Survey 1 answers page 2. Author’s image.
Figure E7: Survey 1 answers page 3. Author’s image.
Figure E8: Survey 1 answers page 4. Author’s image.
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Figure E9: Survey 1 answers page 5. Author’s image.
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Figure E10: Survey 1 answers page 6. Author’s image.
Figure E11: Survey 1 answers page 7. Author’s image.
Figure E12: Survey 1 answers page 8. Author’s image.
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Figure E13: Survey 1 answers page 9. Author’s image.
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Figure E14: Survey 1 answers page 10. Author’s image.
Figure E15: Survey 1 answers page 11. Author’s image.
Figure E16: Survey 1 answers page 12. Author’s image.
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Figure E17: Survey 1 answers page 13. Author’s image.
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Figure E18: Survey 1 answers page 14. Author’s image.
Figure E19: Survey 1 answers page 15. Author’s image.
Figure E20: Survey 1 answers page 16. Author’s image.
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Figure E21: Survey 2 questions page 1. Author’s image.
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Figure E22: Survey 2 questions page 2. Author’s image.
Figure E23: Survey 2 questions page 3. Author’s image.
Figure E24: Survey 2 questions page 4. Author’s image.
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Figure E25: Survey 2 questions page 5. Author’s image.
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Figure E26: Survey 2 answers page 1. Author’s image.
Figure E27: Survey 2 answers page 2. Author’s image.
Figure E28: Survey 2 answers page 3. Author’s image.
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Figure E29: Survey 2 answers page 4. Author’s image.
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Figure E30: Survey 2 answers page 5. Author’s image.
Figure E31: Survey 2 answers page 6. Author’s image.
Figure E32: Survey 2 answers page 7. Author’s image.
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Figure E33: Survey 2 answers page 8. Author’s image.
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Figure E34: Survey 2 answers page 9. Author’s image.
Figure E35: Survey 2 answers page 10. Author’s image.
Figure E36: Survey 2 answers page 11. Author’s image.
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Figure E37: Survey 2 answers page 12. Author’s image.
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Figure E38: Survey 2 answers page 13. Author’s image.
Figure E39: Survey 2 answers page 14. Author’s image.
Figure E40: Survey 2 answers page 15. Author’s image.
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Figure E41: Survey 2 answers page 16. Author’s image.
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Figure E42: Survey 2 answers page 17. Author’s image.
Figure E43: Survey 2 answers page 18. Author’s image.
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APPENDIX F: OBSERVATIONS
Figure F1: Jepson Center observations. Author’s image.
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Figure F2: SCAD Museum of Art observations. Author’s image.
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APPENDIX G: PROBE SAMPLE Figure G1: Probe sample consent form (left). Author’s image.
Figure G2: Probe sample survey. Author’s image.
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Figure G3: Probe sample Monday responses page 1. Author’s image.
Figure G4: Probe sample Monday responses page 2. Author’s image.
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Figure G5: Probe sample Monday responses page 1. Author’s image.
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Figure G6: Probe sample Monday responses page 2. Author’s image.
Figure G7: Probe sample Monday responses page 1. Author’s image.
Figure G8: Probe sample Monday responses page 2. Author’s image.
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Figure G9: Probe sample Monday responses page 1. Author’s image.
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Figure G10: Probe sample Monday responses page 2. Author’s image.
Figure G11: Probe sample Monday responses page 1. Author’s image.
Figure G12: Probe sample Monday responses page 2. Author’s image.
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APPENDIX H: WORKING WALL
Figure H1: Research. Author’s image.
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Figure H2: Working wall secondary research. Author’s image.
Figure H3: Mind maps. Author’s image.
Figure H4: Data points. Author’s image.
Figure H5: Full working wall. Author’s image.
Figure H6: Data groupings. Author’s image.
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Figure 91: Pitch event discussion. Author’s image.
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SARA J. MARTIN Sara currently resides outside of Philadelphia, PA and is a Master of Arts graduate from the Design Management program at the Savannah College of Art and Design. She is a versatile and performance-driven individual leveraging design thinking principles and more than six years of professional experience in analyzing organizational effectiveness and identifying business gaps. She looks forward to teaching others about innovation and design thinking as she moves forward in her career. 250
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