miércoles, 31 de octubre de 2007

True Talk: The How of Innovation

Artículo sobre el libre True Talk. Bastante Interesante

What’s TrueTalk?

It’s a way of communicating that lets your organization know you’re serious about the importance of innovating and of executing; that you’re ready to get beyond “business as usual”; ready to lead in new ways.

We all hear leaders everywhere exhorting their organizations to be more innovative, more imaginative. But, repeating these mantras does not help people to know how to do it.

Many knowledge workers think that innovation happens somewhere else—R & D, design centers, or “going offsite.”

But we’ve found that the real how of innovation today is constant, on the job, work-different behavior; it’s about everyone at all levels “getting it.”

Nowadays, we believe the formula for success looks something like this:

Success = Innovation + Execution

We no longer live in an “either/or” world. Today, it’s “both/and” or it’s curtains.

Innovation without execution? Empty ideas.

Executing old thinking? Pointless rigor.

In this article, we’ll take a look at developing an organization that gets the how of innovation.

Innovation

First, a definition. Innovative ideas are those that are both novel and useful. It takes both to make ideas valuable.

Why is it that some organizations regularly generate innovative ideas and others don’t?

We think an organization’s culture is a key differentiator between the two.

Creating a culture that enables individual and collective innovation is one of a leader’s greatest challenges. We’ve found that innovative cultures share a key characteristic: they’re seriously playful.

What does that mean?

It means that everybody approaches the serious business of delivering customer-focused value with a playful attitude.

Playful doesn’t mean “frivolous.” Ever watch kids playing? What they’re doing’s seriously important to them. What about the growth of video and online games? Psychologists studying play have found that we use play to help us explore new territory; play helps us learn.

Playful means approaching something important as if it were a game; as if it were a treasure hunt. And it’s those two little words, “as if” free people to try things they wouldn’t otherwise try. Which is where innovation happens: trying things out, tinkering, fiddling, constantly looking for something better, more interesting, novel.

How can you create an environment in which people innovate? Try these things for starters.

1. Positive Emotion – Our experience agrees with the work Harvard Business School’s creativity expert Theresa Amabile. She’s found that creativity thrives in positive environments. Creativity and positive emotion feed on one another in innovative cultures. This doesn’t mean uncritical acceptance of any and all ideas. It means establishing an environment in which new ideas (and new idea generators) are respected and given a chance to flourish. Give new ideas room to grow by developing an open culture that lets people express themselves free of fear or embarrassment.

2. Collaboration Trumps Competition – Contrary to popular myth, innovation rarely emerges from head-to-head competition. While one team might innovate in a competition with another team, competition within teams seldom produces desired results. Internal competition makes members reluctant to share ideas, and sharing ideas is the cornerstone of collective innovation. Enable an environment that rewards and recognizes collaboration if you’re interested in innovation.

3. Inquiry for reflection – We’ve found that when you ask the right people some very basic questions, they collectively come to own their solutions. What do we do well? How could we perform better? What gets in our way? What should we do differently? Getting the right people together to reflect on the formula for success provides the platform to build the new how mindset.

4. Relevance to Real Time Performance – We hear repeatedly that organizations are too busy with “now” to worry about “next”: “we don’t have enough time,” “we can’t get to it,” “there aren’t enough hours in the day.” To unleash the how of innovation demands a deep appreciation for the way we work now. The opportunity is to collectively explore ways to experiment, test new models, and capture the learning. Innovative thinking is contagious when it’s grounded in real-time work and immediately improves individual and group performance.

5. Everyone’s Creative – Many of us have come to believe that “creatives” are different from other people. But innovative cultures don’t leave people out, they invite them in. Even though we all differ in our natural abilities, creative thinking, like all complex skillsets, improves with practice. Practicing creative thinking leads to innovative breakthroughs. If you’re serious about developing an innovative culture, include everyone.

6. Technology Keeps Us in the Know – We always get excited when companies are responsive to using their technological tools to help colleagues share their learnings. Workers who are set up to tune in can stay informed about how teams are testing and experimenting. Most importantly, learning from mistakes is critical to the how of innovation. By staying connected, new teams shouldn’t have to make the same mistakes.

7. Reward Effort AND Results – Remember the old management cliché?: “What gets measured, gets done.” Well, how do you measure innovation? Too often, managers make the mistake of believing that they should only reward team members if their work directly delivers financial results. We’ve seen plenty of examples of innovative ideas that initially “failed to deliver,” only to become big hits (sometimes in slightly different form) when resurrected later. So, leaders need to encourage efforts that don’t quite make it as well as those that do. One key to creating an innovative culture is understanding that innovators thrive on the opportunity to innovate. If you’re committed to developing continuous innovation, find ways to let innovators know that you value them, recognizing their efforts as well as their results.

These are just some of the key characteristics of creative social systems. Doing these things well will put you squarely on the road to getting the how of innovation.

True Talk

TED Links

Monterrey, 2007

Visitors arriving from the TED blog may want to download the original presentation titled Connections & Consequence [PowerPoint, PDF 4MB]. A list of related research is published here.

Monterrey, 2007

vía Jan Chipchase - Future Perfect

De los Ikea hackers a la fabricación personal



Del mismo modo que los usuarios avanzados de Lego Mindstorms se han lanzado a la subversión de las reglas de juego impuestas por una empresa a la que no pertenecen (Forbidden Lego: ¿la venganza de los crowdsourcers?), los Ikea Hackers combinan su pasión por el diseño y por el do-it-yourself con una cierta actitud subversiva, un tanto light, al proponer modos de hackear los productos de Ikea para dotarlos de otras funciones o estéticas. The New York Times les dedicó un artículo (Romancing the Flat Pack: Ikea, Repurposed) donde los sitúa cultural e ideológicamente:

Ms. Lam, Mr. Csiky and Ms. Domanic have never met but they are nonetheless related, connected by a global (and totally unofficial) collective known as the Ikea Hackers. Do-it-yourselfers and technogeeks, tinkerers, artists, crafters and product and furniture designers, the hackers are united only by their perspective, which looks upon an Ikea Billy bookcase or Lack table and sees not a finished object but raw material: a clean palette yearning to be embellished or repurposed. They make a subset of an expanding global D.I.Y. movement, itself a huge tent of philosophies and manifestoes including but not confined to anticonsumerism, antiglobalism, environmentalism and all-purpose iconoclasm.

Estos Ikea Hackers son sucesores, y una mezcla, de los coolhunters, el movimiento de deconstrución y los diseñadores que reutilizan objetos industriales:

…“The idea is you’re getting in through the backdoor,” Ms. Berger said, “and reinventing what’s there.”

In the 1990s, when Ms. Berger was a “cool hunter” at Y&R, the branding, marketing and advertising agency, “we used to call this ‘post-purchase product alteration, ’ ” she said, noting that Ikea hackers’ predecessors can be found in fashion, with the deconstruction movement fomented by the Belgians in the late ’80s, and in architecture.

“There is a long history of hacking industrial artifacts or found objects and turning them into high design,” she said, drawing a straight line from Buckminster Fuller to Lot-Ek, the Manhattan architectural firm that has played with cargo containers, industrial sinks and truck tanks. “But to my knowledge Ikea is the only company that is appealing to the do-it-yourselfer.”

Al igual que en el caso de Lego, puede que Ikea acabe aprovechando a “sus hackers” para ampliar su mercado al diversificar sus productos y “sugerir” diseños prohibidos (pero rentables). Algo diferente puede suceder cuando Ikea deje de proporcionar los “materiales” necesarios para los diseños de los hackers. Por ejemplo, cuando se popularicen y abaraten los fabricadores personales (fablabs; como el que se ha creado recientemente en el Institut d’Arquitectura Avançada de Catalunya), de modo que cualquiera pueda utilizar diseños compartidos en Internet para fabricarse cualquier tipo de objeto (y por supuesto, diseños “pirateados” del catálogo de Ikea). David de Ugarte considera que la fabricación personal es la nueva revolución en Internet, como la parte tangible de lo que denomina web 2.1.

Para hacernos una idea, en el mismo tono cool y ligero que transmiten los Ikea Hackers, nada mejor que el video The Spime Arrives creado por Bruce Sterling para explicar los spimes, un concepto ciertamente vago y extenso que presentó en su libro Shaping Things. Una de las facetas de los spimes es la fabricación personal y, de hecho, el video explica de un modo sencillo como funcionará este modelo de producción post-industrial de tangibles. Lo han anunciado en ToShare.it con los que Sterling colabora en estos momentos:

What does the future have in store for us? In whose hands will design be? What economic trends will prevail? …

Sterling predicts a further evolution of what we already call web 2.0, where phenomena like social-networking and Radio Frequency Identification (RFID) see “objects” generating a new internet that someone has already defined as Web 3.0.

He foresees monumental changes in the world of design: a transformation of conventional users, with their currently available user-alterable gizmos, into “wranglers” with blobjects, spimes, and arphids in their pockets and briefcases.

¿Qué sucederá con la propiedad intelectual de los diseños? ¿Dónde estará el poder: en la fabricación de los fablabs, en los buscadores de diseños, en las tiendas de barrio donde “imprimamos” nuestros diseños? ¿Acabará Ikea convertida en una franquicia de copisterías? ¿Acabaremos pagando un canon por los tableros de contrachapado?

vía Juan Freire

martes, 30 de octubre de 2007

Failure Sucks But Instructs


Homer is right. The only way to avoid failure is to do nothing. But failure has virtues, and is probably impossible to avoid (Indeed, doing nothing is a form of failure too).

There is no learning without failure. No creativity without failure. That is why Jeff Pfeffer and I argue that the best single diagnostic question you can ask about an organization is: What Happens When People Fail? As research on creativity and learning shows (see this story on the “July effect” in study by Robert Huckman and Jason Barro of 700 hospitals over 8 years – mortality rates went up 4% when the new residents came in), it is impossible to do anything new or learn anything new without making mistakes.

There is a silver lining, however, although it hurts, there is evidence that people think more deeply and learn more after a failure than a success.

Homer might not like the thinking part.

Failure Sucks But Instructs

lunes, 29 de octubre de 2007

Buscando la próxima red en los rincones del presente

A. ¿Cuáles son los motores del cambio?: Política, economía, cultura, Internet. ¿Es posible analizarlos de modo independiente?


B. Política

  1. Internet es una red social distribuída pero una red física descentralizada. Las telecomunicaciones dependen de redes de infraestructuras “controlables.
  2. Peligros políticos. La paradoja del control. El caso del buscador Google y la “masacre de la plaza de Tiananmen”. Don’t be evil”?
  3. Oportunidades políticas: La revolución naranja en Ucrania
  4. La revolución azafrán en Birmania: ¿oportunidad o peligro?
  5. Perversiones políticas: el control del gobierno turco

C. Economía

  1. ¿Del crowdsourcing a la venganza de los crowdsourcers?
  2. Continuará desarrollándose la “larga cola” de las aplicaciones y negocios web (aunque Facebook no es (aún?) una larga cola)
  3. ¿La economía del regalo?. El “caso” Radiohead.
  4. La economía del regalo es rentable, pero ¿qué pasa con la antigua industria discográfica?

D. Cultura e Internet

  1. El viejo orden digital. Los portales de finales del siglo XX. El nuevo (des)orden digital. Everything is miscellaneous. Agregadores y mashups del siglo XXI
  2. Wikipedia como web 1.5: nuevos modelos con los viejos filtros y autoridades. Los nuevos wikis: múltiples usos, múltiples modelos. Geekpedia. Cordobapedia: lo que no tiene “interés general”. Debatepedia: el punto de vista “no neutral”.
  3. Contenidos audiovisuales: web 2.0 para la distribución. YouTube. Saatchi Online. Web 3.0: contenido granular y etiquetable para la remezcla audiovisual. YouTube Remixer. Eyespot. Jumpcut …En la era de la exuberancia de contenidos, ¿la creatividad está en la remezcla?
  4. ¿Del machinima a El Señor de los Anillos? El caso de Bloodspell, el primer largometraje machinima. ¿Dónde llegarán los usuarios utilizando contenidos abiertos y motores de videojuegos 3D?
  5. De los Ikea Hackers a la fabricación personal: la web 3.0 tangible
  6. Las redes hiperlocales híbridas (analógicas y digitales). Una especulación sobre nuestro futuro hiperlocal.
  7. La vida en las redes: de la posmodernidad al “hiper”-realismo. No existe el Quinto Estado (William Hutton) ni el Tercer Entorno (Javier Echevarría).
    • El conocimiento es un flujo distribuido; no es un stock localizado en una plataforma. Stephen Downes: “The greatest non-technical issue is the mindset. We have to view information as a flow rather than as a thing. Online learning is a flow. It’s like electricity or water. It’s there, it’s available and it flows. It’s not stuff you collect…”.
    • Los usuarios como “comisarios” de conocimiento; los nuevos“brokers.
    • La larga cola de los mashups personales (creados con herramientas como Google Mashup Editor o Yahoo Pipes). Mashups just-in-time y just-in-place: el ejemplo de los incendios en California.
via http://nomada.blogs.com/jfreire/

What is Design Thinking? Who Teaches it Best?

Check out this video on design thinking. It's amazing. You have Roger Martin, dean of the Rotman Management School, Harry West head of strategy and innovation from Continuum, Dan Pink, Jeff Huang and others. It's part of our package on Talent.

Continuum produced the video as part of its Support Design Education program. Continuum has been working with Rotman to develop design thinking in its MBA program. From the Contiuum site, here is some of what the two partners are doing:

"Designers from our studio worked closely with a designworks team (DesignWorks is a Rotman program that encourages new ways of thinking to managers) coaching them through a consumer strategy project for elite bike company Cervelo. We shared processes, studios, outlooks and approaches. What resulted was an enlightened understanding from both parties, some solid ideas for the client, and an ongoing partnership."


And check out Harry West's article on a new, multi-skill approach where traditional design tactics are wedded to the needs of business.

It just may be that B-Schools are the best source of creative management--or programs that include business and design. What do you think?

vía BusinessWeek Online - NussbaumOnDesign

Design Vs. Design Thinking.

We're having an excellent conversation about design and design thinking and I'd really like it to continue. If you missed Christopher Fahey's recent comment, please read it here. It's an important contribution to the discussion.


"Here's an idea: A young person goes to an art school or a design school to learn design hands-on among designer peers, then they get a job in the real world to learn about business, then if they work hard and pay attention in a few years they flower into what you call a "design thinker".

Or they go to a business school and then start messing around with Photoshop, HTML and CSS, Visio or CAD, pencil and paper, or whatever design tools they can. They get a job in the real world working closely with designers. They actually practice design more and more -- they "pay their dues". And then, again, after a few years of work and dedication they also blossom into a "design thinker".

Bruce, I agree with you that design will more and more be the driving force behind business decisions, and I agree that business leaders with a deep understanding of design values and processes will have an edge in the future over their peers who do not. Which makes it all the more perplexing why you consistently advocate creating and cultivating the next generation of design managers through training them in business, not design, skillsets -- instead of cultivating business skills among those who already have strong foundation design talents and skills. Is it not obvious to you that these emerging design-conscious business leaders might be most profitably drawn from the ranks of, say, *designers*?

I'm not sure how someone with what is basically a business education and a smattering of hands-on design education is being trained to be a design leader (what's worse, many d-school programs seem to have no hands-on design whatsoever). As a design leader, I wouldn't hire anyone to directly manage designers who didn't actually have expert-level hands-on design skills. I fear that your d-schools are not training people to be hired by the innovative designers who are ascending through corporate America today -- they are, perhaps, actually training people to be hired by the MBAs the real design leaders are replacing.

Or maybe the subtext of your platform is that, despite all the hype around the value of design thinking, it's still just a subset of business thinking. Which might explain why we designers are constantly perplexed and put off by the whole idea.

I'm not trying to throw a Molotov cocktail here, but I've always found this "design thinking" thing confusing because you and others never explain what role designers -- people who sit down with pencil and paper, mouse and screen, and actually design things -- have to play in the design thinking equation. I personally think the role they (we) will have to play is profound and unprecedented in scope -- but what do *you* think? It would be great to hear your thoughts about design thinking as it pertains to someone who might not be an MBA -- e.g., for a *designer*."


Basically, Fahey asks what is the role of the designer in the new field of design thinking. In my back-and-forths with Pentagram's Michael Beirut at the Design Observer and other design folks, this is a major issue. In our discussion over the One Laptop Per Child, it developed as a key issue. And it's a critical issue in design education as well.

My own current thinking is that designers must play a critical role in the creation of this new field of design thinking. The whole core culture of design is essential to design thinking. In fact, I would argue that the rise of Web 2.0 and social networking reinforces the traditional design focus on empathy and integration--human factors, the user interface, culture. Web 2.0 technology is behind the boost to design in the corner office as businesses delve more deeply into the lives of their customers--who are demanding to be part of the process of creating and designing stuff. Social media reinforce their desire to participate.

But design thinking is such a new field that it's not clear whether design schools or business schools will develop the formal concepts and methodologies that turn it into a broad, deep and powerful tool of organizational change.

The fact is that design thinking (or whatever we wind up calling this new field) is being created at the borders of design, business, engineering and even marketing. And I don't know which institutions will take the lead in promoting it. We have the Stanford D-School, the IIT Institute of Design. and the Rotman School of Management in Toronto taking early leads in developing design thinking. The California College of the Arts is offering an MBA in Design Strategy.

But, as the list of 60 schools and programs shows, there are many more institutions in Europe and Asia working in the fields and many, many partnerships across the boundaries of design, engineering and business. No one really know how or where design thinking will take shape--only that it is.

Nick Leon director of Design London, the new program that links the Royal College of Art, the Tanaka Business School and Imperial College of London, thinks the term "design thinking" is ridiculous. Business people roll their eyes at "thinking." He wants more rigor and prefers the term "design method." OK by me.

I don't think design thinking is a subtext of management science or the traditional stuff they teach in B-Schools. But many business schools are moving to integrate design and innovation into their curricula and teaching. Where the best research on all this develops, I don't know. Right now I read the great stuff from the Design Management Institute, Rotman Magazine, the Harvard Business Review and the Innovation & Design channel--and a growing number of well-informed blogs. Here are just a handful. Experientia. Metacool. Logic + Emotion.

vía BusinessWeek Online - NussbaumOnDesign

viernes, 26 de octubre de 2007

Forbidden Lego: ¿la venganza de los crowdsourcers?

Lego presentó el año pasado el rediseño de su producto Mindstorms, que permite construir todo tipo de objetos mediante bloques de construcción robotizados y programables. Este producto llevaba ya años en el mercado, pero tras el lanzamiento de su segunda versión en 2001 estaba languideciendo. Lego necesitaba urgentemente innovar y lo hizo mediante una estrategia radical: crearon un grupo de trabajo en que. además de su propio departamento de I+D y diseñadores, participaron usuarios avanzados (verdaderos fanáticos que llegan a organizar congresos), siguiendo el modelo del crowdsourcing. Utilicé este caso en su momento como ejemplo de innovación por los usuarios y un artículo publicado en el número de Febrero de 2006 de Wired, Geeks in Toyland, explicaba detalladamente la historia.

Artículo completo: http://nomada.blogs.com/jfreire/2007/08/forbidden-lego-.html

Push-Button House: Now a Cafe, Coming to New York City




Longtime readers might remember Adam Kalkin's Push-Button House, the shipping container prefab that magically transforms from enclosed container to living space at the push of a button. We weren't sure we'd ever see it again (it was but a concept at the time) but it's popped up again; Italy-based illycaffè has decided to install one as a temporary cafe in New York City's Columbus Circle between November 28 and December 29 of this year. Recall that, with the push of a button, the house opens in about 90 seconds like a flower and transforms from a compact container into a fully furnishe...

vía TreeHugger

Special Report: Office Design

The need for a workspace that encourages collaboration is crucial for effective business. Our in-depth survey looks at the good, the bold—and the ugly—within corporate life

vía BusinessWeek Online -- Innovation & Design

Temporary Living Wall for Construction Site




If your building in Shibuya is designed by Tadeo Ando, you probably not going to want to have your construction hoarding off the rack. You might go to Tokyo architects Klein Dytham for something really special, like this Green Green Screen, where "fabric panels with graphic patterns and advertisements alternate with soil-filled burlap pockets that hold trailing plants"- a temporary green living wall. ::Klein Dytham via Linton at ::Hugg see other green walls like the Livingwall, ELT'...

vía TreeHugger

jueves, 25 de octubre de 2007

Paisajes periféricos, geográficos y humanos, en Ciudad de México

El estudio Arquitectura 911sc investiga la interacción de los sectores formal e informal en la economía de Ciudad de México. Un tema apasionante teniendo en cuenta las dimensiones físicas y humanas de esta megaciudad. Plasmatic-Concepts ha creado un video, Peripheral Landscapes, que visualiza algunos de los patrones espaciales, demográficos y huanos que explican el desarrollo de la capital mexicana. La actividad informal domina “las periferias” del sistema, tanto las geográficas como la social o la económica, pero al tiempo es la vía de adaptación que sostiene una enorme trama urbana aparentemente al borde del colapso.

vía Juan Freire

Graffiti Research Lab » L.A.S.E.R. Tag (and HOW TO)...


“This is fantastic - I’ve got a laser pointer! … Holy mackerel … ah man, that’s terrific!”
Donald Rumsfeld

Defense contractors say that within the next 10 years they’ll have a solid state laser mounted on a Hummer that can put a hole in sheet of metal from several miles away. Well Dutch graffiti writers can pretty much do that now with this Hymermobil rocking a GRL L.A.S.E.R. Tagging System.

Find out from Agent Watson how this big fucking laser works and download the open source code (built in C++ using Open Frameworks).

When the Pentagon finally does get those hand-held lasers I know a few writers in Holland who will be the first to rack them: F. Lady, BIC, Dask, Walk, NW, WLC (Berlin), Oles, Lastplak, Baschz, Evas, El Pussycat, EVK, Losers, TM, Curry, Ros, Raid, Guilty, LRK, VEV, GPS and ERAS. Thanks to everyone and all our love to Rotterdam (bring an umbrella).

A production of the GRL, Agent Watson, Bennett4Senate, and Huib Van Der Werf. This Weapon of Mass Defacement brought to you by the rouge nation of the Netherlands and the Atelier Rijksbouwmeester.

http://graffitiresearchlab.com/?page_id=76#video

miércoles, 24 de octubre de 2007

Slideshow: Instant Housing and Designing for Disaster

Take a photo tour of the most innovative housing solutions that might be used during disaster relief operations -- from inflatable concrete tents to cardboard origami houses.

vía Wired Multimedia

Slideshow: Instant Housing and Designing for Disaster

Post Office Norms


Continuing on today’s transaction theme - this Tokyo post office form filling tables includes: the current date; commonly used forms; a hanko ink pad; tissues for wiping hanko after use; glue; and an unlikely-to-be-stolen pen.

Light



The lighting set from Minimal Tokyo's Spielfilm generating an algorithmic response to the sound - walking the line between abstraction and visual closure.


In the future perfect clubbing experience - our ever sensor filled world has, for medical purposes and insurance discounts extended to monitor our bodies in real time - your heart rate, pupil dilation, body's reaction to the world around you. How will tomorrow's sound and light surgeons tap into this real time data to heighten and dampen your collective and individual experiences? Your mental and physiological responses to sound, light and your live-in grade A+ pharmaceuticals used as inputs to affect yourself, your possie, and anyone who taps into your feed.

In 2020 Tokyo Art Beat includes a real time emotion map of the city - highlighting the range and intensity of emotional experiences as they occur. That broad red blob? An encore at the Tokyo Dome. A momentary intense red followed by fade-to-grey? A fatal stabbing. Your decision of where to hang-out tonight influenced by real time experiences and historical data of the same.

And as with all of this stuff, how will promoters game the system by artificially stimulating experiences to encourage swarming?.

Jan Chipchase - Future Perfect

East & West




The complimentary nature of two objects not normally associated with one another - wooden chopsticks used to remove (a stuck tortillas) from a toaster.

Jan Chipchase - Future Perfect

lunes, 22 de octubre de 2007

La Revolución de los Medios

jueves, 18 de octubre de 2007

Flowcharts

Un diseño interesante de Flowcharts, a ver que les parece, saludos
Rafael




Pd. Un ejemplo que me gusto sobre el nuevo libro de Al Gore "The Assault on Reason"

El diseño como meta-disciplina (o por que es demasiado importante para dejarlo en manos de los diseñadores)

El diseño se está convirtiendo en una meta-disciplina, una filosofía y un marco estratégico con los que abordar el desarrollo de cualquier proyecto. Estamos pasando del diseño de productos, de una preocupación por la estética y la usabilidad de esos productos, al diseño de servicios y una preocupación por su eficacia y eficiencia. En otras palabras, pasamos de lo tangible a lo intangible, de lo simple a lo complejo, y de las masas de consumidores gaussianos a las redes ciudadanas que viven en la larga cola. Esta evolución se acompaña de un cambio de paradigma desde el "diseñar para el usuario" a "diseñar con el usuario".

Pero, al tiempo que el diseño alcanza mayor relevancia como paradigma central sobre el que giran muchas actividades, los diseñadores deben cambiar su modo de trabajo y empiezan a recibir críticas, incluso dentro de su propio "gremio", por no saber adaptarse a los nuevos tiempos. Aunque existen algunos diseñadores que están innovando activamente en su método de trabajo; especialmente entre aquellos que empiezan a trabajar sobre problemas complejos donde descubren que un producto no es más que una pieza de un complicado ecosistema de usuarios y soluciones. Uno de estos problemas es la sostenibilidad donde el diseño se está volcando por que la necesidad de la reducción en el uso de materiales y energía pasa por un rediseño de servicios y productos, la transformación de muchos de los segundos en los primeros y la interacción con los usuarios en el proceso de innovación.

En el blog de Dott 07 analizan la adaptación al cambio climático y la cuestión de la sostenibilidad como una oportunidad para este cambio de paradigma en el mundo del diseño, Climate Change: A Design Opportunity?. Así lo plantea su director de programas John Thackara (autor del blog Doors of Perception):

As designers, are we guilty of killing the planet? Eighty percent of the environmental impact of the products and buildings that surround us is determined at the design stage, after all. The ways we have designed the world force most people to waste stupendous quantities of matter and energy in their daily lives.

En Dott 07 siguen esta aproximación:

In Dott 07 in North East England, we are not telling people to behave sustainably. We are designing, with them, more sustainable ways to organise daily life - ways that bring material benefit in the immediate term. Our idea is that if these small steps succeed, even in part, then others can quickly follow suit, better and faster. This way, governments can focus on removing obstacles to change, rather than try to lead it from the top.

Dott 07 is not about traditional design. We don't design artefacts at all unless they are a necessary part of a sustainable solution. We don't design communication campaigns telling people how to be green...

We are learning that creativity and innovation are all around us. Our approach in Dott 07 is not to design solutions outside-in, top-down or from scratch. Instead, we use design to enhance, connect and accelerate existing grass-roots innovation. An important part of our job is to alert people to solutions that already exist, but in a different context, or even a different historical time.

Bruce Nussbaum, en su Business Week blog se preguntaba retóricamente hace unos meses si Are Designers The Enemy Of Design?:

In the name of provocation, let me start by saying that DESIGNERS SUCK. I'm sorry. It's true. DESIGNERS SUCK. There's a big backlash against design going on today and it's because designers suck...

Esta crítica se orienta en la misma dirección en la que lo hacen desde Dott 07, y tiene como objetivo destacar la necesidad de un cambio de paradigma desde el "para" al "con los usuarios":

Design Democracy is the wave of the future. Exceptional design may only be done by great star designers. But the design of our music experiences, the design of our MySpace pages, the design of our blogs, the design of our clothes, the design of our online community chats, the design of our Class of '95 brochures, the design of our screens, the design of the designs on our bodies--We are all designing more of our lives. And with more and more tools, we, the masses, want to design anything that touches us on the journey, the big journey through life. People want to participate in the design of their lives. They insist on being part of the conversation about their lives...

So one Big Design Management Challenge is how do you switch gears from designing for to designing with? Maybe the object of design is not a finished product but a set of tools that allow people to design their experiences for themselves. Think iPod and iTunes. Think TiVo. Starbucks. Fortunately, design has tremendous tools. In fact, design has evolved from a simple practice to a powerful methodology of Design Thinking that, I believe, can transform society. By that I mean Design, with a capital D, can move beyond fashion, graphics, products, services into education, transportation, economics and politics. Design can become powerful enough to be an approach to life, a philosophy of life. But it can do so only when Design by Ego ends and Design by Conversation begins.

En esta evolución, el cambio de mentalidad es la mayor barrera, y sólo puede ser superada si pasamos de entender el diseño como una disciplina especializada y gremial a concebirlo como una meta-disciplina que indentifica las estrategias adecuadas para abordar los problemas complejos de una sociedad compleja:

But how do people who've spent a lifetime using their left-brain, suddenly shift to using both their left and their right? How do people used to deconstructing old problems into their parts and squeezing answers out of each of them then learn to see problems with fresh eyes and integrate parts of many solutions into one new one. Enter design and design thinking. Over the past decade, design has evolved to become an articulated, formalized method of solving problems that can be widely used in business--and in civil society. Design's focus on observing consumer/patient/student--human behavior, it's emphasis on iteration and speed, its ability to construct, not destruct, its search for new options and opportunities, its ability to connect to powerful emotions, its optimism, made converts out of tough CEOs. AG Lafely at P&G, Immelt at GE and many others embraced design. Now Mayor Daley of Chicago and Mayor Livingstone of London are embracing it.

Para lograr estos objetivos no se necesita "un gran plan". Se precisan innovadores y herramientas que abran el camino hacia el cambio. En Core 77 presentaban hace poco una de esas piezas:

Many designers shield their ideas like answers on a math test, but Open Design Club aims to overcome this way of thinking to spark a greater sense of creativity in all its community members. Everyone and anyone is invited to join and share their concepts and open source design products and/or get involved with producing and selling Open Design Club products.

Los problemas complejos que necesitan la participacción activa de actores muy diversos sólo pueden ser abordados desde una perspectiva abierta de colaboración. Open Design Club es un magnífico ejemplo de esta idea. About:

The Open Design Club seeks to create a culture of open source design and shared creativity. Our aim is the collaborative creation of a source of inspiration for design products and the free development of of creative potentials.

The platform offers the opportunity for designers and creatives to increase their popularity by sharing and spreading their ideas.

We want to make you think, rethink, design, redesign, make and remake.Open Design Club is dedicated to:

Designers and Creatives who want to share their creativity.
Design which is made to inspire other designs.
People who want to become active and do sth.

The Open Design Club was founded to create a place where you can share your ideas with others. We believe that removing copyrights from our designs will inspire creativity and result in multiple new designs. This is the place to present your work to the puplic and utilize it for others.

Get inspired and use the possibilities.

Juan Freire

Chrysler Needs Smart Designers, Not Just Efficiency Experts

The brilliant Don Norman has posted an article that could save Chrysler if Cerberus and the private equity guys followed his advice. Norman asks a simple design question: How can you design a safe car when people insist on "programming navigation systems while driving, dialing telephone numbers, changing radio stations, or selecting which piece of music to listen to." In short, how do you design the interactions between people and this growing number of things they insist on having and using while they drive?

Norman frames his question narrowly--focussing on the human-centered interaction design community. "The automobile industry is badly in need of guidance on human factors. Excellent people already work in the companies, but they suffer the problems faced within the consumer electronics and computer industries over the past few decades. This is an important arena, one where human-centered design skills are essential. But success will come only when our discipline can provide seasoned managers who know how to work across disciplines, with engineers, designers (stylists), manufacturing, marketing and, of course, upper management. There should be an automobile in HCI's future: but to make this happen presents a challenging problem in management, politics, and diplomacy."

But the larger issue is for the car industry and Chrysler in particular. Here is a fantastic chance to add value to cars and driving. Here is a wonderful way to beat out the competition. Designing interactions and experiences, not just style, can save the US automobile industry.

Listen to Don.

And thanks to Mark Vanderbeekan and the crowd at the experientia blog for pointing this out to me.

BusinessWeek Online - NussbaumOnDesign

Stanford 2007 David H. Liu Memorial Lecture Series in Design.

Jan Chipcase will lead off this year's David H. Liu Memorial Lecture Series at Stanford and if you haven't heard him or checked out his blog, this is a golden opportunity.

This is a key event for people into design thinking. The lecture series is a being hosted by the Stanford Product Design/Joint Program in Design.

Thanks to Diego Rodriguez at Metacool for the heads up. Diego teaches classes at Stanford when he's not working at IDEO.

BusinessWeek Online - NussbaumOnDesign

A School for Learning


I'm fascinated by Fuji Kindergarten, as profiled by Fiona Wilson in Monocle magazine. Fuji Kindergarten is a school whose building was designed by Tezuka Architects.

I wish my kids could go to Fuji Kindergarten. I wish I could have gone to Fuji Kindergarten. I wish I could go now. Fuji Kindergarten, I reckon, is what happens when "chutes and ladders" meets a thought experiment about education which goes back to first principles. What makes it so unusual an educational institution is that it places the most emphasis on learning, rather than on teaching. And on students rather than teachers (and, I'd wager, on teachers rather than administrative staff...). Think about that one for a while.

Next time I travel to Japan, I'm going to try and visit Fuji Kindergarten. In the mean time, I'm going to try and apply some of its lessons to our own school project over here at Stanford, called the d.school. Perhaps we can work harder to make the architecture really support the learning process behind design thinking.

By the way, I'm beginning to really dig Monocle magazine.



Flat Packing "Friction in Tension" Table


A great companion to your new flat pack shelving, the FIT table fits together without screws, nails, hardware or tools. It's another great candidate for downloadable design, breaking down into six flat or nearly-flat pieces that can be easily customized with fun designs and patterns on the table top. The FIT table (that's Friction in Tension) starts as one solid piece of composite, so it uses a very minimal volume of materials, and is also easy to customize. Prototypes can be had here, and there's more to learn ...

Special Report: Office Design


Un reporte especial de Businessweek sobre las nuevas tendencias en el diseño de oficinas

Office Design

Robot Chicken

Les mando un video para que se rían un rato.
Robot Chicken es una serie de sátiras "stop-motion" hecha con juguetes por Seth Green y un amigo en la que plasman como adultos a lo que muchos jugamos de niños (o seguimos haciendo).

Ricardo