Appunti completi di Design and innovation management

Titolo : The world of innova/on

- INTRODUCTION

Innova/on

- The process of crea/ng value through new products, new processes, business models, and organiza/onal

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structures to meet and an/cipate customer demands and remain compe//ve in a global marketplace

Design

- “Design in new product / service development has a vast number of poten/al defini/ons. While it has

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tradi/onally been regarded as the aesthe/cs of a product, some/mes in rela/on to func/onality and usability,

more recently, authors have connected it to the crea/on and development of meanings, and to a way of

thinking and doing.”

Crea/vity

- Crea/vity is generally defined as the genera/on of ideas or products that are both novel and appropriate

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(correct, useful, valuable, or meaningful)

Arts

- When we talk about the value of arts and culture to society, we always start with its intrinsic value: how arts

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and culture can illuminate our inner lives and enrich our emo/onal world. This is what we cherish. However, we

also understand that arts and culture has a wider, more measurable impact on our economy, health and

wellbeing, society and educa/on. It’s important we also recognise this impact to help people think of our arts

and culture for what they are: a strategic na/onal resource. The value of arts and culture to people and society

outlines the exis/ng evidence on the impact of arts and culture on our economy, health and wellbeing, society

and educa/on INTRODUCING THE CONCEPT OF INNOVATION

Innova/on at a first glance

- Innova/on is something new AND valuable (both)

- Only new is an inven/on

- New means something that hasn’t been done before - uncertain, unpredictable

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Only valuable is an op/misa/on of something that we already know

- Valuable means it has to add a gain to reduce a pain to people, it implies you need to reach them

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Technological innova/on an its impact on our lives

- Melissa Schilling (2017) presents the world of technological innova/on [read chapter]

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THE ART OF INNOVATION

- Thinking, designing and crea/ng relate to innova/on

- Top the art of innova/on

- 1. First step toward innova/on : determine how to make meaning (not how to make money)

[example] Apple desire to democra/se computers (bring the power of computers to eveyone)

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2. Don’ make a mission statement, instead make a mantra : explain why your meaning should exist

[example] Nike : Authen/c athle/c performance (≠ slogan Just do it)

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3. Jump curves, do not focus on one thing (me]er of perspec/ve) : great innova/on occurs on the next curve

[example] Microso^ was not trying to make a be]er version of Apple instead it was trying to jump to the

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next curve personal compu/ng

4. Roll the DICEE (the five quali/es of innova/on) : innova/on is deep, intelligent, complete (totality of the

product), empowering, elegant

5. Don’t worry be crappy : it is okay to have elements of crappiness in the revolu/on

6. Legng 100 flowers blossom do not be proud : at the start of an innova/on might think you know the user, it

isn’t

Take best shot with posi/oning and branding, but take into account customers ideas of your product

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7. Grat products, services and innova/ons polarise people (some people might love it, some not)

8. What innovators in business to is they change and evolve (do not be in denial) : make mul/ple versions

9. Marke/ng is fondamental : 2x2 matrix ver/cal axis measures uniqueness, horizontal axis measures value

10. Learn and perfect your pitch

11.The more innova/ve you are the more people will try to bring you down

BUT IT’ ALSO IMAGINATION

. We make predic/ons about the future - how will it look like?

- ‣ Based on the idea you have about the future you act accordingly

If we believe that one thing is going to happen in the future then this is how we’ll act in the present

Visions, dreams, images and ideas of the future are powerful

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Our vision can inspire us, but also limit us - if you hear always the same narra/ves over and over (can be a limit)

- ‣ Go out in the world and hear other people’s ideas about the future

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Design. Innovation management : Concept of design

- THE CONCEPT OF DESIGN: SIMON AND THE ARTIFICIAL WORLD

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DESIGN AS A PROCESS OF ARTIFACT CREATION

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(...) we have now iden/fied four indicia that dis/nguish the ar/ficial from the natural; hence we can set the

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boundaries for sciences of the ar/ficial:

1. Ar2ficial things are synthe2zed (though not always or usually with forethought) by human beings

2. Ar2ficial things may imitate appearances in natural things while lacking, in one or many respects, the reality of

the laBer;

3. Ar2ficial things can be characterized in terms of func2ons, goals, adapta2on;

4. Ar2ficial things are oFen discussed, when they are being designed, in terms of impera2ves as well as

descrip2ves.” (Simon 1969)

MAIN CONSEQUENCES

1. Ar2ficial world is over-extended and anyone experiences the process of designing an ar2ficial object

2. Design is connected with crea2vity and innova2on (posi2ve)

3. Ar2ficial objects partly imitate natural products

4. Ar2ficial world interacts with the natural world :

(ponte di Calatrava)

Each artefact has an internal structure, which must fit the external context.

- The func2oning of the artefact depends on both

- The external context is changing

• Adapta2on is complex (depending on both)

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To summarise: Design as a touchstone for human ac4vity

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5. We control (or presume to control) the natural world using technology to create the ar2ficial (artefacts,

including buildings, social ins2tu2ons, and symbolic systems)

6. This perspec2ve is a reac2on against the tendency of associa2ng design with craFs, construc2on work,

transla2ng it in cookbook instruc2ons

7. Simon proposes an interdisciplinary founda2on for a science of design, where design emerges as a social ac2vity

in that:

– includes social plans and policies

- – has a social impact (designers have a social responsibility)

- – is a common framework, “a core discipline to every liberally educated person”

- Can be organised adop2ng a scien2fic approach (example: modularity) (Carroll 2006)

- DESIGN AS MAKING SENSE OF THE WORLD

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ARTEFACTS AS SOCIAL & MEANINGFUL OBJECTS

Evolu2on of how we hear music

- 1. Technological (product / process) choices :

Phonograph : Incremental change had to liste to music in company and at home

Walkman : Radical change (listen music wherever you are also alone - portable)

Spo2fy : Incremental change, digi2ze music, Spo2fy is a social way to listen to music (≠ iPod individual)

Reflect changes in society

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2. Impact on the industry and market:

Global way of listening to music

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“All man-made forms have socio-cultural histories, elaborate exis/ng archetypes, and are loaded with social

meanings, that place them in the symbolic context of their use” (Krippendorf, BuBer, 1984)

Mini-skirt were a way to express your opinion (past)

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≠ Now it’s just a garment that you can buy wherever you want → symbols are changing their meanings

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MARKET AND TECHNOLOGY ARE NOT ENOUGH

- Social-cultural context

Firms Customers

Product

Technology

Connec2on between firm and costumer is supported by technology and the system by which I can collect

- informa2on about the market

‣ Ar2fact should change with the context and reflect the market

Social cultural context plays a crucial role

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DESIGN AS DRIVING THE INNOVATION STRATEGY

Companies can use design as a strategic asset, but how?

- “meaning-driven innova/on starts from the comprehension of unspoken dynamics in socio-cultural models and

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results in radically new meanings and languages, oEen implying a change in socio-cultural regimes”

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