Conference Agenda

Overview and details of the sessions of this conference. Please select a date or location to show only sessions at that day or location. Please select a single session for detailed view (with abstracts and downloads if available).

Session Overview
4.b 2/3: Designerly ways of Innovating
Wednesday, 19/Jun/2019:
2:00pm - 3:40pm

Session Chair: Gerda Gemser
Session Chair: Nico Florian Klenner
Location: LDN.001
Ground and the 1st floor Loughborough University London 175 capacity

Session Abstract

More and more organizations are using designerly ways of innovating to improve and transform their innovation systems and outcomes (e.g., Liedtka, 2018). This transformation implies the adoption of an innovation process characterized by experimentation, iteration, and fast failure rather than a linear, stage-gate type of process that is focused on failure prevention (Brown, 2008). In particular when seeking to create and implement innovations that are radical in nature, iteration and experimentation are essential and require organizational flexibility, for example in the field of strategizing (Deken et al., 2018). It also requires organizations to open up their innovation systems and co-create with a broader set of stakeholders (e.g., Gemser and Perks, 2015). Interestingly, designerly ways of innovating are not only embraced by established organizations, but also by new ventures (Klenner et al., 2015). Organizations, be they newly created or established, not only borrow from the designers’ toolbox, but also seek to create a more enduring, overarching creative mindset within the organization. Such organizations may assist their employees in breaking out of their habitual ways of seeing, knowing, and acting by means of, for example, investing in creative, inspirational work spaces (Barry and Meisiek, 2010) or design thinking training programs. At the same time, the mass-marketing and commodification of designerly ways of innovating has led to a host of problems (Barry, 2017) and there are many challenges to overcome when implementing and using designerly ways of innovating in organizational settings (e.g., Carlgren et al., 2016). In this track, we seek to further explore these challenges. Possible topics/questions to explore in this track include, but are not limited to:
● How can designerly ways of innovating, which include activities such as iteration and experimentation, be implemented in organizations in an efficient and effective way?
● How to engage in co-creation with ‘ordinary’ customers and other relevant stakeholders for innovation and design? What are effective strategies for involving these potentially diverse stakeholders?
● How to develop and implement strategy when engaged in (radical) design innovation?
● By means of what design practices, activities or attitudes can organizations help their employees to break out of their habitual ways of seeing, knowing, and acting; and how to sustain such changes over time?
● Which design processes, practices, or tools are effective for new firm creation? Which design processes, practices, or tools may enable or hinder scaling up new ventures?
● What are the differences between strategies for designerly ways of innovating in new ventures versus large incumbent firms?

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2:00pm - 2:25pm

Enhancing collaboration: A design leader’s role in managing paradoxical identity tensions through Dual Identification

Emma J Coy, Johanna E Prasch

RMIT, Australia

As the role of design grows in prominence in the workplace, managing designers such that they can effectively collaborate in multifunctional innovation teams becomes an important consideration. We draw on social identity and paradox research to extend insights on this topic. We suggest that, to operate effectively in the workplace, designers need to experience both similarity-with and distinctiveness-from other colleagues, and that these needs are paradoxical. We argue that tensions arising from these paradoxical needs can be managed through Dual Identification – a model which promotes dual identities, allowing the fulfillment of both needs of sameness and difference. We propose that design leaders can enable Dual Identification in designers through consistent language and associated visuals, and that this will allow designers to feel secure in their identity as both a designer, and as an innovation team member. We suggest that, ultimately, this security will translate to enhanced collaboration of designers in innovation teams.

Track 4.b-Enhancing collaboration-215Coy_a.pdf

2:25pm - 2:50pm

Design artefacts as flexible and persuasive tools for customer-centric innovation

Jacqueline Wechsler1, Jochen Schweitzer2

1Sticky Design Studio, Australia; 2University of Technology, Sydney Australia

More organisations are adopting customer-centric innovation practices to increase business value; however, very little is known about the factors driving customer-centric innovation or the conditions under which innovation succeeds. Similarly, very little is known about the role of design artefacts as inputs in customer-centric innovation processes or as instruments that support the organisational change required for successful change. A practice-led case study was conducted to examine the role of design artefacts and to demonstrate how they are flexible and persuasive tools that mediate the social and intertwined demands of customer-centric innovation strategies. Five distinct roles of design artefacts are proposed and their value in contributing to innovation and organisational change are considered.

Track 4.b-Design artefacts as flexible and persuasive tools-208Wechsler_a.pdf

2:50pm - 3:15pm

Exploring the design space of innovation canvases

Katja Thoring1,2, Roland M. Mueller3, Petra Badke-Schaub1

1Delft University of Technology, The Netherlands; 2Anhalt University of Applied Sciences, Germany; 3Berlin School of Economics and Law, Germany

Designerly innovation tools, such as canvases, are widely used for facilitating team and collaboration processes. This paper outlines the potential design space of such innovation canvases. Based on a systematic analysis of 123 existing canvases we developed a morphological box that distinguishes between six different parameters identified as relevant: (1) addressed process step, (2) involved media, (3) sequence of use, (4) available instructions, (5) number of elements, and (6) design specifics, as well as possible choices among them. The analysis also yielded several research gaps. Furthermore, we present an in-depth discussion of the possible theoretical underpinnings of innovation canvases and summarize them in a theoretical framework. The results of this paper provide references for other researchers and practitioners to better understand working mechanisms and fields of application of existing canvases and for developing such visual innovation tools for their own purposes.

Track 4.b-Exploring the design space of innovation canvases-243Thoring_a.pdf

3:15pm - 3:40pm

Storytelling and Low-Resolution Prototypes for Innovative Simulated Experiences in User-Centered Research

Daniela Szabluk, Ana von Frankenberg Berger, Andrea Capra, Manuela Ferreira de Oliveira

Pontifical Catholic University of Rio Grande do Sul, Brazil

This article discusses the use of low-resolution prototypes and storytelling as tools for planning and building simulated interactive experiences as a part of an exploratory method of user-centered research. We contextualize the concept of low-resolution prototyping and storytelling, present its insertion in the method and discuss its relevance to design user-centered experiences. The results suggest that using low-resolution prototypes and storytelling to create immersive experiences to validate products/services enable a deep understanding about users, which is an important perspective to design driven-innovation, considering that people do not buy products and services, but meanings. The combination of both tools gives the researchers a qualified amount of data that covers what the user consciously speaks, automatically does and unconsciously expresses. Using the proposed method companies will be able to identify the value perceived by customers, in order to create a better experience.

Track 4.b-Storytelling and Low-Resolution Prototypes for Innovative Simulated Experiences-310Szabluk_a.pdf

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