Design in Business Masco, Taylor, Mich

design of the decade n housewares n the last design challenge winter winter 2010 AMERICA OF Y SOCIET Rx DESIGNERS Right The

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Kyle Weiss, co-founder of FUNDaFIELD, gives a One World Futbol to a group of kids in Swaziland. See page 41.

Publisher Executive Editor Managing Editor Advertising Annual Subscriptions Roxann Henze Alistair Hamilton, IDSA & Designer Beth Harrington Within the US $60 IDSA Principal, DesignPost Karen Berube IDSA Canada & Mexico $75 45195 Business Ct., 250 [email protected] K.Designs 45195 Business Ct., 250 International $110 Dulles, VA 20166 3511 Broadrun Dr. Dulles, VA 20166 P: 703.707.6000 x102 Advisory Council Fairfax, VA 22033 P: 703.707.6000 x104 Single Copies (Fall/Yearbook) F: 703.787.8501 Gregg Davis, IDSA P: 703.860.4411 F: 703.787.8501 US, Canada & Mexico $25 [email protected] Mark Dziersk, FIDSA [email protected] [email protected] International $35 www.innovationjournal.org [email protected] Contributing Editor Single Copies (Spring, Summer, Winter) Jennifer Evans Yankopolus US, Canada & Mexico $17

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The quarterly publication of the Industrial Designers Society of America (IDSA), Innovation provides in-depth coverage of design issues and long-term trends while communicating the value of design to business and society at large. Design of the Decade Patrons of Industrial Design Excellence 13 Twice in a Lifetime by Charles L. Jones, FIDSA 13 Design of the Decade Jury investor IDEO, Palo Alto, Calif.; Shanghai, China; 14 Design of the Decade Winner Target’s ClearRx story by Tim Adkins Cambridge, Mass.; London, UK; San 15 Design of the Decade Gold, Silver & Bronze Winners Francisco; Munich, Germany; Chicago; stories by Jennifer Yankopolus New York Design in Business Masco, Taylor, Mich. Procter & Gamble, Cincinnati, Ohio 31 What Was I Thinking? by Steve Sato, IDSA, guest editor

32 Design for Emerging Markets: How Design Will Play the Cultivator Central Role in the Next Economic Boom by Anthony Pannozzo Altitude, Somerville, Mass. 37 Problem Finding, Problem Solving: Teaching MBA Students Cesaroni Design Associates Inc., Glenview, Ill. How to Think Like Designers by Sara L. Beckman, Clark Kellogg and Continuum, Boston; Los Angeles; Milan, Italy; Helen Cahen Seoul, South Korea; Shanghai, China 41 An Emerging Business Mode: Meaningful Value & Design Crown Equipment, New Bremen, Ohio Thinking by Tim Parsey and Elizabeth Topp Dell, Round Rock, Texas 45 Design, Business & Sustainability: An Opportunity for Shared Design Concepts, Madison, Wisc. Strategy by Nathan Shedroff, IDSA Eastman Chemical Co., Kingsport, Tenn. Hewlett-Packard, Palo Alto, Calif. 49 Reframing & Repositioning Our Role in Business: Toward a IDI/Innovation & Development Inc., More Valued Design Profession by Steve Sato, IDSA, Sam Lucente, IDSA Edgewater, N.J. and Deborah Mrazek Jerome Caruso Design Inc., Lake Forest, Ill. In every issue Lextant, Columbus, Ohio Lunar Design Inc., Palo Alto, Calif. 4 From the Executive Editor by Alistair Hamilton, IDSA Metaphase Design Group, St. Louis, Mo. 6 Commentary by Dr. Bob Deutsch Nokia Design, Calabasas, Calif. 8 Book Review by Mark Dziersk, FIDSA Smart Design, New York; San Francisco; 10 A Look Back by Carroll Gantz, FIDSA Barcelona, Spain 53 Showcase: Housewares Stanley Black & Decker, New Britain, Conn. 64 This Is a Design Challenge by Budd Steinhilber, FIDSA Teague, Seattle, Wash. Tupperware, Worldwide Statement of Ownership Ave. Year Single Whirlpool Corp., Benton Harbor, Mich. Publication: Innovation Total Number of Copies: 4,313 4,300 Publication Number: Vol. 29, No. 4 Paid/Requested outside county: 2,872 2,941 Filing Date: 10/18/2010 Paid in county: 0 0 Charter Patrons indicated by color. Issue Frequency: Quarterly Sales through dealers/carriers: 0 0 No. of Issues Published Annually: 4 Other classes mailed through USPS: 299 289 Annual Subscription Rate: Total paid: 3,171 3,230 For more information about becoming a $60 Domestically, $110 Internationally Free distribution outside county: 0 0 Mailing Address: 45195 Business Ct., Suite 250, Free distribution inside county: 0 0 Patron and supporting IDSA’s communication Dulles, VA 20166 Free distribution mailed through USPS: 0 0 Mailing Address for Headquarters: Same as above Free distribution: 175 500 and education outreach, please contact Owner & Publisher: Industrial Designers Societ of America, Total distribution: 3,346 3,730 45195 Business Ct., Suite 250, Dulles, VA 20166 Copies not distributed: 892 570 Beth Harrington at 703.707.6000 x104. Editor: Karen Berube Total: 4,238 4,300 Issue Date for Circulation Data: 6/24/2010 HELMUT SCHLEPPI, 2010

Cover photo: Target’s ClearRx. See story p. 14. Advertisers’ Index QuarterlY oF the industrial designers societY oF aMerica winter 2010 inn OVA ti O

n Innovation is the quarterly journal of the Industrial Designers Society of America (IDSA), the 52 BTH professional organization serving the needs of US industrial designers. Reproduction in whole D esign in in esign c2 Cesaroni Design Design in Business or in part—in any form—without the written permission of the publisher is prohibited.

B the right rx usiness The opinions expressed in the bylined articles are those of the writers and not neces- 30 IDEA 2011

winter 2010 winter sarily those of IDSA. IDSA reserves the right to decline any advertisement that is contrary 1 La France Corp. to the mission, goals and guiding principles of the Society. The appearance of an ad does

design 5 LDA not constitute an endorsement by IDSA. All design and photo credits are listed as provided of the the of by the submitter. Innovation is printed on recycled paper with soy-based inks. The use of c4 Lextant decade IDSA and FIDSA after a name is a registered collective membership mark. 7 MonoSol

housewares housewares Innovation (ISSN No. 0731-2334 and USPS No. 0016-067) is published quarterly by the 29 MIT Industrial Designers Society of America (IDSA)/Innovation, 45195 Business Ct., Suite 250, 12 Popular Mechanics n the last design challenge design last the Dulles, VA 20166. Periodical postage at Sterling, VA 20164 and at additional mailing offices. POSTMASTER: Send address changes to IDSA/Innovation, 45195 Business Ct., Suite 250, 9 solidThinking Dulles, VA 20166, USA. c3 Target ©2010 Industrial Designers Society of America. Vol. 29, No. 4, 2010; Library of Congress Catalog No. 82-640971; ISSN No. 0731-2334; USPS 0016-067. By Steve Sato, IDSA, Sam Lucente, IDSA and Deborah Mrazek [email protected] n [email protected] n [email protected] Steve Sato, founder of Sato+Partners, provides management and organization development expertise that builds experience, business and design excellence through project-based learning and organization growth. n Sam Lucente, designer, works at the intersec- tion of design, business and experience, bringing world-class design approaches to bear on complex problems for society, organizations and the design profession. As former VP of design at HP, he now consults with the company. n Deborah Mrazek, HP design practice manager, is responsible for building the company-wide design practice to be a more competitive, reliable strategic tool.

Toward a More Valued Design Profession Reframing & Repositioning Our Role in Business

hese days we have to be careful what we wish for when it comes to design and business. For

many higher-level designers, the days of shaping singular objectified creations have given way T to the crafting of complex experiences tangled up in those entities we call organizations. “Design and business” yields about 500 to 700 million results on popular search engines. No doubt it is a hot topic, and when it comes to delivering business results through design, the expectations of management are higher than ever before. Executives seeking: • Consistent, reliable results • Substantiated in objective data Yet, while most businesses served by • Confirmed with subjective data designers are aware of design and some agree that design is valuable, Gain Commitment “Let’s do it!” only a few actually commit to design- based approaches. How we, as the collective design profession, lead this Self- design and business movement will Funded Self- Demo redefine every aspect of our vocation Funded Project 2 for years to come. Will design thrive Gain Agreement Demo “Agreed, but not Project 1 on its own, merge with branding, or be now, because...” Workshop assimilated by marketing or R&D? Like any new way of doing things, Gain Awareness Presentation the natural progression in adopting a “I get it!” design-based approach moves from awareness to agreement before reach- Year 1 Year 2 ing commitment. The effort to move Potential Executive Sponsor is Transferred stakeholders from agreement to commitment requires a significantly greater The common approach taken to formalize a broader role for design is slow; it lacks effort than to move them from aware- enough organizational momentum to reliably succeed. ness to agreement. Why? Because the stakeholders must make trade-off decisions to commit Experience tells us that the most common tactic used, time, attention, money and resources to the new approach namely funding demo or design-concept projects, rarely to the detriment of current commitments and plans. Each creates enough organizational momentum for design to be stakeholder needs to see clearly “What’s in it for me?” In accepted in a new role. While great at increasing the level contrast, no-trade-off decisions are needed to agree to a of agreement, this tactic to showcase design is not suf- design-based approach, or even to agree that something is ficient enough to build organizational momentum to affect a good idea. Talk is cheap. lasting change.

INNOVATION winter 2010 49 design in BUSINESS 2000-2010 Period of Viral-ness 1980-1990 In a Web 2.0 world 1900-1910 1940-1950 1960-1970 Period of Customers everyone shapes the Period of Discovery 1920-1930 Period of Reappraisal Period of Differentiation Clarity on the value of message. Unlike marketing Initial teachings focused Period of Integration New needs for marketing As marketing expanded, new customer retention and channels, there are now on distributive trade facts Principles of marketing knowledge caused the concepts took on substantial satisfaction, and the marketing "engines." This borrowed from economic were postulated and traditional explanation identity. Among them were investors' demand for is causing even greater theory. "Marketing" the general body of of marketing to be managerialism, holism, more reliability, drove differentiation, customer- conceived and named as thought was integrated reappraised using a environmentalism, systems process-oriented cenricity and social a discipline. for the first time. scientific approach. and internationalism. approaches. awareness.

Identity and Role of Marketing

Reframe Reframe

1910-1920 1930-1940 1950-1960 1970-1980 1990-2000 Period of Conceptualization Period of Development Period of Reconception Period of Socialization Period of Experience Economy Many marketing concepts Specialized marketing areas Traditional marketing Social issues and marketing Marketing changes were were initially developed continued to be developed, approaches were supplemented became more important, as conversation driven, technology and classified; terms were hypothetical assumptions by managerial decision making, the influence of marketing enabled and information intensive. defined. were verified and quantified, the societal aspects of upon society became a The traditional 4Ps model was and new approaches marketing, and quantitative focus of interest. supplemented with the new 4Ps: explored. analysis; borrowing from personalization, participation, management and other social peer-to-peer and predictive. sciences. Neil Borden coined the phrase ‘marketing mix’ (often called the 4Ps of Marketing). Momentum accelerates after each reframing point.

Commitment occurs when design becomes deeply in use. The first reframing integrated the most useful and integrated into business through repeatable, reliable design relevant frames, creating a foundation that allowed greater methods used to build actual products and services. Easily organized development and specialization. Similarly, early understood, commonly used design tools clearly show in the formation of design as a discipline, design artisans design’s contribution to successful business results. used a variety of approaches and techniques to become Once this shift happens, design becomes a deep part of integrated into the production process. how the company creates. This foundational shift can with- The second reframing of the marketing profession, dur- stand the forces of meeting quarterly results or executive ing the 1960s, further codified the most useful and relevant leadership turnover. If aligned closely with brand strategy, frames to form a broader and deeper foundation, allowing it may even help increase the shareholder value of the even greater organized development and specialization. company and shift the company culture. Imagine a scenario Following this second reframing, the value of marketing in where all design professionals used a related set of design business became commonplace. Marketing has continued approaches that were easily understood by business. to richly evolve in concert with fundamental shifts in business History shows that other disciplines have done just that with and its relationship to people. much success. In many industries typically served by designers, we have seen the rapid commoditization of goods and ser- Learning from Others vices. With this mandate from industry to design for a more If current tactics to increase design’s role in business do not powerful relationship with people beyond differentiated create sufficient organizational momentum to move busi- goods and services, even to the point of co-creation, the ness leaders from agreement to commitment, what more design profession is forced to redefine itself. The design is needed? If our design tools are too varied and confusing profession is on the cusp of a second reframing, one to business professionals, is it possible to evolve to a more that cannot be ignored. coherent method for all design professionals? Based on results from an online survey of IDSA To answer that question, let’s look at a similar disci- members in 2009, the areas of most interest to designers pline. Interestingly, marketing has historically shared many included (in rank order): design thinking, product design, of our dilemmas. As Dipak Jain, former dean at the Kellogg leadership, innovation, facilitation/negotiation/persuasion, School of Management said, “Design’s role is misunder- teamwork/multidisciplinary collaboration and strategy/plan- stood as marketing’s role was in the ’80s.” A macro-view ning. Follow-on interviews showed that designers are faced of the integration of marketing into businesses reveals some with two critical challenges. insights for the design disciplines. Although, industrial design First, how do we integrate a user-centered, iterative, emerged as a distinct formal discipline in the early 20th multidisciplinary approach early in the development lifecycle century with the advent of mass-produced goods, it was (design thinking, product design, innovation)? And second, marketing that began to form key constructs that would how do we embed design heuristics into strategy, planning define its success in the world of business. and business modeling (design thinking, innovation, strat- Early in the formation of marketing as a profession, egy/planning)? Both of these dimensions necessitate an many approaches, tools, definitions and concepts were expanded role for the design profession in business. Clearly,

50 www.INNOVATIONjournal.org they rely on improved skills in leadership, innovating, facilita- Gaining Commitment to Design tion, negotiation, persuasion, and multidisciplinary teamwork and collaboration, that enable the respondents’ concepts of 1. Understand stakeholders. Designers often begin with design thinking to be realized. observation and discovery in our design process for clients or for a company as an in-house design team. Using these A Key Way to Gain Commitment same techniques to holistically assess past and present So much about gaining commitment to design—meaning, design projects and their impact on the business world often resources in place, deep alignment with business strat- yields powerful insights that will help you better understand egy, early involvement in the development cycle—requires your relationship to your stakeholders. designers to perform expertly in this expanded role. All the desired personal characteristics, such as facilitation, 2. Link design and business goals. Much like you solve negotiation and leadership, are critical to success. Certainly your product design-related problems, visualizing the design Raymond Loewy and Henry Dreyfuss had those skills back efforts in a business context with stakeholders becomes in the 1950s. Yet, those aren’t enough. Codified, easy-to- equally powerful. This is especially true when you use infor- understand design methods that clearly articulate the mation design to make the connection between the busi- value of design in business are requisite. We need a way ness’ strategy and design’s contribution explicit. A business for business stakeholders to quickly and reliably assess and design diagram can be as simple as a matrix with a verti- the value of design, not only on a project-by-project cal axis showing major business strategies and a horizontal basis but at the organizational level, too. In short, we axis showing design work on major classes of products or need to be relevant to stakeholders. services. As you visually connect these two areas, test the Ironically, we are in the business of making offerings and frame with supportive key stakeholders to ensure they would experiences relevant to people. Maybe, we can look inward characterize the strategies and classes of offerings similarly. and apply that same thinking across the design profession. As cited by Roger Martin, dean of the Rotman School of 3. Map design investments onto a matrix. Now you can Management, business leaders have been trained to value begin to populate the matrix with all the projects currently consistent, reliable results. Note, too, that often business funded. This is an ideal time to get the designers involved people are seeking outcomes and who contributed to them, so they visualize and verbalize how their work connects to and have only a passing interest in how the results were the business’ strategies. Designers become the storytellers, achieved. We, as designers, have many opportunities to cor- sharing with their teams the role that design is playing in relate our designs with business success and ultimate profit- their project’s success. Aggregating a significant number of ability. We just need a more relevant, consistent and frequent design projects over time forms a reliable, consistent pattern way to share that information with the organization. As we, stakeholders can believe in. as a profession, work toward that goal, here is one approach (see sidebar) to consider that has met with good success. 4. Create metrics for each investment. For each project, add metrics for success based on a better outcome Next Steps achieved through design’s contributions. Relate this metric Design, industrial design, interaction design, design thinking, back to something the stakeholders are measured on to experience design, interface design, user interface design, judge their individual performance, such as cost savings, user experience design, product design and on and on brand valuation, incremental revenue, profit or market share. and on—just some of the many terms we use to describe It’s good to seek out predictive metrics, ones that portend to others what we do. In the end, these descriptions of the the outcome within the average tenure of your key stakehold- discipline of design are largely irrelevant if we fail to gain our ers. These indicators give continuous reliable feedback to stakeholders’ commitment to integrate design into busi- stakeholders during the design process. Ultimately, you can ness. These stakeholders need clear, consistent and reliable track business success in the marketplace through tangible frames of reference, similar to the approach noted above, to metrics, such as market share and profitability, with a clear substantiate design’s role in their organization. Furthermore, line-of-sight back to the predictive metrics associated with fundamental changes in the creation of goods and services design’s contribution. have only increased the need for design to reestablish its worth to the business community. 5. Aggregate then communicate successes. Aggregating Much like marketing has done throughout time, design the successes of projects within the matrix allows you to now needs to emerge with a strong sense of who we are as show how all the tactical successes design has contributed a profession with a focused articulation of our contribution to a business’ strategy. Encourage designers to use your to business and the world. By codifying the richness and matrix to frame every project conversation with stakeholders, fidelity of our design methods, we easily achieve this goal thus demonstrating the role of design on the specific project since what we do defines who we are. In doing so, together in the context of a larger design movement driving business we shape the role of the design profession for years to success. n come. A group of design leaders are forming a work group to address this challenge. Please contact us if you are inter- ested in participating. n

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