Design

Management
Managing Design Strategy, Process and Implementation Kathryn Best
an AVA Academia advanced title
Design
Management
Managing Design Strategy, Process and Implementation by Kathryn Best
An AVA Book

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Design
Management
Managing Design Strategy, Process and Implementation by Kathryn Best
an AVA Academia advanced title

Prologue Context
06 Introduction 10 CONTEXT
08 How to get the most out of this book
12 What is Design Management?
16 Why is Design Management Important?
20 The Design Management Timeline
PART ONE
Managing the
Design Strategy
26 PART ONE
Managing the Design Strategy
KNOWLEDGE
28 Identifying Opportunities for Design
34 Understanding the Audience and Market
40 Interpreting Client and Customer Needs
44 Auditing the Use of Design
48 Establishing the Design Strategy
54 Promoting and Selling the Design
Strategy
58 Planning for Long-term Growth
PRACTICE
62 Case Study:
The Argus®3 Thermal-imaging Camera
66 Case Study: Camper
72 Interview:
Dr. Chris H. Luebkeman, Arup Group
74 Interview: Darryl Feldman, Yahoo!
KEY SKILLS
76 Managing Client Relations
80 Guiding Design Decisions
82 Developing Good Working Relationships
84 Verbal Communication
 PART TWO PART THREE

Managing the Managing Appendix

Design Process the Design
Implementation
90 PART TWO 146 PART THREE 196 APPENDIX
Managing the Design Process Managing the Design Implementation
198 18 Views on Design Management
KNOWLEDGE KNOWLEDGE 204 Further Resources
92 Giving Form to Business Strategy 148 The Project Management Process 208 Glossary
96 Increasing Awareness with Design 154 Project Management in Practice 210 Index
100 Expressing the Brand Through Design 158 Social and Environmental 214 Additional Credits
104 Initiating Design Projects Responsibilities 215 Acknowledgements
108 Design Methods 162 Design Policies, Procedures and
112 Design Processes Guidelines
118 Competitive Advantage Through Design 166 Translating Global Design into Local
Design
PRACTICE 170 Measuring the Success of Design
122 Case Study: 174 Reviewing and Revising the Design
Kajima Design Europe for JVC Strategy
128 Case Study: The Honda Zoomer
130 Interview: Mat Hunter, IDEO Europe PRACTICE
132 Interview: Brian Smith, FeONIC Plc. 176 Case Study: FooGo/The Formation
178 Case Study: The Silken Group
KEY SKILLS 182 Interview: Colum Lowe, NHS (UK)
134 Managing Creative Teams 184 Interview: Lynne Elvins, A420
136 Facilitating the Design Process
140 Developing Collaborative Cultures KEY SKILLS
142 Visual Communication 186 Management and Leadership
188 Leading and Advocating Design
192 Written Communication
06 | Prologue

PROLOGUE
Introduction
Design management is about the management of being the decision-maker about the management of
design. design and design projects. Design management
is a leadership role, one that requires explaining,
In its most basic sense, design management is about inspiring, persuading and demonstrating how design
managing design projects; projects paid for by a can positively contribute to an organisation in many
client, a business or an organisation, and carried out different ways.
by a designer, a design team or a design consultancy.
For some, this is where design management stops, The aim of this book is to promote a clearer
but for others, it is more than just a form of project understanding of design’s role in business and
management. Design management as an approach the importance of design as a way of creating value
has a myriad of other uses. in an organisation. The book is a guide for students
of design, design management, marketing, media
Design describes both the process of making things communications and business studies, and for
(designing), and the product of this process (a anyone involved in the management of design
design). Design plays a key role in shaping the world and creativity.
and generating new products, systems and services in
response to numerous market conditions and The book begins with a contextual overview of
opportunities. According to a recent Design Council design management, which is followed by three
report, around one million people are currently ‘parts’, these fully explore the management of
employed in design-related activities in the UK alone. the design strategy, process and implementation
respectively.
Can design be used to add more value to business?
What roles can design play in business? Designers are
often labelled as ‘creatives’, but they are just as
likely to employ analytical skills when faced with a
problem. Similarly, managers are considered to be
analytical individuals, but they are just as likely to
adopt a creative approach when seeking a business
solution. Designers and managers both exhibit the
ability to be analytical and to be creative, but in
different ways, using different tools, and with
different outcomes. The stereotypes of designers
and managers overly-simplifies the complexity of
design management, and this book extends beyond
these simple generalisations. Design is intrinsically
linked to business, in a way that can both add and
create value.

Beyond the superficialities of the style and aesthetics

debate, and beyond the simplistic view of designers
and managers, there are opportunities for individuals
at various stages of their career, working in a wide
range of organisations, and at different project
stages, to promote and utilise the value of design.
Design management is not a clearly defined vocation,
career path or academic subject area; no two ‘design
managers’ will have the same background, training
or experience in how they got to the position of

Part One: Managing the Design Strategy looks
at the first stage of design management, where
design projects and initiatives are conceived. The
focus of this stage is on identifying and creating
the conditions in which design projects can be
proposed, commissioned and promoted. At this
stage, design management engages design thinking
in an organisation’s strategy, identifying the
opportunities for design, interpreting the needs of
its customers, and looking at how design contributes
to the whole business.
Once an organisation has made the decision to
invoke a design strategy, design management deals
with the establishment and promotion of it, securing
the support and commitment of the stakeholders in
the business, and planning for long-term growth –
not just immediate and short-term gains.
Part One investigates the skills required in managing
client relations and guiding design decisions, building
relationships, and developing the necessary verbal
communications skills to achieve the effective
exchange of ideas and information.
This stage is about how those responsible for the
management of design can inspire design thinking
and projects.
Part Two: Managing the Design Process looks at
the second stage of design management, where
design projects and agendas are developed. The
focus of this stage is on demonstrating how strategy
can be made visible and tangible through design. At
this point, design management is about how design
can be used to craft the presence and experience of
an organisation, and in doing so influence how the
organisation and its brand are expressed and
perceived. To help identify the management
challenges that will be faced when initiating design
projects, models from a range of design-related
processes and disciplines are provided. Theoretical
models can never provide an instant solution, as they
are abstract representations of real-life situations,
and no single model will fit all solutions. These
models are intended as starting points from which
to develop project-specific approaches, ones which
Introduction | 07
enable an organisation to explore competitive
advantage through design.
Part Two investigates the skills that are required
to effectively manage creative teams, facilitate
the design process, lead designers, develop a
culture of collaboration and develop solid visual
communication skills in order to make thoughts
and ideas presentable.
This stage is about how those responsible for the
management of design can lead design agendas,
projects and possibilities.
Part Three: Managing the Design Implementation
looks at the stage of design management where
design projects and outcomes are delivered. The
focus of this stage is the process and practice of
managing projects, including the decision-making
involved in specifying design materials, working
relationships and ethical responsibilities. Once a
design project has been completed, the delivery of it
can entail further stages of design management, such
as developing design guidelines and manuals, the
maintenance and evolution of the design, and
translating design solutions for the global context.
Evaluating the success of the design project allows
positive feedback to inform and promote the
effective use of design.
Part Three investigates the skills required when
managing creative projects, such as leading and
advocating design-project successes, developing
good written communication skills and
understanding the differences between the
management and the leadership of design agendas.
This stage is about how those responsible for the
management of design can manage design agendas,
projects and possibilities.
08 | Prologue
Yellow panel The yellow vertical
panel carries the part title and page
number.

PROLOGUE
How to get the most out of this book
Table of Contents
PART ONE PART TWO PART THREE

Prologue Context Managing the Managing the Managing Appendix

Design Strategy Design Process the Design
Implementation
06 Introduction 10 CONTEXT 26 PART ONE 90 PART TWO 146 PART THREE 196 APPENDIX
08 How to get the most out of this book Managing the Design Strategy Managing the Design Process Managing the Design Implementation
12 What is Design Management? 198 18 Views on Design Management
16 Why is Design Management Important? KNOWLEDGE KNOWLEDGE KNOWLEDGE 204 Further Resources
20 The Design Management Timeline 28 Identifying Opportunities for Design 92 Giving Form to Business Strategy 148 The Project-management Process 208 Glossary
34 Understanding the Audience and Market 96 Increasing Awareness with Design 154 Project Management in Practice 210 Index
40 Interpreting Client and Customer Needs 100 Expressing the Brand Through Design 158 Social and Environmental 214 Additional Credits
44 Auditing the Use of Design 104 Initiating Design Projects Responsibilities 215 Acknowledgements
48 Establishing the Design Strategy 108 Design Methods 162 Design Policies, Procedures and
54 Promoting and Selling the Design 112 Design Processes Guidelines
Strategy 118 Competitive Advantage Through Design 166 Translating Global Design into Local
58 Planning for Long-term Growth Design
PRACTICE 170 Measuring the Success of Design
PRACTICE 122 Case Study: 174 Reviewing and Revising the Design
62 Case Study: Kajima Design Europe for JVC Strategy
The Argus®3 Thermal-imaging Camera 128 Case Study: The Honda Zoomer
66 Case Study: Camper 130 Interview: Mat Hunter, IDEO Europe PRACTICE
72 Interview: 132 Interview: Brian Smith, FeONIC Plc. 176 Case Study:
Dr. Chris H. Luebkeman, Arup Group FooGo/RAP UK Ltd./The Formation
74 Interview: Darryl Feldman, Yahoo! KEY SKILLS 178 Case Study: The Silken Group
134 Managing Creative Teams 182 Interview: Colum Lowe, NHS (UK)

Colour-coded sections to aid KEY SKILLS

76 Managing Client Relations
80 Guiding Design Decisions
136 Facilitating the Design Process
140 Developing Collaborative Cultures
142 Visual Communication
184 Interview: Lynne Elvins, A420

KEY SKILLS
82 Developing Good Working Relationships 186 Management and Leadership

navigation
84 Verbal Communication 188 Leading and Advocating Design
192 Written Communication

Managing the Design Strategy

34 | PART ONE

Context Pages 1
Understanding the Audience and Market | 35

Provide an overview to the subject KNOWLEDGE

Understanding the Audience and Market
area. Many products and services are ‘makable’, they can
be created, developed and made as part of a design
process, but they are not necessarily ‘marketable’.
Marketable products satisfy a customer need and
make a profit. Understanding the audience and the
market is key to knowing both how design can
creatively produce a viable business solution, and
how marketing can respond to a design innovation
to produce a viable business proposition.
MARKETING AND DESIGN
The Chartered Institute of Marketing defines
marketing as ‘the management process responsible
for identifying, anticipating and satisfying customer
requirements profitably’. Marketing identifies
opportunities, anticipates and satisfy needs, creates
differentiation, gains competitive advantage,
generates income and adds value. As such it
undoubtedly plays a pivotal role within an
organisation. Design, on the other hand, creates
value through innovation, improved functionality,
visual differentiation, brand reinforcement and a
positive customer experience, and therefore also
plays a key role in organisations. Design and
marketing departments often work together to
Traditionally, within client organisations, design
exists as a resource in one of two places: marketing Consumers as individuals
Identify customer segments within the market:
or product and service development. Within People with similar needs and desires.
Start
marketing departments, design can deliver services
Decide which segment to target:
that support specific marketing objectives. For Geographic (country, state, region, city).
Are the goals reasonable?
example, a designer can update the packaging design 1 Demographic (age, sex, income, occupation).
Consumer Psychographic (lifestyle interests, motives for
of an existing product so that it appeals to a younger buying).
analysis
audience, in response to a marketing requirement to Revise
Behavoural (usage level, reason for purchase,
brand loyalty).
increase the organisation’s youth-market share.
Within product and service development (also 7 Evaluate marketing segments:
Measurability, accessibility, substantiality, profitability,
referred to as engineering, manufacturing or viability, compatibility with competition, effectiveness,
research and development, depending on the nature and dependability.
of the organisation), design can drive innovation Potential market size of
2 consumers
through the design process itself, for example, via Review competitive and
the adoption of new technologies, materials or regulatory environment.
All marketing plans Establish relevance of market.
manufacturing methods. Marketing Is it large and accessible enough
Determine start with the customer
Find a profitable solution
the economics
analysis to justify marketing effort?
Costs, break even point, and their needs Establish product life cycle (PLC).
payback period of investment How the product/service sales
made, cashflow forcasts. grow and new segment become
aware and begin buying.
6 Establish Competitive factors:
Action plan to target your market Quality, price, advertising, R&D
The four P's 3 and service.
Product: How is my product/service
similar or different to the competition? Positioning plan to beat the competition
Plan the Establish core competencies.
Place: Where to sell? How distribute? marketing Competitive
Promotion: How to promote? How What do you do well? What makes you
mix analysis
raise awareness, remind and persuade? distinctive?
Advertising, direct selling, PR, publicity. Design creates competitive advantage by
5

Diagrams
Price: What should it be? Depends on differentiation.
support the needs of a business, but how they work costs, demand, competition, profit margin, 4 Use SWOT, matrixes and perceptual mapping
Distribution to establish position.
together will depend on both the nature of the perceived value to customer, materials,
analysis
manufacturing and processes.
organisation and the market opportunities available. How to reach the customer
How can my product/service reach the customer?
Choice of distribution channel influences the price

Help to visually explain some of the

charged and profit margins made.

1. At almost any stage of

the marketing-strategy
process, design can add

principles discussed. value and create competitive

advantage, for example, by
differentiating one product
or service from another.
Source: Silbiger, 1999.

Knowledge Pages
Managing the Design Process
100 | PART TWO

Expressing the Brand Through Design | 101

1 2

Illustration map helps identify image

KNOWLEDGE

and caption numbering. Expressing the Brand Through Design

A brand is a powerful corporate tool. It provides
both clarity and vision, and the brand identifier
(usually a logo) is a symbol of this clarity and vision.
However, the meaning of a brand is not contained
in an organisation’s logo, or even its products or
services, but in the power of the brand image formed
in the mind of the consumer.
Consumers buy-in to the brands, brand values and
brand beliefs that are most in tune with how they
see their own self-image and that of the lifestyle and
The brand promise is a guarantee of the values and 1. The Benetton retail store
beliefs, and the quality and level of trust that in Barcelona has been
the customer places in the organisation. From an specifically designed to
express the look and feel
organisational point of view, the brand is the face
of the Benetton brand.
of the company and represents its purpose, values
Image courtesy of Miguel
and beliefs. Essentially, it tells people, internally
Casanelles/The Benetton
and externally, what the organisation is about. Group.
In a brand-led organisation, the brand manager will
frequently have design management responsibilities. 2.This image is taken from
They will be experienced at forming relationships ‘James and Other Apes’, a
with external design teams and ensuring that the Benetton Communication

Each section is broken down by peer groups with whom they wish to be affiliated.
Historically, brands were a mark of ownership,
consistency and a benchmark of quality or service.
Now, according to Olins (2004), brands operate in
‘the emotional territory of people’s hearts and
design teams are translating the brand values
into desirable and viable products, services and
experiences. Brand managers too, are in a position
to identify how design can support the strategic
Campaign by James Mollison
for Fabrica. Benetton
frequently uses dramatic
advertising and
communication campaigns
objectives and brand values of the organisation,

a relevant sub-heading that is minds’. Brands represent not only the identity of the
organisation, but also that of its customers, and the
language of design can bring this identity to life.
and so ensure that the brand image reflects what
the organisation is about.
to express its brand. Here,
Benetton chose to extend its
reflection on our planet’s
diversity, from the human
DESIGN-LED EXPERIENCES race to our nearest cousins.

accompanied by insightful text,

Brands manifest themselves in the products, services, The campaign shows pictures
sites and experiences of an organisation. In a brand- Some the organisations are design-led; design is of orphaned apes that were
led organisation, design can add value from the top- central to all of their decision-making processes. confiscated from illegal
down, through brand communication, identity Some examples of design-led companies include traders. The apes now form
management and making the brand both visible and Apple, 3M, Philips, Dyson and Sony. Design-led the population of sanctuaries

diagrams and photographs.

in Africa and Asia.
tangible. Examples of brand-led organisations organisations tend to put the user at the centre of
Image courtesy of The
are Coca Cola, Virgin and EasyJet. Design can help their design processes and business offers. They
Benetton Group.
build the reputation of a brand through customer identify a customer need from the bottom-up by
touch points (places where the customer sees and observing user habits, and creating a product or 3. Fabrica is Benetton’s
experiences the brand). Examples of customer touch service offer around any unmet customer needs that Communication Research
points include product designs, retail shops, offices, are identified. The unmet need acts as the starting Centre, and was established
advertising material and websites. The act of point for innovation. The next step is to design a to capitalise on thought-
translating a brand and its values into tangible and solution around needs and desires of the user. The provoking communication
intangible products, services, spaces and experiences result is then offered in the marketplace as a branded that unites culture and
is called brand expression. product or service. This is often referred to as brand industry and that takes risks
extension; a new product or service trading on an by investing in ideas and
creativity. Fabrica’s work
organisation’s brand name to establish itself.
is characterised by a
celebration of the creative
process itself and not of its
results. Fabrica 10: From
Chaos to Order and Back
presents ten years of ideas,
projects, personalities, events

Each section carries questions for

and experimentation,
through a gallery of images,
videos and music.
Image courtesy of The
Benetton Group.
QUESTIONS FOR DISCUSSION: What is the role of branding in relation to today’s businesses and consumers?

further discussion and thought. What effect does the role of branding have on how we think about managing brand identities? If design
encapsulates a brand or marketing idea, how can design make things more culturally, emotionally and
experientially rewarding?

Managing the Design Strategy
66 | PART ONE
Case Study
PRACTICE
Camper
ESTABLISHING THE DESIGN STRATEGY
Camper embodies the spirit of a family business;
in this case a family that have been working together
for over a century in the footwear industry.
Responsibility, commitment and quality were
values treasured from the outset. Today, Camper
take an imaginative approach to everything they do,
especially with regard to their strong belief in social,
environmental and corporate responsibility. They
consider their ability to create products that improve
the health and quality of life of their customers to be
one of their most valuable assets.
Camper’s approach to design is reflected in these
values and in the structure of its business, which
Camper considers to be driven by more than just
the pursuit of profit. The company chooses to build
working relationships and use production processes
that are respectful of both individuals and the
environment.
IDENTIFYING OPPORTUNITIES FOR DESIGN
In 1887, Antoni Fluxá, a Mallorcan shoe craftsman,
set sail for England intending to learn about the
latest industrial manufacturing techniques of the
time. Upon his return, he assembled a group of
craftsmen and introduced them to shoemaking
machinery – the foundation upon which the Camper
empire was eventually built. In 1975, Lorenzo Fluxá,
grandson of Antoni, created Camper, a business
concept that reflected the new social, political and
historical drivers of the time, and echoed a lifestyle
based on freedom, comfort and creativity.
Managing the Design Strategy
74 | PART ONE
Interview
INTERVIEW
Darryl Feldman, Director of Product
Development, Yahoo!
How long have you worked in the interactive-
media industry?
I have worked in the industry for over 15 years,
having trained in graphic design and multimedia.
I held design leadership roles at a number of
companies prior to Yahoo! (Sapient, Organic and
Clarity) and worked with a range of clients including
British Telecommunications, Lucent, Vodafone, The
Carphone Warehouse, Opodo, DaimlerChrysler,
Railtrack, Royal and Sunalliance, FT.com and
eyestorm.com.
In terms of the organisational structure where
does design sit within Yahoo!?
Design sits mainly at a central, pan-European level
within the product-development unit that I currently
manage. In addition, there are pockets of design
activity that exist within business units and in
countries where product localisation occurs.
The marketing team also outsource design work,
primarily online advertising and campaign-based
projects.
How is design perceived in your organisation?
Generally it is recognised as a key differentiator,
as our products touch consumers directly on the
Web, it is understood that design is a driver of user
engagement and therefore audience growth. The
perceptions around design depends on the type of
product being developed, services that are complex,
or products that are a radically new genre, receive
more design attention.
How is design used in your organisation?
Design is used to interpret high-level business
requirements into a tangible product that our users
will find compelling. It is also used to promote and
sell new products and services that we launch into
the market.
What is the relationship between the company
and its design resources?
Again this will vary across different business units
and countries. At a general level, the design
resources are hired to translate the company’s
strategy into reality so the relationship is one of a
critical dependency. Sometimes it seems similar to an
Managing the Design Implementation
194 | PART THREE
WRITING REPORTS
The purpose of a report is usually to inform, provide
answers to a question, or provide the evidence
necessary to help sell an idea. Reports are a factual
documentation of a business situation, and are based
on thorough research and analysis that is assembled
in a presentable, organised and useful way.
The most common purposes of business reports are to
monitor and control operations; to implement
policies and procedures; to comply with regulatory
agencies; to obtain funding; to document work for
clients; and to guide decisions.
Thinking about the intended audience for the report
will guide what level of information to include about
the wider business context, and what words and
terminology may be unfamiliar and therefore need to
be explained. Visuals and diagrams can be a very
useful way to give an overview of a particular
aspect, and frequently communicate a great amount
of information to people from a range of different
backgrounds. Reports should open by identifying
who commissioned it, what its purpose is, and the
questions the report is intending to answer. Use of
heading and sub-headings will quickly allow the
reader to obtain an overview of the report and
focus on the main conclusions.
Report formats will vary depending on their purpose,
but typically will include a cover, title page,
commissioning letter, foreword, synopsis or
executive summary, table of contents and list of
illustrations, introduction, report findings,
conclusions, recommendations, appendices and a
bibliography.
Camper means ‘peasant’ in Catalan, and the
organisation manufactures its shoes in the
countryside, using traditional craft knowledge to
make footwear for urban-dwellers. Camper makes
high-quality and functional shoes, which combine
comfort and imagination with a sense of innovation,
humour and irony. For example, ‘Twins’, one of their
many product families, is based on the idea of having
two single shoes, not a pair. Each shoe is asymmetric,
different, surprising and even surreal. Camper shoes
are built not only to please but to last; the company
continually researches materials and manufacturing
methods to ensure that a pair of Camper shoes are a
good consumer investment.
A VALUED TEAM OF STAKEHOLDERS
Camper prides itself on its craftsmanship and its
vocation for manufacturing. People working for and
with Camper like what they do, and know and love
their trade. Camper considers each of these people
to be a stakeholder in the business with whom to
exchange ideas, suggestions and points of view.
The business prides itself on building long-term
relationships based on trust, a sharing of ideas
and working together as a team to identify new
opportunities. Ensuring proper working conditions is
also part of the approach to make Camper partners
unique and relevant members of the Camper ‘family’.
Imagination has become the company’s lifeblood,
and its contributions to the world of design and
creativity have been publicly recognised through
numerous awards. Camper won Spain’s National
Design Award in 1998, the country’s highest honour
in the field of design, which was official recognition
of a brand that has turned creativity into an viable
and growing business, one that combines local values
with global horizons.
agency/client relationship, although there are some
key differences in the dynamic around prioritisation
and resourcing; I am not able to hire according to
the demand I see coming from the business, which
would be the case if my team was an external
agency. Ultimately, we all work for the same
organisation so the relationship needs to work more
intimately and without the friction you sometimes
get between agency and client.
Do you use in-house or external design teams?
Both, we keep our internal teams focused on key
strategic priorities and projects that are of a
confidential nature. As a rule it tends to be the
more marketing-based work that gets outsourced.
From your perspective, what is design?
Design is any activity that translates both human
and commercial requirements into a tangible,
material output that can be consumed or used in an
effective way. From the humble paperclip to award-
winning advertising campaigns…it’s all design. Design
is also a smart way of communicating ideas and
processes, I have seen smart designers become
catalysts within businesses, as they can often
assimilate diverse inputs and synthesise these into
simple and understandable artefacts that teams can
rally around and use to articulate a vision.
What value does design bring to the industry you
work in?
Well I work within the Internet industry, which,
although obviously a technology-driven business,
relies on design to simplify the complexities of code,
to make tangible the intangible, and to differentiate
the product within a crowded marketplace. Often
design provides an emotional factor in a world of
high functionality and hardware, and this is why
high-tech companies such as Yahoo! and Apple invest
in it. It’s about bringing the brand to life and
ensuring all the cool technology we develop is
focused on people’s needs – technology alone will
not win the hearts and minds of our users.
In what ways is design strategic in Yahoo!?
Firstly, our design is our strategy, only in an
articulated and fabricated format. It’s a translation
QUALITY OF COMMUNICATION
Poor grammar, spelling and punctuation is
distracting and confusing, and can create mixed
messages about what is actually meant. Always aim
for clarity, succinctly getting to the point in a way
that is most appropriate to the recipient of your
correspondence. Keep your sentences short so as to
allow the recipient to read, decode and assimilate
the information more effectively. Read and
proofread your correspondence before sending it,
and if possible have someone else in your team
proofread for clarity and legibility. Is your letter
readable and understandable, or incomplete, overly
complicated or unfocused? If you’re not proud of it,
don’t send it.
Any documents leaving your team will always
present an image of how you operate. Maintaining a
high standard of presentation in terms of paper
quality, neatness and accuracy, helps convey a good
impression of an individual, and team, which cares
about attention to detail.
The language and vocabulary used in written
communication should be specifically chosen so that
it is appropriate to the intended audience. For
example, technical descriptions or foreign words may
need to be translated to provide meaning in the
context of the project. In general, always use a
thesaurus or dictionary to find just the right word,
and specifically, keep up to date on the vocabulary
relevant to existing and new debates in design and
business, to ensure you use the right word in the
right context. The recipient of your correspondence
may be from a different target audience to the one
you personally represent. Being able to see and
communicate things from an objective point of view,
with empathy for a client, audience or end user, is a
valuable skill to have when analysing entirely
different market sectors.
Case Study
Interview
Darryl Feldman currently leads product
development initiatives at Yahoo! across Europe.
Darryl contributes regularly to academic
institutions, industry events and magazines on
topics including product development and strategy,
online branding, design management, experience
design and multi-platform design strategies.
of the business requirements with a human twist.
Our user research enables us to connect with people
within the design process to find out how they
interact with online products, and this gives us a
strategic view on where we need to go as a company
to be successful. Secondly design enables us test new
ideas and innovate in a quick and iterative way via
prototyping so we can measure what is working
and what isn’t. This gives us a reality check on the
strategy and enables us to adjust and fine-tune our
strategies to be more successful.
What are the challenges you face in running
design projects?
Globally there are quite a few challenges facing our
design teams, as one would expect in a fast moving
Internet company that needs to innovate and
respond to an ever-changing market with evolving
delivery technologies. The key challenges within
Europe are related to the task of launching multiple
products in five countries whilst leveraging global
technology platforms. The coordination involved
is complex and involves managing multiple
stakeholders in different time zones and
multidisciplinary teams involving research, product
management, engineering, and marketing. This makes
it hard to keep the designers focused on a coherent
vision and solution, the trick is to try and shield the
team from unnecessary noise and communications.
Design management is key here and provides an
important role in keeping things on track. We hire
strong design managers at Yahoo! for this reason,
within a large global corporate entity this makes
sense and is cost effective in the long run.
What do you think design management is?
Simply put, I believe effective design management
changes style dependent on the context and business
setting. Design management within a large global
company is different from what it needs to be within
a small boutique or agency. The basic ground rules
involve balancing the need to give creative
individuals freedom to explore and compound ideas
within the reality of running a profitable business.
Great design managers motivate through enabling,
encouraging and protecting designers from the
politics and diversions that can hinder the end
STYLE OF COMMUNICATION
Seeing the situation from the recipient’s point of
view, not your own, is often the best way to achieve
cooperation, buy in and agreement. A useful exercise
is to imagine what it would be like to receive your
letter. Does it present the message and attitude you
want to convey? Is it direct, succinct and to the
point, or direct, aggressive and rude? Words are
powerful weapons that can help to build, or break,
relationships.
Being empathetic means seeing the recipient as
central to the message you are trying to convey, and
identifying what may be of concern to them. Think
about the appropriate form of address for the
correspondence. Using ‘you’ makes your writing
more immediate, and more interesting, to the reader.
Saying ‘the design team will finish working on the
problem by Monday’ has a different tone to ‘you will
have a solution from the design team by Monday’.
‘The ability to express thoughts and
communicate information in clear written
English (or another language) is central to
the work of a design consultancy. Clients
often feel out of their depth or unqualified
to make aesthetic judgements, but they will
be influenced by the quality of written work
and the quality of service coming from the
consultancy.’
Liz Lydiate
How to get the most out of this book | 09
Case-study Pages
1. The Camaleon, one
of Camper’s product
families, was the first
shoe to be commercialised
There are two case studies in the
in 1975. As a remarkably
casual shoe for its time,
it addressed the market
desire for shoes that
reflected a new lifestyle,
Practice section of each part. The
and helped consolidate
case studies are from leading
the Camper brand. The
Camaleon is a close
replica of the shoes used
by peasants in Majorca
since the beginning of the
twentieth century.
companies and are live examples on
2
the importance of design in business.
2. Pelotas, another of
Camper’s product families
and one of Camper’s best
sellers, is a design concept
inspired by the passion
and imagination of
pioneering sportspeople.
It is an ironic ‘revival’
shoe with a slightly retro
Image captions are flagged by the
look.
chapter colour.
3
3. Camper’s Wabi shoe
has become an icon in
creative and alternative
design, a functional
object of desire, and a
symbol of future design
trends and simplicity. This
Practice pages are identified by their
Wabi is made from one
black border.
piece of woven jute; it is
biodegradable and the
process of turning the
material into a shoe does
not cause pollution.
Wabis come with insoles
made from 100% natural
materials and socks made
from organically-grown
cotton or wool.
Interview Pages
Within the practice section of each
solutions being all they could be. In addition design
management is about articulate communication and
part there are two interviews with
the ability to talk the same language as the business.
I think good designers don’t need management in the
traditional sense of being ‘nannied’ though, that’s
why the best design managers were practitioners at
leading professionals responsible for
some point and understand the creative process and
where to step back and let raw talent do its thing
without interference from outside forces.
the management of design.
What, to you, is the relationship between design
and innovation?
Design and innovation are inseparable; one leads to
the other and vice versa. Designers are often in the
best position to innovate through the catalyst role
they occupy; blending business, technology and
human factors into something that can be
understood and iterated upon. By gaining deep
insights into the triggers that motivate people to
use and consume things, and knowing how to
realise this, designers are innovators by default.
Also, design is a rapid and fluid process that often
reveals opportunities which business strategies or
technological developments fail to deliver. It is
important designers realise this and take advantage
of the situation. Often they do not realise the power
they have to innovate and fall back into an
executioner role.
Is it possible to innovate as part of normal day-
to-day operations, and to embed innovation into
a company’s culture?
We do this at Yahoo! so yes I think it’s possible, and
necessary to survive as a Internet entity. Allowing
space for innovation within the development process
is key, and giving people time to think, play and
explore should be business as usual. If you attract
the right talent into your organisation and reward
innovation then it’s not hard to achieve. It is a
cultural thing too though, and unless the leadership
buy in, it will be hard to make happen. It’s bi-
directional in that sense; management set the stage
for grass roots innovation to happen.
Key-skills Pages
Written Communication | 195
This section discusses the practical
skills involved in design management.
There may be other times where written
correspondence serves as a carrier of good or bad
news. In daily business dealings, most
correspondence contains a mix of positive and
negative progress, and how this is communicated will
affect the level of trust and confidence a client, for
example, places in a design team. Positive phrasing
focuses on what can be done, rather than draw
attention to what cannot be done. The use of active
Tinted pages align the section with
voice (where the person performing the action is the
focus of the sentence) and passive voice (where the
person performing the action becomes the subject of
the sentence) is a useful method of accentuating a
positive message, or reducing blame in a negative
the relevant part.
message. As an example, ‘the CEO announced a
profit’ is active voice, whereas ‘a loss in profits was
reported’ is passive voice.
Writing can leave an impression of who you are so
The use of quotations provides
remember to take a few moments to read through
what you have said, and the way in which you have
said it, as this is time well spent. It is not possible to
‘unsend’ a piece of written correspondence once it
has been delivered.
additional insight.
 Context
10 | CONTEXT
The role of design, and its management,
in business, society, culture and the
environment has a rich and active
history. This section of the book provides
an introduction to some of the key debates
and definitions of design management,
and reasons behind their importance
today. It also provides an overview of
the background and origins of design
management in the form of a timeline.
12 | Context
CONTEXT
What is Design Management?
There is no single, universally agreed definition of the
term ‘design management’, just as there is no single
agreed definition of ‘design’, or in fact of ‘business’.
When looking at the nature of ‘design’, the word
itself is both a noun (an outcome), and a verb (an
activity). The outcome of a design project can be seen
in the products, services, interiors, buildings and
software processes that we come into contact with
daily. The management of these design projects is
only one aspect of design management. The activity
of designing is a user-centred, problem-solving
process, which also needs to be managed and
therefore is another facet of design management.
The term ‘business’, when used in the context of
design and business, can become a container for all
kinds of non-design activities such as marketing,
finance, strategic planning and operational activities.
In the area of design management a wide variety of
perspectives exist that reflect the rich array of
individuals, professions and contexts involved, such
as academia, the public or private sectors, business
and industry, the design profession, and public or
governmental bodies. Indeed, the lack of consensus
on both the scope and substance of the design
management discipline has hampered the
development of reference material to support it.
There are however, some knowledgeable attempts to
provide agreed definitions for specific aspects of
design and design management.
Topalian has stated that within an organisation,
design management consists of managing all aspects
of design at two different levels: the corporate level
and the project level. Topalian also believes that
‘design management development needs to broaden
the participants’ experience of design problems and
the range of project and corporate circumstances
within which they have to be solved’ (2003).
Gorb has defined design management as ‘the
effective deployment by line managers of the design
resource available to the organisation in the
pursuance of its corporate objectives’ (1990). This
definition suggests that the subject is therefore
directly concerned with the organisational place of
design, and with the identification of those design
disciplines that are relevant to the resolution of key
management issues, and what training managers
need to use design effectively.
Hollins describes design management as ‘the
organisation of the processes for developing new
products and services’ (2002), and for Cooper and
Press, being a design manager is about ‘the response
of individuals to the needs of their business and the
contribution they can make to enable design to be
used effectively’ (1995).
As a job description, the design manager has the
role of managing design. What exactly this entails
will vary from organisation to organisation, and
the person responsible for managing design might
be called a ‘brand manager’, a ‘project manager’,
a ‘client-account handler’, an ‘account director’,
a ‘design consultant’ or an ‘advertising planner’. The
important aspects of managing design, irrespective
of the job title, are about understanding the
strategic goals of an organisation and how design
can play a part, and effectively putting in place the
ways and means, the tools and methods, the teams
and planning requirements and the passion and
enthusiasm, to achieve these goals as successful
outcomes.
There is growing awareness within many
organisations that design is a valuable means
to achieve strategic goals and objectives. There is
also an increasing desire to understand the design
tools (the methods and ways of thinking that the
design process brings), and the design planning
and implementation, which effective project
management of design brings. According to Ackoff,
planning is ‘anticipatory decision-making’ (1981),
and it is the design manager’s responsibility to
anticipate where design can contribute value, and
how this can be realised.
 What is Design Management? | 13
1

2 3

1. Whirlpool is the world’s

leading manufacturer and
marketer of major home
appliances. Whirlpool
introduced their
revolutionary new clothes
revitaliser in response to
five of the latest emerging
trends identified by an expert
panel of international style
leaders from the world of
fashion and interior design.
Understanding the impact of
these trends on consumer
needs and Whirlpool’s own
business objectives drove the
design of ‘prêt-à-porter’, a
fast, easy and practical way
to keep clothes smelling fresh
and looking great.
Image courtesy of Whirlpool
Corporation.

2. The W. W. Stool, designed

in 1992 by Philippe Starck
for a Wim Wenders film, is
produced in a small series
by Vitra. The stool ignores
functional constraints,
allowing Starck’s imagination
to have full reign. It is more
like a sculpture, that can be
used as a stool or standing
support, rather than an item
of purely functional
furniture.
Image courtesy of Vitra,
(photograph: Hans Hansen).

3. The Heart Cone Chair

(1959), from the Verner
Panton-designed collection
at Vitra. For all its
extravagance, it is a
comfortable club chair
for everyday use.
Image courtesy of Vitra,
(photograph: Marc
Eggimann).
14 | Context

Table 1: The Key Categories of Design

Product
Design can add value to a product beyond the manufacturing process, and so can affect gross margin,
performance and profitability. Design-management issues to be considered here will depend on the nature of
the industry and product in question, but might include, for example, product innovation, range,
development and quality.
Environmental
In this category, design management is mainly concerned with how, and in what, the business invests in
tangible or ‘fixed’ assets, and how it manages them thereafter. These ‘fixed assets’ might include factories,
offices and retail shops, and the equipment and furnishings within.
Information
The design of information plays a valuable role in how a corporation conveys its purpose and intentions to its
various target audiences. Information design is usually supplied through the marketing function of a business,
and may include the design of advertising, sales promotion and public-relations materials (design for external
audiences), and design for managers, employees and owners (design for internal audiences).
Corporate Identity
Corporate-identity design is closely linked to corporate strategy and shapes all aspects of the first three key
categories of design. Its benefits are difficult to assess, but there are implied measures of success in the
increase of share prices of those major corporations that have adopted strong identity programmes.

Source: Adapted from Gorb, 1990.

‘Design management is rooted in the shift from a hierarchical model of

management to a flat and flexible organisational model, which encourages
individual initiative, independence and risk taking. Designers feel at ease
with the new, more informal model of management. The new model is based
on concepts like customer-driven management, project-based management,
and total quality management, which all deal with design.

Design management has a two-fold objective:

To familiarise managers with design and designers with management.

To develop methods of integrating design into the corporate environment.’
Brigitte Borja de Mozota

QUESTIONS FOR DISCUSSION: Is it possible, or desirable, to create a single, standard definition of design
management that can be applied to all areas of design and business?
 What is Design Management? | 15
4 5

Creative
Creati
Creative enterprise
enterpriise inside
enterpr ins
nsiide
the or
org
organisation
ganisatio
anisation
n

Desi
Design
esign
gn Technolog
Technology
echnology
y

Market
Marketing
arketiing Managemen
Management
anagementt

Creative enterprise outside

the organisation

4. Understanding the context 5. Moleskine produce the

in which design operates
helps design managers to
identify opportunities for
new creative projects,
processes and enterprises,
and plan for the resources
needed. It also helps other
decision-makers understand
what they need to
contribute, and how these
projects support their goals.
Inside an organisation, design
typically exists as an in-house
team working alongside or
embedded within other
functional business units.
Design can also exist outside
the organisation as a
consultancy or agency.
legendary notebooks
popularised by many famous
artists and writers including
Henri Matisse and Ernest
Hemingway. Planning a new
generation of products for a
new generation of consumers
means that Moleskine can
build on their successful
traditions, and continue to
develop and launch new
ranges. Typically, when
launching new product
ranges, many companies,
including Moleskine, involve
a number of decision-making
representatives from areas
such as design, marketing,
distribution and sales.
Image courtesy of Moleskine.
16 | Context
CONTEXT
Why is Design Management Important?
In the current climate, the economic importance of
design, and its use as a communication and strategic
business tool, has reinforced the status of design
management and placed the true potential of design
high up on organisational agendas. Equally, design is
increasingly aiding the development of social,
ecological, technological and cultural processes and
enterprises.
For students, the changing roles and challenges of
design mean there are new demands made on those
wanting to build careers in design and the creative
industries. Design is inextricably linked to the way
in which society, the environment and business
interact, and as a result today’s organisation’s are
approaching design in a more ‘managed’ way. In
order to have a successful, long-term career in
design, it is necessary to understand how and
where design sits within a wider context, and how
the true potential of design can be exploited,
professionally managed and utilised as a tool for
innovation and change.
Within an organisation, design can affect
management on many different levels and in many
different ways. Design can be active on strategic,
tactical or operational levels, in setting long-term
goals and in day-to-day decision-making. Design is a
function, a resource and a way of thinking within
organisations and one that can be active in the
strategic thinking, the development processes and,
crucially, the implementation of projects, systems
and services; the ways in which an organisation
connects with its customers and stakeholders. By
becoming more in tune with the commercial
pressures of industry, and by understanding how to
use design more effectively, students will be at a
distinct advantage when entering the job market,
whether a commercial business enterprise, the public
sector, or non-profit organisations.
In the wider context, there is an ongoing shift
from industrial economies to knowledge economies,
from manufacturing-based processes to information-
based processes, and from national and international
trade agreements or restrictions to increasingly
competitive market challenges from emerging and
expanding economies worldwide. In terms of design,
this impact is apparent in the evolution of design
from ‘style and aesthetics’ to a means of improving
products, services, processes and operations. The
focus of design is now on improving customer
services and experiences, and creating better
efficiencies and waste reduction strategies. It is
inevitable that how design is managed in this
shifting context will also change.
The practice of design management is evident across
a range of disciplines such as product design,
fashion, architecture, media, entertainment,
advertising and software and games design. In
addition, how design is perceived and utilised in the
realms of business, engineering, technology and the
creative disciplines varies enormously, and so,
different approaches to how design is managed are
required in each context.
Within an organisation, design management is
present in the brand communications, the product
and/or service design, the corporate buildings and
retail environments and the websites and advertising
campaigns of each enterprise. Externally, design
management can respond to the growing pressure
for organisations to address government legislation,
regulations and policies, and changing attitudes
around the world to the management of local and
global resources.
All of these internal and external demands, from
organisational goals and customer requirements to
social and environmental responsibilities, need to
be taken into account in the management of design,
and all of these aspects need to be managed in order
to maximise the time, money and resources that an
organisation invests in design in order to present
itself favourably to current and potential consumer
markets.
 Why is Design Management Important? | 17
1

1. Design is active at three

levels in any organisation:
strategic, tactical and
Design at the level of strategy, operational. At the strategic
level, the overall policies,
policy and mission
missions and agendas are
defined – and it is to these
agendas that design must
connect. At the tactical level,
the teams, processes and
Design at the level of tactics,
systems of specific business
systems and processes
units or functions come into
play. At the operational level,
design manifests itself in the
physical and tangible
products, services and
experiences – the
Design at the level of implementation of projects
operations, tangibles and processes the customer
and touch can actually ‘touch’.
Source: Adapted from Sean
Blair, Spirit of Creation.

2. Managers of design often

have to transcend roles and
adapt to different situations.
The design leader sets the
vision for how design
could be used within an
organisation, selling the
vision to, and gaining buy-in
from, key stakeholders and
decision makers. The design
Design leader Design manager Designer manager ensures the design
processes, procedures and
internal functions are adding
value to the organisation,
through a defined design
team or through the internal
resourcing of design thinking
Vision Process Content into and across a range of
business units and projects.
The designer helps unlock the
potential of a proposal, and
crafts and delivers the
solution, to brief, on time
and within budget, to satisfy
client and customer needs.
Source: Mike Crump, Design
Manager, British Airways.
18 | Context
According to Powell (2004), the importance of design
management is growing in four fundamental ways:
1. As businesses of all kinds deepen their
understanding of the role of design in innovation,
they will look to design management as a powerful
resource for innovations that will effectively
differentiate their business and build sustainable
competitive advantages.
2. As people continue to find increasing choices in
the marketplace, and become more determined to
improve the quality of their lives, they will demand
more of what only the effective management of
design can provide in good design.
3. The shift in attitude from design management to
managing for design will unleash the potential of
design.
4. The increasingly important role design will play in
building a bridge between the fundamental economic
and cultural aspects of individual nations and the
world will open doors for design to make an
important contribution to healthy, balanced societies
worldwide.
Clearly, there is growing recognition of the potential
benefits of design management. However, it is also
emerging as a driving force in educational and
government initiatives and in social policy and
environmental regulations.
The Saïd Business School at the University of Oxford
has recently created a new Design Leadership
fellowship, in recognition of design’s current reach
beyond conventional concepts of product design to
‘embrace new understandings of organisational
innovation, the design of organisational processes,
the aesthetic dimensions of organisational life and
the ways in which the shifting nature of design
impacts on the strategic positioning and functioning
of the modern organisation’.
QUESTIONS FOR DISCUSSION: What other emerging trends can be identified in order to begin to think about
the role of design in business in the future?
The Cox Review of Creativity in Business,
commissioned by the British Government in 2005 to
investigate ways in which creative skills might be
exploited more fully, raised some interesting
definitions of the connections between creativity,
innovation and design.
Creativity: is the generation of new ideas. Either
new ways of looking at existing problems, or the
discovery of new opportunities.
Innovation: is the exploitation of new ideas. It is
the process that carries a concept through to new
products, services, or ways of operating the business.
Design: is what links creativity and innovation. It
shapes ideas so that they become practical and
attractive propositions for users or customers.
Design has become a critical and strategic function in
today’s evolving organisations, and the need for the
knowledge, the ability and the skills to think, plan
and manage for design is becoming more important.
Table 1: Design Statistics in the UK
185,500 people work in design
12,450 design consultancies employ 60,900 designers
and 348,300 non-designers
47,400 self-employed, freelance and non-employed
designers
77,100 in-house designers work in 5900 larger
businesses of 100 people or more.
Source: The Business of Design, Design Council Research 2005.
 Why is Design Management Important? | 19
3

3. Design can help not

only to achieve business
objectives, but cultural and
social agendas too, especially
in the non-profit and public
sectors. Recognising a need
for alternative energy sources
amongst the world’s poorest
communities, the Freeplay
Foundation is committed
to providing innovative and
practical energy solutions to
ensure sustained access to
information via the radio.
The foundation continually
searches for new applications
for Freeplay’s patented
wind-up and solar-powered
technology. The key driver
for their pioneering ‘Lifeline’
radio was the use of
technology as a
transformation tool,
specifically for social causes
and for humanitarian use.
The radio is used both by
adults and by children as
an enabler of distance
learning, as a means to
promote peace and cross-
cultural understanding, and
as a way to gain information
about farming techniques,
weather, health,
humanitarian disasters and
the reuniting of families.
Image courtesy of the
Freeplay Foundation.

‘Worldwide, many countries are beginning to address the challenge of a

world that is becoming vastly more competitive’. Technology that is not
carried through into improved systems or successful products is an
opportunity wasted; enterprise that fails to be sufficiently creative is simply
pouring more energy into prolonging yesterday’s ideas. Creativity, properly
employed, carefully evaluated, skillfully managed and soundly implemented,
is a key to future business success and national prosperity.’
Sir George Cox
 Industrial Society 1830–1944
1832 The National Gallery
opens in London, exhibiting
fine arts to educate
manufacturers and
encourage good taste in
consumers. Conceived as an
aid to the manufacturer in
his struggle with foreign
1877 Christopher Dresser
competitors, the gallery
1830 Inventions such as the appointed as art adviser
effectively promotes the idea
steam engine and the to Huskin & Heath, a silver
of an ‘industrial’ design.
weaving machine necessitate manufacturing and industrial
the reorganisation of production firm and supplier
industry. Manufacturing, of novelties and luxury
mass production, utility and goods. Dresser’s role was to
efficiency begin to replace help provide a new creative
handcrafts. direction for the firm.
1851 The Great Exhibition of
the industries of all nations
asserted Britain’s world
leadership in manufacturing
and the ‘useful’ arts, and
celebrated the fusion of
science, art and design.

1833 Isambard Kingdom

Brunel appointed as chief
engineer of the Great
Western Railway, establishing
him as one of the world’s
leading engineers.

Timeline 1830 1840 1850 1860 1870 1880

1759 Josiah Wedgwood, a

creative and business
thinker, sets up his own 1869 Charles Eastlake
pottery enterprise and publishes Hints on Household
produces new, inexpensive Taste, which claimed to be
and beautiful tableware. the first publication on
design written ‘in a manner
sufficiently practical and
familiar to ensure the
attention of the general
public’.

1861 William Morris, a British

craftsman and designer,
sought distinction between
the work of the hand and the
product of the machine, and
in doing so took art out of
the academies and into the 1887 AEG (Allegmeine
design of everyday objects. ElektrizitatsGesellschaft)
established. AEG rapidly gains
a reputation for advanced
management and for design
patronage.
Colour Key
Individual or corporate design leaders
Key design issues or publications
Societal, cultural or/technological influences on design
Professional design bodies or their seminal activities
 The Design Management Timeline | 21
1934 The National Register
1915 Design and Industries
of Industrial Designers
Association founded to
established to maintain and
promote and encourage
improve the standard of
good design.
design, to bring designers
1939 Laszlo Moholy-Nagy
and manufacturers closer
founds the School of Design
together, and to monitor the
in Chicago, later renamed
skills and qualifications of
the Institute of Design.
designers.

1934 The Government

Council for Art and Industry
established to address
questions on the relation
between art and industry.
1944 The Council of Industrial
Design (CID) set up to
improve the product design
1919 The Bauhaus is founded. of British Industry. The CID
Accepting the machine as a promotes the economy of
modern vehicle of form, they design as well as of materials.
experimented with modular The CID later become the
design, the elimination of UK’s Design Council.
decoration, and the
prototyping of simple designs
for mass-production.

1909 AEG’s turbine factory

built. Designed by Peter
Behrens, it was considered
to be the most beautiful
industrial building of its time.

1890 1900 1910 1920 1930 1940

1930 The Society of

Industrial Arts (SIA) is
founded. It later becomes
the Chartered Society for
Designers (CSD), the
world’s largest chartered
body of professional
designers.

1932 Art and Industry:

the Principles of Industrial
Design by Herbert Read
is published.
1907 Peter Behrens, the first
designer for industry,
appointed as design adviser 1940 Wells Coates appointed
to AEG, consulting on design consultant to British
buildings, products and Overseas Air Company
graphics, and effectively (BOAC), and EMI recording
creating the first corporate company.
identity.
1940–54 Raymond Loewy
‘styles’ the Greyhound buses
in the USA.
1937 The BBC broadcasts a
series of talks on design by
Anthony Betram; Design in
Everyday Things.

1937 Laszlo Moholy-Nagy is

appointed Director of the
New Bauhaus: the American
School of Design in Chicago.

1938 Design by Anthony

Betram published.
Post-War Society 1945–1957
1951 Charles Eames
designs the influential
Eames armchair.
1950s–60s Japanese
manufacturers tour US
corporate design
departments to learn more
about design procedures.
1950 Public project initiatives
to rebuild bombed cities and
towns.
1945 Design becomes a
profession in its own right.
1945 Braun, producer of
functional and stylistic
classics, divide their product
line into four categories,
each headed by a senior
designer: Dieter Rams,
Reinhold Weiss, Richard
Fischer and Robert Operheim.
1945 1948
1949 Raymond Loewy
makes the cover of
Time magazine.
1949–51 Royal College of Art
reorganised as an
independent foundation, ‘to
provide advanced teaching,
and to conduct research into
the fine arts and in the
principles of art and design
in relation to industrial and
commercial processes’.
1946 Sony founded
by Masaru Ibuka and
Akio Morita
1951 The first Aspen Design
Conference, founded by
Chicago industrialist Walter
Paepcke, is held. It brings
together business and design
and introduces themes such
as ‘Design as a Function of
Management’.
1956 The Festival of Britain
celebrates the recovery of
post-war Britain, and
establishes the nation’s place
in the world. The festival’s
design team is led by Gerald
Barry, Hugh Casson, Misha
Black and James Gardner.
1952 Olivetti hosts the
seminal Design and Industries
exhibition at MOMA in New
York.
1951 1954
1955 Walter Teague, design
consultant to Boeing, and
Frank de Guidice build a full
scale prototype of the
interior of the 707.
1955 Henry Dreyfuss, design
consultant to General
Electric, AT&T and Polaroid,
publishes Designing for
People. This considers design
as a form of problem solving,
as well as addressing social,
ethical, aesthetic, and
practical requirements.
1955 Dieter Rams joins Braun,
a company that used design
to achieve superior market
position, and created a
corporate identity through
their products.
1956 Eliot Noyes is made 1960 Erwin Braun initiates
design director for the Braun Prize, which
International Business reflects Braun’s core
Machines (IBM), shaping competence of design and
their design policy benefits the field of industrial
through product design, design on a broader basis.
architecture and graphics,
creating IBM as a leader in 1960 Henry Dreyfuss
design. publishes the Measure of
Man, which contains
ergonomic data on human
sizes and proportions.
1960s Victor Papanek
becomes an international
design expert for UNESCO
and WHO.
1960 Verner Panton designs
the influential stacking chair,
which is manufactured by
Herman Miller.
1956 Good design, a
concept founded on
Bauhaus principles, is
promoted by the Council
of Industrial Design.
1957 1960 1963
1958 Ettore Sottsass becomes
design consultant for
Olivetti. He is employed on a
retainer basis to encourage
freedom of design thinking.
1963 The Design Research
Unit is founded by Micha
Black, Kenneth Bayes, J
Beresford Evans, James
Williams, and Milner Gray.
1963 The International
Federation of Interior
Designers (IFID), a network
representing 32 societies, is
1957 The International
established.
Council of Societies of
Industrial Design (ICSID), a
1963 The International
network of design
Council of Graphic Design
associations, is founded with
Associations (ICOGRADA)
Micha Black as a key figure.
begins in London.
The ICSID promotes industrial
design, and acts as a forum
1963 Mario Bellini becomes
for professional design policy
and guidelines. product design consultant
for Olivetti and Cassina,
leading innovations in
ergonomics and design.
 The Design Management Timeline | 23
Consumer Society 1958–1981

1972 The CID is renamed the 1977 Peter Lawrence takes

Design Council. over as director of the DMI.
1965 The Royal Society of
Arts (RSA) introduces the 1972 The RCA establishes a
term ‘design management’. scientific design research
department.

1972 Victor Papanek’s Design

for the Real World charges
the industrial design
establishment with criminal
1966 The RSA holds its first negligence on a vast scale.
Design Management Awards. ‘The designer’s responsibility
is to society and the
1966 Michael Farr publishes environment, rather than to
the first book on design the client’s bottom line’. 1978 The Sony Walkman is
management. launched. It combines the
miniaturisation of technology
1966 Thomas Watson Jr’s and the needs of consumers.
seminal Tiffany Lecture at Worldwide success due to
Wharton Business School quality of manufacture and
asserts that ‘good design is style.
good business’.
1973 Knut Yran publishes 1979 Cellular phones tested
Philip’s first House Style in the USA and Japan.
Manual to ensure consistency
in the company’s 1979 Peter Gorb publishes
presentation. Design and its Use by
Managers.

1966 1969 1972 1975 1978 1981

1970 The Managing Design

Initiative is launched by 1976 The first DMI Annual
Mark Oakley. Design Conference.

1976 Peter Gorb teaches

Design at the London
Business School (LBS), and
initiates his design
reclassification.

1976 Alan Topalian initiates a

formal programme of
research into the 1981 Memphis Milan, a
management of design, design studio focused on
promoting the common design innovation and mass
ground between business culture is established.
executives and designers. This
1969 Danish company Bang research leads to an analysis 1981 The Society of Industrial
and Olufsen establish their of design leadership and Artists and Designers (SIAD)
corporate identity through a board-level responsibility for sets up a design-management
range of ultra-slimline design, and a description of group.
modern products. what constitutes a corporate
approach to managing
design.
1964–77 Eliot Noyes active as
a design consultant for Mobil
and advises on design policy 1980–1991 Robert Blaich,
1975 The Design Management
for Pan American Airways. senior managing director of
Institute (DMI) is founded at
(PanAm). design at Philips, introduces
the Massachusetts College of
Art in Boston, by William J a design-management system
Hannon Jr. The DMI provides that regards design,
a forum for corporate design production and marketing as
executives and heightens a single unit. His commitment
awareness of design as an to design as a core element
essential part of business of a business wins him rapid
strategy. recognition.
Network Society 1982–1997
1990 Publication of Design
Management: a Handbook of
Issues and Methods, edited
by Mark Oakley. 1995 The Design Futures
Council established. It is a
1984 CDRom introduced by
1990 Publication of Design global network of design
Sony and Philips.
Management: Papers from community professionals
the London Business School, aiming to reinvent the art
1984 The Uk’s Department for
edited by Peter Gorb. and business of design.
Trade and Industry and the
Design Council jointly
1995 Publication of British
sponsor a report on
Standard BS7000 Part 10:
managing design, with
Glossary of Terms Used in
directives encouraging firms
Design Management.
to use design for competitive
advantage.

1984 The Apple Mac personal 1993 Mosaic (later renamed

computer is launched, which Netscape), one of the first
puts the user not the Internet browsers with a
technology at the centre of visually appealing interface,
the design. Adverts by Ridley is released and proliferates
Scott emphasise liberation, the web with a 341,634%
individuality and freedom. annual growth rate of service
traffic.

1993 Single European market

1986 The Design and Business inaugurated and barriers to
Association (DBA) is founded. trade across borders
subsequently disappear.

1982 1984 1986 1988 1990 1992 1994

1985 The DMI becomes an

independent non-profit
entity and establishes a
membership programme. Earl
Powell takes over as director
of the DMI.

1983 Research into Design

and the Economy UK by Roy
Rothwell and Paul Gardiner is
published.

1983 Research into the

Competitive Edge: The Role of 1991 Stefano Marzano
Design in the American becomes CEO and CD of
Corporation, by Clipson et al. Phillips Design, and
is published. integrates design strategy
into the business process.
1983 Italian product design
company Alessi commissions
architects such as Robert
Venturi and Michael Graves
to develop its product range.

1989 The DMI and Harvard

Business School initiates the
TRIAD Design Project. It is the
first international research
1982 Time magazine names project on design
the computer as its Man of management.
the Year. 1994 Publication of British
1989 DMI begins publishing Standard BS7000 Part 3:
1982 Commercial email the Design Management Guide to Managing Service
services begin among 25 Review. Design.
cities in the USA.

1982 The Design Management

Unit at the London Business
School is formalised.
 The Design Management Timeline | 25
Design Society 1998–2006
2005 Update of the British
Standard BS7000 Part 3
Managing Design in the
Service Sector. Led by Bill
Hollins, this standard is the
first to be written with
Design Council approval.
1998 Design for the World
network is established in 2005 John Tobin becomes
Barcelona. It aims to reflect Director of the DMI. 2006 The International Design
the concerns of international Alliance (IDA) nominates the
design organisations and to 2005 University of Oxford city of Turin as the first
serve as a vehicle for various Said Business School creates a World Design Capital.
design professions to act in Design Leadership Fellowship.
concert. 2006 The Brussels-based
Designing Hub is set up to
and to improve the business
profile of the design industry
and to increase the demand
for design services.

2006 European Design Day

1999 Publication of British created.
Standard BS7000 Part 1 Guide
to Managing Innovation.

2002 The Design Leadership

Forum is launched in the UK.

1996 1998 2000 2002 2004 2006

2000 The first Designthinkers

Conference is organised by
the Association of Registered
Graphic Designers of Ontario.
2004 The Design Management
Network is established in
the UK It aims to bring
together design management
academics, researchers and
practitioners.

1997 The DMI establishes a

professional development
programme for design
management. 2005 Stanford University
Institute of Design establishes
1997 DMI establishes the d-school, which is intended
European International to advance multidisciplinary
Conference on Design innovation.
Management.
2005 RED Unit set up at the
1997 Publication of British Design Council, its purpose is
Standard BS7000 Part 2 Guide to challenge current thinking
to Managing the Design of on social and economic
Manufactured Products. problems by exploring new
solutions through innovative
design practice.

2005 Sir George Cox,

Chairman of the Design
Council, carries out the Cox
Review of Creativity in
Business.
2001–2005 The Design for
1996 Publication of British 2005 Publication of British
Business programme is
Standard BS7000 Part 4: Standard BS7000 Part 6:
developed and piloted by the
Guide to Managing Design in Managing Inclusive Design.
Design Council.
Construction.
 Part One: Managing the Design Strateg
26 | PART ONE
Managing the Design Strategy
gy
This is the stage where design projects
are conceived, and the focus placed on
identifying and creating the conditions
in which design projects can be proposed,
commissioned and promoted. At this stage,
design management engages design thinking
in the organisational strategy, identifies
opportunities for design, interprets the
needs of the organisation and its customers,
and looks at how design contributes to
the business as a whole.
Managing the Design Strategy
28 | PART ONE

KNOWLEDGE
Identifying Opportunities for Design
Opportunities for design projects, processes and
thinking exist both inside client organisations and
consultancies and outside in the wider social,
cultural and economic context. There are no
prescribed ways for identifying opportunities for
design within any given organisation. Instead it is
the goals and aspirations of the organisation, its
‘corporate purpose’ or ‘brand identity’, which will
suggest what opportunities are right for each
organisation, and how a design resource could
best serve them.
A corporate identity expresses the values and
beliefs that an organisation stands for, and these
values and beliefs will be outlined in the company’s
brand and mission statement. The same values and
beliefs will also be translated into various business
objectives and strategic plans across a number of
departments within the organisation and, finally,
will also manifest themselves in the environments,
communications, products and services of the
organisation. The values and beliefs of the
organisation will reflect those held by its
customers; the people that use, buy or share in
the brand experience.
If the purpose of design management is to identify
and communicate the ways in which design can
contribute to a company’s strategic value, then
identifying opportunities for design is first step
towards this (Borja de Mozota, 2003).
CHANGING CIRCUMSTANCES
Opportunities for design often stem from changes in
circumstances: from new demands, either internal or
external, made of an organisation.
Within an organisation, design opportunities can be
found in the company’s name or brand, its mission
statement, its corporate strategy (the overall
objectives of the company), its business strategy
(the department-level objectives that support the
corporate strategy), or its operational strategy
(project-level objectives). Opportunities can also arise
during mergers and acquisitions, organisational
restructures and company diversification, or during
formal meetings and informal conversations with
other departments.
Outside an organisation, opportunities can develop
from changes in local, national or international
politics, economics, culture, society, population
trends, technology and legislation. Opportunities can
also originate from humbler origins, such as a chance
article in a newspaper or a casual conversation.
Perhaps though, the most valuable and rich source of
opportunities for design arises from the customers
themselves, whether through observing the way they
behave when using a product, or collecting customer
feedback on how to improve a service.

Table 1: The Business Triggers of Design

Business Objective Design Demand
To start a company Logo
To be a design leader Global design
To launch a new product or store Concept development and new product development
To launch a brand Name development and graphic design
To increase market share Web and packaging design
To regain market share Redesign
To diversify into a new market Product design or brand extension
To improve R&D policy Concept development
Source: Borja de Mozota, 2003.
 Identifying Opportunities for Design | 29

Table 2: The Experience Drivers for Design

Change Experience driver
Social Demographic change
Family structures
New consumer values
Patterns of work
Effects
Alternative lifestyles leading to demand for new
products and services.
Traditional family unit replaced by flexible modes of
parenting.
Growth of environmental values, rising level of
cynicism about ‘branded’ goods.
Flexible employment, portfolio lives, new
relationships between education, work and leisure.

Political Environment Legislation to encourage more sustainable thinking.

Creative economy Legislation to support business and education for the

creative industries.
Democratic systems Increase in participative and consultative processes
and in local and regional government.
Crime and copyright Employing technology and design to protect against
copyright infringement.

Market Forces Product differentiation New technologies and diversifying markets providing
and innovation source of difference to satisfy consumer demands.
Usability The rise of more usable and inclusive designs for
experienced consumers and increasingly ageing
populations.
Customisation Demand for individuality of products and services.

Eco-lifestyles Move to sustainable lifestyles and waste-reducing

practices.

Technological Wearable technology Growth of body-based electronics, fashion and

jewellery.
Communications systems New living, working and education patterns driven
by the Internet.
Smart materials Innovations in embedding intelligence into materials,
products and systems.
Smart organisations Virtual corporations and communities driving
changes in organisational structures.
Source: Press and Cooper, 2004.
Managing the Design Strategy
30 | PART ONE
TOOLS AND METHODS FOR IDENTIFYING
DESIGN OPPORTUNITIES
There are a range of tools and methods that can
be used to proactively identify and flesh out
opportunities for design. The following examples
are good starting points for identifying where an
organisation sits in relation to the outside world.
It is this outside world – not the internal world of
the organisation – that determines whether or not
there is a market for its products or services.
PEST Analysis
A PEST analysis lists the Political, Economic, Social
and Technological factors that can affect an
organisation’s product or service. By identifying
the emerging trends and influencing factors in
each of the four areas, organisations can plan new
business offers to address these potential growth
markets and customer demands. A PEST analysis can
also be used as a an early-warning system to help
identify whether future trends will affect the need
for an organisation’s current business offers, and,
if so, what appropriate actions can be taken.
SWOT Analysis
A SWOT analysis is used to identify the Strengths,
Weaknesses, Opportunities and Threats of a
particular organisation or market opportunity.
By identifying the factors that can, or do, have
an impact on the organisation, whether from the
inside or outside, an appropriate response can
be developed.
‘Ideas are surprising combinations of previously unconnected things.’
John Grant
Competitive Analysis
Using matrices is a valuable way of fleshing out
potential opportunities in the market because they
provide a way to represent the relationships between
an organisation’s proposed product or service, the
competing products or services, and any ‘gaps’ in the
market. In this form of analysis, products and
services are plotted on a ‘positioning map’, which
allows them to be compared and contrasted relative
to each other. The position on the map forms the
criteria for differentiating an organisation’s proposed
business offer from the competition, and identifies
the growth potential in launching a new product or
service in an area not currently provided for.
Paradigm of Change
Drucker’s paradigm of change model suggests that
any organisation exists contemporaneously in three
interacting, but different, time zones: past, present
and future.
Flaherty (1999) further translated these zones into
three business ‘dimensions’: traditional, transitional
and transformational. These dimensions provide
a rich starting point for identifying design
opportunities and for exploring how design can
respond to different operating aspects of an
organisation.
 Identifying Opportunities for Design | 31
1

1. Conducting a competitive
Caring analysis is a valuable way of
Fairy fleshing out potential
Gentle opportunities in the market.
This matrix for example, has
Soft
been used to describe the
brand position of washing
Up to date powder detergents in relation
Surf
Wisk to whether they are
Trusted traditional or modern, and
Bold efficient or caring.
Source: Millward Brown
Traditional Modern Tracking Study.
Advanced
Daz

Radion
Biological

Ariel
Persil

Removes stains

Efficient

2. Drucker’s paradigm of
change model, provides a
way to think about the past,
Environment
present and future states of
an organisation. Exploring
how design can respond to
different dimensions of an
organisation can be a rich
What is the What will the starting point for identifying
business? business be? design opportunities.
Source: Flaherty, 1999.
Traditional Transitional

What should the

business be?

Transformational
Managing the Design Strategy
32 | PART ONE
‘There is no way to market research a genuinely new product or service.
To achieve purposefully planned change based on innovation, on an
entirely novel and different product or service, the methodology required
was…to devise some imaginable future and from that vision work backwards
into the present.’
Peter Drucker

Flaherty identifies three management approaches for Scenario Planning

each of these business dimensions. In the context of
design management, each one draws forth questions
about the role of design:
1. Managing the traditional business (improving
current operations), how can design contribute to
improving the current operations of the
organisation? Perhaps, for example, by concentrating
on organisational strengths, or creating efficiencies
in production processes.
2. Managing the transitional business (adapting to
new opportunities), how can design help the
organisation to address new opportunities? Perhaps,
for example, by satisfying unmet customer needs or
attracting new customers.
3. Managing the transformational business (focussing
on innovation, or ‘purposeful’ planned change), how
can design help the business move towards a new
vision of itself? Perhaps, for example by successfully
exploiting new product development ideas.
One way to create an imaginable future in which
to explore new design opportunities is to use
scenarios. Scenarios create a context in which to
imagine consumers using potential products and
services. Thinking about the everyday experiences
and behaviours of consumers in a scenario can
provide the design team with a better understanding
of their target audience as they highlight the
relationships between the consumer’s behaviour,
situation and the products and services. By
brainstorming and experimenting with these
scenarios – whether they are drawn, written or oral
descriptions – new ideas for products and services
can emerge.
Rollestone (2003) points out another advantage of
using scenarios; because they focus exclusively on
the consumer and the consumer’s behaviour and
experience, the design team is forced to look at
things from the point of view of the customer, and
put aside any of their own personal biases.
Many creative ideas are developed in the course of
business, but unless these ideas have a viable
business case they are unlikely to succeed. Whether
looking inside or outside the organisation, the goal
of the design resource is to support the objectives
and values of an organisation, meet the needs of its
customers, and to identify, create and promote
opportunities for design. Successfully sowing the
seeds for design growth will rely on an ability to
address a wide range of issues, balance various
agendas and forge a way forward, often in
partnership with other individuals, disciplines,
departments and organisations.

QUESTIONS FOR DISCUSSION: What is not currently available to consumers that can be addressed as a
market opportunity? Is there a need that is unfulfilled? How can design play a role?
 Identifying Opportunities for Design | 33
3 4

3 & 4. Technological
innovation can lead to the
creation of new products and
services. Terfenol-D is a
‘smart’ audio-technology
material that, when
integrated into FeONIC audio
devices, can be used to turn
windows and tables into
speakers. Realising the
opportunity to design the
audio devices as well as
recognising the commercial
opportunities for FeONIC
audio-technology has
provided both FeONIC and
Terfenol-D with commercial
success. FeONIC has been
concentrating on providing
new products for the global
consumer market through
partnerships, licenses and
sales distribution channels
around the world. The
FeONIC trademark ensures
a positive link between the
company’s intellectual
property (IP), and any
products incorporating it
that are brought to market
through partnerships.
Images courtesy of FeONIC
Plc. and the Design Council.

5. Opportunities can also

stem from creating strategic
partnerships with other
organisations. In order to
produce a ‘lifestyle’ offer for
their target markets, MINI
and Mandarina Duck worked
together to create this
convertible luggage set,
which was designed by
Mandarina Duck for MINI.
Image courtesy and copyright
of BMW AG.
Managing the Design Strategy
34 | PART ONE

KNOWLEDGE
Understanding the Audience and Market
Many products and services are ‘makable’, they can Traditionally, within client organisations, design
be created, developed and made as part of a design exists as a resource in one of two places: marketing
process, but they are not necessarily ‘marketable’. or product and service development. Within
Marketable products satisfy a customer need and marketing departments, design can deliver services
make a profit. Understanding the audience and the that support specific marketing objectives. For
market is key to knowing both how design can example, a designer can update the packaging design
creatively produce a viable business solution, and of an existing product so that it appeals to a younger
how marketing can respond to a design innovation audience, in response to a marketing requirement to
to produce a viable business proposition. increase the organisation’s youth-market share.
Within product and service development (also
MARKETING AND DESIGN referred to as engineering, manufacturing or
research and development, depending on the nature
The Chartered Institute of Marketing defines of the organisation), design can drive innovation
marketing as ‘the management process responsible through the design process itself, for example, via
for identifying, anticipating and satisfying customer the adoption of new technologies, materials or
requirements profitably’. Marketing identifies manufacturing methods.
opportunities, anticipates and satisfy needs, creates
differentiation, gains competitive advantage,
generates income and adds value. As such it
undoubtedly plays a pivotal role within an
organisation. Design, on the other hand, creates
value through innovation, improved functionality,
visual differentiation, brand reinforcement and a
positive customer experience, and therefore also
plays a key role in organisations. Design and
marketing departments often work together to
support the needs of a business, but how they work
together will depend on both the nature of the
organisation and the market opportunities available.

1
Are the goals reasonable?
Determine
Find a profitable solution
Costs, break even point, the economics
payback period of investment
made, cashflow forcasts.
6 Establish Competitive factors:
Action plan to target your market
The four P's
Product: How is my product/service
similar or different to the competition?
Place: Where to sell? How distribute?
Promotion: How to promote? How
raise awareness, remind and persuade?
Advertising, direct selling, PR, publicity.
Price: What should it be? Depends on
costs, demand, competition, profit margin,
perceived value to customer, materials,
manufacturing and processes.
Understanding the Audience and Market | 35
Consumers as individuals
Identify customer segments within the market:
Start People with similar needs and desires.
Decide which segment to target:
Geographic (country, state, region, city).
1 Demographic (age, sex, income, occupation).
Consumer Psychographic (lifestyle interests, motives for
analysis buying).
Behavoural (usage level, reason for purchase,
Revise
brand loyalty).
7 Evaluate marketing segments:
Measurability, accessibility, substantiality, profitability,
viability, compatibility with competition, effectiveness,
and dependability.
Potential market size of
2 consumers
Review competitive and
regulatory environment.
All marketing plans Establish relevance of market.
start with the customer Marketing Is it large and accessible enough
analysis to justify marketing effort?
and their needs Establish product life cycle (PLC).
How the product/service sales
grow and new segment become
aware and begin buying.
Quality, price, advertising, R&D
3 and service.
Positioning plan to beat the competition
Plan the Establish core competencies.
marketing Competitive
What do you do well? What makes you
mix analysis
distinctive?
Design creates competitive advantage by
5 differentiation.
Distribution 4 Use SWOT, matrixes and perceptual mapping
to establish position.
analysis
How to reach the customer
How can my product/service reach the customer?
Choice of distribution channel influences the price
charged and profit margins made.
1. At almost any stage of
the marketing-strategy
process, design can add
value and create competitive
advantage, for example, by
differentiating one product
or service from another.
Source: Adapted from
Silbiger, 1999.
Managing the Design Strategy
36 | PART ONE
When ideas for new products and services originate
within an organisation’s marketing department, it is
because a consumer need has been identified, a value
proposition created, and a supporting business case
developed. Design then supports both the marketing
and the market opportunity. When new ideas
originate within product and service development, it
is often due to an innovation or a breakthrough idea,
for example, inventing a new or better way of
making something using advances in technology.
Marketing then supports design to develop a viable
business case and promotional marketing plan.
Traditional market research and market analysis can
identify a need, but might inhibit the creation of
innovative ideas. A design innovation can create a
unique product or service but if it is not marketable,
it is unlikely to be viable or profitable.
The design process forges a strong link between
marketing and product or service research and
development (R&D) by supporting those
opportunities identified by the marketing
department, and driving the invention of entirely
new products or services devised by the R&D
department. There is a growing awareness amongst
business leaders of the unique role design plays, as
something that can both add and create value.
Design adds value when used ‘top down’ by
supporting marketing requirements and responding
to market opportunities, and creates value when
used from the ‘bottom up’, by generating innovative
ideas that are then successfully taken to market.
MARKETING CONCEPTS AND TOOLS
Most designers understand the nature of marketing,
but are unfamiliar with the actual concepts and tools
that it uses. Familiarity with these will provide a
design team with a better understanding of what
marketing people do and how marketing works in
practice. Equally, design ideas that are ‘packaged’ in
a way that connects to an organisation’s marketing
strategy will stand a better chance of getting
valuable stakeholder buy-in.
The role of the marketing department is to uncover
the consumer voice. It creates value propositions
that are aligned with the organisation’s strategy,
its consumer market, the environmental conditions
and its competition. The marketing department
will talk to potential and existing customers as
well as market researchers to learn more about
consumer preferences.
There are a number of ways in which a marketing
department can communicate directly with
consumers and then develop a business strategy
in accordance with the responses.
 Understanding the Audience and Market | 37
2 3

2. The redesign of the Mini

Cooper was a strategic
exercise to refresh the brand
classic and improve a
product’s market position.
Design reflects our time and
culture, and as customer
needs change so too do
design specifications. Each
aspect of the Mini Cooper
redesign reinforces the brand
image; refreshingly different,
extroverted and spontaneous.
Original design details from
the cult MINI Classic were
been retained or else
updated, making the
redesigned MINI Cooper S
instantly recognisable to
consumers.
Image courtesy and copyright
of BMW AG.

3. Design plays a key part

of the product or service
development process. The
Dyson Cyclone was an
innovation pioneered by
breakthrough thinking. Five
years and 5127 prototypes
later, the world’s first
cyclonic bagless vacuum
cleaner arrived. The Dyson
‘bagless’ vacuum cleaner was
the first not to loose suction.
The original team of three
designers has since grown
to 350 scientists, all housed in
a new research centre.
Image courtesy of Dyson.
Managing the Design Strategy
38 | PART ONE
Focus groups engage small, targeted groups of
consumers in a discussion about a proposed product
or service, advert or brand proposition, while
marketers listen to the group and watch its
behaviour and reactions.
Field research is used to study the factors that
affect a consumer’s choice of product or service,
for example, the selection of a particular brand of
washing detergent may depend on its position on
a supermarket shelf.
Customer-satisfaction surveys, questionnaires
and complaints also provide a platform for the
consumer’s voice, and supply vital information
about how a product or service could be improved.
The opportunities for design and design thinking
will inevitably involve building closer links between
business units in the organisation, sharing
knowledge, and identifying new areas of connection.
In this way integrated products and services can be
developed that engage the knowledge, skills and
expertise of business managers, specialists, and
consumers. The following tools will help design teams
understand the marketing considerations involved in
launching new products and services.
QUESTIONS FOR DISCUSSION: What are the different thinking styles and approaches that exist between
marketers and designers? How can a design manager enrich the conversation?
The Product Life Cycle (PLC)
A PLC diagram shows the stages in the life of a
product or service. It demonstrates how sales will
initially grow as new market segments become aware
of, and begin buying it, then mature and eventually
decline. This useful model allows designers to
anticipate market reactions. For example, it could
help to determine when to develop and launch a new
product range that will succeed an existing one.
The Ansoff Matrix
The Ansoff matrix charts existing and new products
against existing and new markets, and is used to
plan ways in which to increase sales. Using this
matrix, design teams can better understand how an
organisation can increase its revenue through the
creation of new markets, products and services.
Boston Matrix
This is used in product-portfolio planning to chart
the relationship between market share (relative to
the competition) and market growth. This matrix
allows design teams to better understand the
different products or services in the organisation’s
portfolio, and the different roles that each perform.
 Understanding the Audience and Market | 39
4 5

Existing Products New

Introduction Growth Maturity Decline

Existing
Productivity penetration New product development
(Market share/growth)

Markets

Market extension Diversification

Market sales

New

Product life cycle

4. The Product Life Cycle (PLC) 6. The Boston Matrix is used

model shows the stages in the to chart the relative Relative market share Low
High
life of a product. After relationship between market
High

introduction to the market, share and market growth.

a product is likely to gain a Dogs represent those Stars
growing number of products with a small share Problem children
consumers. Eventually the of a low-growth market; they
market will stabilise as the tend to absorb, not generate,
Market growth

product reaches maturity profit. Cash cows represent

and, as competing products those products with a large
Dogs
are launched, will eventually share of a low-growth
see its sales decline. market. If they continue to
Cash cows
generate profit, they should
5. The Ansoff Matrix. be kept in the product
Productivity penetration portfolio and reviewed
4
Low

increases sales of an existing regularly. Problem children

product or service through are those products with a
increased promotional efforts small share of a high-growth
or reduced prices. New market. As the company
product development attempts to increase its
increases sales by replacing market share through
current products in the investment, they
organisation’s existing market will continue to absorb
with newer ones. Market resources while generating
extension increases sales by little profit. Stars describes
selling existing products and those products with a large
services to new markets, and share of a high-growth
diversification increases sales market, these generate
by moving the organisation healthy profits.
away from its core activities
to providing something new.
Managing the Design Strategy
40 | PART ONE
KNOWLEDGE
Interpreting Client and Customer Needs
Design adds most value when it operates within the
overlap between an organisation’s objectives and the
desires of its customers. Understanding the interface
between business and design relies on a clear
understanding of the needs of the organisation and
its customers. Whether the design resource is on
the client-side (from within the organisation) or
the consultancy-side (from within a design agency),
successful design solutions are those that satisfy the
client and the customer needs.
UNDERSTANDING THE CLIENT
Within any company the different business units all
function to serve the values, beliefs, needs and
ambitions of the whole organisation. Design
consultancies may be engaged by these business
units to provide specialist design input in support of
the organisation’s goals. ln effect, the business unit
becomes a client to the design consultancy. Equally,
a design resource that exists inside an organisation
can also be engaged to provide specialist input into a
specific business unit or project, again in support of
the overall business objectives.
The role of design in business is to help create
products and services that address the needs of
consumers, and to visually express the values and
beliefs of an organisation. Identifying how and
where design can successfully contribute to
different business units begins with a thorough
understanding of the organisation, the business
‘Understanding the consumer is important for designers, in order that they
can develop a conscious and subconscious understanding of consumer needs,
and translate that understanding into design features.’
Rachel Cooper and Mike Press.
it is in and the consumers it targets. This is not only
part of the design problem, but is also key to the
design solution.
Business models and plans are structured around a
number of internal components, such as mission
statements and objectives, leadership hierarchies,
financial structures, business units and lines of
communication, and a number of external
components, such as the competitive positioning, the
cultural and geographic landscape, and corporate
partnerships and alliances. Organisations use design
to improve their market position, while operating
within the context of their business models.
Therefore understanding these internal and external
components will help the design team determine
how to add value and provide competitive
advantage, whilst also supporting the viability of
the business. The more a design team knows about
the challenges faced by an organisation and its
customers, the more in tune their design solutions
are likely to be. For example, by better reflecting the
organisation’s brand or business intentions, or by
differentiating the business from that of the
competition through new product development.
Whether client-side or consultancy-side, if unmet
wants and needs can be identified, then they can be
interpreted into ways in which design can contribute
to a viable business solution.
 Interpreting Client and Customer Needs | 41
1 2

1. Beverley Knowles Fine Art

(BKFA), is the only gallery in
the UK specialising in the
work of contemporary,
British female artists.

www.beverleyknowles.com/rsvp
020 8969 0800 rsvp Deciding where to locate the
gallery – London’s Notting

bkfa
Hill – was key to accurately
Come and experience our new gallery reflecting the BKFA brand.
Drinks and canapés from 7pm
88 Bevington Road, w10 5tw According to Beverley,
Tube: Ladbroke Grove Notting Hill is ‘the sort of
Beverley Knowles Fine Art is the only area that a quirky bright
gallery in the country specialising in the
work of modern and contemporary pink gallery with a unique
British female artists.
specialisation in female artists
fits right in’. It is also an area
likely to attract the kind of
customers that would buy
pieces from the gallery.
Image courtesy of Beverley
Knowles.
Competition
2. BKFA commissioned
Banana Design to create an
identity that would reflect its
brand and business
Environment Technology intentions, and visually
express its values, beliefs,
needs and goals. A strong use
of colour underpins the
Customers Value Business
Market brand identity; dark-olive
green symbolises the sober
business side of the art world
and the soft pink references
Economy the female artists that the
Global issues gallery represents.
Social trends Image courtesy of Dave
McCourt.

Government regulations 3. Companies use design

to improve their market
position. The overlap of
customer needs and business
needs is where design can
add most value. Managing
design in a way that takes
into account the bigger
picture can provide valuable
competitive advantage to the
client organisation.
Managing the Design Strategy
42 | PART ONE
UNDERSTANDING THE CUSTOMER
All design communicates a visual message. lt is
the combination of design elements, such as colour
or shape, which make each message distinct and,
ultimately, crystalises the brand. The message has
to be ‘right’ for its target market, and successfully
reaching that target market depends, in part, on
how attuned the designer is with the audience
(Swann, 1990).
Feedback and statistical data from existing and
potential customers and market researchers is most
useful when it is ‘shareable’; communicated in a form
that is understood by people from a variety of
professional backgrounds. Focus groups and
scenarios have already been mentioned, but other
forms of market research can provide designers with
a better understanding of the needs of consumers
and stakeholders, as well as the opportunities
available in the design project itself.
Mood Boards
Using a range of visuals, textures, colours and
shapes, mood boards present images that represent
the lifestyle of a specific consumer group. Mood
boards can help to define a product or service brief.
Metaphors and Analogies
In this context, metaphors are used to capture the
personality of a project. The metaphor is translated
into key attributes that capture the ‘feeling’ of a
product or service in a way that everyone can relate
to, and which designers can translate into aesthetic
and functional design forms. For example, Alloy’s
design concept for the Argus®3 thermal-imaging
camera concept was code-named ‘Baywatch’ to
playfully guide the design team into thinking
about lifesaving.
QUESTIONS FOR DISCUSSION: What business is the client organisation in? What drives it? What are its key
motivations, goals and aspirations? Who are its target audiences?
Analogies are used to describe by comparison the
desired attributes of a product or service. For
example, ‘if this product were a car would it be a
Rolls Royce or a Mini?’ Analogies focus thoughts on
the desirable product attributes, and give the
designer a tangible form with which to relate to the
target audience.
Opinion Polls
Opinion polls, such as MORI, are derived from
conducting interviews with representative samples
of people in order to gain a measure of the wider
community’s or population’s views. The sample
chosen is usually representative of a larger
population of those individuals who are likely to
form the target market for the project under
consideration.
Individual Interviews
A one-to-one interview provides an in depth and
subjective understanding of a consumer, and is often
more revealing of true customer feelings towards a
product or service than focus group conversations.
The interviewees can be further challenged on
particular aspects in order to gain more in-depth
understanding of their consumer motivations.
Demographics and Other Classification Tools
Databases that classify people according to a
particular set of criteria, for example, where they
live, how much they earn, age group or purchasing
patterns can often provide an insightful tool. The
assumption behind such tools is that people who
have similar lifestyles, behaviours and attitudes will
also share similar purchasing habits.

4 5
4. An introduction to the
‘aspiring singles’ consumer
type, taken from The CACI
Acorn 2005 UK Demographics
Profile and Users Guide.
Image courtesy of, CACI
Limited, 2005. All rights
reserved.
Source: Acorn User Guide,
CACI Ltd.
Interpreting Client and Customer Needs | 43
5. The CACI Acorn 2005 UK of the individuals for whom
Demographics Profile and they are designing a product
Users Guide provided or service.
definitions of the types that Image courtesy of, CACI
are often used to describe a Limited, 2005. All rights
profile of consumers or target reserved.
customers. This page is an Source: Acorn User Guide,
introduction to the CACI Ltd.
‘comfortably-off’ type.
Designers and marketers can
use demographic classifiers to
help them agree on the target
market and their needs,
wants and desires, lifestyle
preferences and behaviours
Managing the Design Strategy
44 | PART ONE
KNOWLEDGE
Auditing the Use of Design
Auditing how design is used by an organisation and
how effectively design communicates and supports
its overall goals is an incredibly useful exercise. By
investigating how an organisation presents itself,
a design audit reveals whether or not there is design
consistency between the ways in which the
organisation communicates its beliefs and values.
The design audit also compares how an organisation
operates and behaves internally (for example in the
design of its working environments), against its
external perception and identity (for example, its
corporate image and product offers). Inconsistencies
in the actual design outputs, such as buildings and
interiors, products and services, packaging, graphics,
advertising and websites, can then be identified.
THE DESIGN AUDIT
A design audit honestly and objectively appraises
the use of design within an organisation. It identifies
what does and does not work and determines if a
design budget is being used effectively. How design
is used and managed can be very revealing of the
organisation’s true attitude to design, and their
awareness of how their customers perceive them. The
design audit can uncover an organisation’s level of
knowledge and understanding of design as a valuable
asset: one that can be used to further strategic
business objectives.
A design audit supplies a fresh, unbiased view of
how design is used to promote the business of a
particular organisation. It provides an analysis of
the effectiveness of all the design elements, and
determines whether they are communicating a
unified message. The design audit can also offer
suggestions for improvement, which are usually
delivered in the form of recommendations. In effect,
the design audit is a systematic analysis of the
organisation’s present position and recommendations
for its future, changed and improved, position.
The content of a design audit will usually include a
review of the organisation and the marketing
environment in which it operates, the material
collected in the audit, an analysis of the use of
design, a conclusion and recommendations for
improvements and actions.
A team working either inside or outside the
organisation can conduct a design audit, but
there are several benefits in using an outside
consultancy. A consultant is more likely to be
objective and not be swayed by internal biases and
organisational politics; they may have a level of
design expertise that does not exist inside the
organisation; and as a neutral party, employees and
customers may be more open in their comments
during interviews about how they feel about the
organisation and its use of design.
 Auditing the Use of Design | 45
1 2

3 4

1. Design audits provide a

useful analysis to show how
organisations are using design
to help achieve their overall
goals. Eden, in collaboration
with design agency Thonik,
addressed the city of
Amsterdam’s desire to
communicate its identity
more clearly for the benefit
of city residents. Eden’s
solution was a city-wide style
that unified almost 60
different organisations.

2. The workings of each part

of Amsterdam influences
how the city is viewed as a
whole, and whether people
understand the organisation
of the city in a recognisable,
accessible and transparent
way.

3.The design audit

recommended that almost 60
visual identities should be
distilled into a single style.
The solution was deceptively
simple, employing three red
Saint Andrew’s crosses from
the city’s fourteenth-century
coat of arms. The solution
offers plenty of room to
accommodate the different
identifying characteristics of
the city’s various quarters
and services.

4. Letters, reports, signage,

fleet marking, and other
means of communication
were standardised. This saved
the city considerable sums
on the cost of template
development, maintenance,
printing and management
and provided Amsterdam
with a clear image.
All images courtesy of Eden
Design & Communication and
Thonik.
Managing the Design Strategy
46 | PART ONE
CONDUCTING A DESIGN AUDIT
The first step in conducting a design audit is to build
a picture of the size and scale of the organisation,
and how it operates. A good starting point for this is
to identify the nature, role and function of the
organisation and review its mission statement or
corporate philosophy. It is also beneficial to look at
the company’s structure, and identify relevant
stakeholders, all the current brand names in use and
the organisation’s current design procedures, policies
and guidelines. Finally, identifying the markets that
are currently addressed (the market position)
followed by an assessment of the markets available
(through an analysis of market conditions or of the
competition) will help to complete the picture.
The next step is to develop an understanding of how
the organisation is perceived, both internally and
externally. Gaining an impression of this from within
the company is usually achieved by conducting
interviews with key stakeholders such as the CEO or
company director, the head of design or the design
manager, as well as a variety of employees. External
interviews may include those conducted with current
and potential customers.
QUESTIONS FOR DISCUSSION: Who is currently responsible for making design decisions? Do design guidelines
exist for the use of design by the organisation?
The third step is to conduct a visual audit of those
items that are relevant to assessing the use of design
in the organisation. This might include the
organisation’s visual identity; its name and style of
logo, letterheads, printed material, packaging,
advertising and websites; buildings and offices, retail
showrooms, exhibitions and signage, the immediate
locality of its premises; its vehicles or uniforms and
its customer service and staff behaviour.
A design audit will also include a review of an
organisation’s internal communication activity (how
design is perceived and used by staff within the
organisation), and compare this with a review of how
design is experienced externally (the likes and
dislikes, and the concerns and experiences of its
customers). In doing so, the audit will highlight both
positive examples of the use of design as well as any
inconsistencies, which may produce misconceptions
about the organisation.
Once the audit’s investigations are complete, the
results should be compiled and evaluated. Any
necessary action to be taken by the organisation can
then be recommended. Design audit findings are
typically delivered to the client as a presentation,
and then distilled into a report covering the audit’s
purpose, process, results and recommendations.
 Auditing the Use of Design | 47
5

HOW USEFUL IS A DESIGN AUDIT? 5. The 100th anniversary of

media and marketing group
Design audits are a very useful tool for a design Wegener, and the receipt of a
royal warrant, were two
manager operating within a large organisation. The
reasons to review the group’s
design manager is responsible both for the coherence
corporate identity and brand
and consistency of the organisation’s design message,
policy. The Wegener brand
and ensuring that this is aligned to its business was updated to become more
strategy. Any design inconsistencies within an visible and communicate
organisation will be revealed in the design audit. more actively, especially
Similarly, if there are missed opportunities, the audit towards advertisers and
can outline these and suggest ways in which design members of staff.
can play a more active role in supporting business Image courtesy of Eden Design
objectives. & Communication and
Wegener.
Through its collation of visual evidence and
6. Eden Design &
recommendations for action, the design audit
Communication helped
can form the basis for a larger audit that explores
first to determine the
how design is managed, and how good design communication objectives
management can support the business strategy more and strategy of Wegener,
actively. Recommendations are a powerful way to and then in shifting the
begin the process of updating the design-resource orientation of their
team and its skills efficiently and productively, so communication from the
that it reflects the true design needs of the shareholder to the
organisation. stakeholder. Eden helped
Wegener develop a brand
promise for stakeholders,
The audit can provide sufficient evidence to
which was: ‘Achieve more.
enforce change and update the way in which the
With Wegener’. Eden also
organisation invests in design. In this way, the design
designed a new brand
manager can grow his or her internal design team, identity for Wegener that
staffing and budget levels, and ultimately promote introduced the royal warrant
the value of design within the organisation. in visual form to accompany
the word trademark, and
redefined Wegener’s
newspaper company’s brand
structure.
Image courtesy of Eden Design
& Communication and
Wegener.
Managing the Design Strategy
48 | PART ONE
KNOWLEDGE
Establishing the Design Strategy
In order for an organisation to establish its design
strategy, a business case for its design needs to be
formulated. Inside an organisation, this responsibility
will usually fall to the design manager, who may
choose to bring in an external design consultancy
or agency to help. The purpose of the plan is to
persuade the organisation’s senior management and
stakeholders that there is a need to establish a design
strategy, initiative or resource that extends beyond
their current use of design.
The design audit can help support this plan,
but building a case for design will also involve
demonstrating how design thinking can best serve
the mission, aims and operational needs of the
organisation. A solid case will ensure that everyone
can see the potential tangible benefits from their
own perspective. Ensuring that senior management
can understand the value and impact of design, using
the language of marketing or finance as appropriate,
increases the likelihood of key stakeholder support.
Defining the boundaries of the design initiative is
also important in order to set everyone’s
expectations at the right level.
SETTING UP A STRATEGY FOR DESIGN
Borja de Mozota (2003) points out that once the
design demand has been initiated, two decisions to
be made. Firstly, who will be responsible for design in
the company? And secondly, how will the project
design-management tools be delegated within the
company?
In response to the first question, the decision will
involve appointing a design sponsor or champion;
someone who has representation at board level. In
many cases this will be the design manager, but in
some organisations it may be the head of marketing,
or the head of research and development. This
person’s role will be to promote the engagement
of design at different levels of the organisation.
In response to the second question, the design
manager (or sponsor) will be the keeper, initiator and
guardian of the project design-management tools
that are used to disseminate design thinking
throughout the organisation. These tools might
include; design policies, strategies, agendas, and
guidelines; design workshops, briefings, newsletters,
books, trade magazines and websites.
 Establishing the Design Strategy | 49
1

A useful way to establish the benefits that design can 1. Oyster, London’s travel
bring to an organisation is to consider design, design smartcard, was introduced to
policies and design strategies in relation to three support the mission, strategy
and operational needs of
levels of the organisation: at board level, mid or
Transport for London (TfL).
business-unit level, and at design-activity level. At
It also supports the needs of
board level, the question posed is, how can design be
TfL customers as the system is
used at a strategic level? It will often be in response designed to make it quicker
to a situation where an organisation perceives a and simpler for passengers
strategic need. At the middle level, the question to get around the city, cut
posed is, how can design be used at a business level? queuing times and keep cash
Here, it will be used to translate the perceived need off the buses. The Oyster card
into a new product or service, process or concept. At works by the user simply
the design-activity level, the question posed is, how pressing it on a card reader
can design contribute at a project level? At this level at tube stations and on buses.
Image courtesy and copyright
it will assist the product or service development to
of Transport for London 2005.
ensure that the response to the need is delivered.
2. The smartcard is designed
It is possible to differentiate between a design policy to be reusable, thus
and a design ‘strategy’, although both inform each eliminating the need for
other. The design strategy establishes how an paper tickets for each and
organisation intends to use design, and how design every journey. As such,
processes can best serve its operational needs. Oyster is being hailed by TfL
The design policy describes the legislation that and Friends of the Earth as an
will support the design process, and involves environmental asset, as
coordinating the planning and policy information 100,000 fewer paper tickets
are sold everyday – a saving
to meet the needs of stakeholders (Cooper and Press,
of 32 million paper tickets a
1995). In many ways, the design strategy is the vision
year since the smartcard was
for design at all levels in the organisation, and the
introduced in 2003.
design policy is a series of decision-making milestones Image courtesy and copyright
for making the vision possible. of Transport for London 2005
Managing the Design Strategy
50 | PART ONE
DEVELOPING PROPOSALS FOR THE DESIGN
STRATEGY
Once the need for a corporate design strategy is
established, the design manager (or sponsor) is
responsible for developing proposals for it. There
are several ways to develop design proposals that
will successfully meet the requirements identified
by the organisation. The design manager can either
work alone or in conjunction with a design team
(in-house) or invite proposals from a consultancy
(out of house).
At this stage, design proposals do not deliver a full
working solution; they merely provide an outline of
how a design team or consultancy would address the
needs of the organisation should they be successfully
engaged to work on a project. The proposal will
usually be a written document that sets out what the
design services are and how much they will cost.
‘Design strategy is the effective allocation and co-ordination of design
resources and activities to accomplish a firm’s objectives of creating its
appropriate public and internal identities, its products and service offerings,
and its environments.’
Mark Olsen
IN-HOUSE VERSUS OUT OF HOUSE
It is not uncommon for an organisation to invite
an external design consultancy to put together a
proposal for a design strategy. Gaining valuable
stakeholder buy-in from other business units within
an organisation may well be crucial to the success
of the design strategy, and an outside design
consultancy can often provide proposals with a level
of objectivity, as they will be free from the pressure
of internal inter-department or political agendas.
Outside design consultants can also supplement an
in-house design group by providing a fresh
perspective, by guiding or directing a specific
project, or by supplying a specific set of skills or
experience. Outside consultants can either operate
on a short-term, single project basis with the aim of
achieving the defined objective, or a longer-term,
strategic, advisory or ‘retainer’ basis. There are many
different types of consultancies and design teams
offering a range of scale and services. There are
benefits to appointing one lead consultancy as the
overall ‘contractor’ under which smaller agencies can
be appointed, although this can prove expensive. A
less costly method is for an organisation to appoint
smaller specialist agencies, and be prepared for the
inevitable ‘jostling’ for prime position amongst the
agency’s client base as part of the process.
 Establishing the Design Strategy | 51

Table 1: The Pros and Cons of Using In-house and Out of House Design Teams
Advantages Disadvantages
In-house Design Team Designers are active stakeholders in At risk from insularity, complacency or
the organisation. becoming less objective. More likely to
say ‘yes’.
Working with one ‘client’ produces a
focused experience. Having to juggle balancing the status
quo with pushing boundaries.
Proximity to other business units
can enable rich multidisciplinary May be competing for resources with
team working and a shared sense other business units.
of purpose.

Can influence company’s design

culture.

Easier access to internal decision

makers and power holders.

Out of house Design Working with multiple clients Tends to be a more expensive option.
Team produces a breadth of experience.
Consultancies can come up with
Objective, non-political, and more new ideas, but they may be ‘off
likely to say ‘no’. brand’, unsupportable or unviable
as a business offer.
Clients more likely to listen. Often
bring a challenging perspective to
problem-solving.

Can concentrate solely and intently

on the problem and thus produce
tightly focused solutions.
Managing the Design Strategy
52 PART ONE
WORKING WITH DESIGN CONSULTANCIES
So how does an organisation bring in a consultancy
to help establish its design strategy? Firstly, the
organisation’s design manager will define an initial
client brief and draw up a shortlist of consultancies
with relevant experience for the project in question.
The consultancies on the shortlist are then invited
to present or ‘pitch’ their proposals. A pitch will
introduce each consultancy’s approach and working
methods, and is a good means for the organisation
to appoint the best consultancy for the job, and
agree the scope of works, project budget and
consultancy fees.
From the consultancy’s perspective, a pitch is not a
platform to dispense design services for free. Rather,
it is an opportunity to demonstrate and educate
the design ‘buyers’ about the value of their thinking
in helping address the organisation’s challenges.
A frequent consultancy mistake is to spend most of
their pitch talking about their capabilities, rather
than demonstrating an understanding of the client
and the project. Although consultancy credentials
should be included in the pitch, the client will be
more interested in forming a working relationship
with a design team that can address their needs and
focus on providing a creative and viable design
solution. The client will also be more interested in the
consultancy that can demonstrate an understanding
of the motivations and aspirations of both their
business and their customers.
For the design manager, it is important to be able to
find the right design consultancy for a specific
project. Examples of sources that can better inform
this decision include design trade bodies and
associations that run client referral services (and
keep a list of design providers), trade journals and
magazines, word of mouth, design-award winners
and those consultancies that the client’s competitors
are working with.
QUESTIONS FOR DISCUSSION: What are the benefits and drawbacks of working solely with an external
design consultancy, or exclusively with an in house design team? And with a combination of both internal and
external design specialists?
PRICING DESIGN PROFITABLY
Whether in-house or out of house, design is a
resource that has to be paid for by the client.
Understanding client expectations when setting a
price for the work to be done is never easy, and the
hard evidence of financial benefits of the design
project will not yet be there for evaluation. So how
is a fair rate, one that is acceptable to both sides of
the relationship, established?
For the consultancy, pricing profitably means
covering the costs, overheads, and expenses involved
in running a design business, while also allowing for
a portion of the profits to be invested back into the
business. Staff salaries or sub-contracted consultancy
fees are likely to be the largest part of the cost of
design. Trade magazines usually publishing average
hourly rates, salaries and market rates for particular
design roles and tasks, and these can serve as a
useful starting point for anticipating or managing
client expectations for the human-resource costs of
the job.
Design consultancies’ charges, fees, or hourly rates
will inevitably vary depending on experience and
what the market is willing to support. A good rule of
thumb that consultancies can adopt is to work out
the annual overhead costs and divide this annual
total by the approximate number of hours worked
that are actually ‘billable’ to a client (usually 1000).
Non-billable time includes activities such as
administration, marketing, writing proposals, holding
client presentations, and recruiting staff. The result is
an hourly rate that will cover the cost of running the
business and the actual design time.
To calculate the hourly billable rate for a single
design team member (assuming most of their time is
spent working on client projects), divide their salary
by 1500 hours. Consultant and consultancy rates
rates can also be used to estimate whether a job can
be completed profitably by establishing if the price
for the job is sufficient to cover the design time and
the overheads.
 Establishing the Design Strategy | 53
3 4

3. Apple has a clear business

strategy for using design to
add value to everything the
company does, and to
consider how customers
experience their products and
services. Apple’s iPod,
designed in-house under the
leadership of Jonathan Ives,
has quickly become a design
icon of the digital music age.
Along with iTunes software
and iTunes music downloads,
the design of the overall
system demonstrates an
integrated, seamless and
fully-customisable approach.
Image courtesy of Apple.

4. Apple’s design strategy

is visible in the company’s
products, services and stores.
Apple has always recognised
the importance of customer
feedback and see it as an
important part of the brand’s
success. Apple’s ‘mini’ retail
stores are designed to fit
in a variety of locations, and
are environments for both
introducing innovative
products and gathering
valuable customer feedback.
Image courtesy of Apple.

5. The Apple mini stores

feature stainless-steel walls
and seamless white floors and
ceilings. They contain a range
of portable computers, iPods
and associated products and
customer services such as The
Genius Bar, where questions
are answered by an Apple
technical expert. There is also
an onsite repair service.
Image courtesy of Apple.
Managing the Design Strategy
54 | PART ONE

KNOWLEDGE
Promoting and Selling the Design Strategy
Whether the design strategy is established in-house
or via a consultancy, the design manager will
require a solid entrepreneurial mindset in order
to successfully promote and sell the design strategy
and thinking throughout the organisation. In order
to do so, the design manager will need to raise
awareness amongst the organisation’s key
stakeholders, to ensure that the design strategy is
understood correctly, and persuade those individuals
whose contributions are vital to the success of the
design strategy of its relevance to the viability of the
overall business.
A way of identifying the key stakeholders in any
business is to look at its organisational chart,
which maps the roles and functions of groups and
individuals. Inevitably, the amount of promotion
and buy-in required will depend on how design is
perceived within the organisation, and how
persuasive the design manager is.
At this stage it is useful to consider the design
strategy as a business plan. A design manager
working within a client organisation, may aim to
build and grow a design resource, whereas a project
manager working within a design consultancy may
be seeking client buy-in to a design concept.
Whether in-house of out of house, the key questions
to ask are, what is the business case for the idea?
What are the benefits to the client organisation and
its customers? How long will it take to realise it and
how much will it cost? What resources are needed?
What are the short-term and long-term benefits?
Working out the answer to these questions will help
create a financially viable solution.
GAINING STAKEHOLDER BUY-IN
People are more likely to understand a design
strategy if they are involved in the process of
formulating it. Key stakeholders are found both
within the organisation, for example, key heads of
other business units, the company director or senior
board level management, and external, for example.
government policy creators, specialist consultants or
experts.
Design managers will involve key stakeholders with
the aim of getting their support and buy-in. An
effective way to do this is to describe the actual
design strategy, but in terms that sell the benefits to
each of the stakeholder’s business units. For example,
if one of the key stakeholders is the human resources
manager, describing the benefits of the design
strategy to the organisation’s recruitment policies is
more likely to build a persuasive case. If selling the
strategy to many different types of stakeholders, the
design manager should try to find some common
ground, such as describing the benefits of the plan to
the customer. Since no business organisation can
exist without customers, finding ways to work
together in improving the overall customer
experience will be of mutual interest.

‘There should be at least one member of the board who takes a personal
and qualified interest in design. Design should be on the agenda at board
meetings and the plans of the company should include a policy for design.
This will give the company design initiatives support from the top – crucial
to the implementation of any design project.’
Jen Bernsen
 Promoting and Selling the Design Strategy | 55
1

1. Understanding who the key

stakeholders are can help
establish which stakeholders
Product users to involve, and in what way,
(customers) to help deliver a viable and
achievable design strategy.

NEC Corporation is one of

Employees & Investors & the world’s leading providers
their families shareholders of Internet, broadband,
network and enterprise
solutions. This diagram
shows the key stakeholders
in NEC’s environmental
activities, as published in
their Annual Environmental
Report. NEC promotes
Citizens Stakeholders Public
authorities responsible environmental
management and a vision of a
sustainable society through
their stakeholders.
Source: NEC Corporation.

Suppliers Sales partners

Managing the Design Strategy
56 | PART ONE

FORMING PARTNERSHIPS AND ALLIANCES An alliance is an association of two or more

Within an organisation, design rarely exists in
isolation to other business units. For the design
strategy to succeed, partnerships and alliances
with individuals and groups, both inside and outside
the organisation, need to be established. These
partnerships and alliances need to be managed in a
strategic and consistent way, so that, depending
on the nature of the relationship, expectations
amongst stakeholders are agreed, identity guidelines
are managed, customers are not confused and assets
are legally protected.
Partnerships describe the relationship between two
or more people, groups or organisations that are
involved in or share the same activity; they work
together in partnership with each other for a
common purpose. The RED Unit at the UK’s Design
Council for example, looks at social and economic
challenges through the problem solving processes
of design. Their approach is based on forming
interdisciplinary partnerships: small design teams
that work with a range of experts such as
economists, scientists and anthropologists, and in
partnership with organisations and individuals from
the public and private sector. Through specific
projects, publications and seminars, their aim is to
collaborate with other partners in order to provide
ahead-of-the-curve insights in the context of
government policy in order to make change happen.
groups, individuals or organisations who agree to
cooperate with one another to achieve a common
goal. Organisations that form strategic alliances
often possess similar aims or characteristics. Motives
for two companies forming an alliance can include:
licensed merchandise, sponsorship and co-branding
(where two or more brands are used together to
market specific products, services or events).
Good relationships are central to sustained high
quality performance of many leading organisations.
In the words of Chris Thompson, CEO of Viadynamics,
a specialist consultancy that uses innovation to
deliver growth, ‘innovation is the output of a
network of companies. Treating key suppliers as
adversaries rather than complementors just gets
in the way’. Whether working with customers,
suppliers, partners, alliances or employees, successful
long-term relationships are based on trust and the
sharing of mutual benefits.

QUESTIONS FOR DISCUSSION: What key stakeholders need to be involved? What are the objectives of the
alliance? Who is providing what resources and expertise? What form of agreement is in place?
 Promoting and Selling the Design Strategy | 57
2 3
2. GP designpartners, a
multidisciplinary industrial
design consultancy based in
Austria, and Conlastic,
developers, manufacturers
and distributors of
playground toys, established
a working partnership. GP
designpartners created the
concept for the Nest, a
distinctive, attractive and
added-value design that
redefined quality benchmarks
for playing criteria. Conlastic
developed the design for
manufacture and distribution
to clients such as landscape
architects and urban
planners.
Image courtesy of GP
designpartners.
3. IBM technologist Jennifer
Chu holds an IBM POWER
microprocessor, the chip at
the core of a wide range of
products, from game consoles
to powerful supercomputers.
In China, an alliance of 15
companies, including Sony
and IBM, announced the
formation of Power.org; an
open-standards community
that aims to accelerate
collaboration on the IBM
POWER chip by companies
around the world.
Image courtesy of
International Business
Machines Corporation.
Unauthorised use not
permitted.
Managing the Design Strategy
58 | PART ONE
KNOWLEDGE
Planning for Long-term Growth
Design does not exist in isolation. Different
organisations have different stages of development
in their use of design. Consequently, how design is
managed will depend of the nature of the
organisation and their existing, and potential,
aspirations for design and for the organisation.
Planning for the long-term growth of design within
an organisation will involve a number of key actions.
In the first instance, it will require the organisation
to be open to opportunities, and flexible enough to
respond to changing circumstances. Secondly, it
requires the establishment and growth of a trusted
and reliable design team, one that can actively
advocate the use of design both inside and outside
the organisation. Thirdly, it requires that the value
and merits of design be made explicit. Building on
project successes is essential for providing legitimacy
and authority to the design strategy.
‘Start with a single project on a modest scale. Start with a project that can
produce visible and useful results within a limited time and at a modest
investment. Then, even if it’s on a small scale, it will contribute to ‘selling’
the idea of working with design in-house and thus pave the way for larger
projects in the future.’
Jen Bernsen
BUILDING DESIGN INTO THE ORGANISATION
Introducing a design strategy within an organisation
can have an impact on how individual business units
operate. If a design team was previously embedded
within another business unit, becoming its own
department will alter responsibilities, accountability
and existing lines of communication. Functional
areas may need to change and new organisational
structures and business models may need to be
established. Design managers need to plan ahead
in order to consider the most viable position for the
growing design team.
An organisation may need to reorganise itself in
order that its design strategy can best support its
needs. Creating new business units is common
practice when the need for one becomes important
enough to the organisation’s success. For example,
because dissemination of corporate knowledge and
the internal flow of information grew to become
such an important consideration, many organisations
established an entirely new business unit to manage
corporate intranets.
Building design into the organisation may also
originate from thinking about how to best benefit
the customers. How can the process for creating
products and services be reconfigured around the
user, rather than the internal structure of the
organisation? Looking at a situation from the
viewpoint of a customer enables a better
understanding of how to improve processes, and
what opportunities there are for developing new
products or services.
 Planning for Long-term Growth | 59
1

1. Electrical goods
manufacturer ED&S wanted
growth, but new ideas had
stalled and marketing was in
a rut. As part of a Design
Council scheme to introduce
design to manufacturing
businesses at boardroom
level, a design team was
put together to address
ED&S’s strategy. What this
established was that the
company needed design to
help it stand out from its
commodity-based rivals
and to help it overcome
barriers to growth, such as
counterfeiting and uninspired
marketing. The company’s
previous emphasis on
engineering and production
benefited from a fresh input
of creativity and marketing
awareness, which in turn
acted as a catalyst for the
growth ED&S sought.
Image courtesy of ED&S and
the Design Council.
Managing the Design Strategy
60 | PART ONE

BUILDING A FLEXIBLE AND ADAPTABLE DESIGN BUILDING ON DESIGN SUCCESSES

RESOURCE
The ability to adapt to changing circumstances
necessitates a mindset of flexibility. For design
managers, managing the long-term growth of a
design strategy means ensuring that it is expandable,
so that as the reputation and use of design within
the organisation grows. As project successes become
known, the way design is managed can also evolve.
Effectively, this will mean that the organisation has
systems in place that allow easy access to design
teams and resources as and when is necessary. Such
systems might include the creation and maintenance
of an in-house design team, purchasing design
expertise or entering into a partnership with a design
consultancy, creating a design roster or combining a
variety of approaches for different types and stages
of a project.
Building a series of successful design outcomes,
whether managing a single project or establishing a
long-term relationship with a board level design
champion, is the most fruitful way to increase
stakeholder buy-in and recognition of the value and
merits of design. Making design successes explicit by
measuring the value of design, though important,
may not always be possible, in which case other
forms of promoting design successes should be
sought out. For example, the National Patient Safety
Agency, part of the UK’s at the National Health
Service, measures the success of its Design for Patient
Safety Initiative by the number of lives saved.

QUESTIONS FOR DISCUSSION: In what other ways can design support the objectives of the organisation, and
of specific business units? Should design thinking be present in some form within every business unit, and on
every project?
 Planning for Long-term Growth | 61
2

2. Herman Miller is a
recognised innovator in
contemporary home,
healthcare and office
furniture design. A long-term
commitment to integrity in
product quality and business
relationships has developed
through partnerships with
some of the century’s most
outstanding designers. One
such example is the
productive working
relationship between the
company and the legendary
Charles Eames. Shown here is
the Eames Moulded Plastic
Side Chairs, designed by
Eames and manufactured by
Herman Miller. Engaging
talented external designers
led to the company gaining a
reputation for leadership and
innovation in design.
Image courtesy of Herman
Miller.

3. As an outstanding example
of building on design success,
Japanese lifestyle company
MUJI celebrated the
achievement of nine iF
product design awards in
2005. The awards were
bestowed in recognition of
the enduring excellence of
MUJI product design in the
company’s 25th anniversary
year. The iF design awards are
a mark of design excellence,
and MUJI’s White Porcelain
series, shown here, was the
winner of a Gold Award.
Image courtesy of Muji
 Managing the Design Strategy
62 | PART ONE
Case Study

PRACTICE
The Argus
Argus®
®3 Thermal-imaging Camera

1. The Argus®3 Thermal-

imaging Camera. Strong
semantics echo the rugged
strength of the product – it
had to be tough and it had
to look tough.

‘Reducing danger or saving just a few lives can generate an awful lot of
goodwill. Think of the benefits Volvo has reaped by making its cars safer.
Take the pain or struggle out of your products or services, and you’ll not only
win over customers but likely beat out the competition.’
Tom Kelley
Case Study
UNDERSTANDING THE NEEDS OF USERS
A thermal imaging camera provides firefighters
with good visibility in thick smoke or in complete
darkness. Good visibility allows quicker scene
assessment and, crucially, faster location of any
casualties. The pioneering e2v technologies saw that
military infrared sensors could be invaluable in
helping fire services save lives. Their first thermal-
imaging camera, branded Argus®, was launched in
1995 and was an instant success thanks to its
excellent technical and ergonomic performance. In
the following years many competitors appeared, all
wanting a piece of the market, and the underlying
technology has become more sophisticated and
the hardware more miniaturised. In 2001, e2v
technologies approached Alloy Total Product
Design to embarked on a collaboration that would
produce a completely new thermal-imaging camera;
the Argus®3.
The principal challenges for Alloy were to improve
the ergonomics and performance of the original
product and integrate new and unique functionality.
Technologically, the Argus®3 has to support three
completely different core-sensor configurations,
ensuring that there is a global market for the camera
by adapting to the various standards required by
different countries. Above all, the product has to be
extremely robust, simple and intuitive to operate and
it must not impede the firefighter while going about
his or her duties. These design considerations were
essential to the product’s success. The key to the
design solution was an understanding of the end user
and the exceptional demands of their duties. In order
to gain this understanding, the director of Alloy’s
design team, James Lamb, undertook comprehensive
firefighter training to ascertain exactly how the
camera would be used in real-life situations.
THE MOMENT OF INNOVATION
The ‘eureka’ moment was surprisingly counter-
intuitive. James’s participation in firefighter training
revealed that the camera was used in short, quick
bursts for orientation and checking for casualties,
and then lowered, while more traditional fail-safe
techniques were observed for recovery. Therefore the
new camera design needed to be less cumbersome
when the product was not in use, particularly if the
user was crawling or lying down. The camera had to
be both more accessible and less cumbersome than
previous cameras.
Alloy found that the camera had to have handles so
it could be easily passed between colleagues in
difficult conditions. Thermal imaging cameras are
expensive, and in most cases there is only one
camera for each firefighting team, so members of
that team need to pass it to one another. This can be
a very difficult task if firefighters are working in the
dark, with thundering noise, and wearing thick
gloves. As well as handles, the camera’s controls and
features had to be simple to operate with bulky
gloves on and easily viewed, as time is of paramount
importance when working in life-threatening
conditions.
2
2. The director of the
design team James Lamb
undertook comprehensive
firefighting training to
understand exactly how
the camera would be
used in real-life
situations.
 Managing the Design Strategy
64 | PART ONE
Case Study

3 4

3. The Argus®3 has proved

to be exceptionally popular
with firefighters. The Several options were explored, including a
improved design has also 5
camcorder option with rotating screen, which was
opened up new markets for
ultimately rejected because of a perceived lack of
e2v technologies in the
robustness. Managing both the actual and perceived
marine and aviation
sectors.
toughness of a piece of industrial equipment such as
a thermal-imaging camera is crucial to the success of
4. The key to the design the design. Simply developing a tough product was
solution was an an insufficient design solution; the product also had
understanding of the end to look indestructible, and stand alongside the other
user and the exceptional tools firefighters rely on. In a real life situation, if
demands of their duties. the firefighter can’t get through a window and has
no hammer, but does have a thermal imaging camera
5. Integral handles allow
to hand, this is what will be used to smash the
the Argus ® 3 to be easily
window. The material specification needed for this
handed from one firefighter
application was decided upon at an early stage in
to another.
the design process. Radel 5100 is a high-melt, super-
tough thermoplastic, and this was augmented with a
U0-rated Santoprene for grip, impact and colour
differentiation.
Case Study
THE NEW DESIGN
The Argus®3 industrial design incorporates a number
of innovative features. The camera was reconfigured
into a vertical format, ensuring a less cumbersome
profile when the camera hangs close to the hip or
chest. Firefighters often access their casualties by
crawling or crouching, so it was important to ensure
the camera was not too difficult to carry, would not
bounce around and did not project too far out from
their body.
The Argus ®3 has two handle options, both of which
ensure that accidental activation or deactivation is
prevented, and also improve handle security. In
addition, the vertical format reduced wrist strain
by placing the camera’s centre of gravity as close
as possible to the grip points. The Argus®3 features
replaceable strengthening panels and several
detachable elements, which allows the camera to be
adapted by the user to any situation. The distinctive
handles can be removed and replaced with low-
profile bumpers and straps, and can also serve as
replaceable protectors to the expensive core camera.
The camera’s organic shape fits easily into a gloved
hand, with smooth flowing forms, ensuring there are
no sharp edges to concentrate stresses and weaken
the structure. There are two anchor points for
mounting a neck strap, which are positioned so that
the camera falls at a natural angle for rapid
deployment without actually hindering movement
and the controls are simple and easy to operate with
gloved hands.
The provision for multiple sensor configurations
allows the camera to be sold to different countries
around the world. New features include image zoom,
eight colour settings, image capture and the ability
to send live footage to the incident command outside
the fire zone. Although mainly used by civilians,
some of the camera’s technology is derived from
military applications, resulting in selective export
restrictions on certain builds. The modular
construction overcomes this, making this lifesaving
technology universally available.
The principle benefit of the Argus®3 is in the
product's use. By speeding up the detection of the
source of fires, they can be dealt with more quickly
and this means less harmful emissions, less damage
to property and the environment and fewer
casualties. Used in preventative maintenance (for
example, potential flame points) the Argus®3 can
stop potentially environmentally-catastrophic events
ever happening.
The Argus®3’s final industrial design is based on
radical ergonomic innovation, and has instant appeal
to firefighters who can see the advantages of the
streamlined format instinctively. The appearance
emphasises the product’s leading edge technology
with its paradigm busting form. Many of e2v
technologies competitors’ cameras have a format
copied from the original Argus®. This new design
demonstrates that the best manufacturers learn from
their customers and never stop innovating. For Alloy
this was a dream job, balancing the needs of the
world’s most demanding consumers with extreme
physical and mechanical design constraints. This is
a product that genuinely makes a difference and
helps everyday heroes conduct their business
more effectively.
Argus® is a trademark licensed from
Argus Industries, Inc.
All images courtesy and copyright of
e2v technologies ltd 2004.
Managing the Design Strategy
66 | PART ONE
Case Study
PRACTICE
Camper
ESTABLISHING THE DESIGN STRATEGY
Camper embodies the spirit of a family business;
in this case a family that have been working together
for over a century in the footwear industry.
Responsibility, commitment and quality were
values treasured from the outset. Today, Camper
take an imaginative approach to everything they do,
especially with regard to their strong belief in social,
environmental and corporate responsibility. They
consider their ability to create products that improve
the health and quality of life of their customers to be
one of their most valuable assets.
Camper’s approach to design is reflected in these
values and in the structure of its business, which
Camper considers to be driven by more than just
the pursuit of profit. The company chooses to build
working relationships and use production processes
that are respectful of both individuals and the
environment.
IDENTIFYING OPPORTUNITIES FOR DESIGN
In 1887, Antoni Fluxá, a Mallorcan shoe craftsman,
set sail for England intending to learn about the
latest industrial manufacturing techniques of the
time. Upon his return, he assembled a group of
craftsmen and introduced them to shoemaking
machinery – the foundation upon which the Camper
empire was eventually built. In 1975, Lorenzo Fluxá,
grandson of Antoni, created Camper, a business
concept that reflected the new social, political and
historical drivers of the time, and echoed a lifestyle
based on freedom, comfort and creativity.
Camper means ‘peasant’ in Catalan, and the
organisation manufactures its shoes in the
countryside, using traditional craft knowledge to
make footwear for urban-dwellers. Camper makes
high-quality and functional shoes, which combine
comfort and imagination with a sense of innovation,
humour and irony. For example, ‘Twins’, one of their
many product families, is based on the idea of having
two single shoes, not a pair. Each shoe is asymmetric,
different, surprising and even surreal. Camper shoes
are built not only to please but to last; the company
continually researches materials and manufacturing
methods to ensure that a pair of Camper shoes are a
good consumer investment.
A VALUED TEAM OF STAKEHOLDERS
Camper prides itself on its craftsmanship and its
vocation for manufacturing. People working for and
with Camper like what they do, and know and love
their trade. Camper considers each of these people
to be a stakeholder in the business with whom to
exchange ideas, suggestions and points of view.
The business prides itself on building long-term
relationships based on trust, a sharing of ideas
and working together as a team to identify new
opportunities. Ensuring proper working conditions is
also part of the approach to make Camper partners
unique and relevant members of the Camper ‘family’.
Imagination has become the company’s lifeblood,
and its contributions to the world of design and
creativity have been publicly recognised through
numerous awards. Camper won Spain’s National
Design Award in 1998, the country’s highest honour
in the field of design, which was official recognition
of a brand that has turned creativity into an viable
and growing business, one that combines local values
with global horizons.
Case Study

1. The Camaleon, one

of Camper’s product
families, was the first
shoe to be commercialised
in 1975. As a remarkably
casual shoe for its time,
it addressed the market
desire for shoes that
reflected a new lifestyle,
and helped consolidate
the Camper brand. The
Camaleon is a close
replica of the shoes used
by peasants in Majorca
since the beginning of the
twentieth century.

2. Pelotas, another of
Camper’s product families
and one of Camper’s best
sellers, is a design concept
inspired by the passion
and imagination of
pioneering sportspeople.
It is an ironic ‘revival’
shoe with a slightly retro
look.

3. Camper’s Wabi shoe

has become an icon in
creative and alternative
design, a functional
object of desire, and a
symbol of future design
trends and simplicity. This
Wabi is made from one
piece of woven jute; it is
biodegradable and the
process of turning the
material into a shoe does
not cause pollution.
Wabis come with insoles
made from 100% natural
materials and socks made
from organically-grown
cotton or wool.
 Managing the Design Strategy
68 | PART ONE
Case Study

4. This is the interior of

Camper’s London Info-
Shop. The temporary fit out
of the shop is treated as a
‘publication’, with its
contents and featured
theme displayed on the
wall, floors and other
elements or the store.
Case Study
CAMPER STORES: THE BRAND’S MOST
IMPORTANT ASSET
The first Camper shop opened in Barcelona in
1981, and was followed by many more branches
throughout Spain. Camper initiated the concept of
the self-service shoe store, displaying all the available
stock in conceptual showcases, which arranged shoes
functionally by style, size and gender and allowed
customers to interact with the shoes and help
themselves to those they wish to try on.
International expansion began in 1990s and today
Camper is the leading company in Spain’s footwear
industry, and has a growing number of stores around
the world.
When Camper began its international expansion, a
conscious effort was made to ensure that the global
rollout of their stores reflected the Camper spirit, but
also allowed local influences, and the character and
culture of the store’s location, to add some variety
to the interiors. Camper showed the world its shoes
and its philosophy, but it also had the opportunity
to observe what was happening on the other side of
the glass. The Camper stores became a window
through which Camper could ‘both look out and be
looked at.’
Design is central to Camper, whether manifested
in its branding and philosophy, in its employees,
partners and collaborators, or in its stores, posters
and other graphic elements. Within the stores
graphic design such as posters, boxes and bags are
decorated with ironic messages. In their series of
collaborations with design consultants, Camper have
introduced two new concepts, the ‘Walk in Progress’
and the ‘Info-Shop’.
WALK-IN-PROGRESS STORES
The continued international expansion and opening
of new stores created an interesting challenge for
Camper: how could the organisation increase profits
and create cost savings by reducing the time
between acquiring a new site and opening a Camper
store, while retaining the true spirit of Camper. The
solution had to be simple, quick and cheap, and had
to reflect the Camper brand and values.
Working with Martí Guixé, a Catalan designer and
regular Camper collaborator, the concept of the
Walk in Progress was adopted as the design strategy
to address the challenge. The remarkably simple idea
was to make a temporary, provisional, interactive
store design, incorporating shop fittings made of
recycled materials, which allowed Camper stores
to be opened before their definitive design and
decoration were finished. The objective of getting
each store opened as quickly as possible was
achieved with a range of props: a central table
made of shoe boxes displays the latest range of
shoe styles. Text and graphics on the walls invites
customers to ‘imagine a better world’, and marker
pens are handed out to customers so they can add
their own thoughts, ideas and messages.
Each walk-in-progress store has a section of the
wall painted red, and the text on it explains the
interactive nature of the environment, and
encourages Camper customers to leave their mark:
‘our architects and builders are now working on a
unique project for reforming this space. We want
to do the best job possible, which will take us at
least nine to twelve months. Since we are a small
company, we cannot afford to be closed to our
colleagues. Meanwhile, we have opened this Walk
in Progress Store. We hope you understand that,
although the shoe boxes are not especially luxurious,
the idea is simple, useful, and recyclable. The shoes
are 100% Camper.’
 Managing the Design Strategy
70 | PART ONE
Case Study

5. Camper’s Madrid flagship

store is the brand’s third
info-shop. Images, icons
and objects are joined with
Camper shoes to create an
enormous visual Camper
encyclopedia that contains
many references.
Case Study

INFO-SHOP
6
Camper collaborated with Martí Guixé for their
second pioneering store concept, one that converted
the shop into a publication: the Info-Shop. Using the 6. Camper frequently
analogy of the shop as a magazine, the contents and collaborates with design
theme of the publication are present in the design consultants. Martí Guixé
elements of the store interiors: the walls, the floor, worked with Camper to
the furniture, and the graphics. The concept is that develop a series of Info-
‘the value of the content becomes the value of the Shops, including this one in
design’, and ‘the decoration becomes the information Tokyo.

and the information become the decoration’

The first Info-Shop was ‘published’ in London in 2005,

with the featured theme of the Somera, a Mallorcan
donkey that had been facing extinction, but had
recently become a protected species. Camper used its
Info-Shop to raise awareness of an issue close to their
Mallorcan roots, and raise the profile of what was a
rural and local issue in the heart of a major
international city. The second Info-Shop, opened the
same year in Tokyo, was a result of a collaboration
between Martí Guixé and Tohoo. This Catalan-
Japanese ‘issue’ also reflected the local spirit of the
area and took the form of a Camper catalogue that
was unique to Tokyo.

All images courtesy and copyright of Camper.

7. Wabi is a new concept

for ‘happy feet’ by Camper;
an idea filled with health,
ecology and design. The
first experimental, stand-
alone Wabi shop opened in
Milan in 2005.
Managing the Design Strategy
72 | PART ONE
Interview
INTERVIEW
Dr Chris H. Luebkeman, Director for Global
Foresight and Innovation, Arup Group, London
Can you tell me about your background?
I was first trained as a geologist and a civil engineer,
after which I studied structural engineering and
architecture. I then taught structural and mechanical
design in schools of architecture in different parts of
the world. Each institution was fascinating because
they had very different cultural contexts in which
they taught and practiced design. When I joined
Arup as Director of Research and Development, I
went from managing a graduate student team of six
to managing 50 professionals in a matter of months.
I went on to learn more about things I never thought
I would ever learn about in a corporate, global
design practice. I was the head of R&D for three
years, after which I created my own position within
the company, which is now the foresight innovation
and incubation unit at Arup’s.
I believe that design is fundamentally a synthetic and
symbiotic profession. A designer must be open to
synthesising varying aspects of their person, their
projects, and issues and subjects – things ranging
from highly technical, to highly opinionated, to
highly personal. These synthetic and symbiotic
relationships must be open to incorporating things
that can be very clearly articulated in a numerical
and representational way, and that can be justified
very clearly and rationally. At the other end of the
scale there’s the purely emotive reaction and
understanding a client’s or a group’s emotive
melange, as well as being able to control one’s own
emotive response, both through suppressing it and
encouraging it. I also believe that understanding
context is probably the most important thing that a
designer can ever do. Very often contexts are hidden
and it takes quite a bit of work to delve into the real
context of a project. There’s an obvious context a
client might present. Then, there’s a political
context, which are the rules of the game within
which one can move. In the built environment,
the rules are very clearly set out within local and
national governing bodies, but the rules of the
game are different for each village, city, and county
of the world. Understanding the realm of context is
key to design.
Can you talk about your actual role and
responsibilities?
My role is fundamentally to help people, clients,
business units to frame their thinking about the
future. We do that through research projects, white
papers, presentations, discussion and workshops that
we run internally and externally. Our internal focus
is primarily on raising our staff’s awareness of issues
which are driving change globally. We do this
through internal workshops and as presentations
through our intranet. Externally, we work directly
with clients, looking at things such as the store of
the future, airport retailing of the future, the airport
of the future, the hotel of the future, the resort of
the future. We carry out these ‘futuring sessions’ in a
very specific way which we designed and developed
over the past four years.
In addition, I run a series of external workshops
entitled ‘Drivers of Change’ in which we have spoken
over the past two and a half years to over 6000
individuals in almost 70 workshops, asking them
what’s driving change where they are. The method of
workshop has been the same everywhere. It’s based
upon the belief in emergence, and what I call the
wisdom of the crowd. I don’t tell people my opinions
about anything until we’re done, and then I share
with them the results from the other workshops.
They can gauge where their views fit with the other
world views. These workshops have been in Africa,
Australia, Asia, North America and Europe. It has
been really quite fascinating, looking at some of the
constants and variables across the world. These
workshops are fundamentally rooted in my design
education, and without my design education both as
an engineer and as an architect, these workshops
would be nowhere near as successful. I use the
analytic, synthetic, and listening skills that I learned
as a designer, combined with the very clear
analytical skills of an engineer – where you are given
a problem and you search for the fundamentals of
what you are really after.
Interview

Chris refuses to be categorised. His former

experiences have enabled him to ‘specialise in
being a generalist’ and occupy ‘the spaces between
professions’. Prior to joining Arup in 2003, Chris
taught at the Swiss Federal Institute of Technology
in Zurich, the University of Oregon, the Chinese
University of Hong Kong and the Massachusetts
Institute of Technology.

With regard to design education, do you think it
is important to teach business skills?
Yes. I believe that business practices vary globally.
Business principles do not. Profit and loss, building
contracts, ethics – these sorts of basics are vital to
understand because they’re part of a professional
vocabulary. I believe strongly that there should be a
course in which this vocabulary is introduced. I think
it is folly to anticipate that a young person who has
not worked in an office, who has never sat in a client
meeting will be able to understand the context in a
way that makes sense to the content of their
educational experience. What can that young person
absorb, what can they make sense of? I believe if one
is in a work experience or apprenticeship programme
during their education, in which they’re exposed to
the business, then it will make sense to them.
Otherwise, it’s simply fantasy. It’s playing monopoly
and business is not a game. Typically designers have a
passion for what they do, and very often they feel
that business is a dirty word. But if you don’t make a
profit, you can’t eat.
I think it’s vital that, early in your career, you can
identify your strengths and weaknesses, so that if
you’re not good at business, you make darn sure that
you work with somebody who is good. You find a
partner who loves doing business; who understands
it, or you make sure that you’re working in a team,
or that you teach yourself more because somehow
each person has to know their strengths and their
weaknesses. Business is not rocket science, but you
need the context to make sense of it, because design
is always within a context. It’s never in a vacuum.
in that operating room, you want six specialists and
one generalist. When you listen to a symphony,
you don’t want 27 conductors. We need to have
specialists. We need to have people who are
incredibly good in a very specific area, and we need
them to appreciate their role in the whole, but also
recognise that their specialism might not be the most
important all the time. If we can get to the point
that a specialist can say, ‘actually, you know what,
my area here is not that important and therefore
we don’t really have to optimise it. It’s okay just to
be at 50% efficiency or to do a so-so job because it
doesn’t matter here’. And then to know where
another case it’s important for them to really fight
for their corner because they see that it is truly vital
to the success of the project. You do that through
awareness and respect for the end game rather than
the in between stops.
There needs to be a certain maturity as an individual
to be able to work with somebody from a different
background with mutual respect that is engendered
through the ‘aha’ moment, when you’re sitting there
and you’re working with somebody else and you look
over and go ‘wow’, that’s a great idea. This is how
one develops respect for other professions, those
‘aha’ moments where you see that they’ve done
something which has made the project better, or
your idea even better. Then you go ‘aha’, you’ve got
something that you can contribute and that should
be great. You can then begin to sit down, let your
hair down, relax and talk. It’s dialogue and respect
we need to be encouraging.

What skills would you like designers and design

managers to develop? Is there an ideal balance of
generalised and specialised skills?
We need both generalists and specialists. It’s vital
that we have both. But we cannot have both in an
over supply. I’m concerned about current trends in
design education towards too many people becoming
generalists. Imagine if you’re in an operating room
and you wake up from your anaesthesia, and you ask
those around you ‘what’s your speciality’, and all
seven of those doctors answer you, ‘actually, I’m just
a generalist’. Would you be happy? No. When you’re
Managing the Design Strategy
74 | PART ONE
Interview
INTERVIEW
Darryl Feldman, Director of Product
Development, Yahoo!
How long have you worked in the interactive-
media industry?
I have worked in the industry for over 15 years,
having trained in graphic design and multimedia.
I held design leadership roles at a number of
companies prior to Yahoo! (Sapient, Organic and
Clarity) and worked with a range of clients including
British Telecommunications, Lucent, Vodafone, The
Carphone Warehouse, Opodo, DaimlerChrysler,
Railtrack, Royal and Sunalliance, FT.com and
eyestorm.com.
In terms of the organisational structure where
does design sit within Yahoo!?
Design sits mainly at a central, pan-European level
within the product-development unit that I currently
manage. In addition, there are pockets of design
activity that exist within business units and in
countries where product localisation occurs.
The marketing team also outsource design work,
primarily online advertising and campaign-based
projects.
How is design perceived in your organisation?
Generally it is recognised as a key differentiator,
as our products touch consumers directly on the
Web, it is understood that design is a driver of user
engagement and therefore audience growth. The
perceptions around design depends on the type of
product being developed, services that are complex,
or products that are a radically new genre, receive
more design attention.
How is design used in your organisation?
Design is used to interpret high-level business
requirements into a tangible product that our users
will find compelling. It is also used to promote and
sell new products and services that we launch into
the market.
What is the relationship between the company
and its design resources?
Again this will vary across different business units
and countries. At a general level, the design
resources are hired to translate the company’s
strategy into reality so the relationship is one of a
critical dependency. Sometimes it seems similar to an
agency/client relationship, although there are some
key differences in the dynamic around prioritisation
and resourcing; I am not able to hire according to
the demand I see coming from the business, which
would be the case if my team was an external
agency. Ultimately, we all work for the same
organisation so the relationship needs to work more
intimately and without the friction you sometimes
get between agency and client.
Do you use in-house or external design teams?
Both, we keep our internal teams focused on key
strategic priorities and projects that are of a
confidential nature. As a rule it tends to be the
more marketing-based work that gets outsourced.
From your perspective, what is design?
Design is any activity that translates both human
and commercial requirements into a tangible,
material output that can be consumed or used in an
effective way. From the humble paperclip to award-
winning advertising campaigns…it’s all design. Design
is also a smart way of communicating ideas and
processes, I have seen smart designers become
catalysts within businesses, as they can often
assimilate diverse inputs and synthesise these into
simple and understandable artefacts that teams can
rally around and use to articulate a vision.
What value does design bring to the industry you
work in?
Well I work within the Internet industry, which,
although obviously a technology-driven business,
relies on design to simplify the complexities of code,
to make tangible the intangible, and to differentiate
the product within a crowded marketplace. Often
design provides an emotional factor in a world of
high functionality and hardware, and this is why
high-tech companies such as Yahoo! and Apple invest
in it. It’s about bringing the brand to life and
ensuring all the cool technology we develop is
focused on people’s needs – technology alone will
not win the hearts and minds of our users.
In what ways is design strategic in Yahoo!?
Firstly, our design is our strategy, only in an
articulated and fabricated format. It’s a translation
Interview
Darryl Feldman currently leads product
development initiatives at Yahoo! across Europe.
Darryl contributes regularly to academic
institutions, industry events and magazines on
topics including product development and strategy,
online branding, design management, experience
design and multi-platform design strategies.
of the business requirements with a human twist.
Our user research enables us to connect with people
within the design process to find out how they
interact with online products, and this gives us a
strategic view on where we need to go as a company
to be successful. Secondly design enables us test new
ideas and innovate in a quick and iterative way via
prototyping so we can measure what is working
and what isn’t. This gives us a reality check on the
strategy and enables us to adjust and fine-tune our
strategies to be more successful.
What are the challenges you face in running
design projects?
Globally there are quite a few challenges facing our
design teams, as one would expect in a fast moving
Internet company that needs to innovate and
respond to an ever-changing market with evolving
delivery technologies. The key challenges within
Europe are related to the task of launching multiple
products in five countries whilst leveraging global
technology platforms. The coordination involved
is complex and involves managing multiple
stakeholders in different time zones and
multidisciplinary teams involving research, product
management, engineering, and marketing. This makes
it hard to keep the designers focused on a coherent
vision and solution, the trick is to try and shield the
team from unnecessary noise and communications.
Design management is key here and provides an
important role in keeping things on track. We hire
strong design managers at Yahoo! for this reason,
within a large global corporate entity this makes
sense and is cost effective in the long run.
What do you think design management is?
Simply put, I believe effective design management
changes style dependent on the context and business
setting. Design management within a large global
company is different from what it needs to be within
a small boutique or agency. The basic ground rules
involve balancing the need to give creative
individuals freedom to explore and compound ideas
within the reality of running a profitable business.
Great design managers motivate through enabling,
encouraging and protecting designers from the
politics and diversions that can hinder the end
solutions being all they could be. In addition design
management is about articulate communication and
the ability to talk the same language as the business.
I think good designers don’t need management in the
traditional sense of being ‘nannied’ though, that’s
why the best design managers were practitioners at
some point and understand the creative process and
where to step back and let raw talent do its thing
without interference from outside forces.
What, to you, is the relationship between design
and innovation?
Design and innovation are inseparable; one leads to
the other and vice versa. Designers are often in the
best position to innovate through the catalyst role
they occupy; blending business, technology and
human factors into something that can be
understood and iterated upon. By gaining deep
insights into the triggers that motivate people to
use and consume things, and knowing how to
realise this, designers are innovators by default.
Also, design is a rapid and fluid process that often
reveals opportunities which business strategies or
technological developments fail to deliver. It is
important designers realise this and take advantage
of the situation. Often they do not realise the power
they have to innovate and fall back into an
executioner role.
Is it possible to innovate as part of normal day-
to-day operations, and to embed innovation into
a company’s culture?
We do this at Yahoo! so yes I think it’s possible, and
necessary to survive as a Internet entity. Allowing
space for innovation within the development process
is key, and giving people time to think, play and
explore should be business as usual. If you attract
the right talent into your organisation and reward
innovation then it’s not hard to achieve. It is a
cultural thing too though, and unless the leadership
buy in, it will be hard to make happen. It’s bi-
directional in that sense; management set the stage
for grass roots innovation to happen.
Managing the Design Strategy
76 | PART ONRE
KEY SKILLS
Managing Client Relations
To the client, the design industry can appear to be a
bewildering and fragmented place. To help clients
understand the use of design in the context of their
organisation, it is vital to first understand how the
client’s business works. It is best not to have any
assumptions or preconceptions, but to ask questions
directly, and in so doing develop an insight into the
client’s perspective and the workings of their
organisation. Additional research via the
organisation’s website, company report or other
corporate documents will also suggest the ways in
which design can support the company objectives.
Being client-focused is an important part of
managing design needs within an organisation.
Clients may not know what to expect from a internal
design team or external design consultancy, in which
case, the design or project manager needs to keep
the client informed and up to date on what is
happening, when it is happening, and how it will
happen, throughout the lifespan of the project.
Equally important, the client needs to communicate
any changes in strategy, priorities and personnel that
may affect the project’s success to the design or
project manager.
Today’s clients not only expect design resources to
deliver good quality and profitable processes and
projects, but also reliable working relationships.
There are a number of tools, techniques and skills
available to help manage the client relationship and
to facilitate relationship building with clients.
Nominating a client point of contact is essential to
the creation of clear channels of communication,
and prevention of confusion and misunderstandings.
Holding regular status meetings between the design
team contacts keeps everyone informed of progress,
and provides the forum for problems to be solved
and decisions to be made together. Clearly agreeing
roles and responsibilities helps to identify all
decision-makers and the areas for which they are
responsible, and writing regular status reports
enables the wider design team and client contacts
to keep track of progress.
Creating a project plan that charts the actual
progress of the project against the proposal will enable
key milestones and decisions to be evaluated on a
regular basis. Defining the project scope at the
outset of the working relationship will establish
where the boundaries of the project lie, and will help
keep everyone’s expectations realistic and
achievable.
Managing client relations well enables everyone
involved to work more effectively. Thinking about
how to best service the client means taking into
account the bigger picture of their customers,
stakeholders and shareholders. Building long-term
sustainable relationships with clients, customers,
colleagues or consultants, either inside or outside the
organisation, and tapping into their motivations can
help build allies and supporters to raise awareness of
design, and potentially help realise design value in
the process. Matching and managing expectations is
key to client (and customer) satisfaction, and as such
it is important to establish a balance between what
the client expects from design, and what the design
resource or team can actually deliver.
 Managing Client Relations | 77

‘If we want to know what a

business is, we have to start
with its purpose. And the
purpose must lie outside the
business itself. In fact, it must
lie in society, since a business
enterprise is an organ of
society. There is only one
valid definition of a business
purpose: to create a customer.
The customer is the foundation
of a business and keeps its
existence.’
Peter Drucker
Managing the Design Strategy
78 | PART ONE

Table 1: Motivating Factors within the Client-Consultancy Relationship

Consultant Client
Organisation Develop their reputation Develop their business
Profitable Value for money

People Challenge to do better work Develop their career

Emotionally rewarding Emotionally rewarding

‘Clients want chemistry, understanding, loyalty, commitment, trust, respect,

integrity, passion, collaboration and partnership. These are the qualities
of great relationships, and they are increasingly becoming a client’s “hire
or fire” issues.’
Ralph Ardill

Table 2: Designing the Meeting

Before the Meeting 1. Prepare an agenda
2. Make sure everyone attending is aware of the meeting’s purpose
3. Only invite the people who need to be there
4. Distribute the agenda and any accompanying documents in advance
5. Anyone unable to attend should communicate their apologies

During the Meeting 1. The meeting ‘chair’ works through each item on the agenda
2. Each item on the agenda is resolved through open discussion, reaching a
conclusion and agreeing an action
3. The chairperson should manage interruptions or discussions that wander away
from the agenda
4. The meeting should start with items that can be resolved fairly quickly, to
establish a sense of pace and accomplishment
5. A person should be appointed to take minutes

After the Meeting 1. The minutes should be written up and circulated

 Managing Client Relations | 79
1

1 & 2. Managing client

relations successfully
increasingly relies on
computer software for
organising and maintaining
accurate records, contact
information, file sharing
and project-tracking
updates. Innovative
software such as Basecamp
offers a simple way to
communicate, collaborate
and project manage.
Basecamp can be used to
assess to-do lists and tasks,
post messages, gather
feedback, and track
people’s time on a project.
Images courtesy of
Basecamp.

QUESTIONS FOR DISCUSSION: Who is the client? Who is the project sponsor? Who are the stakeholders?
Is there more than one client on the project?
Managing the Design Strategy
80 | PART ONE
KEY SKILLS
Guiding Design Decisions
Consider what best represents design value to a
client. Is it cost, quality, customer satisfaction or
perhaps a combination of all three? All clients will
have expectations of the design function, some might
regard it as a valuable strategic resource that
supports company objectives, while others may
consider it a commodity that is purchased. In
between lie many other deep-rooted ideas and
unproven prejudices about design.
In order to guide design decisions, barriers in
the client relationship and decision-making
process need to be identified and removed, and
expectations need to be managed in order to
prevent misunderstandings about what design
can (and cannot) do.
A common client concern is a lack of understanding
about how and where their budget is being spent.
This concern can raise questions over the level of
trust in the relationship or perceived value for
money, and soon develop into fear of the unknown.
Design or project managers always need to keep their
client informed and be aware of the client’s own
need to provide information and accountability.
Although building trust is implicit in developing the
client relationship, more formal arrangements can
help manage confidence and confidentiality between
a client and a design team. Drawing up a non-
disclosure agreement (NDA), for example, means
that the design team cannot disclose highly sensitive
aspects of the project.
QUESTIONS FOR DISCUSSION: How can design thinking encourage better decision making at each level of an
organisation – the corporate level, the business unit level, and the operational level?
Taking the time to mentor clients about design and
to explain the structure of a project or project team
are useful ways to guide design decisions and
facilitate discussions about the role of design within
an organisation. Doing so builds an understanding of
design, and recognition of how it may be able to help
achieve company objectives. The ability to guide and
communicate effectively with an organisation’s key
decision-makers can also empower the client to
promote design within their own organisation, so
raising awareness of the value of design thinking.
Good design or project managers educate clients in
the ways that design can help business compete and
add value to their products or services. Doing so
helps more businesses to become efficient buyers of
design services. It is also good practice for design
managers to keep clients informed of current design
thinking, relevant industry trends, and knowledge
of the competition’s design activities. Translating
unfamiliar terms or progressing conversations by, for
example, explaining the economic benefits of good
design (both perceived and real) puts design into the
language spoken by the client and helps demonstrate
the real commercial value in great design.
Actively guiding decisions will, at times, include the
need to be both assertive and empathetic, and to be
able to say no if required. Design or project managers
need to be able to tap into the motivations and
aspirations of the client, encouraging the merits of
effective and design-positive clients who are willing
to innovate. Inspiring clients involved in the process
of design to take pride in their role as potential
design patrons and champions is one of the best
ways to encourage them to take creative risks.

1 3
1. Freestanding displays like
Herman Miller’s Intersect
Portfolio encourages the
exchange of ideas,
information and note taking,
whilst also serving as a
flexible and expandable
boundary and divider. As
the number of ideas or
people involved expands, so
too can the area available.
Image courtesy of Herman
Miller.
2. Maintaining client
confidentiality is crucial,
especially in design
companies where a number
of client projects may be
running simultaneously.
Babble, by Sonare
Technologies, is the first
voice privacy device with a
powerful application in open
spaces. This breakthrough
technology provides security
of information in open-plan
work environments.
Credit: Courtesy of Herman
Miller.
Guiding Design Decisions | 81
3. The intersect Portfolio
from Herman Miller is a
concise offering of free-
standing products designed
specifically to help people
work together and exchange
ideas and conversation more
effectively, which will help
guide the decision-making
process and ease client
communication
Image courtesy of Herman
Miller.
Managing the Design Strategy
82 | PART ONE
KEY SKILLS
Developing Good Working Relationships
People like working with people they like, so getting
along with others, relating to them, initiating
conversations, sharing interests and finding mutual
benefits are crucial elements in building and
developing good working relationships. Both the
client and the design resource each need to ask
themselves if they can work with one another. Can
they relate to each other’s values and methods of
operation? Can they build a successful working
relationship together?
On an informal level, developing good
conversational, communication and interpersonal
techniques, will provide more natural interactions,
and allows individuals to profit from formal and
informal opportunities. The elevator ‘pitch’ is
so called because it encourages people to take
advantage of opportunistic meetings, even if they
are only for a brief amount of time.
Networking is another key aspect of building
successful professional relationships; accumulating
contacts, gaining co-operation from others and
learning things through the grapevine can be
enormously valuable. Many professionals keep a
database of associates and contacts, some of which
might include those they have met only briefly, at
industry events or trade fairs for example, but the
challenge is to develop the relationship with these
contacts to such a level that they can be counted
upon when needed. The ability to build networks
and accrue contacts is an important attribute that
an individual can bring to an organisation, both
personally and professionally. Having an
entrepreneurial outlook is valuable not only to the
employer, but also to the employee’s personal brand
and future career aspirations.
QUESTIONS FOR DISCUSSION: Who are the decision-makers within the client organisation? Whose
knowledge, skill and cooperation do you need to successfully pitch or complete the design project?
On a more formal level, good working relationships
stem from a sound understanding of the client’s
working operations. Formal roles, such as the head
of marketing, the head of procurement or the project
manager will be noted in an organisational chart, but
understanding the part that each role plays will
foster sound and effective relationships.
Power figures describes those individuals within
an organisation that can say ‘yes’ or ‘no’ to an
allocation of resources necessary to continue
or complete a project (for example, the CEO).
Gatekeepers describes those who control access
to the power figures (for example, a personal
assistant). Problem owners defines those people
in whose working area a design problem is located,
and the actual ‘client’, in this context, is the person
who commissions the design work, and pays the
design fees.
Design or project managers often have access to a
range of contacts within a client organisation, and
so can build a picture for other design team members
of who is playing what role within a particular
project. This can prove to be invaluable to the design
team, in order to provide knowledge about the more
unofficial aspects of the client organisation. The
design manager will need to develop an ability to
play different roles at different stages of the project,
both externally (in relation to the client), and
internally (in relation to the design team). This might
include acting as a coach (encouraging clients and
design teams about the business benefits of design),
a mentor (educating and supporting the client and
the design team) and frequently a peer (assisting and
facilitating the client and the design team).
 Developing Good Working Relationships | 83
1

1. At Dyson, team working

forms an important part
of day-to-day working
relationships and the
process of innovation.
Image courtesy of Dyson.

2. The belief that innovations

come mainly from face-to-
face communication underlies
the BMW Group’s Research
and Innovation Centre
(known as FIZ). BMW’s
Product Creation Process
underlies the creation of
every BMW Group project
from the initial concept
through to the start of
production. The Project
Building has now become
part of the operating
process. It is a catalyst for
creativity, offering a working
environment ideally suited to
encouraging dialogue
amongst associates.
Image courtesy and copyright
of BMW AG.
Managing the Design Strategy
84 | PART ONE
KEY SKILLS
Verbal Communication
Verbal communication skills form an important part
of how we conduct our relationships with others.
Different people have different communication styles
and our own background, experiences and training
will influence how we view the world and
communicate with those around us. These differences
in viewpoints and communication styles however,
can create barriers to communication.
Communication is two-way process. Being a good
communicator means being able to communicate
effectively, in a way that promotes understanding
and recognises the value of different styles of
communication. In a highly competitive marketplace,
misunderstandings and breakdowns in
communication can be costly mistakes to make.
Designers and managers can find it difficult to agree
project objectives and outcomes, since each of their
(valid) viewpoints considers the matter from a
different angle. Failing to find common ground will
often create arguments as each party attempts to
justify their own position. Being receptive to another
point of view, and willing to looking at situations in
a different way, with new insights, is the first step
towards effective communication.
The ability to communicate the merits of effective
design to clients can make the difference between
a design proposal being accepted or rejected. If
presented and communicated in an irrelevant way,
a brilliant creative idea or concept, is unlikely to
succeed. Similarly, a highly articulate and polished
verbal presentation will not compensate for a flawed
design. The ability to present a design solution and
communicate its merits on different levels (such as
functional, economic or ecological), in a way that is
understood by different audiences (such as clients,
customers or managers) can be a differentiator in the
fast-changing and highly-competitive industries in
which design operates.
Although communication skills can be learned,
successful communication relies as much on our
desire to communicate effectively: to understand
others and be understood.
 Verbal Communication | 85

‘Conversation is a meeting of
minds with different memories
and habits. When minds meet,
they don’t just exchange
facts: they transform them,
reshape them, draw different
implications from them and
engage them in new trains
of thought. Conversation
doesn’t just reshuffle the
cards: it creates new cards.
Conversation can change the
way we see the world, and
even change the world.’
Theodore Zeldin
Managing the Design Strategy
86 | PART ONE
INTERPERSONAL SKILLS
It makes good business sense to develop sound
people skills, to learn how to listen instinctively
and to speak to others with clarity, diplomacy and
sensitivity. We are often not aware of the words we
use, or the impact of those words on other people.
Communication is about conversation, dialogue,
speaking and listening. The meaning of what we say
will be affected by the perception of the listener.
How the listener responds to our words will tell us
if they have understood us, and whether we need
to find a different way to express what it is we
want to say.
When communicating, how we listen is just as
important as how we speak. Conversation is a fluid
and tentative process and involves giving and taking,
trust and tact. Good listening involves paying
attention, and being open and receptive to what
the other person is saying. We are not listening if
we are mentally rehearsing what we are going to
say when it is our turn to talk, or if we have
already made our minds up about what we think.
Quite simply, if we are not listening, we will not
understand; and understanding is essential, especially
in design management where frequently neither
designers nor managers fully know the answers to
the questions that conversations between one
another continually pose.
‘Never trust negotiations to luck.
Enter every session armed with
knowledge of the enemy’s strengths
and weaknesses; knowing his
secrets makes you strong.’
Attila the Hun
Empathy means being able to see things from
someone else’s point of view. The ability to
empathise with others – to think about the audience
or recipient of our communication, and to prepare
and act accordingly – is the key to the art of being a
good communicator. Some designers use empathy to
understand the needs and experiences of people who
are dissimilar to them. Empathising with the end
users often motivates designers to go beyond merely
collecting information on design problems, and
encourages them to develop user-centred design
solutions.
Body language is responsible for 90% of all emotional
information, and 65% of all actual information,
which we communicate. The meaning conveyed by
our body language is often more powerful than that
conveyed by our words. An awareness of body
language, both our own and others, will tell us
whether the verbal communication is being
physically reinforced or contradicted. The voice is
the most powerful communicator of body language,
it communicates how we are feeling (unconsciously),
as well as the image we want to project (consciously).
It is worth paying attention to how our voice sounds
in conversation; is it fast or slow, energetic or
relaxed? When we are nervous, breathing slowly
and steadily can help regulate the voice and relax
a racing heartbeat, and using pauses when talking
gives listeners much needed moments of silence to
reflect on what is being said.
 Verbal Communication | 87

NEGOTIATING SKILLS During the negotiation, list the issues that are to
be agreed, and work through these one by one.
A negotiation is a meeting between two separate Settling the important points first will allow you
parties. The aim of a negotiation is to reach an to keep minor issues up your sleeve for later
agreement. Ideally this will be a ‘win-win’ situation, bargaining power. Alternatively, settling minor
where both parties reach a mutually agreeable and points first will build a sense of progress and a spirit
beneficial end to the negotiation. Most business of accomplishment. Be relaxed, but in control, and
situations require, and even expect, some level of be prepared to give and take.
negotiation, and it is especially important when
managing client or design-team relationships. After the negotiation summarise the outcomes or
agreements verbally, then put them in writing at a
Before entering into any negotiation, consider later stage. Remember, successful negotiators do
whether there is a neutral ground in which the more listening than talking. Power bargaining erodes
conversation can take place. Ensure that the people trust and goodwill. You may gain in the short term,
doing the negotiating are empowered to make any but it will prove to be costly in the long term.
necessary decisions, and allow plenty of time to
conduct the negotiation so there is no pressure that
might lead to settling for an unsuitable outcome.
For most negotiations it is usually possible to plan
in advance your three different positions: the ideal
settlement, the realistic settlement and the fallback
position. You may want to agree each of these with
your team, and make a guess at the other party’s
position, beforehand.

‘Keep negotiations secret. They must be

conducted in private. Only the policies
should become public knowledge. How they
were negotiated should remain confidential,
saving loss of face.’
Attila the Hun
Managing the Design Strategy
88 | PART ONE
PRESENTATION SKILLS
The basic requirement of any presentation, whether
verbal, visual, written, or a combination of all three,
is that it is actually presentable. The ability to
present yourself and your ideas is essential to good
communication, persuasion and the ability to
influence key decision-makers. One-to-one briefings
can be handled differently from larger audiences, so
prepare your presentation, equipment needs, and the
layout of the room accordingly.
Before the presentation, organise and structure
what you are going to say. Practice the presentation
beforehand, and estimate how long the presentation
will take, remembering to allow time for questions.
Identify what you want to achieve from the
presentation. What is the objective? Why is what
I am presenting relevant to this audience? Who is
the audience? Are they design-aware (familiar with
design jargon), or do they have less knowledge of
design (and therefore unfamiliar with design
terminology)? The language you use to communicate
should be tailored to suit both the audience and the
subject matter.
‘Difficulties mastered are
opportunities won.’
Winston Churchill
At the beginning of the presentation, introduce
yourself, other members of your team, and, if
necessary, other people in the room. Explain the
purpose of the presentation and what you want to
achieve from the meeting. Tell people how long the
presentation will take, how you’ve structured the
presentation, and whether you want their comments
during the presentation or at the end.
During the presentation, take time to explain things
properly, and give people the chance to absorb what
you are saying. Explain your thinking in a logical
sequence and include why your proposals are
relevant or appropriate. Relate to people while you
are talking, and make eye contact with your
audience.
After the presentation, always make notes of the
discussion that follows. Record what was said, who
said it and what was agreed. Assign responsibilities
for specific actions, identify when the next meeting
will take place and thank everyone for coming.
 Verbal Communication | 89

TELEPHONE SKILLS

When making a phone call, the way you verbally

communicate with others will reflect how you and
your organisation are perceived. Body language
communicates over the phone, so sit up straight and
smile. Be aware of background noise and, if
necessary, close the door, turn down the radio, or
move to another room. Do not eat or chew while on
the phone. As soon as the person receiving your call
has picked up, introduce yourself and let them know
with whom you would like to speak. Speak slowly
and clearly. Have respect for the other person’s time;
they may be busy or in the middle of something. Ask
if this is a good time to speak, if they cannot handle
your call at that moment ask when would be a good
time to call back. If you are leaving a message, state
briefly what the call is regarding.

When answering a phone, do so promptly using your

name, in a warm, confident voice. Be helpful, listen
carefully and take notes if necessary. Give the person
your undivided attention. Typing, eating or doing
something else while on the phone is distracting and
impolite.

When returning a phone call, always try to do so

within 24 hours of the message being left. If you
are on holiday or out of the office, relay this
information in your recorded answering message,
‘Courage is what
and ensure that anyone answering your phone also
relays this information. When leaving a message on
an answering machine, speak slowly and clearly.
it takes to stand
State your name, organisation, time and date of call,
phone number where you can be reached, and a
brief overview of what your call is regarding.
up and speak;
courage is also
what it takes
to sit down
and listen.’
Winston Churchill
 Part Two: Managing the Design Process
90 | PART TWO
Managing the Design Process
s
This is the stage where design projects and
agendas are developed, and the focus placed
on demonstrating how strategy can be made
visible and tangible through design. At this
stage, design management explores how
design can be used to craft the presence and
experience of an organisation, and, in doing
so, influence how the organisation and its
brand are expressed and perceived.
Managing the Design Process
92 | PART TWO

KNOWLEDGE
Giving Form to Business Strategy
Design can be active at three levels within an
organisation. Firstly, at the level of corporate
strategy, design expresses the vision, values and
beliefs of the organisation, for example in its
corporate identity. At the business-unit level,
design is used tactically to help achieve business-
unit goals, for example, the organisation might
conduct a design audit when entering new markets
to benchmark the competition. Thirdly, at an
operational level, design is present in the day-to-day
operations, and in the refining of the product or
service development process.
THE CLIENT BRIEF
The client representative is responsible for writing
the client (or project) brief. It should describe what
their organisation would like to achieve, the market
opportunity identified, an estimate of the budget
and time allocated and any key deadlines. Client
briefs should clarify needs and set the project’s
parameters. As it is written from the point of view
of the organisation’s needs, client briefs inevitably
tend to be quite analytical, and driven by targets
that need to be achieved.

Design projects and processes that reinforce the
brand, that add value and create competitive
advantage will inevitably receive the greatest
support within an organisation. The end of a design
project may result in an outcome, something that
gives a finished form to the business strategy, but
design is also a problem-solving process that can
help the organisation's give form to, and shape, the
business strategy.
The client brief is given to the design representatives,
typically the creative director and the design or
project manager, for consideration, review and
feedback. It is the basis for opening a dialogue
about the client’s objectives and expectations, and
establishing how design can help achieve these
objectives.

Whether design is engaged as a set of methods, a

process or the implementation of a project, a
statement of intent needs to be formalised and
agreed between the client and the design
consultancy, or the business unit and the design
resource. This is known as a brief.

Table 1: The Client Brief

Element Contains

Introduction: Information about the project background and opportunity identified

Company: Information about the organisation, its brand values, methods of operation and its
existing customers
Customers: Information about the organisation’s target customers
Competition: A review of the organisation's competitors and their unique selling points
Positioning: Information about the proposed strategy and plan for action
Design challenge: Information about project objectives, scope of work, expected outcomes and
specifications
Metrics for success: An outline of how the project’s success will be measured
Programme Plan: An outline of the project’s stages, phases and milestones
Costs: A list of fees, expenses and production costs

1 2
3 4
1. Philips apply design in its
broadest sense to express
their mission and corporate
visions. Philips design
solutions are visible in their
complete offer, from
consumer electrical products
like the Standard GS lamp
shown here, to medical
systems, domestic interiors
and cars. Within the Philips
organisation their business
strategy is deployed through
research projects, external
clients and partnerships.
Image courtesy and copyright
of Philips.
2. The Philips ‘Glowing
Places’ research project was
developed by Philips Design
in collaboration with the
Helen Hamlyn Research
Centre at the Royal College
of Art in London. The project
uses interactive LED lighting
that is embedded in public
seating and reacts to people’s
presence and behaviour. The
project gives form to
the Philips vision; the
combination of technological
sense and user-friendliness.
Image courtesy and copyright
of Philips.
3. Philips offer their design
services to a wide range of
clients. Orange Brand Futures
group, a mobile telephone
service provider, developed
the computer game Relax to
Win with Media Lab Europe.
Designed to measure the
player's state of relaxation,
players slide the device
between any two fingers and
the device translates this
data, via a wireless
connection to a PC or mobile-
phone screen, where players
can then see themselves on
screen as a friendly dragon.
Image courtesy and copyright
of Philips.
Giving Form to Business Strategy | 93
4. Philips believe that
sustainable meaningful
solutions cannot be created
by one industry in isolation,
but only through sharing
competence and creativity,
and by involving others from
the outset. The results of a
Philips collaboration with
Italian furniture designers
Cappellini were presented in
Milan in 2003. Paesaggi Fluidi
(Fluid Landscapes) revisits the
kinds of furniture within our
homes and integrates Philips
technologies seamlessly with
the design.
Image courtesy and copyright
of Philips.
Managing the Design Process
94 | PART TWO
THE DESIGN BRIEF
After consultation and review, a design (or creative)
brief is composed. Typically, this is written by the
design or project manager, in close consultation
with both the nominated client contacts and other
specialists depending on the nature of the project.
The design brief takes into account both the
‘business’ and the ‘design’ point of view, and fleshes
out in more detail how the client and the design
consultancy will work together. The design brief is
the creative response to the client brief, and reflects
the knowledge, skills and experience of the design
team as well as the strategic objectives and business
viability of the project.
The design brief needs to be written in a way that
inspires and motivates the design team to create
great work that satisfies the client’s requirements,
and it needs to translate statistical charts and
business jargon into information that the design
team can put to effective use.
Deciding what to include in the design brief (and
what to leave out) will invariably be based on the
specific project needs, but as an example the likely
information it will include is: the business case;
key findings; project goals, aims and objectives;
background research and future aspirations; target
audiences and end-users; functional requirements
and specifications; key project and process stages;
timescales and deadlines; milestones, performance
measures and project deliverables.
QUESTIONS FOR DISCUSSION: How best can designers work with the organisation's to create change? Can
design connect the viewpoints of the boardroom and the customers in new ways? Or should designers be
protected from ‘boardroom bureaucracy’?
Agreeing the design brief ensures the client is getting
what they really want, although at this early stage
they may not know exactly what that is, or what
form it will take. The design team have a chance to
assess the client’s needs, set out their objectives,
define their approach and process, identify
milestones, describe what is expected in response
to the client brief and outline a proposed cost and
timescale.
The design brief forms part of the ‘contract’ between
the client and the design resource. The design brief
may well be revised or become more detailed as the
design process evolves, so it is important that the
client in involved and updated at all stages, and that
the design team regularly revisit the agreement, and
obtains client sign-off if any changes do occur.
Good design managers have the project management
expertise to assess the client needs against each of
the project stages, and ensure the outcome is
realistic and achievable within the costs and
timescale allocated, and with the design resource
provided. Consulting with the design team is one
of the most important aspects of ensuring that
the promises made to the client can actually be
delivered, on time and within budget. Design
managers must also take a view on the business
objectives that their solution must address, how
these relate to the decision-making processes
within the client organisation, and the best way
to evaluate the cost-benefits and business potential
of the design solution.
This is also the time for the design manager to
identify the client contact, stakeholders, team
members, lead design consultancy or creative
agency, sub-agencies and specialist consultants that
also need to be involved, and to agree their roles,
responsibilities, and the channels of communication.
 Giving Form to Business Strategy | 95
5

BUILDING THE DESIGN RESOURCE 5. Yorkshire Water initiated a

‘Cool Schools’ campaign to
The design brief may also elucidate links to the encourage children to drink
design policy and strategy of the organisation, more water. The client brief
which can provide a useful building-block approach was to create an exciting and
to increasing design presence and awareness in the reusable bottle that could be
used alongside Yorkshire
organisation.
Water’s distinctive water
coolers. Alloy Total Product
Within a client organisation, even one with an in-
Design consulted with the
house design team, there may be many different parents and pupils of a local
design requirements. So, what systems can a client school to expand this client
put in place to accommodate a widely varying need brief into a design brief.
for design? Image courtesy of Alloy Total
Product Design/Yorkshire
The design resource will reflect the design needs of Water.
the organisation and support its overall strategic
goals. External consultants or agencies may 6. The design brief combined
both the needs of the client –
be required if the company changes direction, or
that the Yorkshire Water
decides to work on a new project for which the skills
brand should be strongly
and experience do not exist in house. It is unlikely
represented – and the needs
that any single design agency could address the of the end users: the school
requirements of every project within an organisation, children themselves. The
nor is it desirable. In order to maintain loyalty, bottles needed be
adaptability and flexibility, many organisation's manufactured within budget
create design rosters, which are lists of design- and provide a product that
service providers who have been pre-approved for was completely unique to
consultation and potential engagement on a project. Yorkshire Water. The user
needs required that the bottle
was easy and fun to use, easy
The roster allows for long-term relationships and
to clean, and could hold
trust to develop. Design companies on a roster
enough water to satisfy
can be approved through an open call invitation,
young appetites whilst not
reputation and previous successes, and are usually being too big for small hands.
reference checked by an internal procurement Image courtesy of Alloy Total
department. Different consultancies will specialise in Product Design/Yorkshire
different media and styles, and having a variety, Water.
from the specialist service provider to the large,
broad, one-stop service, provides a flexible and
adaptable way to build an easily available design
resource, without the expense and overheads of a
large in-house design team. If the needs of the client
organisation change, or if the consultancy is not
performing, they can be taken off the roster and a
new consultancy found.
Managing the Design Process
96 | PART TWO

KNOWLEDGE
Increasing Awareness with Design
There are many ways in which design can be used to
increase awareness of a wide range of issues, both
inside and outside a client organisation.
Inside the organisation, there may be conflicting
attitudes about design and what value it brings.
Some the organisation's, for example Apple, Philips
and Braun, have strong in-house design teams and
individuals responsible for managing design. Others,
such as British Airways and Orange, may rely heavily
on external design resources, but may have internal
design managers. Additionally, a number of the
organisation's, for example Starbucks and Microsoft,
rely on a combination of in-house and external
design teams depending on the nature of the project.
Within an organisation, the design manager may
wish to increase awareness of design to build and
grow an in-house design team, or to gain wider and
deeper influence in strategic decision-making,
especially with regard to marketing, new-product
development and innovation. On the consultancy
side, the account handler and creative director may
want to increase awareness in order to build a more
formal, long term relationship with the client, or be
the preferred design supplier. Using design to
increase awareness of broad, customer-focussed
issues, and raising the level of design awareness
within the organisation, means tapping into the
motivations of all the stakeholders involved.
INSIDE THE ORGANISATION
Definitions of design will vary depending on the
background, training, experiences, and personal
biases of the individual. Enforcing a single definition
of the term is probably self-defeating, as the value of
design lies in its multidisciplinary approach to
problem solving, its ability to manifest the strategic
goals of an organisation and its passion for taking a
user-centred approach to addressing wider needs.
Growing design awareness means embedding design
into the mindset of the organisation so that it can
be seen as a way of thinking, not just a business
resource; an investment, not an expense; and a set
of problem-solving tools, methods and processes, not
just a means of implementation.
Design can contribute to idea generation in
partnership with business units, functional groups,
suppliers, individuals and customers. For the design
manager, this may mean hosting internal training
workshops and presentations in design awareness
and design thinking for senior, middle, line and
project managers. Using brainstorming workshops is
another way to get representatives together to
creatively and conversationally open up a debate.
These debates can draw on the viewpoints of internal
and external stakeholders, suppliers and
manufacturers, and customers and service-providers.
People don’t always understand what design is, so
demonstrating a range of design approaches can help
explain the differences between design as a craft, an
aesthetic quality or a thinking process.

‘Design Awareness has been cited quite often as an important attribute for
managers. The problem is that there are two interpretations of the term. One
form of awareness relates to the fact that managers should have the ability
to judge aesthetic and other design related issues so they can evaluate the
‘goodness’ of a service for its intended market. The other form of awareness
is that of realising the nature of innovation and design activity and its role
in contributing to organisational effectiveness. Both forms of awareness are
required if managers are to make effective use of innovation and design.’
John Heap

1
2 3
1. As early as 1953, Braun
was keen to distinguish
itself from its competitors in
terms of design. At that time,
design was seen by many
manufacturers as an ‘add-on’,
but Braun saw market
potential for products with
design distinction. Design
is now a core competence
within the company. Braun
Design product ranges, such
as the Impressions Design
Collection shown here,
combines exemplary clarity
and functionality with
innovative technology and
quality without compromise.
Image courtesy of Braun
GmbH 2005.
2. The BraunCollection shows
Braun’s development in
design and engineering via
public exhibitions, events,
case studies, archives,
educational initiatives and
the media. Their permanent
collection contains over 300
exhibits of products, design
models, sketches and
documentary information,
while special collections
change every six months.
The intent is to stimulate
visitors with memories of
the organisation’s past and
provide new insights and
perspectives on design in
general and Braun design in
particular. The Collection is
designed and realised by a
Increasing Awareness with Design | 97
team of Braun employees and
external consultants, while
the administration and
organisation is handled by
a dedicated non-profit
foundation.
Image courtesy of Braun
GmbH 2005.
3. Braun’s headquarters in
Germany, designed by
Schneider + Schumacher,
is an ‘architecture of
transparency’, which is in
tune with the Braun brand.
The building raises awareness
of the company’s
organisational policy on
design in a very conscious
way. The building expresses
Braun’s principles of
innovation, quality and
design, which can be
experienced by its employees
and visitors alike.
Image courtesy of Braun
GmbH 2005.
Managing the Design Process
98 | PART TWO

With increasing pressure on organisations to go OUTSIDE THE ORGANISATION

beyond incremental improvements and cost saving
initiatives, the creation of added value is more likely
to come from radical changes, and therefore,
innovation. All companies are looking for ways to
align design with innovation, and creativity provides
a way for managers of design to position themselves
and their team as both an alternative and a
complementary means of thinking about a wide
range of business objectives. A set of carefully
considered design tools, methods and processes
can help change mindsets and integrate innovative
thinking into a whole organisation.
As an example, Kotler (2005) suggests that companies
establish an ‘ideas-management system’, headed by a
senior manager who works with a multidisciplinary
‘idea-management committee’. The committee has
small project start-up budgets to investigate
promising ideas. This sort of multidisciplinary
approach is something that most design managers
are familiar with. Offering to host an ideas-
management committee is a valuable way to share
different points of view across business units, and
raise awareness of design-related thinking.
For the design manager working with a design
consultancy, it is worth investing time in improving
the team’s understanding and awareness of the
organisation’s objectives at strategic, business-
unit and project levels. How decisions are made
can appear confusing, so being clear about the
wider context of motivations and drivers will help
clarify matters.
For the design consultancy working with a client
organisation, conversations with the client are a way
to understand more about the challenges they face,
as an organisation and as individuals. Design may
then help provide the tools and processes necessary
to gain the support of other stakeholders inside and
outside the organisation, perhaps, for example, by
providing case studies that benchmark the client
against their competitors.

Whether working separately or integrally with other

business units, design thinking can be disseminated
into the culture of the whole organisation.

QUESTIONS FOR DISCUSSION: What other ways can design raise awareness of broader issues, and then
address those issues? Is the form of how design presents the strategy able to be understood across the
organisation, across disciplines, and across functional units?
 Increasing Awareness with Design | 99
4 5

4. A Fortune 500 energy and

aluminium company, Hydro
commissioned Karakter to
develop unique
communications to raise
awareness of its centennial
celebrations. Karakter
created a suite of ‘centennial
identifiers’, photographing a
series of circular objects from
both nature and Hydro’s
business to make up the
number 100, this was a
powerful way to express the
link between Hydro’s
business, nature and society.

5. To maintain consistency in
Hydro’s visual language,
Karakter maintained the same
grid and layout it had
originally created for Hydro’s
corporate design system,
setting the identifiers against
a white or black framework
to ensure maximum visibility
within the vast range of
environments they appear in.
The corporate brochure
shows how these principles
were applied before (left),
and during (right), the
centennial year.

6. Karakter designed a host of

centennial communications
material using the new
identifiers, which included a
printed launch piece, a
calendar, packaging, event
materials, posters, invitations
and more. In merchandise,
the bond with nature was
expressed through the
combination of items that
relate to the 100 identifier
used – such as the sunflower
oil and aluminium-basting
brush shown here.
All images courtesy of
Karakter/Hydro.
Managing the Design Process
100 | PART TWO
KNOWLEDGE
Expressing the Brand Through Design
A brand is a powerful corporate tool. It provides
both clarity and vision, and the brand identifier
(usually a logo) is a symbol of this clarity and vision.
However, the meaning of a brand is not contained
in an organisation’s logo, or even its products or
services, but in the power of the brand image formed
in the mind of the consumer.
Consumers buy into the brands, brand values and
brand beliefs that are most in tune with how they
see their own self-image and that of the lifestyle and
peer groups with whom they wish to be affiliated.
Historically, brands were a mark of ownership,
consistency and a benchmark of quality or service.
Now, according to Olins (2004), brands operate in
‘the emotional territory of people’s hearts and
minds’. Brands represent not only the identity of the
organisation, but also that of its customers, and the
language of design can bring this identity to life.
Brands manifest themselves in the products, services,
sites and experiences of an organisation. In a brand-
led organisation, design can add value from the top-
down, through brand communication, identity
management and making the brand both visible and
tangible. Examples of brand-led organisations
are Coca Cola, Virgin and EasyJet. Design can help
build the reputation of a brand through customer
touch points (places where the customer sees and
experiences the brand). Examples of customer touch
points include product designs, retail shops, offices,
advertising material and websites. The act of
translating a brand and its values into tangible and
intangible products, services, spaces and experiences
is called brand expression.
QUESTIONS FOR DISCUSSION: What is the role of branding in relation to today’s businesses and consumers?
What effect does the role of branding have on how we think about managing brand identities? If design
encapsulates a brand or marketing idea, how can design make things more culturally, emotionally and
experientially rewarding?
The brand promise is a guarantee of the values and
beliefs, and the quality and level of trust that
the customer places in the organisation. From an
organisational point of view, the brand is the face
of the company and represents its purpose, values
and beliefs. Essentially, it tells people, internally
and externally, what the organisation is about.
In a brand-led organisation, the brand manager will
frequently have design management responsibilities.
They will be experienced at forming relationships
with external design teams and ensuring that the
design teams are translating the brand values
into desirable and viable products, services and
experiences. Brand managers too, are in a position
to identify how design can support the strategic
objectives and brand values of the organisation,
and so ensure that the brand image reflects what
the organisation is about.
DESIGN-LED EXPERIENCES
Some organisations are design-led; design is central
to all of their decision-making processes. Some
examples of design-led companies include Apple, 3M,
Philips, Dyson and Sony. Design-led organisations
tend to put the user at the centre of their design
processes and business offers. They identify a
customer need from the bottom-up by observing user
habits, and creating a product or service offer
around any unmet customer needs that are
identified. The unmet need acts as the starting point
for innovation. The next step is to design a solution
around needs and desires of the user. The result is
then offered in the marketplace as a branded
product or service. Often this can turn out to be
a brand extension: a new product or service
leveraging the value of the organisation’s brand
name to establish itself.
 Expressing the Brand Through Design | 101
1 2

1. The Benetton retail store

in Barcelona has been
specifically designed to
express the look and feel
of the Benetton brand.
Image courtesy of Miguel
Casanelles/The Benetton
Group.

2.This image is taken from

‘James and Other Apes’, a
Benetton Communication
Campaign by James Mollison
for Fabrica. Benetton
frequently uses dramatic
advertising and
communication campaigns
to express its brand. Here,
Benetton chose to extend its
reflection on our planet’s
diversity, from the human
race to our nearest cousins.
The campaign shows pictures
of orphaned apes that were
confiscated from illegal
traders. The apes now form
the population of sanctuaries
in Africa and Asia.
Image courtesy of The
Benetton Group.

3. Fabrica is Benetton’s
Communication Research
Centre, and was established
to capitalise on thought-
provoking communication
that unites culture and
industry and that takes risks
by investing in ideas and
creativity. Fabrica’s work
is characterised by a
celebration of the creative
process itself and not of its
results. Fabrica 10: From
Chaos to Order and Back
presents ten years of ideas,
projects, personalities, events
and experimentation,
through a gallery of images,
videos and music.
Image courtesy of The
Benetton Group.
Managing the Design Process
102 | PART TWO

In a design-led organisation, the design manager EXPRESSING WIDER ISSUES

will be responsible for design-related decisions and
responsibilities, working closely with marketing
communications, research and development and
manufacturing. They will ensure that in-house design
teams and external consultancies are using the brand
values to build a design language that translates
consistently across the products and services,
advertising and media, and the shops and offices
that represent the brand.
DESIGN USED TO PROMOTE THE BRAND
Integrating design into the organisational strategy
is especially important when businesses attempt to
sell to customers through different channels, for
example, brand messaging across radio, television,
customer services and retail spaces may require
different design approaches, but all must express
the same, consistent brand values. If a brand is
‘stretched’ into a new area, existing brand
recognition can be leveraged and design elements
of the brand, such as packaging, advertising or
websites, can be used to make the customer
‘recognise’ the offer as belonging to the organisation.
Every successful brand can become a platform for
further extensions, for example Caterpillar, makers
of construction equipment and machinery, now sell
clothing and accessories to international urbanites.
As well as expressing the brand values of an
organisation, design can be simultaneously used
to cross cultural and societal barriers and raise
awareness of wider issues. Many brands have
successfully positioned themselves to be synonymous
with particular themes or human needs, for example,
safety, literacy, quality engineering, and innovation.
The Volvo brand for example, is associated with a
key theme (safety), which is a powerful way to build
customer loyalty and make a brand memorable.
Benetton, on the other hand, has the reputation
for sparking controversy by using provocative
imagery in their advertising to raise awareness of
global concerns such as world hunger, health
and endangered species. These profile-raising,
issue-led campaigns find a cause that design and
other business units can then support. Raising the
profile of specific global issues also raises the profile
of the brand.

‘The power of design and innovation can actually reshape an entire brand or
the marketplace in which it exists. In the past, designers focused on making
one new product. Today, they create a much broader story, an experience
that consumers remember which has far greater impact on the bottom line.’
David Rockwell
 Expressing the Brand Through Design | 103
4 5

44. Innocent, the ‘little tasty

drinks’ company, launched a
range of smoothies for kids.
These healthy drinks are
packaged in a way that
expresses the brand, appeals
to children, and are spill-
proof. The brand, already
hugely popular with adults,
positions itself as being
naughty but nice, and
promotes the fact that their
drinks contain no sugar,
sweeteners, preservatives
or concentrates.
Image courtesy of Innocent
Drinks.

5. Innocent approach
everything they do in a way
that makes it easy for people
to do themselves some good.
In this instance, customers
were invited to knit a small
winter hat to put on
Innocent drinks, in order to
raise money for a good cause;
keeping the elderly warm in
winter. Innocent donated
money for every knitted hat
they received, and included
‘get knitting’ information on
their website.
Image courtesy of Innocent
Drinks.
Managing the Design Process
104 | PART TWO

KNOWLEDGE
Initiating Design Projects
A successful design (or project) manger will have
the ability to raise awareness of design amongst key
stakeholders, and further their knowledge of
problem-seeking and solving methods and processes
of design. By developing a better understanding and,
ideally, first-hand experience of a range of design
tools, stakeholder buy-in is more likely.
Design is a creative and rigorous process that
can provide a fresh perspective for viewing
organisational challenges. Designers rarely take a
problem as a given, and by asking questions they
explore the range of contexts, issues and agendas
at work in any given situation. Often, a more viable
solution is achievable by questioning assumptions
and taking into account the varying needs and
desires of different stakeholders, business units
and users.
UNCOVERING THE PROBLEM
Once the key stakeholders are identified, and as part
of the research and fact-finding process, the design
team will examine the client and design briefs, and
attempt to uncover the inherent problems and
unarticulated needs. There are an number of tools
and methods at the team’s disposal that will
facilitate this.
Brainstorming
Brainstorming workshops usually involve the key
stakeholders within the organisation and are used as
a means to gain familiarity, gather initial material
and collect a variety of viewpoints from within the
client organisation. Brainstorming workshops tend to
be hands-on, collaborative, internal-research
processes, with many questions being asked, and a
range of different needs (for example, organisational,
customer or project stage) explored. Brainstorms
help to define the crux of the problem or produce
new ways to view it.
Prototyping
Prototyping describes the use of physical material to
simulate or test a design. Prototypes can be built to
represent a specific stage in the process, or a final
outcome. Dummy spaces, products, objects and scale
models are all forms of prototyping and are useful
tools for generating feedback early on in the project,
and also raise latent issues that are not explicitly
stated in the design brief. Each stakeholder is likely
to respond to a prototype differently, as they will
each have different needs depending on, for
example, the function of their business unit or the
age range of the target users.

‘My method has been to immerse myself in the issues, to reflect on them,
analyse them, and wrestle with them, viewing them from all sides, in an act
of philosophical exploration. I have tried not to be content with taking the
problem as given, but have always tried to question the question as it were,
allowing my train of thought to take me in often unexpected directions.’
Stefano Marzano
 Initiating Design Projects | 105
1 3

1. Live prototypes can be

used to observe consumer
behaviour in everyday
situations. The Philips
HomeLab observes human
guinea pigs to determine
ordinary people’s responses
to its ambient intelligence,
which is embedded into a
living space. It is the vision of
a world in which technology,
in the form of small, but
powerful silicon chips, is
integrated into almost
everything, creating an
environment that is sensitive
to the presence of people and
responsive to their needs.
Image courtesy and copyright
of Philips.

2. A key advantage of the

HomeLab is that it is a fully
functional home environment
as well as a laboratory. This
means that participants can
live in the HomeLab for
several days, which gives
them time to forget that they
are being observed, not only
by the sensors that are built
into the ambient intelligence
systems but also by the
Philips researchers from
behind one-way mirrors. The
HomeLab allows participants
to become familiar with the
environment and to settle
down into daily routines that
closely resemble those that
apply in their own homes.
Image courtesy and copyright
of Philips.

3. Understanding the needs

of others by acting out how
they would behave in a given
situation, and what products
and services would be
desirable in those
circumstances, is a useful
tool. Here, people role play
consumers using bunk beds in
an airplane.
Image courtesy of IDEO.
Managing the Design Process
106 | PART TWO
Role Playing
When approaching, for example, the design of a new
airline check-in system, the design team might act
out or role play the process of a passenger checking-
in. This is a way to understand what the experience is
like for both the customer and the airline staff. A
product concept for a new piece of checking-in
software might be prototyped and physically built
into a mock-up of a check-in desk. Acting out the
roles can help the design team understand the design
problem and so better inform their solution to it.
Observation
Using observation as a design method involves better
understanding how people do things by watching
their actions. When designing an improved train-
ticketing system for example, types of observation
may involve watching how people use ticketing
machines in a station over the course of the day, to
learn about the frequency of use (rush hour versus
lunchtime, for example), the types of users (different
ages and level of mobility), and the different types of
ticket demands.
Architectural Programming
An architectural programme is a method used at the
beginning of a building project. It allows the design
team and client to state the design parameters before
the actual design process is begun. Using a systematic
search to source the information needed to clarify,
understand and state the design problem, the
requirements that the building solution must meet
can be outlined.
QUESTIONS FOR DISCUSSION: How do we discover more about the people we are designing for? In what
ways can we find out what is meaningful and relevant to them? How can design teams find out what products
and services people will actually welcome?
Table 1: The Five Step CRSS Architectural
Programming Technique
1. Establish the Goals
What does the client want to achieve and why?
2. Collect and Analyse the Facts
What is it all about?
3. Uncover and Test the Concepts
How does the client want to achieve the goals?
4. Determine Needs
How much money, space and quality?
5. State the Problem
What are the significant conditions and the general
directions the design of the building should take?
Source: William Pena and CRSS
Table 2: The Type of Information Required
1. Function
What happens in the building (people, activities,
relationships)?
2. Form
What is now there, and what will be there (site,
environment, quality)?
3. Economy
What is the quality of construction (initial budget,
operating and life cycle costs)?
4. Time
What are the influences of history and change (past,
present and future)?
Source: William Pena and CRSS

4 5
4. As a means of gaining
perspective into the wider
context of a specific industry,
Doblin Group, a Chicago-
based design and innovation
consultancy, uses Innovation
Landscapes. These tools
permit a view of the patterns
of diversity, changes and
challenges present in an
industry over time, and show
the overall terrain that
leaders need to understand
and manage. This helps an
industry insider think
differently and move in a
direction that will provide
stronger differentiation
and greater return on an
innovation investment. Here
trends in the airline industry
are represented for
reflection, analysis and
debate.
Image courtesy and copyright
of Doblin Inc., 2006.
5. Electrolux’s Design Lab
makes use of prototypes to
test the functionality of its
future products. Airwash is a
waterless washing machine
for the home of 2020.
Eliminating the use of
detergent and water, the
Airwash cleans clothes with
pressurised air and negative
ions (nature’s cleansing
Initiating Design Projects | 107
agent). Its form is inspired
by the waterfall, nature’s
negative ion generator.
The Airwash’s touch-light
interface marries function
with emotion, humanising the
often-mechanical experience
of handling household
appliances. Liberated from
the laundry area, Airwash is
a symbol of wellness and
sophistication, designed for
living spaces and focal points
in the home.
Image courtesy of Electrolux.
Managing the Design Process
108 | PART TWO
KNOWLEDGE
Design Methods
Design methods help build trust in the client-design
team relationship, because they allow members of
both parties to explore the challenges presented by
a particular brief or project in a loosely structured,
but engaging way. Design methods are also used to
define what it is the design team needs to do, what
processes they need to use and what the expected
outcome(s) might be.
EXAMPLE ONE: IDEO METHOD CARDS
IDEO are a design and innovation firm, and their
method cards have been instrumental to the success
of IDEO’s product, space, service and experience
designs.
IDEO’s 51 method cards are intended as inspiration
for practising and aspiring designers, as well as those
seeking a creative spark in their work. The cards
show some of the methods that IDEO uses to keep
people at the centre of their design processes.
The techniques are not proprietary and have been
adapted from a variety of established human and
social research methods. The cards were initially
compiled by IDEO to inspire their own design
teams and demonstrate how IDEO have found them
useful in real design projects. The cards are not a
prescriptive nor exhaustive ‘how to’ for human-
centred design, as new methods are being developed,
adapted and applied all the time. However, the deck
is meant to encourage users to try new approaches
for making design useful, usable and delightful to
people, and each card describes a method that can
be used to inspire great design.
IDEO’s method cards can help a team to plan a
project, or just serve as a reminder of the various
project approaches. For example, they can suggest
ways to apply human-centred methods throughout
all project stages; or they can be used to prove a
point, or to challenge colleagues to seek insights in
new ways. Or they can be used to inspire creativity,
to communicate with a team, or to turn a corner.
The method cards are divided into four categories,
each group representing ways to empathise with
people: learn, look, ask, and try.
The Method Card Categories
1. Learn
Analyse the information collected to identify
patterns and insights. For example, by conducting
activity analysis, character profiles, competitive-
product surveys or secondary research.
2. Look
Observe people to discover what they do rather than
what they say they do. For example, compile a day-
in-the-life scenario, or shadow a consumer or record
extended periods of consumer behaviour using a
time-lapse video.
3. Ask
Enlist people’s help to elicit information that is
relevant to your project. For example, ask a
participant to create a camera journal, or draw
their own user experience.
4. Try
Create simulations to help emphathise with
people and to evaluate proposed designs. For
example, become your customer, perhaps by
paper prototyping or role-playing.
 Design Methods | 109
1

2 3

1. The IDEO Method Cards are

divided into four categories
representing ways to better
understand user needs. The
categories are: Look, Learn,
Ask and Try.
Image courtesy of IDEO.

2. Each method card

describes a technique used
to inspire great design. Here,
an affinity map clusters
elements that are related
to transporting the family,
which helped the IDEO team
discover some significant
opportunities for pushchair
design.
Image courtesy of IDEO.

3. Looking at what users do

via a-day-in-the-life scenario
can be invaluable. Here,
IDEO asked potential wearers
of a drug delivery patch to
document their daily
behaviours including those
that might affect the
function of the patch such as
getting it wet, or snagging it
on clothing.
Image courtesy of IDEO.
Managing the Design Process
110 | PART TWO
EXAMPLE TWO: THE SUSTAINABILITY ISSUE MAP
Lynne Elvins and Rupert Bassett founded A420
with the aim of changing the understanding of
sustainability within design education and the
commercial design community. The Sustainability
Issue Map was produced to provide design teams
with an introduction to the complex subject of
sustainability. It was developed from the belief that
the design industry is in a uniquely powerful position
to create a more sustainable future for everyone,
and that every design team has the potential to
produce more sustainable designs with every project
they undertake.
The poster-format map visualises three sustainability
dimensions that design teams must deal with:
contexts, agendas and issues.
The Sustainability Dimensions
1. Contexts
Design does not operate in isolation. The map shows
how a design team can contribute to the creation of
more sustainable businesses, which will, in turn,
create a more sustainable world.
2. Agendas
Sustainability is all about conflict. The map shows
that the key challenge for design teams is balancing
the four competing agendas of sustainability:
financial, social, environmental and personal.
3. Issues
Design teams must negotiate complexity. The map
shows that in order to balance the four agendas,
a wider range of relevant issues must first be
addressed. By dealing with these issues in relation
to all four agendas, design teams will not only gain
a better understanding of sustainability, but also
of design.
QUESTIONS FOR DISCUSSION: What other methods are there for finding out about the needs of users?
How can design methods help an organisation re-evaluate whether its design resource and skills are in need
of updating?
A420’s sustainable issue mapping is realised in the
form of a scatter graph, which can be used to clearly
identify the issues of any design project. Each map
has two essential features: the agenda axes and the
distribution pattern.
The four, fixed agenda axes provide a framework
against which the design team can place the issues
from the four competing agendas: financial, social,
environmental and personal. The variable feature
of the issue map is its distribution pattern. The
distribution pattern is composed of a series of
squares, and each one represents an issue to be
addressed in relation to a particular design project.
These issues might include disability, empowerment,
pollution, waste, profit, feasibility, pleasure and well-
being, and each issue has a corresponding question
to prompt the user. These issue squares are placed
between the agenda axes according to the design
team’s understanding of the issue, with the most
relevant nearest the centre.
The function of sustainability issue mapping is to
reveal imbalances across competing agendas. Where
there is imbalance, the design is less sustainable,
which means that the range of issues should be
reconsidered by the design team. Where there is
more balance, the design is more sustainable.
The sustainability issue map is a powerful design
method for highlighting the conflicting and complex
issues and agendas associated with designing
sustainable, viable and creative solutions. The
approach that design teams often take when
problem-seeking and -solving is one of raising
questions, challenging assumptions and making
trade-off decisions in the face of conflicting
stakeholder agendas. The sustainability map provides
a framework within which to explore the challenges,
make the decisions and raise conversation and
debate amongst stakeholders in an easily accessible
and understandable format.

1 2
1. The sustainability issue
map is intended to help the
design team understand what
sustainability is, the context
in which design has a vital
role to play and what
designers can actually
contribute to the agenda.
Image courtesy of A420.
2. Taking responsibility for
balancing all four competing
agendas could potentially
become standard professional
design practice.
Image courtesy of A420.
Design Methods | 111
3. The format of the
sustainability issue map
makes it an extremely
useful design tool for
multidisciplinary team
workshops. It can help
to initiate dialogue and
establish the parameters
of the design problem.
Image courtesy of A420.
Managing the Design Process
112 | PART TWO

KNOWLEDGE
Design Processes
Design is a rigorous, cyclical process of enquiry and
creativity. Design processes consist of a series of
methods that are put together to suit the nature of
each design project or question. Design processes
have evolved from tried and tested ways of problem
solving and are continually refined by the designer or
design team applying them to ‘real’ client projects.
Most design processes mirror each of the designer’s
steps when he or she is working on a problem. They
define the problem; develop a better understanding
of the problem; conceptualise the problem; detail a
design solution and, finally, test or implement the
solution.
Design processes are not linear as there are many
feedback loops built in to allow for the iterative
nature of design and to accommodate the insights
gained at each stage of the process. These
approaches to problem solving can then be
further adapted, formalised and customised to
suit the needs of a particular project or client.
THE CREATIVE PROCESS
Creativity, the act and art or creating, is an
approach, skill, characteristic and talent that is
increasingly demanded in how we address any
situation, problem or opportunity, both in business
and in life. The creative process itself is the series
of events or actions we take in order to produce
an imaginative, but relevant way of approaching
a challenge.
The Five Step Creative Process
1. Preparation
Immersion in a set of problematic issues that are
interesting and arouse curiosity.
2. Incubation
Ideas are churned around, below the level of
consciousness, and unusual connections are made.
3. Insight
Pieces of puzzle begin to fall into place.
4. Evaluation
Deciding which insight is most valuable and worth
pursuing.
5. Elaboration
Turning the insight into something real.
Embarking on a creative process is often likened to
a journey of discovery, a goal might be fixed, but
how it is reached may be unknown at the outset. The
ability to adapt to changing conditions encountered
along the way, and to make mistakes and backtrack
if necessary, is all part of this creative process of
discovery. According to Austin and Devlin, creative
problem solving takes a non-sequential, non-linear
approach, and does not readily follow clearly defined
steps (2003). It is also frequently the source of new
and innovative thinking.

Csikszentmilyi (1996) has described the creative

process as comprising five steps: preparation,
incubation, insight, evaluation and elaboration.

‘After you plant a seed in the ground, you don’t dig it up every week and
see how it is doing.’
William Coyne

1 3
1. China’s National Swimming
Centre in Beijing, also known
as the Water Cube, is the
largest swimming centre ever
built. Enclosed within its blue
water-bubble style walls are
pools for Olympic swimming
and diving competitions and
seating for 17,000 spectators.
The Water Cube marks a new
beginning in design thinking.
It responds to the idea of
what a structure should or
could be. The thinking has
been spurred on by one
question; ‘how does structure
fill space’? The answer in this
case is based on a common
natural pattern of organic-
cell arrangement, replicated
in the bubbled structure of
the Water Cube’s walls.
Image courtesy of
Arup/CSCEC/PTW.
2. The 4000 bubbles measure
as large as 7.5m wide and
while seemingly fragile, the
structure is actually very
robust. The structure is clad
with translucent ETFE, a
tough recyclable material
weighing just 1% of an
equivalent glass panel.
Image courtesy of
Arup/CSCEC/PTW.
3. Arup developed and
patented SPeAR‚ (Sustainable
Project Appraisal Routine) for
use as a management
information tool or part of a
design process. For the Water
Cube, the principle objectives
for Arup were to deliver a
range of sustainable features
into the design concept while
focusing on the building’s
whole lifecycle, and
identifying the scope for
continual improvement of
sustainability. The SPeAR tool
was used to assess the
successful integration of four
key concerns in the
Design Processes | 113
Development Design Report,
namely economic, social,
environmental and material
resources. Central to the
design philosophy that
underpins the Water Cube is
the core objective of water
conservation and the design
of water efficient systems.
Water in northern China is a
valuable commodity and
Beijing currently lacks a
reliable water resource to
meet existing and projected
demand requirements.
Image courtesy of
Arup/CSCEC/PTW.
Managing the Design Process
114 | PART TWO
Those who want to make artfully in business must constantly ask themselves
whether impatience and yearning for certainty have curtailed important
exploration and innovation – whether the impulse to compromise has
undermined the fundamental coherence of the product.’
Rob Austin and Lee Devin
ITERATIVE PROCESSES
The nature of design is that it is a complex
interaction between the people and the decision-
making processes involved in bringing a product
or service to market. Design processes are difficult
to standardise, in part because of their iterative,
non-linear nature, and also because the needs of
clients and users are so different. In addition, real
life, with its changing market conditions and
customer preferences, is much more dynamic,
chaotic and fuzzy than any standard model can
fully accommodate and often, stages of the design
process overlap.
Iterations are a natural part of the creative design
process, but of course, a cut-off point must be
reached eventually, when the design team commit
to an agreed direction, and reduce the level of
exploration and development of new ideas. When
to set this deadline is a matter of experience and
judgement.
Today, the design process is less about a sole
creator or visionary. Instead, the designer, the
design manager and team are one of many
translators or mediators, all looking at the client
challenge from many different perspectives. The
team works together to understand the context
and constraints of the challenge, with the aim of
eventually proposing a viable and desirable solution
within an agreed deadline.
STANDARDISED PROCESSES
Processes that are standardised have a defined set
of project steps, a timeframe and a known, or at
least expected, outcome, one that complies with an
agreed checklist of performance criteria. Standards
raise levels of quality, safety and efficiency and
certifying organisations and/or their products and
processes provides quality assurance.
Standardised processes can help, for example,
find ways to optimise production processes or in
communicating performance results against time
and cost issues. Standard definitions, measures and
benchmarks all help the organisation quickly asses
and improve their performance and efficiency.
Adhering to standard processes too rigidly however,
can result in an uninspiring ‘assembly-line’ solution,
where tasks are passed linearly from one team to
another with little dialogue or debate. Standardised
processes can ensure a project is finished on time and
within budget, but the result may be uninteresting if
the process of design and the creativity of the design
team has been stifled by standardisation.
CUSTOMISED PROCESSES
A generic, standardised process model is useful for
understanding and improving working procedures,
and for initiating a client conversation about a
particular design process, but eventually the model
will need to be customised and adapted to suit the
specific project, client and user requirements.
Customised processes are more detailed, and so
are better suited to specific/individual needs. They
usually combine standard aspects with customised
ones, which together form an appropriate custom-
built model.
DESIGN PROCESSES AS A SERVICE OFFER
Design consultancies may sell their own design
processes and expertise to business clients as a means
to address an organisation’s objectives. Within an
organisation, certain processes may be unique to it
for strategic reasons, and therefore need to remain
confidential. Others, however, can be sold. IBM
Business Solutions, for example, sell a number of
their processes as a consultancy offer.
 Design Processes | 115
4 5

4. The iterative design process

describes a methodology
based on a cyclical process,
where successive versions or
iterations of a design are
Design
implemented.
Source: Zimmerman, 2003.

5. As part of their design

process, Dyson build detailed
prototypes of their
innovative products before
Analyse Test
manufacture, to ascertain the
best design solution, and to
provide a platform for debate
amongst fellow design team
members, engineers, business
and marketing specialists,
and, of course, the customers
themselves.
Image courtesy of Dyson.

5. Dirk Müller-Stolz, exterior

designer of the MINI Concept
Car, mocks-up a full-scale,
two-dimensional prototype
of the car. Taking the step
of working at full-scale
inevitably reveals new
insights into the design
process and therefore the
eventual design solution.
This is an invaluable way
of soliciting feedback from
other stakeholders.
Image courtesy and copyright
of BMW AG.
Managing the Design Process
116 | PART TWO

A. Inception

L. Feedback B. Feasibility

K. Completion Architects Engineers C. Outline

proposals

Desi
Design Team
Design

Project
J. Operations Site Surveys Cost D. Scheme
on site Manager consultants design
or Client

I. Project Acoustics Planning E. Detail Brief should not be

planning design modified after this point.

H. Tender F. Production Any further change in location,

action information size, shape or cost after this
G. Bills of
quantities time will result in abortive work.

QUESTIONS FOR DISCUSSION: How can design managers support the creative process of design? In what
other ways can the process of design be used as a problem solving activity? How do you budget for a creative
process, without compromising the results? What role can the design process play in creating the conditions
for innovation?
 Design Processes | 117
7 8

Problem Understand Concept Concept Detailed Production

definition problem design development design and and/or
evaluation manufacture

Review the brief Finalize the brief Concept design Design development Detailed design Tooling
Client familiarization Agree responsibilities Concept review Prototypes Prototype evaluation Manufacture
Research Agree concepts for Production planning Project review
development Design refinement
Final presentation
Design freeze
Pre-production prototype
Activities

Research & Site visioning Brief Workshop & Prototype User testing Site map, Visual design Development Documentation
analysis development interface development user interface templates & & quality creation
development schematics & content assurance
content development
allocation
Deliverables

Insights & Site capabilities Brief Interface Prototype Recommended Site Beta & Complete Standards
opportunities prioritization model modifications specifications templates final version guide &
specifications

Discover & understand Define High level design Detailed design Develop & test Deployment

Strategy Design Development & production

7. The Royal Institute of 8. Shown here are the key 9. This diagram shows an
British Architects (RIBA) Plan stages of a design process, overview of the design
of Work describes each of the as typically followed by a process for the creation of
key stages of the architecture product design team. web-based services and
design process. It is Providing an overview of applications. The diagram
recognised throughout the the key stages in the form of documents the design process
construction industry as a a diagram helps the client to itself as well as the key
model framework for project understand the whole design activities and deliverable
management. process. It also acts as a map results for each of the
Source: Adapted from the for the design team and will process’s stages.
Royal Institute of British remind them of the steps to Source: Rollestone, 2003.
Architects (RIBA) Plan of be taken and at what stage,
Work. their contribution is needed.
Managing the Design Process
118 | PART TWO

KNOWLEDGE
Competitive Advantage Through Design
In an increasingly competitive global marketplace,
many organisations look for new ways to improve,
add value and differentiate their products and
services. Having competitive advantage is vital for
organisations in over-saturated markets, and those
trying to tap in to new ones. Design thinking,
processes and methods are practical ways to enable
organisations to compete.
There are a number of classic theories devoted to
competitive advantage. Business expert Michael
Porter believes that organisations must make
a choice about the type of competitive advantage
they seek, and suggests three possible strategies to
achieve it: low cost, differentiation and focus.
Marketing expert Philip Kotler believes that most
consumers are primarily concerned with quality,
service and value, and these are becoming standard
customer expectations, not distinctive, market-share
winning attributes.
Design is an obvious and practical way for
organisations to make their products and services
more distinctive. However, design and design
management also has much to offer the product
and service development process, from initial
research ideas, to supply-chain management, to
the point of sale. In these ways, design thinking
can and does enable valuable competitive
advantage for organisations.
CUSTOMISATION
Customising products and services is an invaluable
way to achieve competitive advantage through
design because it creates ‘unique’ offers for
consumers. Ours is now a world of mass production;
vast quantities of the same products roll of factory
production lines throughout the world. But, with the
emergence of new technologies, it is becoming more
and more common to see mass customisation; where
the benefits of mass production (such as lower costs
or increased distribution efficiency), are combined
with the benefits of goods and services that are
customised around individual consumer needs.
Organisations such as Dell and Levi Strauss have
been particularly successful at offering mass-
customised products and services.
Pine (1993) describes mass customisation as ‘a new
means of viewing business competition, one that
makes the identification and fulfilment of the
wants and needs of individual customers paramount
without sacrificing efficiency, effectiveness and
low costs.’

‘No matter how good the product and service, and no matter how strong the
brand, it must be supported by good operations systems. There is a desire for
faster and reflective information that reflects the market, customers,
designers, manufacturers, retailers to deliver better services to customers.’
Terence Conran
 Competitive Advantage Through Design | 119
1 3

1. Benetton focuses on
meeting the needs of its
customers as quickly as
possible. Fast replenishment
to better fulfill customers
desires means retailers need
to stock fewer items of each
style, and can therefore stock
more variety of goods on the
same shelf space. Benetton
have short-cycle, networked
production techniques, and
can dye products after their
manufacture. Through
information gathered from
their retail shops and supplier
networks, stock can be
centrally replenished in
any country from Italy.
Image courtesy of The
Benetton Group.

2. Through taking innovative

approaches to their supply
chain, Swatch is able to offer
a broad product range,
combining top quality with
a highly affordable price.
Image courtesy of Swatch.

3. Swatch exploits the idea

of mass customisation in
their product components
and manufacturing processes.
Reducing the number of
parts in their watches,
squeezes out costs from
the production process.
Instead of the usual 91 or
more parts needed to create
a watch, Swatch succeeded
in reducing the number of
components to 51.
Image courtesy of Swatch.
Managing the Design Process
120 | PART TWO
‘In today’s globalised business world, it is important that a company and
its products and services are noticed and stand apart from those of the
competition. This means that design decisions are becoming increasingly
important for market acceptance. Decision-makers within companies must
systematically come up with creative design solutions.’
Professor Ralph Bruder

SPEED TO MARKET DESIGN AND WORK ENVIRONMENTS

Getting a product or service to market before the
competition is a key form of competitive advantage,
and one in which design plays a crucial role.
Information flow, management and the actual
logistics and operations of an organisation will
all involve the design of efficient and effective
processes, both internally with design teams,
business units and global satellite offices, and
externally with suppliers, partners and customers
themselves.
Retaining highly-talented staff is an increasingly
critical factor to the success of an organisation,
and providing high-quality working environments
is another way that design can add value to an
organisation. Company buildings are assets that can
reflect and reinforce the brand, and simultaneously
strengthen the internal culture of the organisation.
Achieving a work-life balance and quality working
environments are now more important factors than
high salaries in staff retention.

DIFFERENTIATION THROUGH DESIGN INNOVATION OR IMPROVEMENT?

In a highly commoditised marketplace,
differentiation – how one product or service stands
out from similar products or services – allows
customers to make a distinction between competing
offers. Distinctive products and services make
themselves unique, and can command premium
prices if, in the mind of the customer, the difference
is considered to be worth the extra cost. Different
organisations will often choose to focus their offers
on distinctive qualities or brand attributes. Design
can communicate these attributes through the style
and appearance of the brand’s products
and services, and the very manner in which the
organisation communicates its brand image.
Successful products and services are not always
innovations. Frequently, increasing market
share may rely on incremental and continuous
evolutionary improvements, rather than
revolutionary innovation or invention. This is
often the case in service design, where feedback
solicited from customers and users can form the
basis for improving customer service, increasing
satisfaction and potentially building customer
loyalty by being responsive to customer needs.

If the brand attributes are important to the

customer, the product or service will be perceived as
something that meets their needs and desires. Design
is a valuable means of differentiation, one in which
product or service design details become very
important. The aesthetics, function, shape, in
fact each and every design detail, will help to
communicate the value consumers will place on the
brand. The brand sets the customer’s anticipation
and expectation of quality and experience.

QUESTIONS FOR DISCUSSION: What systems can be put in place to ensure senior management and
stakeholders are kept up to date of external developments and competing offers? How can design help to
reduce costs within the supply chain?
 Competitive Advantage Through Design | 121
4

4. Camper’s Wabi shoe,

downsizes the manufacturing
processes normally used in
shoemaking to just four
stages. The Wabi is made up
of three main components:
the protector, the insole and
a sock, which also makes it a
sustainable design as it is
easy to recycle. The three
components can be worn
in different combinations
depending on the season
and the temperature.
Image courtesy of Camper.
 Managing the Design Process
122 | PART TWO
Case Study

PRACTICE
Kajima Design Europe for JVC

1. The new JVC

headquarters building, it
is located on the outskirts
of London.

Table 1: KDE’s Key Design Objectives

1. Respond to the existing site conditions and constraints

2. Respond to JVC’s operational and logistical requirements
3. Create an effective, efficient warehouse and distribution facility
4. Add value to the site, both as a location and as a financial investment
5. Embrace sustainable design thinking
6. Create an inspiring working environment and a sense of place
7. Address and satisfy all government and institutional regulations
Case Study

2. The master plan reveals

THE DESIGN PROCESS IN ACTION
Kajima Design Europe (KDE) is a creative team of
architects, designers and engineers, which provide
services for all stages of the building process.
When asked to redesign the headquarters of the
Japanese consumer electronics brand JVC, KDE’s
project team creatively addressed a set of complex
challenges associated with the existing site, which
had been JVC’s London base for more than 30 years,
and brought in external specialist skills to
supplement the project team.
The JVC site was a collection of contrasts that had to
be brought into balance. To the north of the site was
a reservoir and wildlife sanctuary, while to the south
was a busy, noisy motorway. With longstanding
emotional and logistic ties to their existing location,
it came as a shock when JVC discovered, in the early
stages of site investigations, that they had been
sitting on a brownfield site, which contained
substantial deep pits of carbide lime. The design
a structured layering of
functions within the
boundaries of the site,
from warehouse to
workshop and service
distribution to the
headquarter building,
solution that allowed JVC to remain on the site would expanding into the
have to address its environmental responsibilities, landscape beyond.
the contrasting aspects of the site conditions, and
contribute to the regeneration of the area.
KDE’s first task was to address the brownfield issues
and to make safe the site. Working with a number
of external design team partners and environmental
and regulatory bodies, the lime containment was
addressed and the site secured, so maintaining the
investment value and planned usability of the site.
The next task was to evaluate the way in which the
buildings were used. JVC’s current and likely future
operational requirements had outgrown its existing
arrangement of offices and warehouses resulting in
numerous inefficiencies. In addition, the company’s
headquarters building no longer expressed the style
and sophistication of the JVC brand, nor its future
aspirations. KDE began the design work by viewing
the project constraints and the site conditions as
both an asset and a necessary part of finding a truly
contextual design solution.

3. The site plan

demonstrates that
the more a development
fits into the existing
context, infrastructure
and natural conditions,
the more flexible it can
be to changes in the
future. This affords the
opportunity to maximise
the potential of the
investment.
Managing the Design Process
124 | PART TWO
Case Study
THE DESIGN RESPONSE
KDE proposed to demolish almost all of the existing
JVC buildings and build a new administration centre
to house various corporate departments, a new
showroom and a staff restaurant. An additional large
single warehouse and two smaller units would
accommodate the vastly increased product storage,
and allow for future flexibility.JVC were to stay on
site throughout the two phases of construction.
The first phase would temporarily relocate staff to
one building, complete construction of the main
administration building, and begin construction of
the warehouse complex. The second phase would
complete the warehouses and the landscaping.
Situated, as it was, in an area of outstanding natural
beauty, afforded the project an environmental heart.
KDE’s design of the new ‘face’ of JVC would be a
window onto this natural asset. The new
administration building would accommodate the
offices over the four levels, on the building’s north
side, a glazed façade would allow for excellent
natural light and give staff and visitors unobstructed,
open views of the reservoir. By locating the building
closer to the reservoir, it would become a focal point
for the design, and would create a working
environment where the staff had a much more
immediate relationship with the nature reserve.
The administration building’s ground floor entrance
and reception lobby were to expand into a dynamic
double-height space and showroom, which would
also serve to accommodate the differences in the
site’s plane. The staff restaurant was to visually
extend into the landscaped area to the north, and
this would create a hub of activity on the ground
floor.
The new warehouses would provide an
environmental buffer to the noise and air pollution
from the motorway, and would shield the
administration building, accessible landscaped areas,
outdoor spaces and walkways, this would serve to
improve both staff safety and vehicle manoeuvring.
Rationalisation of JVC’s operations into fewer
warehouse buildings also allowed for vast
improvement in their logistics and storage capacity.
Case Study

4. The scale and

orientation of the
cladding profile
provides a sense of
proportion to the
new administration
building.

5. The facade of the

main administrative
building, which faces
a busy and noisy
motorway, displays a
jewel-like presence at
night.
 Managing the Design Process
126 | PART TWO
Case Study

6. The neutral palette of

the building materials
and a soft, industrial
aesthetic were carefully
chosen to reflect the JVC
brand, express the
individual building
functions within the
architectural
composition, and to
complement the
contrasting surroundings
of the motorway and
the nature reserve.

7 Brent Council

Environmental and
Regulatory Bodies
7. The KDE design team
was composed of a
range of internal Bruro
KDE
and external service Architects Happold
Engineers
partners such as
architects and
engineers. The team Design Team
had to interact
G&T
inwardly with the English Site Technics Client Cost Environmental
Nature Site Surveys JVC Consultancy Agency
client (JVC) and
outwardly with a range
of government and
environmental bodies.
R Aduitt DTZ
Acoustics Planning

TFL GLA
Case Study
SUSTAINABLE DESIGN
Three key steps were taken in KDE’s design process,
which resulted in a more sustainable design solution.
The steps allowed JVC, a major organisation in the
area, to remain in their existing location and
continue to enhance the local economy.
Firstly, the orientation of the buildings would not
only maximise the site’s potential, but would also
minimise the environmental affects of removing
excavated material. Secondly, the existing change
in level across the site, disguising a disused
underground car park, was modified to reduce
the importing and exporting of soil from the site.
Through careful demolition and construction
phasing, the disruption to JVC’s operation was
minimal, allowing them to continue with business
whilst construction took place and preventing any
costly and time-consuming relocation. Finally,
mechanical ventilation was controlled through the
location of core elements and cellular rooms to the
rear of the main administration building; this was
effectively an environmental buffer to the sun, air
pollution and traffic noise.
WORKING WITH THE TEAM
The project aroused public interest and had to
be in keeping with regulations of a number of
environmental bodies. These groups worked in
partnership with KDE and the construction team to
resolve all aspects in the most mutually beneficial
manner, and ensure that the plans for the site
fully accommodated the need to obtain planning
permission and address sensitive environmental
issues.
Engineering firm Buro Happold sought in situ
treatment and containment alternatives to removing
waste materials from the site, as part of an
environmentally sound, sustainable and cost-
effective solution. Simultaneously, the new buildings
were to be developed while the site itself was being
physically stabilised. Further significant obstacles lay
underground. Two large sewers and a number of
electrical cables ran under the site. KDE wanted to
build in this area, but if they diverted the pipes they
would have to assume responsibility for the pipe’s
contents. To mitigate risk the warehouse was
positioned and built over the drains, which retained
the status quo.
The process was a constant challenge to understand,
accept and manage the conditions of the site, to
reassure the planning authority that their
requirements would be met, and to balance the costs
and viability of the project. John Chapman, Design
Director of KDE, comments that ‘this really was a
case of a project made possible by everyone coming
together right from the start of the process allowing
us to steer it forward, explain the difficulties, offer
solutions and develop it in a way that was beneficial
to everyone involved.’
Through successful teamwork, the project result is
a stylish business park that is in harmony with its
surroundings, and a landmark building which
provides an inspiring work environment for JVC’s
employees. The project relied heavily on the success
of the relationships formed between the client, the
design team, the public and the environmental
organisations involved, illustrating the complexities
of managing creative projects with a large and
diverse team of people.
All images courtesy and copyright of Kajima Design.
 Managing the Design Process
128 | PART ONE
Case Study
PRACTICE
The Honda Zoomer
1. The Honda Zoomer,
scooters, ‘making city life
easier.’
CUSTOMISING THE DESIGN AROUND CONSUMER
NEEDS
Honda’s Zoomer was born in Asaka, Japan. Created
by N Projects, a group of forward-thinking designers,
whose client brief was to create a bike that would
adapt to the varied lifestyles of today’s youth. N
Projects’ design response was to make the Zoomer as
bare as possible so that owners could customise the
bike according to their individual needs. According
to Mr. Tateishi from N Projects, ‘it is possible to make
a bike adapt to users, users shouldn’t have to adapt
to the bike’.
The Zoomer is designed with extra-wide tyres and
dual headlights, and is powered by a quiet, fuel-
efficient 50cc engine. Its plush seat, which is
contoured for comfort, can be easily adjusted to
seven different levels, while under the seat, a ‘bare-
bones’ approach to chassis design has created a huge
storage space to carry anything from skateboards to
camera tripods. At the heart of the Zoomer is its
liquid-cooled, four-valve, four-stroke single-cylinder
motor, which benefits from the latest programmed
fuel-injection system; the Zoomer was the first small-
capacity motor to be fitted with such an advanced
fuelling system.
Case Study

2. The Honda Chiswick

retail environment is
designed to raise brand
awareness, both by day
and by night. The shops
are attracting a new type
of consumer; design-
savvy urbanites looking
Although the engineering and performance of the PROMOTING THE BRAND for ways to deal with
Zoomer are exceptional, it is the aesthetics and traffic congestion in
attitude of the bike that are winning over other As part of their UK promotional campaign, Honda the city.

brand-loyal customers. The Zoomer’s fat tyres, bug-
eye headlights, raw chassis and minimalist design
signals something quite different and unique. Owners
can customise their Zoomer, making the bike even
more personalised, with a wide range of optional
‘hop-up’ parts and accessories, including radiator
covers, a rear carrier and racing foot rest.
A choice of different saddles, paint jobs, frame
colours, racks and chrome parts, as well as a range
of performance-enhancing engine parts, are all
available and many of these parts are matched to
the Zoomer’s colour options of red, black, yellow
and green.
Since its launch in 2001, the Zoomer has achieved
a considerable following in Japan, the United States
and Europe. The key to its success is the Zoomer’s
ultra-cool, minimalist urban styling, which provides
a base for a very individual machine that is fully
customisable via a range of accessories specifically
created around the needs of their target audience of
young, urban consumers.
gave Zoomers to people they felt would represent
their brand image and customise their bikes in a
highly creative way. The key was to appeal, through
peer group and brand association, to a target market
of design-savvy young urbanites. Although giving
away scooters is not profitable, the campaign proved
to be a phenomenally successful marketing and
brand-promotion exercise for Honda.
The scooter class is one of the fastest growing
segments of Europe’s motorcycle market. To help
further promote the Honda brand, four new scooter
retail environments were launched in London. The
design of the shops followed the ultra-cool, urban
styling of the bikes, and carried the wide range of
scooter accessories, with which owners could
uniquely customise their newly-purchased Zoomer.
All images courtesy and copyright of Jump/Honda UK.

For Honda’s UK launch, a limited edition of 100

3
Zoomers were released, and potential customers were
informed that they would have to hurry as stocks of
the ‘hip and zippy little 50cc scooter’ were in very
3. London interior
short supply. Wanting to make their own mark in the
designers Jump were
local market, Honda (UK) bought into the Zoomer
responsible for the
culture by modifying the Zoomers with chrome concept design and
bodywork, nitrous oxide injection, extra lights and implementation of a series
even a playable Sony PS2 with mini-screen under the of small scooter shops.
seat. An online magazine for ‘the coolest scooter Jump’s design reflects the
around’ was also created (www.zoomerzine.co.uk). idea of urban transport
with a backdrop of point-
of-sale displays, graphic
effects, mirrored fittings
and light fixtures that are
shaped like road signs.
Managing the Design Process
130 | PART TWO
Interview
INTERVIEW
Mat Hunter, Director, IDEO Europe
Can you briefly describe your current role and
responsibilities?
I lead one of IDEO’s seven ‘practices’, which are the
business units that specialise in different types of
design and innovation work. I’m responsible for
setting the vision for the type of work that we
should do (considering what the market wants),
developing client relationships, realising projects
that deliver value to our clients, and ensuring that
every project meets its goals.
How long have you worked in this industry?
I’ve worked in the design industry for about 11
years, first in California and then, more recently, in
London. Initially I specialised in design and strategy
work for consumer electronics and the Internet, but
more recently its anything from food to electronic
product convergence.
What does management mean to you?
I find ‘management’ a fairly bland term. I prefer
‘leadership’. The question is what are you trying to
achieve, or where are you trying to go? Of course
it takes effective management to get there, but the
vision of where to go seems more important to me –
it certainly seems to be in short supply. That’s
generally why IDEO gets hired, because an
organisation cannot see its own way forward.
From your perspective, what is design?
Design is a creative process that generates value in
a social context. It’s about generating products,
services, environments and media that businesses
and organisations can provide to consumers. The
design process can define both what to make as well
as how to make it.
In what ways is design strategic in your
organisation?
There is no other type of design that we do, all
design is strategic in that it is highly aligned with the
business goals of the companies that we work for.
What are the challenges you have faced in terms
of getting your clients to realise that design is
strategic and not just implementation?
Design needs to be both strategic and well
implemented, failure can result through a lack of
attention to either component. It is true that
ineffective design is more likely to fail by not being
strategic, but it’s important not to belittle
implementation.
Frequently clients come to us saying ‘please design
me x’, and our hunch is that they really don’t want
x, they want y. The good news is that it’s relatively
straightforward to persuade clients of our view. The
trick is not for us to tell them they are mis-guided,
but for their consumers to tell them. We start every
engagement with ethnographic research, spending a
few hours each with perhaps 10–20 consumers. The
insight we get from such work begins to express
what the market might want; their unmet needs.
After that we can map the opportunities on to the
business goals of the organisation, to begin to
define a strategy that will provide true value to
their business.
How do you measure the impact design thinking
has with your clients? And for your clients how
does design impact their bottom line?
It’s notoriously hard to track the return on
investment in the short term. That’s why innovation
requires such conviction from the top of the
company. There is no doubt that companies which
possess an effective culture and process of
innovation outperform those that do not. Boston
Consulting and BusinessWeek’s
BusinessWeek’s 2006 innovation
review found [for those companies] that the profit
margin was likely to be many times higher as well as
revenue. It comes back to the idea that the purpose
of design is to generate and encapsulate value;
higher value means higher profit margins.
Interview
Mat Hunter leads IDEO’s Consumer Experience
through Design Practice, a global team that
specialises in design and innovation for consumer
brands and products. Over the past ten years at
IDEO he has developed products, services and
strategies for Kodak, TiVO, Hewlett Packard, Procter
& Gamble and many others.
Are there design tools or methods used within
IDEO to raise awareness of design thinking
externally?
IDEO has developed several tools to help both our
clients and IDEO staff demonstrate some of our
methodologies. One is our method cards, a set of 52
cards that show different ways of observing humans,
different ways of finding insights [see page 108].
What, to you, is the relationship between design
and innovation?
The design process, culture and perspective –
what we call ‘design thinking’ – is very useful for
driving innovation. User insight, collaborative,
interdisciplinary teamwork, idea-generation
processes, rapid prototyping and visualisation to
express and make them tangible.
It’s always important to clarify what we mean by
innovation, after all there are many types and many
reasons why innovation might be valuable to a
company.
Is it possible to innovate as part of normal day-
to-day operations, and to embed innovation into
an organisation’s culture?
Yes, organisations like Google, 3M and Toyota have
innovation at their core and it has made them the
highly successful companies they are. The key is to
understand that innovation is not just a process,
it is also a culture. The company culture must be
right for innovation to thrive. Collaboration and risk-
taking have to be seen as positive and challenging
the status quo. The quickest way to get this to
happen is for change to start at the top. The CEO and
the rest of the board must believe in innovation and
actively champion its growth.
According to British Design Council’s industry
research, 93% of designers think that business
skills are either essential or useful in the
curriculum, whereas only 54% of design colleges
think that business skills are either essential or
useful in the curriculum.
Do you think that business skills are important
in design education?
Yes, hugely. And I think that design colleges are
quickly waking up to this shortfall in their
curricula. One of the key questions, however,
must be what we actually mean by business skills.
Yes, understanding the financial underpinnings of
product or service delivery is valuable, but I believe
that a sound understanding of how industry
works, who does what, what does the marketing
department do, how do the advertisers work etc.,
will help the designer see how they might fit into
the world of business, what their value is and what
the value of other players is.
What skills would you like designers and design
managers to develop?
A design is successful when it connects what
consumers really want, with a sound business
strategy, and the resulting product, service or
whatever is expressed with a suitable brand
voice. So the basic skills are an appreciation for
ethnography, the process of gaining deep consumer
insight, an appreciation of business strategy to gain
some understanding of the viability of a product or
service, and an understanding of technology. Only
when a product, service or other design outcome is
desirable to the user, viable for the business and
functions appropriately, will it become a success.
Managing the Design Process
132 | PART TWO
Interview
INTERVIEW
Brian Smith, Managing Director, FeONIC Plc.
What does management mean to you?
I believe that management involves a mixture of
sharing experiences and knowledge and guiding in
the decision-making process, but only when required.
I have found that empowering capable people to
make their own decisions, irrespective of their
backgrounds, affords faster individual development
and accountability, which helps builds a more
responsible team.
What do you like about it?
I am very fortunate in that our founder chairman,
and my champion, is Brenda Hopkins, a strong
admirer of creative thinking and someone who
recognised the power and possibilities that design
and innovation would breathe into this technology,
long enough for it to be nurtured. I take great
satisfaction watching young people develop and I
particularly enjoy the buzz and pride in FeONIC as
our technology gradually becomes more accepted
around the world.
In terms of the organisational structure where
does design sit?
Design sits at the very top of our company. Of eight
full-time employees we employ a textile designer, a
product design engineer and myself, an industrial
designer. Design greatly affects all aspects of our
business, environment, identity, web presence, the
products we work on and, most importantly, our
choice of partners, products, promotion and our
future.
How is design used in your company?
Design is a strategic part of our business ethic. It
affects our approach to our technology and business
equally. The metrics of design management are the
metrics of our new product development strategy,
from the creation of a design brief, through to the
testing routines we adopt to validate the design at
production, to the assessment of our partners as
strategic users of our technology
What value does design bring to FeONIC?
Without design as an encompassing set of values
FeONIC would not exist today in anything like its
current form. Design is helping the technology be
taken seriously because it is being used for real
purposes for real people. I believe that our chairman
was absolutely right to empower design as a means
of challenging, nurturing and growing the core
technology assets the company has gradually
amassed over the past five years.
What are the day-to-day challenges you face in
terms of design and business?
For some years now, I have felt that design, as a
process, is quite controllable. Managing design well
requires a disciplined approach and can repeatedly
yield good results. Business success arising from the
use of design however, relies on other dynamics that
often control the rate at which things change. With
new technology, ‘strategic’ design might not be
enough. New technologies have to survive long
enough to become credible; industry interest has to
be sufficient enough to merit long-term investment;
channel partners have to recognise enough inherent
value to commit to making an investment;
consumers need to clearly understand the value of
the proposition; financiers need to be prepared to
wait long enough for the technology to mature, and,
above all else, the overall climate needs to be
receptive to technology change, and this is often
influenced heavily by opinion formers and media
comment.
Business success is more difficult than design to
manage, perhaps this is one reason why strong
characters, individual or corporate, supported by
strong design champions, for example, Steve Jobbs or
James Dyson, have managed to succeed. By
controlling the business process as they have
controlled the design process, they maintain control
long enough to achieve success.
Interview
Brian describes his role at FeONIC as a hybrid of
technology champion and creative manager. His
work encompasses technical development, early
product commercialisation and new market seeding
as a prelude to technology or product licensing.
Brian has a background in design and management.
What are the challenges you have faced in terms
of getting people within your company to realise
design is strategic and not just implementation?
This has been a massive challenge and is, I
believe, the single most important factor affecting
technology start-ups. Design is the poor sibling of
the innovation family in the eye of technologists,
engineers and scientists. I believe that there are
many reasons for this, including lack of design
accountability and the affiliation of design skills to
vocational rather than professional ones. At FeONIC
our development team consists of physicists,
engineers and scientists, who have embraced our
design-led culture since the early days of its
introduction.
In your company how does design impact the
bottom line?
This is really difficult for us to quantify, as it is
impossible to imagine FeONIC in its current form
without design as a key skill. In the last five years we
have sold over £2,000,000 worth of products that
utilise FeONIC technology, developed through our
emerging fundamental design strategy, supported
by our distributors and partners around the world.
Five years ago these products did not exist. More
importantly we are establishing a list of very credible
partners around the world that are seeing the
strategic opportunity that FeONIC technology and
our IP actually offers. As such, some very credible
market penetration has been achieved in Europe.
What, to you, is the relationship between design
and innovation?
I believe that design is to a great degree reactive
whilst innovation is much more proactive. In design
one tends to talk in current, known language and
terminologies , or sometimes in the emerging
languages of fashion and style, engineering
standards, regulations and build configurations.
In innovation the languages are less clear, as in
many cases new words have to be created to explain
new and emerging thinking. Some designers are,
of course, particularly innovative in creating
completely new languages within their own field
of design, however for me the two are completely
entwined with good design providing the vehicle for
communicating good innovation to the market.
Are business skills important in design education?
They are critical to our future. Actually, I believe
that design is in danger of being marginalised as a
‘non-accountable overhead’ in many of today’s
increasingly financially-driven companies. Only
with education adopting a more responsible and
accountable ‘business relative’ stance will designers
achieve the same corporate respect as accountants
or lawyers and become properly recognised as a
relevant and very necessary profession.
Managing the Design Process
134 | PART TWO
KEY SKILLS
Managing Creative Teams
Getting the most from creative teams relies on good
communication, delegation and leadership skills, and
valuing and respecting the different styles,
approaches, talents and skills of all team members.
Teams that work well together exhibit high levels of
collaboration and trust; they like working with each
other. Formally agreeing roles and responsibilities is
important (so everyone knows what they are doing
and what is expected from them), as is matching the
right people and personalities with the right project
(so that people are actually able to perform the
tasks). However, it is the informal conversations
that occur, and the actual ‘chemistry’ of the team,
which will stimulate the sort of creative results the
organisation's are looking for today.
Learning to be comfortable with a certain level of
imprecision is part of being a design manager. Design
is all about iteration, exploring and revisiting ideas.
Stifling creativity by micro-managing, controlling
and dominating, or steering a solution in a particular
direction before the design team has had the chance
to fully uncover the problem and explore new ideas,
are all detrimental to the nature of the creative
process. The key words for anyone responsible for
managing a creative team are freedom, focus and
budget. The freedom to allow time and space for
divergent thinking, the focus to then encourage
convergent thinking, and a realistic awareness of the
budget in terms of both time available and costs
allocated.
QUESTIONS FOR DISCUSSION: What different ways are there to find the right designer to complement an
existing design team? How would you go about finding and engaging a whole design team to carry out a
specific project?
TEAM-WORKING
Combining the right people, personalities and skills
into project teams that will work well and within
tight timescales, is a significant challenge.
In the current climate, design is more about team
performance than individual achievement, and
working within a design team can hold distinct
advantages. Projects can be broken down into clearly
defined tasks, roles and responsibilities, and then
assigned within the team as appropriate. However,
every team member should retain equal responsibility
for the outcome of the project, and for completing
his or her task on time (as some team members may
be relying on one person finishing a task before
another can begin). Negotiating and facilitating,
cooperating and supporting, looking for win-win
solutions and congratulating team members for a job
well done, will inspire positive team working.
STRUCTURE, GUIDANCE AND LEADERSHIP
Design teams work best when there is structure,
guidance and leadership. Structure means agreeing
roles, responsibilities and tasks, the timing of design
reviews and decision-making processes, and project
goals, deadlines and milestones. Design managers
often have to exercise judgement and compromise
between honouring the client agreement and trusting
the team’s creative ability. If the structure, budget or
timescale is detrimental to the creative process, clear
communication with the client will be needed in
order to negotiate the benefits of an extension. In
other situations, the design manager may need to
exercise formal or informal disciplinary measures in
order to prevent individual team members
undermining the overall goals and time scales of the
project team and the client relationship.
 Managing Creative Teams | 135
1

Guidance means keeping the team informed of

changes, sharing information, providing feedback,
offering constructive criticism of design ideas (as
opposed to destructive criticism of individuals), and
giving praise where praise is due. Providing guidance
also means encouraging initiative and responsibility,
drumming-up enthusiasm when morale is low,
maintaining the quality of creative solutions, and
encouraging the team to communicate effectively
and considerately with each other and those outside
the immediate team.

Design is a collective process and as such someone

needs to be in charge. Due to the differences in how
designers and managers communicate and operate,
design managers need to provide leadership,
promoting the abilities of the design team and taking
responsibility when the situation so demands.
Conflict is a natural part of the creative process, but
it needs to be dealt with quickly and decisively so as
not to undermine the overall team goals. Bringing
roadblocks and conflicting agendas out into the open
and dealing with them positively will allow the team
to move forward once again.

1. Joyn is a new concept for
work in an office
environment. Joyn recognises
that the office is no longer
the only place where people
work. Since many of the tasks
that used to be part of daily
office routines can now be
handled at home or on the
road, the office’s most
important function now is it’s
provision of a central hub for
the intensive interpersonal
exchange of information.
Traditionally, office interiors
take their cue from the fixed
pattern of individual work
and a strict division of
labour. Joyn challenges this.
Image courtesy of Vitra.
2. Joyn is the culmination of
Vitra’s 40-years worth of
office research, combined
with fresh insights from
French industrial designers
Ronan and Erwan Bouroullec.
It is an open system that can
dynamically adjust to
changing demands. Rather
than impose one way of
working, Joyn supports many.
The design encourages
mobility, mixing and natural
collaboration between
employees.
Image courtesy of Vitra.
3. St Luke’s threw out the
traditional, hierarchical
arrangement of teams
grouped by function or
discipline. Instead
multidisciplinary teams work
together collaboratively to
explore the specific needs of
each client in dedicated
brand rooms, such as this one
for Clarks. When clients
themselves are invited into
the brand rooms, they have a
sense of ownership for the
unfolding ideas by being
involved in the process.
Image courtesy of St Luke’s.
Managing the Design Process
136 | PART TWO
KEY SKILLS
Facilitating the Design Process
Design methods and processes provide a structured
way of performing specific tasks. Their success relies
on making sense of information and research,
hunches and suppositions and the constraints and
contradictions found in any design problem. The
planned approach may vary in reality somewhat due
to the iterative nature of the design process and new
discoveries made by the team in the process of
addressing client needs. It is a matter of experience
and good judgement as to whether a design manager
needs to bring the process back on track, or question
the design process in relation to the brief without
actually stifling the creativity of the design team.
Facilitating the design process requires a good people
person that can listen and understand disparate
department cultures and their associated agendas.
Design managers usually have a good understanding
of the client’s business agendas, and can help the
design process by keeping the team abreast of any
changes happening within the client organisation,
particularly with regard to the client’s vision. The
design manager plays an important role in making
sure information flows to the design team, whether
about changes within a client organisation, or
information on new materials or processes.
Translating business terms to designers, and
explaining design terms to clients, promotes clear
communication and understanding on both sides.
DESIGN REVIEWS
Held at intervals throughout the design process, a
design review evaluates the project against the
criteria in the brief and the agreed key stages.
According to Hollins & Hollins, lack of
communication between people from different
occupations is especially rife in large companies.
‘People quite often do not understand what
information the other needs to do their job, and they
do not understand how one persons decisions can
affect the work done by others.’ (1991). Design circles
– small groups from throughout the organisation put
together to review design – can help alleviate these
problems.
For example, design reviews are a common
occurrence within Apple’s creative working
processes. Apple employees talk incessantly about
deep-collaboration and cross-pollination. Essentially
this means that products do not pass from team to
team, and there are no discreet, sequential
development stages. Instead, Apple’s design process
is simultaneous and organic. Products are developed
by all departments simultaneously – design,
hardware, software – and in endless rounds of
interdisciplinary design reviews (Grossman, 2005).
1 Facilitating the Design Process | 137
1
9 2
8 3
A maximum of nine people
7 4
6 5
8
Product champion
1. Design circles can be used
at all stages of the design
process to help improve
communication and facilitate
decision-making. Small groups
Product champion
from throughout an
organisation can come
together to review the
design. Groups of larger sizes
than nine individuals tend to
break down into sub-groups,
People join when their
experience becomes which will lead to less
relevant
effective communication and
decision-making. Members of
the design circle will change
People leave when depending on who is best
their expertise is no suited to meeting the
longer required
objectives or a particular
stage of the design process.
Source: Hollins and Hollins,
1991.
And may return later
2. For larger projects,
supplementary design circles
can be formed around the
main design circles, with lines
of communication as
indicated in this diagram. The
design manager should be a
constant member of the main
design circle, and should
Main design circle
provide feedback to those
design team members that
are relevant to the project,
but are not in the main
circle.
Source: Hollins and Hollins,
1991.
Supplementary
circles
Managing the Design Process
138 | PART TWO
STIMULATING WORKING ENVIRONMENTS
Design managers need to seek ways to safeguard the
creative process, and to shield the design team from
the unproductive comments of others. Creating the
right working environment for the team also creates
the necessary conditions to aid the design process
and creative thinking. By nature, designers are
reflective beings and need to go through periods of
divergent (debate and dialogue and lateral thinking)
and convergent (processing ideas on ones own)
thinking. These different thinking and working styles
require different environmental conditions, for
example, open-plan and lively spaces for stimulation,
versus quiet areas for concentrated thinking.
Table 1: Smart Objectives
Goals
Specific Have the expected outcomes
been made clear?
Is the information necessary to
complete the task available?
Measurable How does the task support the
organisational goals, and is this
measurable?
How does the task help
customers, or reduce expenses?
Achievable Is the task achievable within the
time and cost allocated?
Realistic Are the objectives realistic?
Timed Is there a clearly prioritised and
defined schedule for the project?
SMART OBJECTIVES
Making multiple choices and decisions, and
accommodating the varying demands of others,
makes it important to plan and prioritise workloads,
over the short and the long term. Setting objectives
that are SMART (specific, measurable, achievable
realistic and timed), can guide the decisions made
by design managers and help team members be
more effective.
It is also a powerful way to motivate teams to
achieve outstanding results. Once the goal of any
task or project are defined, the order of priority
can be established. The task can then begin, one step
at a time.
Priorities
Clarify what needs done and when.
Establish the priority of the task in relation to other
tasks.
Not knowing what the expected outcome should be
leads to poor time management – the team will not
be sure of where to focus their skills.
Clarify the expected outcomes in quantifiable and
qualifiable terms (if possible).
Be able to demonstrate the relationship between the
completed task and the success of the business.
Communicate throughout the process. Get support if
extra resources are needed to complete the task. If
necessary, say no to taking on the task if the
resources are not available to succeed.
Take into account public and employee holidays.
Ensure the team are able to proceed as quickly
as it is scheduled.
Ensure a realistic timetable and deadline for the task
is agreed with the client.
 Facilitating the Design Process | 139
3

3. Dyson Demo in London is

a space used by Dyson for
educational and media
events, and to showcase their
latest technologies, which are
developed in the company’s
research, development and
production facilities.
Image courtesy of Dyson.

QUESTIONS FOR DISCUSSION: How can design managers lead, and support the design of products and
processes that stand out, emotionally connect with consumers and add value to the business? In what other
ways can design and management support each other?
Managing the Design Process
140 | PART TWO

KEY SKILLS

Developing Collaborative Cultures

Organisations that encourage their employees,
stakeholders and shareholders to share resources,
ideas and innovations are often the ones which
deliver products, services and experiences that their
customers actually want. Design managers, because
of their familiarity with both design and business, are
well placed to act as catalysts within organisations,
by contributing to new initiatives. In addition, design
managers are also in a position to form the ‘glue’
between business and design, influencing the way
that units can work together in new and surprising
combinations. Engaging a variety of stakeholders in
the creative process facilitates and integrates
different disciplines, functions and divisions.
FUNCTIONAL TEAMS
The conventional, and rather hierarchical, approach
to design teams dictates that each function or
discipline, such as designers, project managers or
account directors, should work in isolation. Design
teams set up in this way are good for sharing
discipline-specific knowledge, as team members
benefit from a cross-fertilisation of ideas from
colleagues working with different clients and in
different industry sectors.
CLIENT TEAMS
In a design consultancy, individuals from a range of
disciplines or functions can be organised to work
together in specific client teams. The advantages
of client teams are that its members can immerse
themselves in the project problem, and maintain
a level of confidentiality away from other client
teams. As teams are interdisciplinary, the client
problem can be viewed from different perspectives
simultaneously. Another benefit of client teams is
that they are isolated from functional units and
other day-to-day business concerns or distractions.
PROJECT TEAMS
In a client organisation, people from a range of
disciplines or functional units can be organised to
work together in specific project teams. Having
people from variety of backgrounds in a project team
can generate the all-important creative spark. In the
words of Rockwell (2003), it’s not about ‘getting
people to sit in a room and agree with you…it’s about
getting enough voices in a room that are dissimilar,
create some friction, and use that friction to make a
decision you wouldn’t have made otherwise.’

Within a client organisation, functional business

units such as marketing or finance departments
are established so that people from each area work
in a self-contained way. The way the units work is
focused around the hierarchies, lines of authority
and conventions of the business and its culture;
people from different disciplines meet and work
together in team and client meetings. Working in
separate business units creates focus, but business
units by default do not allow for the cross-
fertilisation and knowledge of ideas from
different units on a day-to-day basis.

QUESTIONS FOR DISCUSSION: In what other ways can design managers help build collaborative cultures, and
inspire team members to lead by design?
 Developing Collaborative Cultures | 141
1 2

1. The BMW Group 2. Creative brainstorming

DESIGN AND INNOVATION
debated the merits of methods are taught to
division-oriented versus employees by organisations
Is it possible to develop a culture of innovation,
project-oriented organisation, such as Whirlpool and
throughout an organisation, by creating a separate and developed a concept Toyota. Suggestion boxes
innovation team, one that is remote from day-to-day where associates within are also provided by these
business activities? Or does the act of collaborating technical departments organisations to encourage
in day-to day business concerns actually stimulate join project teams for the new ideas or improvements
new responses to organisational challenges? duration of the concept from any of their employees.
phase. Then, in a subsequent Companies like these are
In some the organisation's, design operates as a implementation phase, said to be operating in the
separate resource (the design team); in others design the associates return to spirit of kaizen, a word
their original technical taken from the Japanese
is embedded within several different resources (for
departments, but still work ethic of everybody
example, marketing and new product development).
maintaining their close improving all the time. In this
links with the project team. approach employees are
In either case, collaborative cultures have healthy Image courtesy and copyright seen as potential innovators.
levels of trust and communication, both within and of BMW AG.
across divisions and teams. Powell has observed that
‘a company is made up of people whose informal
relationships are more important than their formal
ones’. There may be formal reporting structures and
working hierarchies, but it is frequently ‘at the nitty-
gritty interpersonal level, that hundreds of decisions
are made everyday that are ultimately more
important than those few made at the top’ (1992).
Managing the Design Process
142 | PART TWO
KEY SKILLS
Visual Communication
The ability to represent ideas visually is key to the
design team’s ability to communicate with clients,
and the success of a project. Visual presentations
can take many forms, from thumbnails and rough
sketches of initial ideas, through to finished
representational drawings and computer-generated
renderings of a product or concept.
Visualising ideas is a form of thinking that designers
use to come to terms with a design problem, to
explore the issues involved and to gain familiarity
with a particular type of content or context. It is
also one of the key ways in which the process of
design works by exploring ideas and testing and
prototyping different solutions. Designers and their
clients go through a process of exploration and
elimination of what does and does not work.
Anyone needing to communicate abstractly would
do well to gain confidence in visualising, sketching
and paper prototyping.
The ability to draw is critical for designers as it
allows them to capture and communicate their
ideas in the process of designing; to create final
presentation drawings that visualise the end-result;
and to communicate within a team conversation or
client meeting. Drawing is a means of research and
analysis and of checking and testing inventive ideas.
We draw to communicate, capture a fleeting thought
or idea and to record and represent information.
MIND MAPPING
Mind maps are tools that allow you to generate ideas
quickly. Originated by Tony Buzan, mind maps are
non-linear representations of abstract words, colours
and images, which allow the free flow of ideas by
organisation and association.
To mind map your idea, take a large piece of blank
paper and some different coloured pens, start with
a central word or image, then branch out, putting
key words or images on connecting lines. Specific
examples and creative associations can be
accommodated, and links are made using lines, and
associations with themes or categories are made by
use of different colours. By clustering themes around
associations and links, similarities and differences
between them can be identified and evaluated.
Mind maps are an excellent means for generating a
wealth of possibilities that, through brainstorming
and review, can illustrate and suggest unanticipated
relationships and potential opportunities.
WHOLE-BRAIN THINKING
The two sides of our brain contain two distinct forms
of consciousness. The right side is known to process
information holistically, and the left analytically.
The right brain is decisive and controlled, it breaks
words and thoughts apart. The left brain is random,
creative and unstructured, it blends words and
thoughts together. People have a natural preference
for brain dominance and for hand dominance.
Both sides of the brain play a role in our day-to-day
activities, each making a different contribution.
Managers are frequently stereotyped as being right
brain, while designers are often labelled left brain.
Successful design managers have the ability to see
things from both the design and the management
perspectives. Tapping into different thinking styles
as necessary and improving whole-brain thought
processes, can help in the quality of decision-making
when it comes to design-related situations.
The following exercise will help you tap into both
sides of the brain, to take a ‘whole-brain’ approach
to situations.
 Visual Communication | 143

‘Thinking does not have to

take place in words. Nor
are concepts limited by the
availability of words to
describe them. Thinking can
take place in images and
feelings which are quite
definite but too amorphous
to be expressed in words.
People often have to think in
practical, messy ways in order
to solve problems and bring
things about.’
Edward de Bono
Managing the Design Process
144 | PART TWO
Exercise 1: Whole Brain Thinking
1. Mirror writing
Draw a line vertically down the centre of a page.
Then, holding a pen in each hand, mirror-write
your name.
2. Double doodle
On a large sheet of paper, draw with both hands at
the same time, in out, up and down. This relaxes the
arms and the eyes.
3. Figure of eight
Draw the figure ‘8’ three times with each hand, then
three times with both hands together.
DRAWING
Drawing is a process. It is about representing an idea,
or series of ideas, of how something will look or the
format it will take, but it is also a form of visual
thinking, a way to make decisions in the process of
creation. For those skilled in sketching, the best way
to draw is quickly, to get the idea down on paper
and record it while it is still fresh in your head. You
don’t have to be able to draw well to communicate
an idea (stick men are fine), but the practice does
help you to see better, and to notice things. The
following exercise will help free your eye and your
mind from habitual ways of seeing.
‘For Leonardo, drawing was an
instrument of research and analysis,
a means of checking and testing
inventions. His sketches became
teachers in their own right.’
Irma Richter
Exercise 2: Ways of Seeing
1. Core shapes
Look at an object nearby and visually break it down
into triangles, circles, squares, lines, curves or dots.
2. Upside-down drawing
Upside-down drawing can free us from purely
viewing an object, say a chair, and not the series of
shapes from which it is made. If copying another
drawing, merely turn the page upside down and
get started.
3. Opposite-hand drawing
This will free you from habitual ways of drawing
and seeing. It is an excellent way to subvert the
controlling, dominant hand-eye co-ordination and
experience seeing differently.
COLLAGE
Collage is a technique of visualising an idea using
given or found images. A useful client exercise is to
put a stack of magazines on a table, and ask them to
cut out pictures and form image boards that
represent their perception of a situation or customer
need. The visuals then act as a prop around which
insight and understanding can be gained. Often, the
significance of the choices, and the way clients
describe them, can reveal latent needs that are not
explicitly described in an initial brief.

PRESENTATIONS
Standing up in front of a group of people, many of
whom may be unknown, and presenting work can be
fairly daunting. There are however, a number of
preparations that can help things go smoothly.
First, identify your audience. Who exactly are
they? Each person may require a different level of
language, vocabulary and formality. Identify what
they are expecting from the presentation. Think
about things from their point of view and be
empathetic about their expectations. Ask yourself,
what they need to know and keep focused on what
information is actually required.
Second, assemble your presentation material. Talking
and presenting with visuals to hand will give you and
your audience something to focus on. It will then
become easier to plan or stage your presentation in
a step-by-step manner, and describe or explain the
thinking behind each step. When presenting, using
prompt cards is better than reading off a page, as it
allows for making eye contact and a more
spontaneous sounding delivery.
If presenting in a group, an elected team member
should first outline to the audience what the team is
going to talk about, introduce each member of the
team by name and briefly say what each person will
talk about.
Remember to be systematic about the order in which
you present your work. Stage your presentation
visuals (whether in a digital format or large boards
pinned up on a wall) in a rational order, and go
through them one by one. Finally, it is always good
practice to sum up at the end of the presentation.
Visual Communication | 145
ARTICULATING THE NATURE OF DESIGN WORK
For people without a background or training in
design, it can be difficult to understand the value
that good design thinking can bring to an
organisation. Client presentations are a good
opportunity to provide insight not only into a
proposed design solution, but also into the nature
of the design process itself. When presenting a design
project, the project presentation should have a
rationale, which explains the design team’s approach
to the brief, the nature of the process followed, and
how the solution was arrived at.
Preparation is the key here, first review the brief to
ensure that its requirements have actually been
addressed, and communicate your presentation in
a way that demonstrates you have understood the
brief. Quoting directly from the brief shows you are
aware and have paid attention to the business needs
of the client organisation.
Secondly, outline how you approached the brief and
the design direction you pursued; the way the design
functions and the appeal or qualities that align the
design solution with the client’s brand or mission.
Tell the story of your creative process in a way that
will generate enthusiasm and excitement about
the design solution, and then, go into detail about
particular aspects of the solution, for example, the
layout, format, or materials used.
Finish the presentation with a summary of why you
believe the design solution achieves the objectives
set in the brief, and if possible touch on the value
design can bring. Remember to take into account the
expectations of your audience, and use language
they will understand.
 Part Three: Managing the Design Implemen
146 | PART THREE
Managing the Design Implementation
ntation

This is the stage where design projects are

delivered. The focus of this stage is placed
on the process and practice of managing
projects. Once a project has been completed,
the delivery of it can entail further stages
of design management, such as developing
guidelines and manuals that will, for
example, maintain the design, or translate it
for a global marketplace. At this stage, the
design focus is placed on the management of
design agendas, projects and possibilities.
Managing the Design Implementation
148 | PART THREE

KNOWLEDGE
The Project Management Process
In this context, project management is about how
to translate design strategies and processes into a
finished result. This entails planning and coordinating
the people, stakeholders and resources necessary to
get the project built, on time and within budget.
Maintaining a good client relationship throughout
this process relies on clear, effective and frequent
communication, a good design brief and agreement
of defined roles and responsibilities. There are a
number of questions that must be addressed, for
example, what is the scope of the project? What
activities, tasks and resources are needed? How
much time should be allocated to each step, and
what will the cost be? Identifying these needs forms
the basis of good project management. For a design
manager operating as a project manager, it involves
taking ownership and responsibility for the
client relationship and how design decisions are
communicated. The ultimate goal for all involved is
to achieve the best end result possible, within the
timeframe and budget available, and to maintain a
positive working relationship throughout.
COST, TIME AND PERFORMANCE
Putting together a schedule of how a project will
run, and making sure that it stays on track, is not
easy. Design is an iterative process, and many
trade-off decisions need to be made in response to
the issues and concerns raised during the lifetime of
a project. In addition, in response to the conflicting
demands of numerous stakeholders, compromises will
need to be made. For the project manager, strong
leadership, good judgement and the ability to make
informed decisions will be needed to balance the
demands of cost, time and performance of the end
result. Poorly-managed projects often result in delays
and high costs, whereas well managed projects are
more likely to be implemented on time and within
budget.

‘The two main resources that affect creativity are time and money.
Managers need to allot these resources carefully. Like matching people with
the right assignments, deciding how much time and money to give to a team
or project is a sophisticated judgement call that can either support or kill
creativity.’
Teresa M. Amabile
 The Project Management Process | 149
1 2

1. Projects must be managed 2. Translating design

Table 1: Measures of Quality, Time and Cost to maintain an appropriate strategies and processes into
Measures of Quality balance between time, cost finished results involves
Performance and performance, which are making a number of trade-off
Features the three key influencing decisions between time,
Reliability factors of any project. quality and costs, right to
Conformance Trade-off decisions and the the very end of the project.
Durability implications of each factor Here, Chris Bangle, Global
Serviceability, will need to be evaluated Chief of Design for BMW,
against potentially conflicting discusses a design with
Aesthetics
demands (for example, some of the 300 designers,
Perceived quality/reputation
reducing cost and raising the modellers, engineers,
Value for money
quality) from a range of ergonomicists and material
Measures of Time different stakeholders and specialists in Munich, who
Manufacturing lead time contributors. are all working together to
Due date achieve the benchmark of
Rate of product information BMW quality.
Delivery lead time Image courtesy and copyright
Frequency of delivery of BMW AG.
Measures of Cost
Manufacturing cost
Value-added
Selling price
Running cost
Service cost
Profit
Source: Institute for Manufacturing, University of Cambridge.
Managing the Design Implementation
150 | PART THREE

PROJECT PLANNING Thirdly, project roles, responsibilities, lines of

When planning project implementation, and in
consultation with the design team and the client
contact, the design or project manager estimates the
amount of work involved on a project and defines
the terms of the contract. Roles and responsibilities
will then be formally assigned, both within the
client organisation and the design team. At this
point, confidentiality clauses and non-disclosure
agreements can also be included, as appropriate,
to the needs of each party. Broadly, project-
implementation planning can be deconstructed
into five key areas of activity.
Firstly, the design or project manager should ensure
the client and design teams agree and understand
the project brief, and what will actually be delivered.
This is achieved by breaking down the design or
project brief into manageable project stages.
The project manager must make sure that the
design methodology, process, development and
implementation stages are mapped out in the
sequence in which they must occur.
Secondly, the design or project manager should
breakdown what needs to be done within each
project stage into smaller tasks and activities,
prioritise the tasks and estimate the time needed
to complete each one. He or she will also need to
identify relationships between tasks and determine
what activities need to occur before another can
begin. These interdependencies should be monitored
as delays can have serious knock-on effects to later
project stages.
communication and team-management procedures
will need to be identified. The project team should be
set up and the project or design manager will
need to make sure all parties are aware of their
responsibilities, as well as ensure the time estimated
for each stage, and the duration allowed for each
task, is realistic.
Fourthly, the design or project manager should
identify any additional resources or stakeholder
involvement that will be needed to complete the
project. Key milestones such as deadlines, reviews
and presentations should also be identified. These
will serve as useful points to evaluate actual project
progression against the project plan. Project review
meetings allow the design or project manager to
monitor progress, both internally with the design
team, and externally with the client team, as well
as in combined team meetings.
Finally, the project or design manager should set up
a project file and ensure the team understands the
system for information flow, documentation, record
keeping and administration. The project manager
is responsible for making sure information flows
between the design and client teams, and for
mediating decisions, providing leadership and
direction and making informed decisions at key
stages. Everyone involved on the project should be
aware of how his or her roles and responsibilities fit
within the overall project plan.

‘Good communication in project management has four characteristics:

ensuring that all sides understand the problem and are fully briefed;
ensuring that all sides understand each other and are talking the same
language; ensuring that all sides are always fully informed, sharing problems
and solutions; and encouraging all sides to share experiences and knowledge,
especially on details, procedures and knowledge.’
Dick Petersen
 The Project Management Process | 151
3

3. Volkswagen’s retail
moving-in identity guidelines
for its car showrooms include
suggestions on how to
delegate responsibility for
managing their identity
standards. The champion
system consists of a team of
key people drawn from
within the organisation who
are responsible for ensuring
specific areas of the retail
standards are implemented
and maintained.
Image courtesy of
Volkswagen/Integrity Design
Management.

4. Each of the delegated

roles, or champions, are
responsible for different tasks
and activities of Volkswagen’s
moving-in day action plan.
Image courtesy of
Volkswagen/Integrity Design
Management.
Managing the Design Implementation
152 | PART THREE

PROJECT PLANNING TOOLS PROJECT MANAGEMENT BENEFITS

There are a number of tools that will help a
design project manager plan and track the works.
Commercial project-management software includes
applications like Microsoft Project, Basecamp or
Filemaker. A design industry standard however is a
Gantt chart. This form of bar graph is a working
document that lists each of the project stages and
the tasks to be completed, in the order that they
must be completed. The Gantt chart also highlights
any dependencies between different activities and
stages. In any project there will be tasks that cannot
be carried out until a previous step is completed, for
example, an interior designer cannot develop the
design of a specific retail space until the site itself is
surveyed for accurate measurements.
Good project planning and management can make
a big difference to whether projects run smoothly
and ‘are’ on time and ‘on’ budget, or fall into ‘fire-
fighting mode’ and other difficulties. For design
consultancies, sound project management can also
provide operational benefits and in some instances,
a crucial competitive advantage. For the client, good
project management and planning is a reassurance
of how design operates and delivers results, and
how the design process and project progress can be
communicated in a transparent and accountable
manner.

Information highlighted in a Gantt chart includes: a

prioritisation list of activities, the likely duration of
tasks from start to finish, the duration of intervals
between tasks, links and interdependencies in
relationships between tasks, critical and non-critical
tasks and key project milestones. A Gantt chart is a
plan for how a project should run in an ideal world,
and does not necessarily reflect how the project will
run in real life. Regular reviews to assess progress
will be necessary throughout the project; key
stakeholders may go on holiday or become ill, and
client contacts can change. Gantt charts provide
a focus for monitoring progress, anticipating how
resources are managed, and minimising the chance
of pitfalls and delays.

QUESTIONS FOR DISCUSSION: What, specifically, can a design manager do to help lead and support the
process of design? Consider this from the point of view of planning, budgeting, communicating and educating.
 The Project Management Process | 153
5

Preparing for moving-in day

Task list and timeplan
There are twelve key tasks that must be undertaken by the Brand Manager
(BM) and the Regional Construction Manager (RCM) to ensure moving-in day
5. Gantt charts are critical
goes according to plan. The timeplan in Appendix A shows the recommended to the process of managing
number of weeks before moving-in day that the following tasks should be projects. This task list
undertaken: and timeplan are from
1 Review Retail ldentity Standards Guide (RISG) on Desktop (BM & RCM) Volkswagen’s retail moving-in
2 Review Architect plans to determine point of sale (POS) requirements identity guidelines for its car
and order showroom materials (BM & RCM) showrooms. The list outlines
3 Confirm totem layout and order totems (BM & RCM)
twelve key tasks that must be
undertaken by the brand
4 Agree moving-in day with everyone concerned (BM & RCM)
manager and the regional
5 Order identity materials (BM)
construction manager to
6 Provisionally book merchandiser (RCM) ensure moving-in day goes
7 Appoint showroom Champions (BM) according to plan.
8 Train Champions on VRC and the RISG (BM) Image courtesy of
Volkswagen/Integrity Design
9 Confirm moving-in day to all parties (BM & RCM)
Management.
10 Check all materials and POS have arrived (Champions)

11 Plan moving-in day with everyone concerned (BM & Champoins) 6. Twiki, (a structured Wiki),
12 Train showroom staff in VRC and retail identity standards (BM) is a collaborative software
platform and knowledge-
management system used in
December 2003
project management. It can
be used on the Internet, or
on a company intranet, to
manage documentation and
project planning for teams of
hundreds of people in various
locations all over the world.
Twiki is used by companies
such as Yahoo!, BT, Disney
and Motorola.
Image courtesy of Twiki.org.
Managing the Design Implementation
154 | PART THREE
KNOWLEDGE
Project Management in Practice
Bad project management is the main reason for
client dissatisfaction with design, and why clients
take their business elsewhere. No project ever goes
exactly according to plan, but what happens if
the project is going off track, over time and over
budget?
Managing the client’s design expectations is an
important part of how successful a project is
considered to be. As an iterative process, design
encourages the integration of new discoveries,
opportunities and constraints identified during each
project stage. This is a process that requires each
team member to be comfortable with continual
change. Monitoring progress regularly, and
communicating effectively with the client and the
design teams, will inspire confidence in both the
process and those involved with the project. During
the course of a project’s lifetime, a number of
circumstances will inevitably influence how closely
the proposed project plan maps what is actually
happening. Good project managers are flexible and
adaptable in the face of unforeseen circumstances,
yet remain objective, balanced and realistic in how
they respond to the client and design challenges
that arise.
CRITICAL PATH
The critical path is used to track progress of the
project implementation. It identifies those tasks
that must occur on time and in sequence for the
final project deadline to be achieved. Project
managers will be responsible for monitoring
actual progress against the proposed schedule, for
controlling the project, and steering it back on track
if necessary. Three steps must be taken when tasks,
activities or external events prohibit things going
according to plan.
Firstly, the original project plan needs to be saved as
the baseline version. Secondly, the project plan
needs to be regularly and honestly updated so that it
reflects the progress actually being made. Thirdly,
the baseline plan should be compared to the updated
one, and, if they do not match, an appropriate
course of remedying action can be taken.
RISK MANAGEMENT AND AUDITS
Risk audits identify where problem areas are most
likely to crop up on a project, and propose what
should happen in the event of one occurring. If
things start to go wrong, or a project deadline is not
going to be met, various responses can be considered
and the wider implications on time, costs and
resource allocation estimated.
The original project scope will be de- and re-scoped
in response to the changed conditions and in an
attempt to get the project back on track. Weak
points will be identified and solutions proposed.
For example, in client organisations with many
internal stakeholders, client sign-off may take longer
than originally estimated, delaying a part of the
design process from meeting its deadline. This may
be resolved by reducing the number of stakeholders
that can approve the design, or perhaps by
extending the time allowed at each stage.
By monitoring actual progress of the project
against an agreed schedule, potential delays can be
proactively brought to the attention of the client
and the design team. Proposing a solution at this
stage reduces the risk of the delivery date incurring
actual delay, but in any live project a level of
compromise will still be needed. If the priority is
to meet a deadline, the client and project manager
can increase the size of the project team, which
may mean increased costs. If it is important to keep
the project on budget, it may be agreed to extend
the deadline for completion but alter the material
specification or reduce the size of the project
team. Decisions must, where possible, be made in
consultation with the design team, to gauge the
impact on the design process itself.

1 2
3 4
1. Inditex, one of the world’s
largest fashion distributors,
has over 2800 retail outlets in
64 countries. Its largest retail
chain is Zara. A key element
of Inditex’s operations are
the fashion stores themselves,
which are carefully designed
so as to be inviting to
customers, and are used by
the company to collect
information that is then used
to adapt their business offers
to meet customer demands.
Shown here is the Zara store
in Casablanca.
2. Inditex’s risk-management
model is based on flexibility,
and the ability to adapt their
offers to meet customer
desires in the shortest time
possible. For Inditex, time,
above cost, is the main factor
to be considered. The way in
which the organisation
manages its internal and
external processes with
stakeholders and suppliers,
enables Inditex to shorten
turnaround time and achieve
greater flexibility, which
reduces stock, and therefore
the number of items left
unsold, to a minimum.
Project Management in Practice | 155
3 & 4. Inditex’s logistics
system,which is based on
software designed by the
company, means that the
time between receiving an
order at Inditex’s distribution
centre to the delivery of
goods is on average 24 hours
for European shops and a
maximum of 48 hours for
American or Asian stores.
All images courtesy of Inditex.
Managing the Design Implementation
156 | PART THREE
‘There are costs and risks to a programme of action, but they are far less
than the long range risks and costs of comfortable inaction.’
John F Kennedy.

SCOPE CREEP COST EFFECTIVENESS

When the tasks and activities defined in a project
brief or scope of works grow beyond what has been
agreed between the client and the design resource,
it is referred to as scope creep. Designers can
unwittingly agree to carry out additional design
or redesign work in response to a client request,
without being fully aware of the implications on the
original agreements in the design brief. A good
project manager will act as the first line of defence
against scope creep, and will work internally with
the design team to estimate the time and resources
needed to carry out any extra work, and then
present a proposal to the client for consideration.
A design team member faced with a client request
for extra work outside of the original scope of works
should always refer the client back to the project
manager. This has the added benefit of keeping
budget negotiations away from designers, allowing
them to focus on the creative design thinking for
which they have been hired. Scope creep should not
be viewed as a bad thing provided it is responsibly
managed. Often, the growth of a project from the
design brief creates additional opportunities for the
design resource to win more work and so generate
more income. The client team can also benefit by
addressing additional organisational concerns
through already established design projects.
According to Borja de Mozota (2003), managing the
project budget requires the control of three types of
costs: the type of payment (fixed or hourly rates,
royalties or variable rates), the actual budgeted
costs, and cost effectiveness.
The client is most likely to measure cost effectiveness
in terms of what they consider to be value for
money, and what they are getting in exchange for
their investments of time, money and resources. Cost
effectiveness can also include the benefits of long-
term relationships, where trust is built and design
teams develop familiarity with, and are well able to
accommodate, the working conditions, personalities,
and the constraints of the company culture.
REGULAR REVIEW MEETINGS
Good project management should create regular
opportunities for clear and open communication,
both with the design team and the client team. This
can happen daily through informal conversations
and through review meetings, held regularly and
frequently, to assess and monitor progress. The
design or project manager plays an important role
in the review meeting as they negotiate on behalf
of the design team, leaving the designers free to
concentrate on project considerations. They also
manage the client contact with the design team,
encouraging the opportunity for design discussion
and additional project commissions, while

QUESTIONS FOR DISCUSSION: In what ways can design delivery be improved to get the best value from the
design budget, and the organisation’s investment in design?
 Project Management in Practice | 157
5

simultaneously reducing potential conflicts over

scope creep and hasty promises of results, which the
design team may not actually be able to meet. As
well as keeping the client abreast of project progress
and reviewing and revising the project schedule, the
project or design manager should also keep the
design team informed of changes within the client
organisation that could affect the project.

POST-PROJECT REVIEW

Reviews held after the completion of a project are

useful for both the client and the design consultancy
as, with the benefit of hindsight, there are always
better ways to do things. Independently or together,
both sides can acknowledge key achievements,
identify areas for improvement and learn from the
process.

In addition to the project outcome and the

performance measures and metrics that will
indicate the successes (and failures) of the project,
the relationship between the client and the design
consultancy itself can be reviewed. In this way, the
client can become a more effective user of design,
and the consultancy can become a better provider
of design solutions. For the consultancy, a better
understanding of the client organisation increases
the chances of their being engaged again; long-term
relationships based on trust and previous project
successes encourage clients not to move their
business elsewhere. Post-project reviews are also
the place for clients and consultancies to negotiate
how to promote the success of projects, without
breaching either party’s confidentiality agreements.

5. Innocent take advantage 6. This is part of Volkswagen’s

of distribution and delivery
as an opportunity to promote
their brand. Innocent’s
delivery lorries, or ‘Cow
Vans’, have horns, eyelashes,
udders and a tail. Each truck
has designed specifications,
in this instance, a name and
a button that, when pressed,
makes the ‘moo’ sound of
a cow.
Image courtesy of Innocent.
point-of-sale guidelines for its
showroom cars. Volkswagen
specifies the position of the
demonstration car’s
promotional graphics.
Image courtesy of
Volkswagen/Integrity
Design Management.
Managing the Design Implementation
158 | PART THREE
KNOWLEDGE
Social and Environmental Responsibilities
The materials specified and the production processes
used in the design and delivery of products and
services is increasingly under scrutiny by share and
stakeholders, consumers and clients, pressure groups
and government bodies. Design can, and frequently
does, play a role in contributing to environmental
and social problems, but taking a responsible
approach to design brings the opportunity to shape
a more environmentally and socially aware future,
and leads to valuable competitive advantage
amongst increasingly demanding and emotionally
involved audiences.
Companies that do not take a long-term view are
missing important and rapidly shifting trends.
Corporate accountability and corporate social
responsibility (CSR) agendas are part of a global
move to do the ‘right’ thing. These agendas can
advocate change and transformations within
organisations and regulatory bodies if they go
beyond public relations exercises, and become
embedded in the ethos and ethics of the business.
Design decisions will be made consciously and
unconsciously and responsibly and irresponsibly,
within the total lifecycle of a product or service.
Environmentally-aware design seeks to reduce the
material and energy used and waste created at each
stage in the development process. Socially-aware
design seeks to broaden the accessibility and
inclusiveness of people able to make use of the
products and services on offer, for example, by
incorporating disabled access to buildings.
Design managers play an important role in improving
the flow of information on new sustainable materials
and techniques. They also monitor changes in
legislation and financial incentives, for both the
client and the design team. For example, consumer
trends indicate that people are willing to pay more
for ‘ethical’ (healthier, safer, environmentally
friendly or socially responsible) products and
services. Many existing business models are based on
a 200-year old view of industrial society, and the
impact of these models is now being called into
question because of their effect on the planet and
the eco-system as a whole. Legislation can attempt to
enforce new behaviours, but it is more likely that
growing consumer regard for the environment and
responsible products and services will drive changes.
SOURCING RAW MATERIALS
Products and services are made with materials
chosen to satisfy a number of factors, for example
aesthetics (do they look good?), function (do they
work?) or costs (can we make a profit?). Increasingly,
customers want to know more about a product, how
it was made, where it was made, and even who made
it and under what working conditions. In short, is
the product or service environmentally and socially
responsible?
Regulatory bodies are in place to monitor and
control the flow of where raw materials come from,
and many products, services and suppliers now carry
kitemarks or other guarantees of quality, origin of
materials, and ethical trading standards (such as the
Fairtrade, Timber or Soil Association stamp marks).
Designers play an important role in the process of
sourcing and specifying both materials and suppliers,
and the subsequent effect that these decisions have
on natural resources. Organisations such as The
Body Shop actively source ingredients based on
the quality and purity of materials, and in the
knowledge and support of healthy and sustainable
working conditions. In an increasingly competitive
environment, this can become a real selling point for
product and service differentiation.
 Social and Environmental Responsibilities | 159
1 2

3 4

1. Specifying the use of

environmentally-friendly
materials and systems can
bring additional benefits in
terms of financial savings
and government-sponsored
tax breaks. Genersys supply,
distribute and install solar-
panel technology and solar-
power applications.
By harnessing the limitless
and free energy from the sun,
the solar collectors in the
heating systems of each panel
provide hot water, space
heating and air conditioning,
for individual households and
businesses alike.
Image courtesy of Genersys-
Ireland.com.

2. Terra Plana’s Worn Again

shoes, are made from an
assortment of weird and
wonderful reused materials,
from coffee bags and t-shirts,
to jeans and surplus military
jackets. These disused
materials have been
creatively recrafted, so that
each pair of 99% recyled
shoes is full of history and
personality.
Image courtesy of Terra
Plana.

3 & 4. One of Muji’s three

product development
principles is to select
materials to keep costs down
and quality high. Muji use
industrial materials, (often
materials that are ignored
by other organisations),
which can be bought at low
cost and in bulk. Here, Muji
have re-used yarn for one of
their t-shirt ranges.
Image courtesy of Muji.
Managing the Design Implementation
160 | PART THREE
PRODUCTION PROCESSES
Design can make manufacturing and production
processes more efficient, whether through refining
existing workflows or setting up a whole new
system from scratch in order to reduce massive
environmental burdens. For example, the
manufacture of a tiny 32Mb memory chip for a
mobile phone or digital camera requires more than
a litre of fossil fuel, 32 litres of water and 72g of
chemicals, which can include corrosive hydrogen
fluoride (Harris, 2006). Companies such as Nike are
increasingly moving towards closed-loop production
processes (where no waste is produced as a by-
product of production), and setting specific design
challenges and constraints to address social and
environmental concerns, with the added benefit
that efficient production processes help keep
manufacturing costs down.
Businesses are part of any community, and as
such need to be responsible and accountable for
their actions and their local and global impact.
Detrimental environmental impacts can be reduced,
for example, through sustainable processes
and working relationships, addressing ethical
responsibilities and disposing of waste appropriately,
all of which can enhance the customer perception
and reputation of a brand globally as a green,
socially responsible, organisation.
ENVIRONMENTAL COST
Environmental costs and the amount of natural
resources used to produce a good or service is an
increasingly influential factor in our purchasing
choices. Design has a direct impact on the energy
and resource consumption of the products and
services we buy and use. For example, Whirlpool
is redesigning its washing machines to use less
energy and water, and Honda recently engineered an
environmentally superior hybrid car, which combines
a petrol engine with an electric motor for greater
fuel efficiency and less damaging emissions.
QUESTIONS FOR DISCUSSION: What are the design challenges of creating sustainable products that
consumers actually want?
Design can also raise social and environmental
awareness by communicating broader issues to
consumers. Including well-designed instructions
with consumer goods that illustrate how to use the
product in an energy-efficient way can motivate
users to think about the wider environmental
debates. For example, the electricity wasted by
people leaving televisions and videos on standby can
be reduced through new environmentally-friendly
approaches to the design of technology, where
inefficiencies are literally designed-out of the system.
END DISPOSAL
In a move towards a zero waste society,
organisations are looking at their internal systems,
including their design and development processes, to
find new ways to be more responsible for the total
lifecycle of the products and services they create.
Historically, goods and services were sold for profit,
and owners were wholly responsible for disposal
of the goods beyond their usable life. Now, with
shifts in consumer and societal preferences and in
acknowledgement of environmental challenges,
taking a long-term view of how to deal with waste
is a valuable competitive advantage. Packaging is a
major contributor to unnecessary cost and waste,
both in manufacture and transportation.
Redesigning, and even rethinking the necessity of
packaging, is a challenge that can be addressed
through the design of, for example, refillable bottles
or totally recyclable packaging.
Design can bring enthusiasm, excitement and
opportunity in finding ways to ethically and
sustainably differentiate products and services,
making disposal part of the whole ‘life story’ of
the brand.
 Social and Environmental Responsibilities | 161
5 6

7 8

5. Muji’s P.E.T. Bottles are

recyclable and refillable, and
their modular sizing and
square shape makes them
functional and practical. The
simplicity of Muji products
derives not only from their
minimalist style, but also
their ongoing commitment
to the use of utilitarian
materials and rational
production processes.
Image courtesy of Muji.

6. This lightweight, foldable,

and collapsible pair of
speakers is also by Muji.
Muji’s packaging is simple
and uniform, to emphasise
the natural qualities of the
product as well as minimising
both cost and waste. Efficient
production processes prevent
wastage and costs are kept to
a minimum through constant
inspection at every stage of
the production process.
Image courtesy of Muji.

7. With one minute of

winding up, the Freeplay
Devo wind-up radio provides
five minutes of power-hungry
DAB digital radio, or up to
an hour of traditional FM
reception. The radio can also
be plugged-in a home stereo
or used with headphones.
Image courtesy of Freeplay
Energy.

8. In a move towards a zero-

waste society, NEC has
designed and manufactured a
biodegradable mobile phone.
The NEC 701I ECO has a
casing that is 75 percent
vegetable matter.
Image courtesy of NEC
Corporation.
Managing the Design Implementation
162 | PART THREE
KNOWLEDGE
Design Policies, Procedures and Guidelines
Documenting an organisation’s attitude to design
helps everyone engaged in the business understand
how design operates at the various of levels within it.
This documentation usually takes the form of design
policies, procedures and guidelines, and these are
useful building blocks for embedding design into the
way a company thinks and acts, both strategically in
the long term and in its day-to-day choices and
decisions. They help connect the engagement of
design to the organisational goals, decision-making
processes within business units, and to the
implementation of design projects.
Design policies, procedures and guidelines define
the objectives, processes, and metrics against which
design decisions can be made. They are useful tools
to not only describe how to go about engaging
design services, but also to establish exactly what
design services are needed in the first place. Whether
design gets used or misused largely depends on the
organisational attitude to design, and how well these
policies are defined, documented and communicated.
Engaging design services and setting up design
projects should only be done after proper
consideration of a range of matters, as lack of
awareness and preparation can sabotage good
intentions for design. Equally problematic is the
issue of achieving a successful design outcome,
only to have no measures in place protect all the
initial investment of time, money and other
resources. Oakley comments, ‘Too many companies
make the big mistake of rushing into design projects
without first considering the implications of what
they are doing. It is even true to say that managers
sometimes get so carried away by their enthusiasm
for creating new or improved products and services
that it may be only after many months of hard work
that they realise they are heading in quite the wrong
direction.’ (1990). Getting the most out of
investments made in design is in everyone’s interests.
DESIGN POLICIES
These are linked to the organisation’s long-term
strategic objectives for design. Design policies explain
the thinking behind why something has to be done a
particular way, and give broad outlines for making
design decisions. According to Cooper and Press
(1995), a design policy defines the meaning of design
within the organisation, and serves to reinforce the
brand and vision. They insist that ‘design managers
must ensure policies are developed on design and
related issues, to enable employees to plan strategy
and implementation in light of the policy.’ Some of
these related issues will include setting up design
standards on quality, legal and environmental
criteria. An organisation’s design policy will set the
framework for the procedures to be followed when
using design.
DESIGN PROCEDURES
Design procedures detail what needs to be done
internally to successfully procure and engage design
services or initiate a project. In some organisations,
hiring design skills is like procuring any other goods
or services, and proper internal procedures need to
be in place before anyone can make the purchase or
engagement. Design procedures might include the
formal documents and contracts needed to engage
design consultants and agencies, and may also
outline the processes for tendering, bidding,
formulating a roster, supporting in-house design
teams, forming partnerships, allocating budgets
and signing-off procedures.
In principle, design procedures improve the ability
of the organisation to contract design resources
effectively and efficiently. As such design managers
should help to set up these procedures, as they will
ultimately define the criteria under which services
will be procured, evaluated and compared, and how
design will be measured by the company, in terms of
money spent versus value added.
 Design Policies, Procedures and Guidelines | 163
1 2

1. Comprehensive brand
guidelines can be developed
as a true manifestation of
an organisation’s brand
and as an everyday tool
for the creation of its
communication materials.
In their work for NICE
Systems, Karakter designed
six volumes, each addressing
a key topic in the
implementation process:
brand basics, brand
architecture, photography
and writing, print
communications, and
electronic applications.
Image courtesy of NICE
Systems/Karakter.

2. To ensure consistency
across all applications, brand
guidelines not only provide
practical information about
how to create an on-brand
piece, but also serves as an
inspiration for the reader
through the chosen format,
typeface, colours,
photography and layout.
This spread about the NICE
colour palettes illustrates
how they provide a
distinctive visual impact if
used correctly.
Image courtesy of NICE
Systems/Karakter.

3. Karakter developed a
graphic device to express the
idea of ‘uncovering hidden
value’, which is at the heart
of the NICE brand strategy.
Using a photographic style
featuring camouflage scenes
from nature, the device
consists of an outline of two
squares that serve as both a
focus mechanism and a
framework for titles, creating
an effective combination
between photographic and
graphic elements.
Image courtesy of NICE
Systems/Karakter.
Managing the Design Implementation
164 | PART THREE
DESIGN GUIDELINES
Design guidelines outline how to translate an
organisation’s brand vision into its products,
services, spaces and the day-to-day experiences
with which the end user comes in contact. They are
created to ensure the consistent application of
design across all customer touchpoints. Design
guidelines can include, for example, the use of logo,
colour and type for graphic design, or the layout of
a physical space, or visual merchandising for a retail
environment. The guidelines will also outline the
organisation’s approach and attitude to design, in
order to put design in the context of its overall goals.
They may also set out a framework within which to
make decisions about the application of design in a
specific context.
Design guidelines can be communicated visually and
verbally, and are referred to by some organisations
as design principles. They are especially useful when
working with external design consultancies, and form
a useful starting point when rolling out a regional or
global design solution. They are also useful when an
organisation is involved in a franchise or third-party
arrangement, where the representation may be
difficult to control and consistency is crucial.
QUESTIONS FOR DISCUSSION: What steps can a design manager take to ensure that design policies are used
by all relevant stakeholders, inside and outside the organisation? How can design polices be made more
accessible?
MAINTAINING AND MONITORING THE DESIGN
Design investments need to be looked after, just like
any other asset in the organisation. Commitments
made to fund and build design projects also need
to include provision for the upkeep and maintenance
of the project. Upon completion, projects may be
handed over to clients, with accompanying
maintenance manuals, instruction books or other
help tools. These provide advice on looking after the
design asset, whether it be a product, service,
building or retail space. Such advice might include,
tips on upkeep, maintenance and aftercare, supplier
contacts, and where to go for help with a particular
aspect. Using customer after-care principles and
following up on what has, or has not, worked well, is
a form of valuable learning for all parties involved,
since return on investment can be improved by
analysing the design outcome and making
recommendations for future projects.
Frequently,clients will engage a design ‘guardian’
from either inside or outside the organisation to
ensure the use of design is consistent with their
brand image.
 Design Policies, Procedures and Guidelines | 165
4 5

6 7

4. Tauw is an international
company of consulting
engineers who design and
measure for the development,
implementation and
management of the built and
natural environment and
infrastructure. Eden Design &
Communication put together
a set of design guidelines
to help consistently
communicate Tauw’s values
of being independent, open
and innovative.
Image courtesy of Tauw/Eden
Design & Communication.

5. The Tauw logo consists of

picture trademark and a
brand name. The guidelines
describe the relationship
between the trademark and
the name as one that is
fixed and unchangeable.
Image courtesy of Tauw/Eden
Design & Communication.

6. Tauw’s design language

is based on vertical and
horizontal elements. The
vertical bar represents the
company standard and the
horizontal bar signifies the
landscape. A recognisable
graphic element for Tauw
communications is the purple
vertical bar running on top
of coloured backgrounds
or photographs
Image courtesy of Tauw/Eden
Design & Communication.

7. The guidelines visually and

verbally describe how the
company’s language can be
used. The width of the
vertical bar can vary, but it
must always run from top to
bottom. The horizontal bar
runs right across the page,
but its height can vary. The
vertical bar is always on top,
creating a layered effect.
Image courtesy of Tauw/Eden
Design & Communication.
Managing the Design Implementation
166 | PART THREE
KNOWLEDGE
Translating Global Design into Local Design
Companies wanting to expand their customer base
often have to transcend geographic borders to
increase their revenue and market share. Many
companies with global reach (so called global
brands), make the mistake of using a standard,
uniform approach in all locations when their brand
is rolled out. This can initially appear to make sense
in terms of cost savings – it is cheaper to have a
standard, non-customised model solution to
implement everywhere and anywhere – but it is more
expensive in the long run. A customised approach,
one adapted to suit specific countries, regions or
cities will bring many benefits to the organisation.
Design managers often play a key role in helping to
translate global brands into locally and culturally
relevant products and services.
Organisations need to think about what channels
are appropriate for reaching new, growing and
emerging markets. Communication channels such
as the Internet cross geographical and political
boundaries, but cultural boundaries still need to be
carefully addressed. Accommodating variations in
the way that different cultures do and see things
is vital in an increasingly competitive global
marketplace. Design plays a key role in reflecting
and adapting to these cultural differences, while
simultaneously representing the strength and
integrity of the brand image. Often, it is this
cultural sensitivity and understanding of local and
regional conditions that dictates whether local
stakeholders adopt and buy-in to the company,
product or service on offer.
QUESTIONS FOR DISCUSSION: What cultural, economic, societal, environmental or political challenges do
design managers face when working in different regions of the world? How can advance preparation help?
LOCAL CONDITIONS
Local insight and knowledge play an important part
in the adaptation of a brand to respect local
differences. When considering the design of an
advertising campaign, retail shop or point of sale, for
example, sensitivity to local tastes or customs will be
especially important in a market that may be
already served by well-established and preferred
organisations. Certain colours, words and behaviours
can have symbolic meaning. For example, in Russia
red is associated with beauty, whereas in South
Africa it is the colour of mourning. It is well worth
paying attention to local conditions, and how a
branded product or service offer can be fine-tuned
to suit them. Although alteration may be required, it
should be done within the framework of established
design guidelines and retain the spirit of the brand.
One way that companies and brands operating
internationally can ensure they don’t appear as the
homogenous face of a global brand is by making a
difference to lives locally. Organisations that are
seen to benefit local stakeholders – employees,
local communities, social and environmental
representatives – can gain valuable competitive
advantage and marketplace differentiation.
 Translating Global Design into Local Design | 167
1

1. To communicate Coca
Cola’s brand values at kiosks
on Shanghai’s famous Bund,
Studio Red designed and built
attention-grabbing structures
with dynamic visual styling to
create a branded consumer
experience for the millions of
pedestrians who pass by them
each day. The kiosks, by their
design and function,
communicate Coca Cola’s
brand values of refreshment,
freedom, and celebration.
Studio Red developed a
signature style for these
kiosks that reflect Chinese
architectural traditions and
offer a globally relevant
product experience.
Image courtesy of Studio Red
at Rockwell Group.

2. The Red Lounge provides a

means for Coca Cola to build
new emotional connections
with teenagers. Starting with
the insight that teens need a
place of their own to hang
out, Studio Red envisioned
cool, contemporary ‘lounge’
spaces that could be erected
where teens congregate, for
example inside shopping
malls. These branded,
interactive environments are
flexible and modular in their
design, and offer comfortable
seating for large and small
groups, in public and semi-
private areas, vending a
supply of Coke brands, and,
in this instance, a media wall
that previews games, music
and movies.
Image courtesy of Studio Red
at Rockwell Group.
Managing the Design Implementation
168 | PART THREE

GLOBAL DESIGN GUIDELINES Guidelines often show good practice examples of

Global design guidelines provide a fast-track solution
for the successful launch or implementation of
branded products, services and environments.
Using global guidelines ensures that brand values are
consistently and accurately communicated in any
location worldwide. The challenge when expressing
global brands and projects is to reflect the brand
essence in all international occurrences, while
simultaneously respecting local differences.
Ultimately, the success of any project will rely on
the quality of the brand experience, and the
understanding that the local brand representatives
have for their local environment. In terms of design,
most global organisations form partnership
agreements and strategic alliances with local agents,
consultancies and service providers, thereby gaining
expertise and insight into these markets.
Global design guidelines should provide advice on
how to translate the company image in different
regions. For example, retail design guidelines may
include advice on choosing locations, building types
and spatial requirements appropriate to the offer
and target audience, information on local holidays,
customs, and trading conditions, exterior and
interior design principles, materials, fixtures and
fittings to use, site-delivery criteria, products and
services on offer, and best practice on launches,
product demonstrations and showcase events.
successful implementations. Illustrating different
examples of how products and services have been
designed, redesigned or otherwise customised will
ensure that anyone using the guidelines can
understand the thinking behind the design decisions
made. It also encourages a level of independence
and local autonomy, provided, of course, that any
local decisions are made within the parameters of
the agreed global design guidelines. This is often a
judgement call requiring knowledge of both the
brand and the local market, and is frequently a place
where design managers are asked to play a leading
role as brand guardians.
LOCAL STAKEHOLDER INVOLVEMENT
Multicultural, global corporations, often benefit
from the cross-cultural differences within the
organisation. Understanding different behaviours,
senses of humour, courtesies and working styles is
crucial for global organisations operating
internationally to successfully integrate local
work forces with global transplants. For example,
if a British national is working in China, or a Chinese
national is working in Britain, each side will need
to be aware of and show respect for cultural
differences, therefore reducing the potential for
misunderstandings.

‘Society, consumers and products are all changing radically – and with them
the nature and scope of design. We are moving from local orientation to
global orientation, from predictable to unpredictable consumer behaviour,
and from highly tangible, even cumbersome products to those that are tiny
and barely more than packaged information. The advent of digitalisation
affects the design of all products and services, whether they are themselves
digital or not…. While the globalisation enabled by new digital technologies is
leading to a deeper appreciation and enjoyment of cultural diversity, it is
not doing away with the need for products and services to be seen as having
local significance.’
Stefano Marzano
 Translating Global Design into Local Design | 169
3

Starting up an overseas operation or a local unit of 3. Heineken, one of the

an organisation usually goes through three phases. world’s largest breweries,
asked Amsterdam-based
Firstly, local staff that possess insights into the area
design agency Eden to
act as cultural advisors to the global company
develop a new global visual
representatives who set up in the new location.
identity to increase the
Secondly, partnerships are formed, where global organisation’s recognisability
teams and local teams work together. And finally, and to amplify the coherence
the local resource develops a level of autonomy and between the various
decision-making power, referring to the global head operating companies at
office for advice. home and abroad.
Image courtesy of
For a global brand to be locally successful, local- Heineken/Eden Design &
market demand must exist, and a new loyal customer Communication.
base must be built. Design connects locally in terms
4. After various design
of business offers, and also through cultural offers.
phases, a brand-parent
One of the best ways to connect business and culture
approach was opted for.
locally is to tap into the existing networks of local The worldwide corporate
stakeholders such as employees, suppliers, agents, identity was based on the
consultancies and local trade associations. This way, brand identity of Heineken’s
local information and knowledge can be shared beer label, but with a more
formally and informally with global organisations, corporate look and feel to it.
creating opportunities and incentives for both sides. Image courtesy of
As an outside organisation going into a new market, Heineken/Eden Design &
trust is more likely to be built if there is local Communication.
stakeholder involvement and collaboration. For
5. In collaboration with
example, from a design point of view, there may
former Eden employee Lucas
be local community events and sponsorship
de Groot, an extensive type
opportunities available that may help embed the family was developed for the
organisation positively into the local mindset. identity scheme. The online
manual IdentityWeb was an
important tool for the
worldwide implementation
of the new visual identity.
Image courtesy of
Heineken/Eden Design &
Communication.
Managing the Design Implementation
170 | PART THREE
KNOWLEDGE
Measuring the Success of Design
The success of a design strategy or project will
inevitably be different for each of the stakeholders
involved. Marketing, engineering, sales and product
development will have different ways of thinking,
prioritising and evaluating what they mean by
‘success’. Whether a project is judged to be
successful or not will depend on the business
objectives, project aims and end goals defined in the
brief, and the performance criteria against which
success will be measured. Value can be measured by,
for example, looking at the direct bottom-line impact
(profit or loss), or by looking at the impact on the
value of the brand (customer perception). To measure
the success of design – whether design thinking,
consultancy or projects – the criteria for assessing
value must first be agreed amongst all the
stakeholders involved.
There are many different metrics for measuring
success: commercial value, emotional and sensory
benefits or perhaps economic, cultural, political
results. In business, there is often a drive for
quantitative measurements that are taken over
short-term, quarterly timescales. These ‘hard’ criteria,
include development costs, capital budget, profit
margins, units sold, annual growth in sales and
increase in market share. Design often sits more
comfortably with qualitative measures, or ‘soft’
criteria, such as organisational learning, improved
processes, better company image and easier
communication. The hard truth is that most CEOs
want to know three things about any business
expenditure, including design: how many sales have
been generated? how much profit has been made?
And what shareholder value has been created?
QUESTIONS FOR DISCUSSION: What other metrics can we use to measure the success of design? If design is
successfully integrated into business strategies, how can we measure its effectiveness?
EVALUATING THE SUCCESS OF DESIGN SERVICES
When organisations buy-in design expertise to
resource the delivery of agreed programmes and
projects, they are procuring design services. They do
this because they have a strategic goal that needs to
be addressed, and do not have the resources
internally to staff the project.
Companies bring in outside consultancies to work
on a design project for a range of reasons that
don’t always equate easily into immediate or direct
financial benefit. For example, companies may need
access to consultants with specialist skills; or those
that can bring new creative processes, energy and
enthusiasm to an internal team; and companies
can benefit from having an objective, outside
perspective. Consultants may be highly influential
and beneficial to an organisation, yet often their
activities can appear to be invisible and difficult
to quantify. Design managers procuring design
services often have to develop a strong business
case to justify the hiring of the consultants and
produce evidence at the end of the project to
show that value has been somehow realised in a
transparent and accountable way, often to satisfy
both internal auditors and the CEO.
Establishing and agreeing the criteria for what a
successful outcome would be, at the beginning of a
project, is crucial. If this is not done it will be
difficult to evaluate the project, as no metrics will be
in place against which to measure success. Measuring
performance using criteria agreed in the early stages
can influence how successful others think the project
has been, as the ‘hard’ data will substantiate what
has been achieved.
 Measuring the Success of Design | 171
1

1. Innocent. The name of

the company and the design
of the brand successfully
differentiates their product
offers from those of
the competition, and
simultaneously suggests a
guarantee of purity (enforced
by the fact that there are
no additives in Innocent's
drinks). The company has
won several awards including
Best UK Soft Drink and
Employer of the Year, and
is the number one smoothie
brand in the UK.
Image courtesy of Innocent.

2. To help ensure a project’s

success, organisations
frequently buy-in
consultancy expertise.
Buildark provides marketing
support to help building
and construction businesses
in Catalunya and Spain. The
logotype design successfully
communicates Buildark’s
offer and values; the grey is
used to represent buildings,
the green reflects the
consultancy’s respect for
nature and the lighthouse
is a symbol of the light and
knowledge that Buildark
consistently supplies.

3. Unique design concepts

and assets can be a valuable
source of revenue. Groups
such as ACID (Anti Copyright
in Design), are committed to
fighting copyright theft. Their
objectives are to challenge
the culture that it’s
acceptable to poach or
infringe another’s design
equity, and to create a safer
trading environment in order
for the creative industries to
flourish.
Image courtesy of ACID.
Managing the Design Implementation
172 | PART THREE
MEASURING VALUE FOR MONEY
The reason it is difficult to measure value for money
is because no standards exist for quantifying all the
added-value benefits that design can bring to an
organisation. In addition, many of the benefits of
the design process will be reaped gradually over
time, so imposing financial measures too early could
be misleading. As a recent Design Council report
points out, ‘the relationship between money spent
and deliverables produced is rarely linear. Most of
the tangible results will appear towards the end of
the project. It might worry the person managing the
project budget, when 80% of the money has been
spent and only 20% of the deliverables are visible.’
Design managers can help establish the performance
criteria and procedures under which services can be
evaluated, compared and made accountable.
MEASURING THE BENEFITS
In business, measuring value usually equates to
defining value for money, and working out how
company shares are performing in terms of profit
and loss, but there are other ways for measuring
value and performance beyond the financial
spreadsheet.
‘Measuring success in innovation by looking at the size of the R&D budget is
like figuring out how successful a song (or a film or a book) will be by
measuring how long the creator took to write it.’
Vivek Kochikar
Some models attempt to put sustainable development
at the centre of running a business. A number of
banks use the Equator Principles, which evaluate
the social and environmental risks of the business
proposals they fund, including the impact on local
stakeholder communities. The Triple Bottom Line is
a framework for measuring business performance
along three sets of values: economic, environmental
sustainability, and social responsibility (or profit,
planet, people). Organisations embracing Triple
Bottom Line accounting usually need to expand the
traditional corporate reporting framework to take
into account not just financial outcomes but also
environmental and social performance. The UK’s
National Health Service for example is developing a
model that puts patient safety at the centre of
running a health system or service, where benefits
are measured on the improvements made to the
patient care experience – and the number of lives
saved.
PROTECTING THE VALUE OF DESIGN
One way to put a value on design, and get design
valued within an organisation, is to register creative
output as intellectual property. Properly protected
and exploited, intellectual property and other
intangible assets such as names, images, concepts,
designs, music and writings can generate additional
 Measuring the Success of Design | 173
4

revenue streams and increase the value of how 4. The iF Design Award is a
design is perceived within the organisation. For mark of design excellence,
example, by registering and protecting an idea for an evaluated in relation to the
key criteria of design quality
innovative new product or service, other companies
workmanship, choice of
wanting to offer the same product or service will
materials, degree of
have to enter a licensing agreement or royalty
innovation, environmental
arrangement. Protecting creative and intellectual friendliness, functionality,
assets is a valuable form of competitive advantage ergonomics, visualisation of
as other companies will be prohibited from copying, use, safety and brand value.
manufacturing or otherwise ripping off the offer. The iF quality seal is
Intellectual property can be registered in the form recognised worldwide.
of trademarks, copyrights, patents, licensing Image courtesy of the iF
agreements, design rights and transfer of ownership. Design Awards.

5. The Patent Office, part of

MEASURING OUTCOMES
the UK’s Department of Trade
and Industry (DTI), helps
Different ways that design success can be measured
stimulate innovation and
include: awards, peer and press reviews, improved raise the international
brand image and customer perception of the competitiveness of British
organisation, improved product and service quality; industry through intellectual
improved user experience, better customer service property rights (IPR). These
and communication, increased brand awareness or rights are: Patents (which
improving client or customer satisfaction. Design protect the technical and
success can also be measured in terms of reduced functional aspects of
costs, reduced waste material produced as a by- products and processes),
designs (which protect the
product of manufacturing, reduced overheads and
visual appearance or eye
reduced customer ‘churn’, which is a term used to
appeal of products),
describe the defection of loyal customers of a
Trademarks (which protect
product or service from one organisation to the the origin of products or
competition. services), and copyright and
related rights (which include
unregistered design right and
rights of performers). The
Patent Office’s main business
is to grant patents and
register designs and trade
marks in the UK.
Image courtesy of The Patent
Office.
Managing the Design Implementation
174 | PART THREE
KNOWLEDGE
Reviewing and Revising the Design Strategy
Successful projects and design outcomes will
inevitably affect an organisation’s approach
to design. Provided the value of design can be
measured, demonstrated and advocated in a way
that stakeholders throughout the organisation can
understand, these successes will sow the seeds of
future projects, design involvement and working
partnerships.
Design managers play the central role in reviewing
the design strategy, and providing the evidence and
recommendations for its revision. In this way, step-
by-step, design can move closer to the ‘heart’ of the
organisation. For example, in the 1950s, Braun began
to see the market potential of ‘defined’ products and
began to differentiate itself from its competitors by
means of product design. A corporate design
philosophy began to emerge, with innovation,
quality and design at its core. After Dieter Rams
joined the company in 1955, Braun Design became
solidly established and increasingly influential. Their
approach shifted from functionally driven to being
user-centred, with simplicity and attention to detail
as important elements in realising this vision.
Today, Braun continues to be a global leader in
design. Its brand values remain at the heart of the
organisation and drive all levels of the business.
Braun and Braun Design – the corporate strategy and
the design strategy – share the same foundations.
QUESTIONS FOR DISCUSSION: How can design most effectively help lead business to new markets and to new
customers? What new management structures could help the effectiveness of design leadership?
INTEGRATING DESIGN
Looking at how to integrate design into business is
more challenging for organisations that do not think
of themselves as being design-led. They are unlikely
to list design as one of their core values, and are
instead likely to view design as a separate functional
resource from the rest of the organisation. But,
as Bruce & Bessant point out, ‘design is not just
for “creatives” walled off from the rest of an
organisation, but is a process with a large number
of participants which can, and must, be managed
effectively if it is to add maximum value.’ (2001).
Whether design is already embedded in an
organisation, or brought in from the outside,
there are several best practices for design managers
revising the design strategy and raising the profile
of design.
Firstly, and most importantly, he or she should look
at the success of design within the wider context of
the organisation, and from a consumer perspective,
in order to identify other ways that design thinking
can help the business. The design manager should,
ideally, report directly to the CEO (as opposed to
another business unit, such as the marketing), and
should also look for opportunities to promote success
and raise the influence of design throughout the
organisation.
Secondly, the organisational approach to design
should be reviewed and any changes to it should
be recommended in a language that everyone will
understand.
Finally, the design manager should take a long-term
view and allow time and space for designers to
explore how future contexts might drive the design
of new products and services. This can be achieved
by trend spotting and seeking news ways that design
might respond to wider changes.
 Reviewing and Revising the Design Strategy | 175
1 2

1. Whirlpool constantly this example, Whirlpool appliance, instead of building

reviews its approach to
design, and continually
collaborates with customers
to discover ways that design
can make a difference. The
company believes that
innovation and design fit
naturally together, and view
design as something that
should be embedded within
the company, not just an
aesthetic afterthought. In
Europe’s global consumer
design group presents its
vision for ‘in.kitchen: design
landscape for a new, built-in
experience’
Image courtesy of Whirlpool
Europe.
2. This image shows ‘Built
Out’, Whirlpool’s modular
approach to building ‘out’
from the heart of a central
in from the walls of the
kitchen itself. Through design
initiatives like these,
Whirlpool is creating a
distinctive look and feel that
successfully differentiates the
organisation from the
competition and, crucially,
increases profits.
Image courtesy of Whirlpool
Europe.

‘Innovation is not only about creating new and better products, but also
about developing better systems and new business concepts. IKEA, SW
Airlines, Virgin… invested in new ways to run old industries and have been
profit leaders. Marketers play a critical role in suggesting their potential,
and refining their features and launch plans.’
Peter Drucker
 Managing the Design Implementation
176 | PART THREE
Case Study

PRACTICE
FooGo/The Formation

1. FooGo develop new

products and convenience
food offers continually,
involving customers in
the actual creative
development of their
convenience food offers.
As the most important
stakeholders in the SIMPLICITY, HONESTY AND INNOVATION THE HUMAN TOUCH
company, customers are
invited to send in their With rising awareness of health and environmental The FooGo range is freshly prepared by selected
comments via the product issues, consumers want to know where their food is suppliers and shipped to outlets on the same day.
packaging, which reads: coming from, what it contains and how fresh the ‘The human touch replaces machines in much of
‘FooGo have created this ingredients are. Launched in 2001, FooGo produce the production, providing individual attention to
range of sandwiches for premium convenience foods. Their concern for each item. Even the cutting of fruit is done by
you, so please tell us what
food quality, health, the environment and their hand using sterile precision knives, which
you think.’
customers’ well being is evident in all of their wouldn’t look out of place in an operating
products and processes, and in the design and theatre, to ensure that the fruit is not bruised
specification of their packaging. or damaged.’ Even when quantifying the ingredients
and nutritional information, the descriptions
FooGo is about simplicity, honesty and innovation. remind consumers of the human element in the
The organisation states that ‘every time you eat or process (‘made by Marion and others in Sherwood
drink one of our products you are entrusting your Forest for FooGo’), and the fact that natural
health and well being to us. It’s quite a responsibility ingredients don’t grow in neat 100g quantities
and we take it very seriously.’ FooGo do not believe (‘values may differ due to natural variability’).
that convenience means compromise, and this
philosophy underpins their corporate strategy, which
is to ensure they offer customers the freshest pre-
prepared range of snack foods anywhere in the UK.
This belief extends to all stakeholders, including
employees and shareholders, customers and
suppliers, and the wider community itself.
Case Study

TRANSPARENCY, RESPONSIBILITY AND

ACCOUNTABILITY
2
FooGo adhere to strict quality-assurance procedures
that ensure full transparency, responsibility and
accountability for everything they buy, make and 2. FooGo ensure
sell. Within the supply chain, every raw ingredients full traceability of all
is of the highest quality that FooGO can source and their meat, including
‘Pampered Pork’, which
they are proud of the personal relationships they
can be traced back
have built with each of their suppliers These values
to their curer in
are communicated to consumers in FooGo’s product
Dumfriesshire. FooGo
packaging. For example, the customer will be told alerts their customers to
that FooGo’s eggs come from free-range hens that the unique processes of
forage in open fresh air, or that their Stilton is made each of their suppliers,
by Long Clawson Dairy, which is only ten miles from such as the Derbyshire
where their sandwiches are made. farmer who sits his ham
in brine for three days to
FooGo’s commitment to having a positive impact ensure it cures slowly, to
on the supply chain also extends to considering the highlight the personal
relationships that they
needs of their suppliers. By placing regular orders move towards a zero-waste environmental policy
have with their suppliers
with the farmers supplying FooGo’s high-quality throughout the company and are currently exploring
and their commitment to
produce, the farmers own businesses are kept the concept of producing their bottles and bowls
high-standards of raw
commercially viable. Similarly, by sourcing produce from corn starch. FooGo have successfully ingredient quality.
locally, the fuel consumed in transportation and considered packaging beyond merely selling
food ‘miles’ are reduced. the product, and actually think about the user
experience from point of purchase, to consumption,
SUSTAINABLE SPECIFICATIONS to final packaging disposal.

FooGo recognised that although there was All images courtesy and copyright of FooGo.
substantial consumer choice in the ready-made
sandwich market, there was little choice in the
packaging. They looked at the growth of the
convenience food market, the impact of the waste
packaging on the environment – the evidence of
which was visible in city parks after every lunchtime
– and decided to do something about it. Working
3
closely with branding specialists The Formation,
FooGo developed an exclusive range of
biodegradable packaging. The carton board used
3. FooGo’s packaging
for their sandwich wedges and salad boxes will tells the story of their
biodegrade in the right conditions in approximately commitment to
14 weeks. The clear material used for the wedge sustainability and
window is made from 100% cornstarch, and the ink, environmental issues.
varnish, and coatings for printing and lining the In their own words, they
carton board are water based and food-grade safe. would ‘rather see our
The range is the first of its kind, and FooGo are packaging disappear
continually searching for ways to than the planet’.
 Managing the Design Implementation
178 | PART THREE
Case Study

PRACTICE
The Silken Group

1 2

1. The Silken group was

the first hotel chain in
Spain to bet on the
unique concept of
designer hotels. All
Silken Group Hotels
are architecturally
outstanding buildings,
thanks to their
collaborations with
acclaimed architects and
designers. Zaha Hadid’s
design for the first floor
of the Puerta America
Hotel is a space of
remarkable fluidity and
interplay of daring lines.

2. For the rooms on

the eleventh floor of
the same hotel, Javier
Mariscal and Fernando
Salas used a broad palette
of colours on the floors
and walls, which provoke
different sensations,
and convey liveliness
and imagination.

A NEW HOTEL CONCEPT
Founded in Spain in 1955, The Silken Group identified
a gap in the Spanish hotel market and undertook the
opportunity of filling this niche by offering modern,
high-quality hotels of distinctive personality. The
group’s hotels use design to add value to their
organisation by their association with prestigious
architects and designers. Each Silken hotel has its
own bespoke identity and personality, thanks to
these collaborations.
The Silken Group have hotels located throughout
Spain (a total of 3600 rooms in 26 hotels throughout
the country), and are continuing their expansion
internationally. Their mission is to offer ‘the best
hotel service in the best rooms, with the highest
standard of customer service, from the best team of
people.’ As a business goal they focus on the quest
for a new hotel concept, aiming to offer clients a
new dimension in services and facilities to make their
stay more enjoyable. The Silken Group understands
that not all guests expect the same things from a
hotel. Its facilities and services are adapted to the
ensure that their guests’ needs, whether they are
business or pleasure, are catered for.
 Case Study

3. The Italian architect

Teresa Sapey has
saturated the
underground car park
with colour, creating an
emotional stimulus in her
quest for ‘freedom’, and
preventing the car park
A COMMITMENT TO DESIGN HOTEL PUERTA AMERICA from being an ignored
urban space. Paul Eluard’s
poem Freedom provides
Following their commitment to be at the forefront The Hotel Puerta America has become the group’s
inspiration for the simple
of technology, design and architecture, the group’s flagship hotel, and the benchmark for its future
iconographic code on the
hotels are characterised by modern facilities and standards. Located in Madrid, it was conceived as a walls that lead guests
painstaking attention to design and architectural homage to the world of design. In total, an through the garage.
detail. international team of 18 architects and interior The motifs are a finger
designers were commissioned to design and develop pointing to the exits,
The importance of design to The Silken Group is each floor of the 12-storey, 360-room hotel. people running with
evident in their professional collaborations. The a dog, a person in a
Silken design brief describes the commitment to The hotel was envisioned to be a meeting point for wheelchair, all of
signature their hotels as an all-embracing concept, creative freedom and the Silken Group produced a which have been
rendered by mixing
and one in which the designer must think through cultural manifesto that unified world-class architects
words from the poem.
each and every detail of the hotel, right down to and designers. Each possessed different disciplines,
the seemingly insignificant, and to consider them cultures, beliefs, nationalities and race, and all
as a whole. Beauty and functionality coexisting in were encouraged to let their imagination run riot.
harmony is central to the group’s hotel concept The goal was to offer each architect and designer the
and each of their hotels is renowned for its use opportunity to best reflect themselves, their work,
of advanced technologies and environmentally- their culture and their way of viewing the world. As
friendly design. such each designer’s concept for different aspects of
the hotel was totally unique.

4 5

4 & 5. The exterior of the

Puerta America Hotel
designed by Jean Nouvel,
playfully expresses the
concept of freedom;
which was the
cornerstone of the
project. Guests can
enjoy the changes in
colours provided by the
awnings and the words
of Eluard’s Freedom,
which covers the façade
in various languages.
 Managing the Design Implementation
180 | PART THREE
Case Study

6 7

6. In Zaha Hadid’s room

design, guests will feel as if
they are in a space almost
out of science fiction, yet
paradoxically, it is also
accessible, within an arms
reach. The doors are lit
with LED strips that
illuminate messages on the
doors, allowing guests to
indicate whether of not
they want breakfast, or to
be disturbed.

7. The hotel’s Marmo Bar

8 9
is a single 8.25m unit
made of white Statuario
Venato marble from the
Carrara quarries. The
original piece of marble
weighed around six tonnes
and was the first element
to be installed, even before
the hotel’s façade, due to
its enormity.

8. The bathroom in each of

Zaha Hadid’s rooms is a
single structure from floor
to ceiling that changes
colour according to the
room. The waste-paper
basket is a deluxe design
created exclusively for
the hotel.

9. Arata Isozaki’s
bathrooms in the rooms
on the tenth floor hark
back typical Japanese
traditions; the wooden ‘An idea of freedom comes true, a gathering space merging different cultures
bathtub and shower are
placed together, and the
and ways of interpreting architecture and design. A masterpiece that
use of a shoji panel. awakens guests’ senses, that breaks the mould by using different colours
materials and shapes.’
Jean Nouvel
 Case Study

THE DREAM TEAM AN IDEA OF FREEDOM COMES TRUE

Jean Nouvel was commissioned to design the hotel’s Attention to detail is one of the hallmarks of a Silken
façade, its penthouse apartment and suites on the Hotel. As well as the experience of high quality,
twelfth floor. Nouvel highlights the importance of excellent service and comfort, guests are encouraged
creating links between freedom and pleasure, and his to ‘search for new forms, to interact with them, to
work on the hotel aimed to capture a crossroads touch, to see, and even to breathe and smell’.
between art and architecture, which would allow Innovative thinking can be found in the unusual
guests to experience exceptional moments and create specifications of materials and the refreshing
small worlds for people to enjoy. combinations of art, design and architecture of the
Hotel Puerta America. On its twelfth floor, for
SGA Estudio, a multidisciplinary design team with example, Jean Nouvel has designed twelve suites that
extensive experience in construction projects, was are purely devoted to pleasure. The rooms feature a
responsible for developing the design for the system of sliding panels with rails on the floor and
structure and the hotel plan and layout. ceiling to allow guests to organise the space as they
wish. Effectively, the guests can act as architects of 10. John Pawson, who
Felipe Saez de Gordoa laid the foundations for the their own room, reorganising the area to suit their designed the hotel’s lobby
space upon which the other architects and designers own tastes. and meeting rooms, has
would work. This ‘dream team’ of architects included created, in his words, ‘a
Zaha Hadid, Norman Foster, David Chipperfield, Design successfully adds value to every aspect of the space to encounter peace
Plasma Studio, Victorio & Lucchino, Mark Newson, design, from the quality of the materials and finishes and quiet in the heart of
Ron Arad, Kathryn Findlay, Richard Gluckman, Arata to the choice of relationships and design the hotel’. The design
harbours the reception
Isozaki, Javier Mariscal and Fernando Salas, John collaborators invited to ‘leave their mark’ in a way
area in a semicircle, thus
Pawson, Christian Liaigre, Teresa Sapey, Harriet that enhances the overall personality of the hotel.
sheltering the guests from
Bourne and Jonathan Bell, Arnold Chan and Oscar constant motion passing
Neimeyer. All images courtesy and copyright of The Silken through the area.
Group.
11. Architect Kathryn
Findlay collaborated with
the interactive designer
Jason Bruges to turn the
eighth floor lobby into a
‘space guests must play
with, must discover
for themselves’. Fibre
optics in the Memory
Wall capture guests’
movements, only to
later project a distorted
image of them over the
panels made with points
of colour.

10 11
Managing the Design Implementation
182 | PART THREE
Interview
INTERVIEW
Colum Lowe, Head of Design and Human
Factors, National Health Service (NHS), UK
How long have you worked in this industry?
I have worked for the NPSA since November 2003,
but have been in the design industry in one form
or another since graduating from Chelsea School of
Art in 1989.
What does management mean to you?
The smug answer would be the skilful or resourceful
use of materials, time, people and money to achieve
a fixed task, at least that’s what it probably says in
the dictionary. The art of management is obviously
much more complex than that. Money, materials and
time can be edged this way and that on a computer
spreadsheet, but people cannot. As such, most
management skills lie in understanding human
relationships and motivational factors. Turning a
group of individuals into a team and then getting
that team to do what you or your organisation
want, especially if it is not what they want, can be
incredibly challenging.
What do you love and hate most about
management?
I remember reading a motorcycle magazine and
somebody famous was asked what their most and
least favourite bike was, to which they replied that
their least favourite bike was a Honda, because it
was a Honda, and that their favourite bike was also a
Honda, for exactly the same reason. Being well-built,
well-designed, affordable and utterly reliable can be
both positive and negative, especially if you have a
taste for Italian exotica, but have to commute to
work 12 months of the year.
Managing people can be just like that, in the main
it’s the most rewarding part of the job and the
reason for my getting out of bed, but occasionally it
is also the part that makes you instinctively update
your CV and flick to the appointments pages of
Week..
Design Week
From your perspective, what is design?
Ah, now that’s the million-dollar question, there are
as many definitions of design as there are designers.
Design is, of course, everything that we do, we all
plan and invent and solve problems on a daily basis
and at some level this is design, but that doesn’t
loosen the purse strings of your finance director and
encourage him or her to invest in your programme.
It’s fundamentally part of a design manager’s role
to be able to define design to a non design-literate
audience, and I think therefore that the definition
might change depending exactly on whom your
audience is and what their level of understanding
is. The definition I currently use is a user-centred
problem solving process as it encompasses the three
main elements that I believe are vital to defining
design. Firstly it is a process not a product, a verb
not a noun, you cannot look at a product and say
it is well designed, you can say you find it pretty,
or that it works for you, but as you did not see the
design brief, know how well the process or costs
were managed, you cannot say it is good design.
Secondly, there must be a problem to solve, a
challenge that might not be purely commercial,
this is what differentiates design from art and
sculpture, which are predominantly about the
personal expression of an abstract idea. Design is
much more structured and focused. Thirdly, and
probably most importantly, design is user centred, it
is for someone; a person has to interact with the end
product and it must work for them. If what you do
does not achieve all three of these then you might
be a stylist or an engineer or an artist, but you are
definitely not a designer.
Interview
Colum is Head of Design and Human Factors at the
NHS National Patient Safety Agency (NPSA). Colum is
the main focal point and liaison for the Design for
Patient Safety agenda to government and industry
bodies. Colum’s role involves promoting better
design in healthcare, and providing advice and
implementation strategies for patient safety in the
areas of architecture and human factors.
What value does design bring to the industry
you work in?
Value is another one of those issues the design
industry has wrestled with, how to prove the
financial impact of design and whether financial,
rather than societal, impact is what you should be
measuring. In my industry it is much simpler, good
design can save patient lives and deliver better
quality healthcare for staff and patients alike.
In what ways can design be strategic?
I believe the phrase design strategy is an oxymoron.
Design is inherently non strategic, it is a tactical
delivery channel of a business strategy. Designers
can think strategically for sure, but the process of
solving problems is tactical not strategic. The word
strategy seems to have been adopted by anyone
who wants to make their service offer appear more
important than it actually is. Using design is not a
strategy, delivering sector growth through focused
design might be.
What are the challenges you face in running
design projects?
Just the usual; trying to do too much, with too little
money, in too short a period of time, it’s the project
management time/cost/quality triangle in reverse.
It’s a bit different working in the public sector when
you are spending taxpayers’ money and every design
project you run could have paid for another doctor
or nurse in a hospital for a year. It rather focuses the
mind and makes you very focused on the end
product, sometimes too much so.
What, to you, is the relationship between design
and innovation?
To me there is a very limited relationship. Innovation
is the exploitation of a new idea. Design can help
create the idea, it might even be able to assist in its
exploitation, but they are fundamentally different
things. Innovation is another one of these words
that people throw about without understanding the
meaning of it. Today it seems to be interchangeable
with the word creative, but it is fundamentally
different.
Are business skills important in design education?
Business skills are completely essential, partly
because many designers will one day set up their
own practices, but mainly because a failure to
understand the basic organisational structure of your
client as well as its processes and politics will almost
always result in a problematic design process and
expectations not met, on both sides. Design colleges
failure to adequately teach these subjects says much
about the current state of design education.
What is it that annoys you most about the design
industry?
Bad design winning design awards has to be my pet
hate. The world is full of bad design; some of it just
happens to be pretty and wins awards. the result of a
really good design process is usually invisible to all,
but the most observant; it gets on with doing its job
without drawing attention to itself, consider the
London Underground Map for example. Bad design
on the other hand is really hard to miss, mainly
because you keep banging your shin on it!
Managing the Design Implementation
184 | PART THREE
Interview
INTERVIEW
Lynne Elvins, Co-Founder of A420
What is sustainability?
For design managers, applying sustainability is not
about having to employ a separate design practice
that is only pulled out when a sustainable product
or service is asked for. It is about being aware of an
emerging set of twenty-first century issues that are
putting new pressures on businesses, in-turn the
businesses feeling these pressures hire or employ
designers who, by association, must also respond
and be able to provide design solutions to deal with
these issues.
What are the issues?
The sorts of issues that we are facing on a global
scale are environmental, such as climate change or
water shortages, as well as social, such as poverty or
health care. We all see these issues being discussed
on TV or in the newspapers, but what we hear less
about are the details of how businesses are working
toward dealing with these problem areas. This is one
of the barriers when trying to understand how design
is connected to sustainability. Designers didn’t create
our financial or political systems, so what have these
issues got to do with them?
What has it got to do with designers?
There are many ways that designers can address
sustainability. Every design project has the potential
to be more sustainable, but there are three more
common areas where designers are getting involved.
Firstly there are all the products and services that
can be redesigned to be more sustainable, whether
rethinking the materials they are made with, the
amounts of energy they use or their accessibility –
the list of issues will change depending on the nature
of the product or service. Secondly, the subject of
sustainability is highly complex. The use of design to
better communicate the issues is incredibly valuable
whether through brands, websites or print. It is all
very well for businesses to have corporate
sustainability aims or for governments to have
targets to meet, but if these are not easy to
understand or navigate, good intentions can be
wasted. Thirdly, when we look at all the issues
together it is apparent that we urgently need highly
innovative solutions to some of the problems we will
face if we don’t make those changes. As a process to
visualise and provide creative solutions, design, and
those that manage it, has a potentially major role in
completely rethinking the way we live and
envisioning the sustainable products and services of
the future.
What do designers need to do?
Whichever way design might be applied to address
sustainability issues, through product changes,
communication design or entirely new concepts,
the challenge is to balance financial, social,
environmental and personal agendas. Meeting
financial constraints from clients and the personal
requirements of the end user have been the primary
concerns for business and designers in the twentieth
century. Being able to negotiate environmental and
social issues as well is the challenge for the twenty-
first century. The misperception is that sustainable
design is only about eco-friendliness or charitable
aims, but if designs don’t make money, don’t look
great or don’t function properly, they won’t survive
in today’s markets. Sustainable design work has to
be financially viable, socially acceptable, personally
desirable and environmentally responsible.
Why don’t we hear more about this already?
At the moment it is not uncommon for managers of
design to be unaware of the sustainability issues a
business client is trying to deal with. This is fuelled
by the fact that often the people managing
sustainability within a business are not involved in
commissioning design. The difficulty is getting these
two sets of people together in ways that they can
understand each other. One side has a big list of
problems, the other side are providers of solutions.
It might sound simple, but it is by no means a
straightforward conversation. But those design
managers who participate in these issues will gain
competitive advantage. Those that ignore them
will struggle.
Is anyone doing this already?
From the big design leaders, companies like Philips
are expressing their wish to ‘explore new business
opportunities and new markets with sustainability as
a key driver’ (www.philips.com/about/Sustainability).
Nokia’s Chairman and CEO states that ‘corporate
Interview
Lynne Elvins trained in design management and
went on to work with SustainAbility, an
international sustainable business consultancy.
After working independently, she co-founded A420
to change the understanding of sustainability
within the design community and design education.
responsibility drives performance, promotes strategy
and efficiency and supports our strong Nokia
reputation and brand’ (www.nokia.com/crr/
crr_index.html) and Apple say ‘we are committed
to reducing the environmental impact of the work
we do and the products we create’ (www.apple.com
/environment/). Most large companies have
something to say about these issues. In fact in 2004,
more than half of the top 250 FTSE companies
produced publicly available reports covering their
environmental issues and of these, 98 included social
issues as well. Try exploring a company’s website
and if you don’t find ‘sustainability’, ‘environmental
performance’, ‘corporate responsibility’, ‘global
citizenship’ or some similar sounding term on the
homepage, try the ‘about us’ section instead.
How do designers get sustainability on the brief?
Business statements are clearly not actual design
briefs, but they do allow design managers to discuss
sustainability issues with business clients. Corporate
sustainability reports are not exactly gripping reads,
but with this additional research material design
managers can approach the subject of sustainability
backed with the confidence that they are acting
in-line with existing company interest and not just
presenting some sort of personal crusade to save
the planet. The suggestion here is not that design
managers take the moral high ground and storm in
waving sustainability reports in people’s faces. But
there is a major opportunity for those who manage
design to take a leadership role and get design into
the heart of sustainable business strategies.
Where should design managers start?
This is the question that led to the founding of A420.
If design managers try to approach sustainable
design it is easy to be overwhelmed by what has
become a deluge of information around the subject.
The problem we found is that there is little
consistency in how it is communicated and it is very
difficult to quickly obtain the relevant information
for your design project. We felt there should be
an easier way, so we created sustainability issue
mapping [see page 110] by sitting down with all the
issues we could find and designing an information
hierarchy for them. What we are able to do with this
is navigate designers to the one or two key issues
that would be best for them to tackle, rather than
bombarding them with the whole field. The process
can also bring about a whole range of design
management questions about client relationships
and how much authority design managers have to
bring new issues to the table, but the starting point
is for design managers to be open to these new
discussions. It is then our job to shed positive light
on the options that are of practical use to them.
What opportunities are there for students of
design management who are interested in
building a career in sustainability issues?
At the moment, you can’t just approach any design
agency or in-house team and expect them to already
be talking positively about sustainability. They may
even be quite negative about it. Students need to
be wary that they don’t get labeled as some sort of
eco-freak from the outset. Instead, do some extra
homework and approach people on specific issues
that are relevant to their projects. Research the
companies or clients involved and I can almost
guarantee there will be some environmental or
social issues that they have to deal with. I have
never come across a ‘sustainable design manager’
title and I wouldn’t expect to ever see this, instead
sustainability issues will become embedded into
design management generally. It’s not general
knowledge at the moment, but the appreciation of
how design and sustainability relate is rising rapidly
and if you can show some intelligence on the
subject, this should help your career.
What books, magazines and websites would you
recommend to students to find out more about
this area?
One of the problems is that whilst there is lots of
sustainable design information out there, it is
fragmented and often focused only on eco-design. If
you were only to read one book I would recommend
Cradle to Cradle by William McDonough and Michael
Braungart. Other than that I would recommend our
own A420 website, www.a420.com, where we are
building a design issues databank full of links to
information sources.
Managing the Design Implementation
186 | PART THREE
‘Design management is about delivering successful design solutions in an
efficient, cost effective way. Design leadership is about helping organisations to
envision the future and to ensure design is used to turn those visions into
reality.’
Raymond Turner
KEY SKILLS
Management and Leadership
The qualities that make a good leader are not
necessarily the same qualities that make a good
manager. In design, the terms design ‘leadership’ and
‘management’ exist to differentiate between these
two approaches. Both management and leadership
roles involve balancing the day-to-day goals with the
long-term ones, and mutual respect for the different
strengths, roles and responsibilities of everyone
involved. In each case, it will at times be necessary
to manage upwards to achieve results, whether
increasing a particular project budget, or changing
whole company structures to spur creativity
throughout the organisation. Some design managers
may find themselves transitioning from a
management role to a leadership one, which
inevitably will involve giving up certain
responsibilities and adapting to new ways of
performing and leading by setting a ‘winning’ vision
and then inspiring others to understand and deliver
it (Landry 2004).
MANAGEMENT
In general, management is about day to day
operation, and relies on people who know how to get
the job done, deliver on time, to budget and
specification. In the design business, it is traditional
to promote designers to managerial positions even
though design training typically does not provide the
full range of management skills that are necessary to
cover the people, project and business management
challenges faced. As Patterson notes ‘like people
becoming parents, managers are transformed
through experience. Designers, as they take on
management responsibilities, go through the same
kind of shift in their world view’ (2001).
Organisations should provide training, support and
encouragement to allow designers to move into
management positions.
QUESTIONS FOR DISCUSSION: In what ways can designers, design managers and design leaders work together
to gain more influence and autonomy for design within an organisation? What new responsibilities will this
necessitate?
Most business managers are already very busy
running day-to-day business operations. They don’t
always have time to put together proposals for
bringing design thinking into their functional
projects. Design managers can make it easy to bring
in design resources by, for example, ensuring that
design policies and procedures are in place, and that
a variety of different design skills are engaged on a
roster or retainer, for ease of access. Design
managers can also help form a strong business case
for using a design resource for a particular project or
strategic goal if design input is needed.
LEADERSHIP
Leadership is about setting and driving vision, and
taking a long-term view. People who are brilliant
leaders are not necessarily good managers or good
team players, nor particularly adept at day-to-day
operations. However, a leader that explains how
long- term goals can benefit individual business units,
and individuals themselves, is more likely to motivate
others to cooperate. Different types of leadership
exist, and within any organisation or any role,
different styles may predominate at different times.
Pearson (1998) identifies six approaches to leadership:
advocacy (campaigning for better conditions),
pioneering (initiating new ways of thinking), strategic
(leading from the front), servant (leading by helping
others), visionary (creating new visions of how things
could be) and transformative (initiating change at
many levels).
Leaders have authority, that they can choose to
delegate, for example, the execution of a clearly
defined task or making project decisions. Delegating
authority is different from delegating responsibility.
Authority, from the Latin for ‘advice’, persuasion’ or
‘encouragement’, is about ‘influence with people
rather than over them. It is about ‘the right to make
decisions or the right to take action, in the course of
discharging responsibility, and to require others to
accept the decisions, and if necessary to enforce
them’(Denyer 1972).
1 3 Management and Leadership | 187
1. The Danish company Bang
& Olufsen (B&O), creators of
audio-visual equipment, work
with many individuals that
lead and manage different
aspects of design. B&O has no
in-house designers, all design
work is carried out by a small
number of freelance product
designers, and only those
designs exhibiting the
distinctive B&O quality are
considered for production.
Image courtesy of Bang &
Olufsen/Peter Krasilnkoff.
2. David Lewis, one of the key
external designers working
with B&O, provides creative
leadership in the form of new
product ideas and proposals.
Within B&O, the department
responsible for facilitating
external design services and
integrating them within R&D
and management is called
‘Idealand’, and acts as B&O’s
innovation mechanism. The
design manager for Idealand
combines management and
leadership roles, working
with B&O’s internal decision-
makers and management
teams and the external
designers to decide which of
the ideas will go into
production (Cockerille, 2004).
Image courtesy of Bang &
Olufsen/Solkaer.
3. The company values of
performance, design and
craftsmanship drive the
company. All design decisions
are made under the guidance
of the company’s vision: ‘the
courage to constantly
question the ordinary in
search of surprising and long-
lasting experiences’. This is
B&O’s BeoSound 2 Bag.
Image courtesy of Bang &
Olufsen/Morton Lassen.
Managing the Design Implementation
188 | PART THREE

KEY SKILLS

Leading and Advocating Design

When leading design teams, thinking like an
entrepreneur can certainly help promote the value of
design, since an entrepreneurial mindset is the best
one for identifying new opportunities where design
can add value and make a difference. Once these
new opportunities are identified however, design
managers then need to follow them through, and
help to successfully exploit the ideas in the context
of the organisation and the market. To do this
requires a good understanding of which design ideas
can deliver the most value to the organisation, how
any design asset can be protected, and what ideas
and assets should be exploited. The goal is to turn
design ideas, assets and opportunities into
commercially, and increasingly, environmentally,
viable ventures, products, services and experiences.
PROTECTING DESIGN ASSETS
Design and designers work comfortably with the
idea-generating processes that can result in the
creation of valuable design assets. In most countries,
legislature will exist to protect designs from being
copied or otherwise exploited against the wishes of
the originator of the work. Designers normally hold
moral rights to a design, and will charge a flat fee to
a client for its one off use. For multiple use of the
design, a legal contract detailing the terms for the
rights of use should be agreed. Additional protection
of creative outputs and ideas can be sought by
registering intellectual property (IP), for example
copyrights, patents and trademarks, and registering
designs in different geographical areas (national,
regional, international), or business sectors.
Protecting design assets makes good business sense in
that it can prevent costly legal battles in the case of
infringement. It is also a good way to get design
valued within an organisation, since intellectual
property (IP) is considered a valuable asset for
generating additional revenue streams.
Design teams within organisations are valuable
assets. Recruiting for an expanding team can be an
expensive process, so attracting, hiring and keeping
the best staff is key to creating and maintaining a
strong design resource that delivers exceptional
results.
EXPLOITING DESIGN ASSETS
Once adequately protected, design assets can be
commercially exploited. This can be achieved by
setting up third party licensing agreements, royalty-
payment agreements, international business
relationships with manufactures abroad, or by selling
rights to new geographical locations where
expanding market opportunities have been
identified. Other sources of funding and investments
can also be solicited, both inside the organisation
(different business units), and outside it (government
grants and trade bodies). Currently there is a growing
trend for design-led organisations to build
relationships with universities and colleges by setting
up ‘knowledge transfer partnerships (KTP),
consortiums and research clusters as a means to
leverage the value of design research and education
within the industry.

‘Autonomy around process fosters creativity because giving people freedom

in how they approach their work heightens their intrinsic motivation and
sense of ownership. Freedom about process also allows people to approach
problems in ways that make the most of their expertise and their creative
thinking skills. The task may be a stretch for them, but they can use their
strengths to meet the challenge.’
Teresa M. Amabile
 1 2 Leading and Advocating Design | 189

1. As well as having internal

design teams, BMW also have
an ‘external design house’,
DesignworksUSA. The
reputation and quality of
work delivered by
DesignworksUSA keeps
them in demand with both
BMW and other external
clients. BMW acquired
DesignworksUSA because
they wanted to enhance their
knowledge about the world
of their customers, to look
beyond the motorcycles and
cars and understand the
forces shaping the lives and
Table 1: Staff Recruitment
desires of their own clients.
Objective Question Considerations
BMW also wanted more than
Attracting How is the organisation The reputation of organisation just a strong design supplier
and workplace culture Its mission and values or a permanent in-house
perceived from the Its public or industry profile partner, but a group that
outside? Its work-life balance policies would understand the
Any internal rewards schemes? cultural trends and contexts
It’s relationship with good quality head hunters that BMW cars and
Its community involvement motorcycles exist in.
Image courtesy and copyright
of BMW AG.
Hiring What steps are taken to Is there an induction programme?
introduce new Is there time to build familiarity?
2. This is DesignworksUSA’s
employees and visitors Is there a mentoring scheme?
Munich studio. To make sure
to the organisation? How do skills fit within the team, are there adequate that DesignworksUSA
levels of staffing? functions outside the BMW
‘world’, they operate as a
Retaining Is the organisation Is there sufficient training and development? profit centre, and therefore
looking after their What is the quality of the work environment? must continually sharpen
existing employees? Are there varying tasks and responsibilities? their design and business
Are there opportunities for career growth? practices to remain
Are there varied career opportunities for different competitive. BMW require
DesignworksUSA to apply
life stages?
themselves to the design
Does the company attracting past employees or
considerations of diverse
‘rehires’?
range of customer
experiences. This encourages
crossover thinking and skills,
which is enhanced from the
richness of having a variety
of viewpoints.
Image courtesy and copyright
of BMW AG.
Managing the Design Implementation
190 | PART THREE
‘Organisations are about people, and in order to get the best out of people,
you have to create an environment where people will thrive.’
St. Luke’s Communications Ltd.

QUESTIONS FOR DISCUSSION: In what other ways can a company lead by design? Are there other design
assets within an organisation that need to be brought to the attention of senior management?
 1 3 Leading and Advocating Design | 191

VALUING THE DESIGNER

Investors interested in making an investment in a

design consultancy will look at the design team (the
human resources) and the client list (people for
whom the consultancy delivers projects) and then
will establish if these design assets are of value, and
if they are likely to deliver a return on investment
(ROI). It is therefore important to protect and value
all those involved in the design process, this can be
done in two ways.

Firstly, the design manager can manage the

relationship between staff costs, staff levels of
experience and the value individuals can actually
bring to a project. It is tempting to employ less
experienced designers in an effort to keep staff costs
down, but having experienced (and therefore more
highly paid) staff can be worth their added value in
terms of productivity, efficiency and their ability to
mentor less-skilled designers.

1. Vitra’s company head Rolf Fehlbaum. The 3. Vitra’s buildings, such as

Secondly, design managers need to protect the
headquarters in Birsfelden,
morale and productivity of the designers. Creatives
Switzerland, and their
often thrive when working within defined manufacturing factory in
parameters, restrictions of time and budget can spur Weil am Rein, Germany, have
designers to think inventively within the resources become meccas for
allocated. However, too much restriction over a architecture lovers all over
prolonged period of time can undermine motivation the world. Vitra is renowned
and morale, and lead to long hours, high stress levels worldwide for commissioning
and possible burnout. A successful design manager distinctive architecture that
will instil a sense of challenge and trust, and agree encapsulates the innovative
and design-led image of the
realistic delivery schedules in consultation with the
organisation. Illustrious
designers.
architects such as Frank
Gehry, Tadao Ando, Zaha
Hadid, Nicholas Grimshaw
and Alvaro Siza have all
realised significant designs at
the invitation of company
buildings are true design
assets that celebrate the
organisation’s innovative and
design-led image.
Image courtesy of Vitra,
(photographer: Thomas Dix).
2. Vitra’s Design Museum in
Weil am Rein, was designed
by Frank Gehry. To
accommodate extensive
public interest in the
buildings on the Vitra site,
the museum offers regular
guided architecture tours in
numerous languages.
Image courtesy of Vitra,
(photographer: Thomas Dix).
their manufacturing hall,
designed by Nicholas
Grimshaw, visualise their
philosophy towards design,
and are part of the
company’s heavy investment
in high-quality work
environments for their valued
employees. The buildings help
create a culture of creativity
and send a powerful message
to the outside world by
putting their work ethos into
practice in order to realise
their own ideas on the ideal
work environment. The
building’s interior and
furnishings are used to invite
and encourage mutual
collaboration amongst
employees.
Image courtesy of Vitra,
(photographer: Thomas Dix).
Managing the Design Implementation
192 | PART THREE
KEY SKILLS
Written Communication
Writing varies in style and purpose, from the formal
to the informal, and from being entertaining to being
a forewarning. Writing, as a form of communication,
has the ability to capture complex information
accurately and succinctly. The written documents
themselves become a very useful form of agreement
between people, as well as a permanent record. The
reminder to always get it in writing makes good
business sense, since each of our backgrounds will
influence how we interpret a situation or
conversation. Each of us will inevitably draw
different conclusions if things are not clarified.
The type of written business correspondences to be
used will frequently be determined by the cost, speed
and accuracy needed. Emails are faster to write than
letters, and can be sent simultaneously to any
number of people. Faxes are more expensive and
time consuming to send, but do provide a fairly
instantaneous hard copy of a document or design
detail which may be critical. Mailing a letter may
sometimes be the most appropriate method as
delivery, for example, can be recorded.
WRITING LETTERS
In the context of design and business, letters are a
formal record of the correspondence between
two or more people. The exact level of formality
will depend on the nature of the relationship
between the people involved, but as a written
record, a letter can become a legal document if
circumstances so require.
The most common purposes for sending a letter are
to obtain information or action, to persuade, sell,
clarify, enquire, answer a question, and to create
an impression of ourselves and our organisation.
Letters usually follow particular guidelines in terms
of format (opening, main body, action point,
concluding remarks, close and signature), salutation
(title, name, form of address and level of familiarity),
and structure (paragraphs, indentation, layout,
position of address). When writing a letter, always
leave enough time to plan, draft, review, check,
read, edit and send. Consider the overall image
the letter is making. Is it communicating what you
want it to?
The beginning and the end of any correspondence
(the open and close) is likely to be what the recipient
will remember and, more importantly, is most likely
to judge the letter by. People form impressions
based on how they read, encode and decode
information, and this process, although not fully
within the writer’s control, can be steered in a
positive direction by being aware of the impression
that is created.
 Written Communication | 193

‘To get the right word in

the right place is a rare
achievement. To condense
the diffused light of a page
of thought into the luminous
flash of a single sentence, is
worthy to rank as a prize
composition just by itself...
Anybody can have ideas –
the difficulty is to express
them without squandering a
quire of paper on an idea that
ought to be reduced to one
glittering paragraph.’
Mark Twain
Managing the Design Implementation
194 | PART THREE
WRITING REPORTS
The purpose of a report is usually to inform, provide
answers to a question, or provide the evidence
necessary to help sell an idea. Reports are a factual
documentation of a business situation, and are based
on thorough research and analysis that is assembled
in a presentable, organised and useful way.
The most common purposes of business reports are to
monitor and control operations; to implement
policies and procedures; to comply with regulatory
agencies; to obtain funding; to document work for
clients; and to guide decisions.
Thinking about the intended audience for the report
will guide the level of information included about the
wider business context, and what words and
terminology may be unfamiliar and therefore need to
be explained. Visuals and diagrams can be a very
useful way to give an overview of a particular
aspect, and frequently can communicate a great
amount of information to people from a range of
different backgrounds. Reports should open by
identifying who commissioned it, what its purpose is,
and the questions the report is intending to answer.
Use of heading and sub-headings will quickly allow
the reader to obtain an overview of the report and
ldentify the main conclusions.
Report formats will vary depending on their purpose,
but typically will include a cover, title page,
commissioning letter, foreword, synopsis or
executive summary, table of contents and list of
illustrations, introduction, report findings,
conclusions, recommendations, appendices and a
bibliography.
QUALITY OF COMMUNICATION
Poor grammar, spelling and punctuation is
distracting and confusing, and can create mixed
messages about what is actually meant. Always aim
for clarity, succinctly getting to the point in a way
that is most appropriate to the recipient of your
correspondence. Keep your sentences short so as to
allow the recipient to read, decode and assimilate
the information more effectively. Read and
proofread your correspondence before sending it,
and if possible have someone else in your team
proofread for clarity and legibility. Is your letter
readable and understandable, or incomplete, overly
complicated or unfocused? If you’re not proud of it,
don’t send it.
Any documents leaving your team will always
present an image of how you operate. Maintaining a
high standard of presentation in terms of paper
quality, neatness and accuracy helps convey a good
impression of an individual, and team, which cares
about attention to detail.
The language and vocabulary used in written
communication should be specifically chosen so that
it is appropriate to the intended audience. For
example, technical descriptions or foreign words may
need to be translated to provide meaning in the
context of the project. In general, always use a
thesaurus or dictionary to find just the right word,
and specifically, keep up to date on the vocabulary
relevant to existing and new debates in design and
business, to ensure you use the right word in the
right context. The recipient of your correspondence
may be from a different target audience to the one
you personally represent. Being able to see and
communicate things from an objective point of view,
with empathy for a client, audience or end user, is a
valuable skill to have when analysing entirely
different market sectors.

STYLE OF COMMUNICATION
Seeing the situation from the recipient’s point of
view, not your own, is often the best way to achieve
cooperation, buy in and agreement. A useful exercise
is to imagine what it would be like to receive your
letter. Does it present the message and attitude you
want to convey? Is it direct, succinct and to the
point, or direct, aggressive and rude? Words are
powerful weapons that can help to build, or break,
relationships.
Being empathetic means seeing the recipient as
central to the message you are trying to convey, and
identifying what may be of concern to them. Think
about the appropriate form of address for the
correspondence. Using ‘you’ makes your writing
more immediate, and more interesting, to the reader.
Saying ‘the design team will finish working on the
problem by Monday’ has a different tone to ‘you will
have a solution from the design team by Monday’.
‘The ability to express thoughts and
communicate information in clear written
English (or another language) is central to
the work of a design consultancy. Clients
often feel out of their depth or unqualified
to make aesthetic judgements, but they will
be influenced by the quality of written work
and the quality of service coming from the
consultancy.’
Liz Lydiate
Written Communication | 195
There may be other times where written
correspondence serves as a carrier of good or bad
news. In daily business dealings, most
correspondence contains a mix of positive and
negative progress, and how this is communicated will
affect the level of trust and confidence a client, for
example, places in a design team. Positive phrasing
focuses on what can be done, rather than draw
attention to what cannot be done. The use of active
voice (where the person performing the action is the
focus of the sentence) and passive voice (where the
person performing the action becomes the subject of
the sentence) is a useful method of accentuating a
positive message, or reducing blame in a negative
message. As an example, ‘the CEO announced a
profit’ is active voice, whereas ‘a loss in profits was
reported’ is passive voice.
Writing can leave an impression of who you are so
remember to take a few moments to read through
what you have said, and the way in which you have
said it, as this is time well spent. It is not possible to
‘unsend’ a piece of written correspondence once it
has been delivered.
 Appendix
196 | Appendix
Design management is an intricate subject,
but there are clear guidelines that design
managers can follow to manage the
investments made in design to maximum
impact. As the role of design in the world
continues to broaden, organisations are
increasingly viewing design as something
that is integral to their decision-making
processes.
The design management strategies that
enable design to influence organisations and
their place in the world are also the tools
that can challenge organisations to question
their role, purpose and responsibility in
business, society, the economy and the
environment, as well as in people’s everyday
lives. To follow are 18 points of view from
leading individuals in the field, on what
design management constitutes for them.
 18 Views on Design Management
Helen Atkinson
Senior Design Manager, Integrity Design
Management Ltd.
(Formally Sainsbury’s Head of Design 1993–1999).
Its easy to feel overwhelmed by the mass of
messages that clamour for our attention. We are
surrounded by direct and indirect demands on our
time. So I believe a design manager’s role is to
ensure that every form of ‘brand’ we experience
makes sense to us.
The role is therefore so much more than strategy
and creative ideas. A design manager has the
diversity of business and creative experience, the
will, and the people skills to make things happen.
They have the ability to nurture good ideas and
deliver them in a way that makes sense. Sounds
simple. But of course this requires us to address all
factors that influence a successful project – timing,
content, location, structure, materials, process,
costs, consistency and return on investment.
It would be very easy to over-intellectualise a
response to this question, I think many design
managers are as concerned as our creative cousins
that design cannot be taken seriously unless we
secure a place on the board and use the word
‘strategic’ as often as possible. For me the
design manager is simply someone who can take
the whole design process from great idea to even
greater reality.
A design manager must be a diplomat, peacemaker,
planner and plate spinner. It’s about rolling your
sleeves up and doing what it takes to nurture every
good creative idea from everyone in and around you
organisation, regardless of rank. And then it’s about
making sure that the best ones get to live and
breathe and build your brand.
The best design managers that I have worked with,
from both sides of the client divide, are those who
take a much humbler and hands-on approach, who
educate through example by delivering what others
can’t. We don’t mystify our colleagues with
complexity, we gain their trust by demystifying the
complexities of implementation - to many, the
biggest burden of any project. We impress and
influence through our supportive, professional
approach and our uncommon common sense. And in
this way we make brands make sense.
Clay Burns
Vice President, Smart Design, Barcelona.
One of the interesting issues facing designers and
leaders today is the confluence of responsible
initiatives. Staying focused on people, not just
consumers, is a key counterbalance the design team
offers. What happens when we are faced for
example with an alarming trend such as the increase
of diabetes? From a universal design angle we must
help create care systems and products that make
living easier. But as sustainable designers we might
better direct our influence toward to the conditions
which drive such epidemics – e.g. the over-
abundance of sugar in our communities – so that we
may reduce the number and size of the things we
make. Design is about people, and today more than
ever society needs leaders and creators who try to
hold on to two things: integrity and perspective. As
Sun Tzu, Drucker, Rand, Jung and others have
observed in different forms, the results of our work
are often determined beforehand by preparation,
approach, individuals, and natural conditions. The
best thing design leaders and managers can do is to
find the right people, explain the opportunities and
goals, and provide the resources that allow design
teams and businesses to create meaningful solutions.
Inyoung (Albert) Choi, Ph.D.
Associate Professor of Brand Design,
Hanyang University, Korea.
Design can express the brand and impress the
consumers. Today’s consumers are becoming more
‘active’ and less ‘passive’. To express a brand to
active consumers, more than ever, designers must
act as brand strategists who must consider how to
deliver consistent design solutions that impress
consumers with their actual physical form. Hence,I
see no boundaries between designers and design
managers. In a competitive marketplace, designers
must have the knowledge to fortify design solutions,
to compete in the battle of recognition. Design
managers must understand good design and be able
to incorporate an appropriate design for each
branding or marketing strategy.
If the designs of the twentieth century are based on
artistic intuition, because there was a less
competitive market and a more unbalanced world
economy, then the designs of twenty-first century
are based on both artistic and analytical logic,
because the market place is very competitive and
the world economy is more evenly spread
throughout the world. Therefore, I believe today’s
designers should have the following qualities:
•Able to include empathy for the consumers and
culture
•Able to distinguish design styles and cultures
•Able to manage design solutions that are
sustainable or ephemeral in nature
•Able to formulate a relationship between verbal
and visual communication
•Able to write and represent strategic plans and
contents
•Able to transcend a marketing strategy to design
applications
•Able to manage time and duties
With these qualities, designers and design managers
work together as a team to create, manipulate,
maintain, constrain, and express strategic design
solutions for highly complex consumers.

Joe Ferry
Head of Design, Virgin Atlantic Airways.
Change is seldom greeted with affection but is a
necessity for organisations that depend on design
and innovation to either sustain or gain a market
lead over their competitors. The optimism and
energy of a design manager should inspire change
throughout a company at many different levels and
through many different disciplines.
A design manager has the ability to coherently
communicate aspirations to both internal clients
and external consultants. Understanding how new
product developments affect all aspects of the
Company enables them to design out the
unnecessary and include the essential, resulting in
commercially successful projects that show a real
return on investment.
Being the champion of innovators and the guardian
of design, the design manager can also ensure the
brand is protected for its long-term health,
especially within companies where design and
innovation is the lifeblood of its future. By doing so,
the design manager concentrates on delivering the
true needs for the end customer.
Having design managers that are visionaries with
empowered leadership, can assist in delivering a
company’s manifesto and creates a culture within
the company that is design aware. They should
inspire change by using considered innovation,
which will ultimately create the visions for the
company’s future.
Rudolf Greger
Managing Partner, GP designpartners, Austria.
In our daily work we are confronted with two faces
of design management:
First it is a kind of managing the design process
within our design team. Although this is a typical
management task, the difference is that it will be
fulfilled by designers. This means that even the
planning of resources, the planning of the project
execution of each project is designed - is a design
process by itself. The advantage of this approach is
that we can adapt the whole or parts of our team,
as necessary, to the given requirements of a project.
In my opinion, this is one of the significant
differences between management and design
management. Design management is not only about
managing design processes, but also about designing
management processes.
The second kind of design management we are faced
with is to manage the design strategy of our clients
or, at least, support them in doing so. Designers can
help their clients to set up a strategy to strengthen
their brand and their position in the market. This is
especially true of designers who work in diverse
industry areas, who can give an outside view to the
client and supply advice on what they need to do to
achieve maximum impact with the product
portfolio; how to expand the product portfolio; how
to position the brand, and how to differentiate
themselves from their competitors.
The primary task of design management in this case
is to capture the corporate identity, the philosophy
of a corporation, and to visualise and communicate
this through the product and product experience, so
that the core brand values are tangible to the
customers. This has the effect of both strengthening
the brand and making it robust in the market.
18 Views on Design Management | 199
David Griffiths
Design Management Consultant, UK and Advisor to
Indian Design Clients and Consultancies.
The language of design management is changing, in
the same way that we no longer talk so often of
corporate identity, but describe everything as
branding; so design leadership is the new mantra
instead of strategic design management. Design
management is often used to describe what we
might Have called design project management in the
past, i.e. tactical and operational issues. This has
been occurring alongside a shift in who is involved
in design. The paradox of success for design
becoming more widely discussed and appreciated is
that it is no longer the dominant preserve of
designers (those trained in the craft of design and
able to realise ideas in physical form). Organisations
are recognising the role of design in creating
success and design leadership is viewed increasingly
as a core competency to be provided internally or
through a trusted partner (namely, a design
consultancy).
The language we use often symbolises the
substantive basis on how we interact socially or in
an organisational context of an enterprise. The
change in the language of design management
points to a positive future for the subject area.
 18 Views on Design Management
Bill Hollins
Direction Consultants.
Design management is the organisation of the
process for developing new products and services.
As design is multidisciplinary and iterative, it will
involve coordinating and leading a large number of
specialists. The process needs to list activities, time,
costs, concurrencies, priorities and people, if the
outcome is to be successful (which means profitable)
on time and within budget, and leading this is part
of the design manager’s role.
The design manager’s effort will be mainly focussed
at the early low cost stages of design where the
main management decisions are made and the
finance committed. It is also where the main causes
of design failure are rooted. The design manager
must also contribute to the strategic positioning of
the organisation and the planning of products and
services well beyond those currently being designed.
As such, good design management ain’t easy.
Despite there being British Standards on how to
manage design since 1989 and even one on
definitions used in design management (BS700-10
1995), until now, none included an actual definition
of ‘design management’. The next publication in the
series (an update of BS 7000-3 on service design), will
include the following:
‘Design management: the totality of the design
activity, its administration and contribution to an
organisation’s performance.
NOTE: Design management encompasses the
organisation and implementation of the process for
developing new products and services.’
Clearly, I was one of the people involved in
compiling this definition.
Mary McBride
Founding Partner of Strategies for Planned Change
and Director of the Pratt Institute Graduate Program
in Design Management.
Design management is an often misunderstood term
that evolved its meaning from the traditional
definition of managing a design department or firm.
In the Pratt DM program design management is
defined as the ‘identification and allocation of
creative assets within an organization to create
strategic, sustainable advantage.’ Design
management is design-minded leadership.It is the
bridge between design and business. It moves
beyond the aesthetic to change experiences,
organisations, and opportunities. Design managers
are trained to lead this process.
In many companies, designers are not asked to be
part of the strategic conversation. At the point
where executives are having conversations about
the company’s strategic intent, designers need to be
directly involved in that conversation, not ‘looped-
in’ to that conversation later. Designers can execute
directly on an organisation’s strategic intention by
saying for example, ‘if our intention is to be
profitable, we can do the following things. If our
intention is to also care about our community, we
cannot do the following things.’ Design management
is the bridge between design and business that
enables the designer’s voice to be heard.
Building a future for business in the twenty-first
century will require organisation, innovation,
direction and the ability to imagine new possibilities.
Designers are able to look at a problem and wonder,
‘What if this was completely blank and I could start
over again?’ That kind of intelligence is now really
necessary. It’s a creative intelligence that enjoys
problem-solving and can find opportunities in places
where other people have given up. That is way past
strategic – that’s leadership by design.
Sanjeev Malhorta
Director, Aliagroup, India.
India is the world’s seventh largest country, the
second most populous at over a billion people, and
has one of the fastest growing economies in the
world. The country has a diverse range of people,
languages, traditions and lifestyles. The success of
India as a developing nation – with its software, IT,
manufacturing and outsourcing industries – has led
to a strong, emerging middle class of young,
educated people with increased disposable income.
In a country building upon the creative success of
their film industry, and just beginning to understand
‘life beyond advertising’, design is slowly being
identified as ‘underleveraged tool’ in India’s
regional, national and international presence. As the
number of consumers grows dramatically, so brand
awareness and design awareness are on the increase.
People are becoming more selective about the
consumer requirements they have, the lifestyle
choices they make and where their brand loyalty
lies. They are becoming more brand aware, more
brand conscious, more conscious of the differences
between local and global brands – and the
difference design can make to their expectations for
high quality products, services and consumer
experiences. There is an emerging opportunity
for design to be valued, to be managed, and to take
into account the dramatic changes in progress.
Most people managing design or managing brands
are subconsciously thinking ‘how can these design
and brand management programmes be paid for?’
But design management, like brand management,
affects every part of an organisation’s existence and
behaviour. It is not a one time initiative, it is an
ongoing mission. If embraced truthfully, it can give
a company a competitive edge which carries across
product lines and industries. It is a decisive
management programme for long term success,
because, well managed, it can help earn the trust
and confidence of customers, suppliers and the
pride of its employees. It can help make the
company the supplier of choice, permit greater
pricing flexibility, assist in moving into new markets
and help companies recruit and retain the best
people.

Stefano Marzano
CEO & Creative Director Philips Design.
I see it as the leadership task of design to partner
with companies toward making the right choices –
helping them select the best strategies, vision,
competencies, and approach to the customer.
In practical terms, we fulfill this task ideally in three
ways. We help companies articulate their vision,
making abstract aspirations tangible and
understandable. We safeguard a company’s higher
ambitions, ensuring that products not only meet
market demands but also contribute to
sustainability. And we help companies prepare for
the future, spotting and interpreting long-term
trends in society, technology, business and science.
But design’s leadership task is not limited to help
guiding companies along their chosen path; it
crucially also involves supporting them in choosing
the path itself. Rooted in humanistic tradition, our
discipline is fundamentally about creating a more
sustainable, civilised world. We therefore have a
duty as professionals to ensure that our companies
apply their energies and resources in this direction.
Fortunately, I believe that, as more and more people
recognise and appreciate the need for sustainability,
our voice is increasingly likely to be heard, and the
strategic leadership that we can provide will be
increasingly relevant for business success.
Samantha Selby, Victoria Walton,
Sarah Schlingmann
Graduates of University College for the Creative
Arts, BA (Hons) Design Management.
A design manager forms the link between the
creative and the business world. They have the
ability to communicate with both sides of these
industries and speak their different languages. A
successful design manager is capable of managing
the development of a piece of creative work,
smoothly introducing the concept to a business
environment, and then further managing the
process through to its success – ultimately ensures
that all parties are satisfied.
Studying design management entails exploring a
wide range of design disciplines such as interior
design, product design, packaging, branding,
graphics, advertising, website design as well as film
and media. Projects are team based, reflecting how
design works in industry, and resulting in students
developing a wide range of skills. It has allowed us
to develop creatively, and also to have the
opportunity to build managerial skills. We learned
how to see a project through every stage,
considering a project from its initial stages to its
closure. This taught us to think objectively and
consider all possible scenarios, giving us greater
flexibility and adaptability within a business
environment. In addition to this every project
required us to demonstrate our organisational and
time management skills, which has stood us in good
stead for a future within management roles.
18 Views on Design Management | 201
RitaSue Siegel
Design Executive Search, RitaSue Siegel
Resources, NYC.
Forget managers, corporations need leaders, design
leaders
Lately I have been asking clients who come to us to
find ‘design managers’ to use the words ‘design
leaders’ instead. Managers optimise resources to
implement programs in the most efficient and
profitable way. I want our corporate clients to put
design in the context in which it belongs so they
know what they are really looking for. Leadership is
where it’s at.
Design leaders are concerned with innovation,
design and strategy. The only reason to hire
designers is because you want to lead your
marketplace. We know that every company has
tried to improve its competitive position with better
design than the next guy, increasing productivity,
outsourcing, and so on. But that’s just not enough
today.
Integrating the design thinking process into the
other strategies by which an organisation plans
to achieve its goals will improve its competitive
position. To develop a leadership organisation
and culture, one must hire talented people who
work, and play well together, to collaborate on a
constant stream of always improving products,
communications, services, experiences and
processes that customers didn’t know they needed
or wanted, but do and will spend a premium for
when they see them.
This is a competitive advantage in the twenty-first
century and it’s impossible to knock-off.
 18 Views on Design Management
José Manuel dos Santos
Account Manager, Node Partners SA, Barcelona.
José: Hi José, some quick questions. What’s a design
manager?
José: I lack another term to define what I do. I am
closer to being a creative people manager, but as
this is so general, I prefer to be called either a design
or innovation manager.
José: What exactly do you do?
José: I manage designers and non designers working
creatively for a common goal - asking the right
questions and getting to the best solutions.
José: This sounds like the same definition as what a
surgeon or politician does!
José: In a certain way, everyone ends up doing
design management within their profession, the
difference is that I am involved in solutions for new
products and services.
José: Does design equal innovation?
José: Well, they’re closely linked by their core
responsibility - change. You could do one without
the other, when you do both = powerful solution.
The major difference I see in both is that design
seems to be a restricted field for designers, though
everyone knows non designers are making design
decisions every day. Designers tend to see this as an
attack to their profession. Innovation doesn’t belong
to any one profession, it becomes a richer process.
Today, designers are in most of the cases out of the
decision loop, they are the ones that have to think
about how they want to add value to what’s
happening around them, they are the ones that
have to enter other territories, sharing their specific
skills and knowledge and leading the process.
José: Are designers good leaders?
José: I am not saying they are better leaders, but
they lead the change process very little and they
have to lead more, trust their special abilities, stop
whining and move into the playing field. The fact
that designers can go into a project they never
worked with before, learn enough not to say or do
dumb things, abstract the problems, ask good
questions, search for creative and differentiating
solutions and then communicate them to very
different audiences in a powerful way must be
worth something!
José: Thanks!
Michael Thomson
Founder and Principal, Design Connect, London.
Corporate leadership and management utilise skills
that are generally well defined and understood in
relation to the overall growth and well-being of a
business in its fight to remain competitive and to
grow. They are applied across all the business areas
including finance, HR, marketing and business
strategy.
Leading or managing design in organisations –
usually large ones – utilises many of the critical
behaviours of corporate leadership and
management. But it also demands distinctive
qualities and characteristics that are shaped by the
belief in design as a way of thinking and behaving
that builds differentiation and total value.
Design managers and leaders communicate and build
meaning and consensus of direction horizontally
across the vertical silos in organisational cultures,
through inspiring a vision and strategy for design to
achieve corporate goals. Design managers and
leaders use design language and design semantics to
build meaning in the minds of an organisation’s
employees – from top to bottom. They do this in
order to enable a culture that acknowledges the
potential of all the participants in the creation
process each one of whom has the possibility to
become a design champion in their own right –
continually facilitating better design within their
own sphere of influence.
This deeper approach calls for design managers to
also behave as teachers and mentors, proactively
creating a climate for individual and team learning
towards shared goals. For me, in this sense, design
behaviour in an organisation then becomes more
akin to some form of ‘collective musicianship’
operating within a climate of continuous learning.
Edo van Dijk
Design Director and Partner, Eden Design &
Communication, Amsterdam.
Design management for me is one of the main
strategic tools that the management of an
organisation should use to define and realise
change. Organisations have to respond to changes
in order to become successful (defining change) or
to remain successful (keeping up with change).
Strategic design helps to make business strategy
tangible. Makes intended changes visible. Corporate
identity design gives a distinctive identity to the
organisation. A face and voice that sets the
company apart from its competitors. And brings all
personnel together under one recognisable flag.
Branding, packaging, product design and retail
design give a univocal identity to the products and
services of a company, helping to improve sales and
the successful growth of the company.
Information Design and interaction design improve
administrative and communications processes.
Within the organisation as well as in the dialogue
with its clients and other stakeholders, both online
and offline. Finally, user experience design improves
usability, accessibility and comprehensibility.
On all levels, design management ensures that the
identity of the organisation, its products and
services are steered in the right direction in order to
build the desired relationships with all its
stakeholders, internally and externally. Well
executed design management is the art of
synergising all these design fields.
 18 Views on Design Management | 203

Thierry Van Kerm Dr Bettina von Stamm Cameron Watt

Founder, Designing Hub, Brussels. Founder, the Innovation Leadership Forum. Design and Creativity Consultant.

One often looks at design management from the
‘high-end,’ as it is or should be in big corporations. I
like to take it from the ‘low-end.’ Looking at facts
and reality can help provide appropriate answers:
the average size of companies in Europe is less than
10 people. Lots of definitions of design management
are not relevant to the vast majority of enterprises.
Design management discourse is flowing far above
companies’ managers heads and it’s therefore not
surprising they don’t take it into account.
Design management is a competence to be owned by
enterprises. This competence is simply be made of:
•Being aware of design
•Being aware of what design can do for the
company
•Being aware of how to conduct a design project
and work with designers
•Being able to empower designers
•Being able to assess quality of designers’ proposals
Simple. But there is already a lot to be done by
designers and design promoters to achieve such an
objective. And always keep in mind, the average size
of companies is less than ten people and that’s
where the largest potential of the design market is.
Design, design management, and innovation.Why,
you might ask, am I concerned with design and
design management when innovation is the topic
close to my heart and the one I can get passionate
about?
For me innovation is a frame of mind. It is about
challenging the existing – with the ambition to
improve and create value. Innovation is about
identifying and understanding latent consumer
needs, spotting things that people would love to
have, even though they don’t know it yet. As Henry
Ford said, ‘had I asked people what they wanted
they would have told me: faster horses.’ Innovation
is about synthesising differing requirements into one
solution where the result is greater than the sum of
its parts. And innovation is about developing new
solutions that are simple and easy, that look and
feel like ‘why did we not think of this before’.
So what about design and design management then?
Design and design thinking are key to innovation.
And so are designers because, by their inclination
and training they already have an ‘innovative mind
set’. That’s their job.
For me design management has several components
not least the following three:
Over the years it has become clear to me that many
people seem to find the term design manager
misleading or confusing. Is it an account manager
or project manager by another name or is it
something more in line with marketing and brand
management. In part I believe it to be all of the
above but with one added and critical component.
For me the main role of a design manager is to
facilitate the creative process, to enhance the
quality and quantity of original ideas produced by
their teams and to fight tooth and nail to get those
ideas implemented. They are there to provide
boundaries and focus to the team, they are there to
support, cajole and negotiate with all stakeholders,
they are there to say no (diplomatically) as well as
say yes (enthusiastically) and they are there to fend
off or absorb the negative external pressures placed
on their teams. But perhaps above all they are
there to build and maintain trust with stakeholders,
for without trust there can be no creativity.

•Most importantly, the injection of design thinking

into organisations; in particular, helping leaders of
organisations understand and appreciate the value
and contribution of designers, design and design
thinking;

•Providing a bridge between designers and non-

designers as their values and beliefs are often very
different; this includes the management of the
designers, internal as well as external;

•Aiding the creation of a consistent and coherent

representation of an organisation; for me this
includes not only products and services but also
architecture, culture, and organisational structures;
any inconsistency between saying and doing will be
noticed, by people within the organisation as well as
outside.
 APPENDIX

Further Resources
BIBLIOGRAPHY Camper Design Council
Imagination Can Change the World Measuring Design Value
Ackoff, R. Camper, 2000 www.businessinformationsite.co.uk, 2001
Creating the Corporate Future
John Wiley & Sons, 1981 Clark, P. and Freeman, J. Design Council
Design: A Crash Course The Business of Design: Design Industry Research
Aldersey-Williams, H. (Ed) The Ivy Press, 2000 A Design Council Research Publication, 2005
The Methods Lab: User Research for Design
Design for Aging Network (DAN), for the 1999 Cockerille, J. Dormer, P.
Presence Conference B&O Goes to the Head of the Class Design Since 1945
Design Management Review, Winter, 2004 Thames & Hudson, 2000
Amabile, T.
How to Kill Creativity Conran, C. Drucker, P.
Harvard Business Review on Breakthrough Thinking, The Advancement of Design Awareness The Daily Drucker
Harvard Business Review Paperback, 1999 in Gorb, P (Ed) Design Talks! Elsevier Butterworth-Heinemann, 2005
The Design Council, 1988
Austin, R. and Devlin, L Flaherty, J.
Artful Making: What Managers Need to Know Cooper, R and Press, M. Peter Drucker: Shaping the Managerial Mind
About How Artists Work The Design Agenda Jossey-Bass Inc., 1999
Pearson Education Inc./Financial Times John Wiley & Sons, 1995
Prentice Hall, 2003 Gorb, P.
Cox, G. Design Management: Papers from the London
Beckwith, D. Cox Review of Creativity in Business: Business School
Design’s Strategic Role at Herman Miller Building on the UK’s Strengths Architecture, Design and Technology Press, 1990
Design Management Review, Spring 2004 Commissioned by the Chancellor of
the Exchequer, 2005 Grant, J.
Berensen, J. The New Marketing Manifesto
Twelve Principles of Design Management CRSS/Penna, W. Orion Publishing Group Ltd.., 1999
in Oakley, M. (Ed) Design Management: A Handbook CRSS Architectural Programming Technique
of Issues and Methods AIA Press, 1987 Grossman, L.
Basil Blackwell, 1990 How Apple Does It/What’s Next in Innovation
Csikszentmihalyi, M. Time Magazine, November 14 2005
Borja de Mozota, B. Creativity: Flow and the Psychology of Discovery
Design Management: Using Design to Build Brand and Invention Harris, M.
Value and Corporate Innovation HarperCollins, 1996 Gadgets Go Green
Allworth Press, 2003 Metro, 4 Jan 2006
Cruikshank, J. and Malcolm, C.
Breen, B. Herman Miller, Inc.: Buildings and Beliefs Harvard Business Essentials
BMW: Driven by Design The American Institute of Architects Press, 1994 Hiring and Keeping the Best People
Fast Company Magazine Sept 2002 Harvard Business School Press, 2002
Davenport, T.
Bragg, A. & Bragg, M. The Coming Commoditization of Processes Harvard Business Essentials
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Denyer, J.
Bruce, M. and Bessant, J. Student’s Guide to the Principles of Management Heap, J.
Design in Business: Strategic Innovation Zeus Press, 1972 The Management of Design and Innovation
Through Design Cassell, 1989
Pearson Education, 2002 De Bono, E.
Teaching Thinking Heller, R. and Hindle, T.
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Marketing and Design Management Dorling Kindersley, 1998
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 Further Resources | 205

Hollins, B. Patent Office, The Rollestone, G.

Design Management Education: the UK Experience What is Intellectual Property? Scenario-Based, Value-Driven Design Methods
DMI Journal, Vol. 13, No.3, 2004 The Patent Office, 1997 A MetaLondon/Icon Medialab White Paper, 2003

Hollins, G and Hollins, B. Patterson, A. Silbiger, S.

Total Design: Managing Design in the Service Sector Managing Upwards The 10-Day MBA
Pearson Education, 1991 New Design, Issue 7, 2001 Piatkus Ltd.., 1999

Jowit, J. Pearson, C. Sparke, P.

Now High Street Stores Bow to the Organic Shopper The Hero Within A Century of Design
The Observer January 8 2006 Harper Collins 1998 Mitchell-Beazley/Reed Consumer Books Ltd., 1998

Kelley. T. Pine, B. J. III Swann, A.

The Art of Innovation Mass Customization: The New Frontier Design and Marketing
HarperCollinsBusiness, 2002 in Business Competition. Phaidon, 1990
Harvard Business School Press, 1993
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FAQs on Marketing Porter, M. Promoting Design Leadership Through Training
Marshall Cavendish Business, 2005 Competitive Advantage Design Leadership Forum, 2003
Free Press, 2004
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Business Association Guide Frame Magazine Issue 47, Nov/Dec 2005
Design Business Association, 1992 Raeburn, M.
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Nokes, S. and Greenwood, A. Thames & Hudson 1999 Entry on Design Management
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Art and Industry Wood, A.
Oakley, M. (Ed) Faber & Faber 1932 Cost Management Begins to Reshape Design Industry
Design Management: A Handbook of Design Week, May 11 2006
Issues and Methods Reingold, J.
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Procter & Gamble Conversation: How Talk Can Change Your Life
Olins, W. Fast Company Magazine, June 2005 The Harvill Press, 1998
The New Guide to Identity
Gower Publishing Ltd.., 1999 Richter, I. (Ed) Zimmerman, E.
The Notebooks of Leonardo da Vinci The Iterative Design Process in Laurel, B. (Ed)
Olins, W. Oxford University Press, 1998 Design Research, Methods and Perspectives
On Brand MIT Press, 2003
Thames & Hudson, 2003
JOURNALS
BusinessWeek
BusinessWeek publishes a quarterly Innovation and
Design section in their magazine, and online
resources include a weekly column by Bruce
Nussbaum (NussbaumOnDesign), which takes a
look inside the business of innovation
and design.
Creative Review
Creative Review is the world’s leading monthly
magazine for visual communication, drawing
attention to important new trends in graphic design,
advertising, new media, photography, illustration,
typography and more. Based in the UK, the magazine
has subscribers in 80 countries around the world.
Design Management Review
Articles and case studies exploring how design (in
products, communication and environments) is
an essential resource, a component of every
organisation that can be effectively managed
to make important contributions to the bottom line
and to long-term success.
Design Week
Weekly UK-based magazine for designers and design-
aware clients, bringing significant news in the design
world as it happens. Design Week includes news,
research, surveys, features and reports, as well as
invitations to pitch, campaigns and product
launches, new logos and branding devices, award
winning work, and the latest appointments.
Fast Company
Fast Company explores the areas of innovation,
leadership and creativity. Their mission is to find the
creative workers and organisations that are building
the future, and to present their stories in smart,
compelling, beautiful, and useful ways.
Harvard Business Review
Published by Harvard Business School Publishing
Ltd.., Harvard Business Review is an executive level
magazine for professional managers. Harvard
Business Review’s goal is to be the source of the best
new ideas for people creating, leading, and
transforming business. The focus is on areas such
areas as leadership, organisational change,
negotiation, strategy, operations, marketing,
finance, and managing people.
Management Today
The monthly business magazine of the Chartered
Management Institute. Management today features
intelligent articles by respected columnists giving
practical advice to help managers at all levels to
advance their careers and develop their business.
Strategy + Business
Strategy + Business is a quarterly thought-leadership
magazine for senior business executives and the
people who influence them. It aims to bridge the gap
between theory and practice in contemporary global
business. The magazine is sponsored by the leading
global management and technology consulting firm
Booz Allen Hamilton.
WEBOGRAPHY
AHDS Visual Arts
www.ahds.ac.uk/visualarts
Based at the University College for the Creative Arts,
AHDS Visual Arts is an independent body serving the
digital needs of the visual arts education community,
and is one of five centres making up the Arts and
Humanities Data Service (AHDS). Their aim is to
provide collections of visual arts digital resources
and advice for their creation and use; to preserve
visual arts digital resources to ensure their long-term
use; and to promote good practice for the creation
and use of visual arts digital resources.
American Institute of Graphic Arts (AIGA)
www.aiga.org
AIGA, a professional association for design, is
committed to furthering excellence in design as a
broadly defined discipline, strategic tool for business
and cultural force. AIGA is the place design
professionals turn to first to exchange ideas and
information, participate in critical analysis and
research and advanced education and ethical
practice. AIGA sets the national agenda for the role
of design in its economic, social, political, cultural
and creative contexts.
Better by Design
www.betterbydesign.org.nz
Better by Design helps New Zealand companies
make world class design a bigger differentiator for
their products and their services in export markets.
Their aim is to raise awareness regarding the
challenges of design leadership, and promote
conversations to help expand design’s reach. Their
programme provides practical support and assistance
to help companies integrate design through all
aspects of their business – right from the leadership,
culture, strategy and research through to functional
and aesthetic design, product packaging, branding
and distribution.
Chartered Institute of Marketing, The (CIM)
www.cim.co.uk
The CIM, the world’s largest professional marketing
body, defines the marketing standards that operate
in the UK and champion best practice globally. The
CIM exists to develop the marketing profession,
maintain professional standards and improve the
skills of marketing practitioners, enabling them to
deliver exceptional results for their organisations.
 Further Resources | 207

Chartered Society of Designers, The
www.csd.org.uk
The Chartered Society of Designers (CSD) is the
professional body for designers. It is the world’s
largest chartered body of professional designers and
is unique in representing designers in all disciplines.
D&AD
www.dandad.org
Founded in 1962, D&AD is a UK-based charity whose
remit is to champion excellence in creativity
globally. We run awards schemes, education
programmes and work with the business community
to ensure that creativity is high on their agenda.
Design Business Association
www.dba.org.uk
The Design Business Association exists to promote
professional excellence through productive
partnerships between commerce and the design
industry to champion effective design which
improves the quality of people’s lives
Design Management Institute, The
www.dmi.org
The Design Management Institute (DMI) is an
international nonprofit organization that seeks to
heighten awareness of design as an essential part of
business strategy. Founded in 1975, DMI has become
the leading resource and international authority on
design management. DMI has earned a reputation
worldwide as a multifaceted resource, providing
invaluable know-how, tools and training through its
conferences, seminars, membership program, and
publications.
Design Research Society
www.designresearchsociety.org
The Design Research Society is the multi-disciplinary
learned society for the design research community
worldwide. Their members are present in 40
countries, and are drawn from diverse backgrounds
such as design, the arts, engineering, psychology and
computer science.
Patent Office, The
www.patent.gov.uk
The Patent Office is responsible for granting
patents, registered designs, and registered
trademarks that are effective in the UK. It
provides information on how to protect and
exploit ideas, sell ideas to another company
and how to legally protect form plagiarism.
UsabilityNews.com
www.usabilitynews.com
Founded by Dave Clarke and edited by Ann Light,
Usability News is part of the British HCI Group
that offers a service to practitioners, researchers,
consumers, students and anyone with an interest
in highly usable computing and communications
systems. The site covers the latest news on human
computer interaction, usability, events, products,
jobs and paper calls.

International Organization for Standardization (ISO)

Design Council, The
www.iso.org
www.designcouncil.org
ISO is the world’s largest developer of International
The Design Council is the UK’s national strategic
Standards used by industrial and business
body for design.
organisations, governments and other regulatory
Their aim is to strengthen and support the
bodies, trade officials, professionals, suppliers and
economy and society by demonstrating and
customers of products and services, and people in
promoting the vital role of design in making
general in their roles as consumers and end users.
businesses more competitive and public services
ISO standards contribute to making the
more effective. The Design Council undertakes
development, manufacturing and supply of products
real-life projects to help UK managers become the
and services more efficient, safer and cleaner;
best users of design in the world.
making trade between countries easier and fairer;
providing governments with a technical base for
Designing Hub
health, safety and environmental legislation; aiding
www.designinghub.org/
in transferring technology to developing countries;
Originating in Brussels, Designing Hub is a tool and a
and in safeguarding consumers, and users of
participative platform that will support the design
products and services.
industry and associated organisations in charge of
fostering integration of design and innovation
among enterprises. NextDesign Leadership Institute
www.nextd.org
Design in Business The next design movement was launched in 2002 by
www.designinbusiness.org.uk Gary van Patter and Elizabeth Pastor as an
The Design Atlas is a framework for studying the experiment in innovation acceleration. Their focus is
design capability, processes and planning within a to raise awareness of design leadership through
business. The Design Atlas gives an overview of how graduate design education and events involving
the design capability of an organisation can be practicing designers.
audited, and how strategic innovation through
design can be proposed.
 APPENDIX
Glossary
Added Value
Increased or additional benefit with regard to,
for example, real and perceived worth, market
value, desirability, merit or use.
Agenda
A list of items or matters of business requiring
attention.
Audience
The intended target market of people to
which a particular product or service is
aimed or created.
Audit
An inspection or verification of a particular
aspect of an organisation by a qualified person
or consultancy. A risk audit assesses potential
dangers or losses, whereas a financial audit
assesses the health and status of accountancy
systems and procedures.
Brand Identity
An identifying mark or trademark which
represents an organisation’s vision, mission,
beliefs and purpose.
Competitive Advantage
The position or condition adopted in order for
a company, product or service to differentiate
itself beneficially from other offers, so gaining
favour with consumers.
Competitive Analysis
The process of investigating and separating
into parts the merits of particular companies,
products or services over other rival and
competing offers. Comparisons are made
relative to, for example, price and quality, and
a position defined to ensure success against
these competing offers.
Consumer
The end user, purchaser, buyer, customer or
user of particular products or services.
Context
The background information that provides the
frame of reference for establishing the
relationship between one thing and another,
and the meaning associated with surrounding
conditions related to, for example, history,
location or position.
Contingency
An allowance (for example, of time or money)
put aside in the event of any unforeseen
circumstances or future emergencies sustained
during a project.
Copyright
An exclusive right giving legal protection to
the use of a particular design, creative work
or other publication, for example music,
literature and art.
Customer Satisfaction
The fulfilment of the customer relationship
and the customer experience in a gratifying
way that, in the face of increased competition
and rising consumer expectations, helps to
attracts and retains customers.
Demographics
Classifies consumer ‘types’ according to where
they live. Types are assumed to share attitudes
and beliefs and purchasing habits.
Design Guardian
Person or consultancy responsible for
ensuring an organisation is using design to its
maximum effect, monitoring and promoting
the effective use of design, and ensuring
coherence between the organisational vision,
the brand identity and the design guidelines.
Design Process
The specific series of events, actions or
methods by which a procedure or set of
procedures are followed, in order to achieve
an intended purpose, goal or outcome.
Design Review
Group assessment of design work held at
periodic or key stages of the design process,
during which design work is critically
discussed, debated and assessed against the
brief or other performance measures. The goal
is to make the decision to progress to the next
stage of the process, redesign, or even
abandon the project all together.
Design Standard
An authorised measure, a set of principles,
or an established level of quality and
achievement, serving as a benchmark for
an acceptable outcome.
Differentiate
Unique product and service features and
benefits, or unique advertising and promotion,
to sustain competitive advantage and enable
consumers to tell the difference between
competing offers.
Hidden Agenda
An implied, but unspoken, reason for doing
something.
Inclusive Design
Design that takes into account the needs of
individuals or groups normally excluded; for
example, the partially sighted.
Innovation
To introduce new methods or ideas, or to
make changes and variations which indicate a
radical departure from the usual way of doing
things.
Intellectual Property Rights (IPR)
Gives legal protection to the ownership of
new ideas or brand names and gives the owner
the right to stop other people exploiting their
property. IPR includes patents, registered
designs and design right, registered
trademarks and copyright.
Interaction Design
A way of designing such that the customer,
user or viewer is actively involved in the
product, service, process or experience being
designed, in a way that both sides ‘act upon’
each other.
Invention
To think up, conceive, originate, create,
design, devise, discover, imagine or improvise
or produce a new product, service or process.
Lifecycle
A behavioural pattern associated with the
introduction of new products and services,
passing through four stages. Introduction of
the product to the marketplace; growth with
increased demand; maturity where the
product has reached its peak performance in
terms of customer satisfaction and retention;
and decline with a reduction in sales, and the
ideal time to introduce a next-generation
product.

Methodology
A set of working procedures, methods,
practices or rules used when engaged on a
particular project or process of inquiry.
Milestones
Agreed points for the completion of important
events or key project responsibilities and
deliverables, by when, and by whom.
Patent
A form of legal protection that grants
exclusive rights to make, produce and sell
an invention or innovation, for a particular
length of time. Patents usually protect the
functional and technical aspects of products
and processes.
Procure
To obtain, engage or buy goods or services for
use within an organisation. The procurement
department usually keeps a list of approved or
existing suppliers, and a set of regulations and
procedures for engaging and securing the
services of new suppliers.
Profit
The excess returns over expenditure from
having a business advantage, which results in
making money, gaining value and achieving
return on investment.
Proposal
A scheme or plan for consideration as part of
a bid that describes both the opportunity
available and a suggested approach for
carrying out the plan.
Prototype
A physical or virtual model created
to test ideas and designs, and to solicit
user-feedback, from which a final product
or service will then be created.
Public Relations
The practice of promoting and maintaining
the image of an individual or organisation,
through media and promotions such as press
releases, press kits, case studies, interviews,
company newsletters and sponsorship
opportunities.
Qualitative
Describes an analysis or research approach
based on the subjective thoughts, feelings,
reactions and motivations of customers.
Qualitative results can provide rich insights
into people’s emotional connections and
habitual behaviours with regard to people,
places, products, services or other contexts.
Quantitative
Describes an analysis or research approach
based on collecting and compiling data based
on defined subject areas or specific questions
posed to a sample of customers. The data is
compiled for statistical analysis, and used to
predict consumer behaviours, potential
markets and future growth areas.
Rationale
An explanation of the response to a brief, the
thinking process and explanation of why
something has been designed or produced in a
particular way. Will include decisions made in
relation to, for example, form, function,
aesthetics, user requirements and client needs.
Research and Development
A systematic and careful investigation
of a particular subject; followed by the
expansion of investigations and proposals
into a chosen direction.
Retainer
Financial support to retain or keep in
place the services of an individual
agency or consultancy.
Roster
A list of approved consultancies, suppliers
and service providers, that are reference-
checked, financially audited and approved
by procurement, prior to consideration for
engagement on a project and negotiation of
terms of engagement.
Scope of Work
The extent or range of work to be undertaken.
Glossary | 209
Shareholder
A holder of shares in a company, which
entitles the holder to a portion of the profits.
Stakeholder
An individual or group with involvement,
interest or claim in a venture, which may be
related to, for example, financial, societal,
cultural, political or personal benefit.
Sustainable Design
The study and application of how products,
services, systems and processes could be
designed or redesigned to have a positive
impact on social, economic and environmental
factors (i.e. people, profit, planet).
Considerations might include, materials,
their origins and their end disposal; energy
and transport policies; product lifespan and
waste-reduction strategies.
Trademark ™
A way of identifying goods and services,
and of differentiating between competing
offers. The trademark is a sign or symbol
that allows for instant brand recognition, is
unique to each business, and guarantees the
origin, quality and consistency of the goods
or services.
Trend Forecasting/Spotting
The act of predicting a tendency, a
current style or fashion, or a future market
opportunity, as identified by marketers,
retailers, designers and consumers themselves.
Turnover
The volume of money or sales a business
transacts in a given period. High turnover is
not necessarily related to high profit, since
costs and expenditure can reduce profits and
make projects financially unviable.
User-centred Design
A process of designing a product or service
experience around the life and behaviour of
the consumer or user.
User Friendly
A process, product or service that is easy to
understand or do.
 APPENDIX

Index

A business strategy 92–5 D

A420 110–11, 184–5 see also strategic level decision-making 80–1
accountability 158, 177 business-unit level 49, 92 demographics 42–3
ACID (Anti Copyright in Design) 171 design
adaptability 60 C categories 14
added value see value added/created CACI Ltd. 43 definition 6, 12, 18
alliances 56 Camper 66–71, 121 design-activity level 49
Alloy Total Product Design 63, 95 change 28–9 design assets 188
Amabile, Teresa M. 148, 188 China 113 design audits 44–7
Amsterdam 45 Choi, Inyoung (Albert) 198 design awareness 96–9
analogies 42 classification tools 42–3 design brief 94
analytical skills 6 client brief 92 design circles 136, 137
Ansoff Matrix 38–9 client needs 40–1, 94 Design Council 56, 59
Apple 53, 136 client relations 76–9, 80–1, 195 design guidelines 162–5, 168
architectural programming 106 client teams 140 design implementation 146–95
Argus®3 thermal-imaging camera 62–5 Coca Cola 167 design leader’s roles 17
Arup Group 72–3, 113 collaborative cultures 140–1 design-led organisations 100, 102
Atkinson, Helen 198 collage 144 design management
audiences 34–9 communication 84–9, 142–5, 192–5 definition 12–15
auditing 44–7, 154–5 competitive advantage 118–21 importance 16–19
Austin, Rob 112, 114 competitive analysis 30, 31 design manager
authority 186 confidentiality 80, 81 responsibilities 47, 48
awareness of design 96–9 Conlastic 57 roles 12, 17, 82, 134–5
consultancies 50–2, 78, 95, 98, 170–1 design methods 108–9
B consumer society (1958–81) 23 design policies 49, 162
Bang & Olufsen (B&O) 187 consumer voice 36, 38 design procedures 162
Bangle, Chris 149 Cooper, Rachel 12, 40, 162 design processes 90–145
Basecamp software 79 corporate identity 14, 28 design projects see project...
beliefs see values and beliefs corporate social responsibility 158 design resource 60, 95
Benetton Group 101, 102, 119 corporate strategy 28, 92 design reviews 136
Bernsen, Jen 54, 58 see also strategic level design services 170–1
Beverley Knowles Fine Art (BKFA) 41 cost effectiveness 156 see also consultancies
BMW Group 33, 37, 83, 115, 141, 149, 189 costs 148–9 design society (1998–2006) 25
board level 49 see also environmental costs design strategy
body language 86, 89 Cox Review of Creativity in Business 18 establishing 48–53
Borja de Mozota, Brigitte 14, 48, 156 creative brief see design brief examples 66, 130, 133, 183
Boston Matrix 38–9 creative process 112, 138 managing 26–89
brainstorming 104, 141 creative teams 134–5 promoting/selling 54–7
brands 100–3, 129, 163, 166–9 creativity 6, 18 reviewing/revising 174–5
Braun 97, 174 critical path 154 see also strategic level
the brief 92, 94 Csikszentmilyi, M. 112 designers
Buildark 171 CSR see corporate social responsibility roles 17
buildings design 97, 122–7, 178–81, 191 cultural differences 166–9 valuing 191
Burns, Clay 198 customer needs 28, 40, 42–3, 63, 128–9 designing, definition 6, 12
business, definition 12 customer-satisfaction surveys 38 DesignworksUSA (BMW) 189
business models 40 customer touch points 100 Devlin, Lee 112, 114
business objectives 28 customisation 118–19, 128–9 differentiation 120
business skills 73, 131, 133, 183 customised processes 114 Doblin Group 107
 Index | 211

drawing process 142, 144 H K

Drucker, Peter 30–2, 77, 175 Heart Cone Chair 13 kaizen ethic 141
Dyson 37, 83, 115, 139 Heineken 169 Kajima Design Europe (KDE) 122–7
Herman Miller 61, 81 Karakter 99, 163
E Hollins, Bill 12, 136, 137, 200 knowledge transfer partnerships 188
e2v technologies 63, 65 Hollins, G. 136, 137 Kotler, Philip 98, 118
Eames, Charles 61 HomeLab (Philips) 105
ED&S 59 Honda 128–9, 160 L
Eden Design 45, 47, 165, 169 hotel design 178–81 Lamb, James 63
Electrolux 107 Hunter, Mat 130–1 leadership 134–5, 186–91
elevator ‘pitch’ 82 Hydro 99 letter writing 192
Elvins, Lynne 110, 184–5 Lewis, David 187
empathy 86 I listening skills 86, 87
end disposal 160 IBM POWER chip 57 local design translation 166–9
environmental costs 160 ideas-management committees 98 logos 100
environmental design 14 IDEO 108–9, 130–1 long-term growth planning 58–61
see also working environments if Design Awards 173 Lowe, Colum 182–3
environmental responsibilities 158–61 implementation see design implementation Luebkeman, Dr Chris H. 72–3
evaluation see measurement improvements versus innovation 120
experience drivers 29 in-house design teams 50–1, 96–8 M
Inditex 155 McBride, Mary 200
F industrial society (1830–1944) 20–1 maintaining design 164
Fabrica (Benetton Group) 101 Info-Shops (Camper) 68, 70–1 Malhorta, Sanjeev 200
Feldman, Darryl 74–5 information design 14 management skills 182, 186–7
FeONIC Plc. 33, 132–3 Innocent Drinks 103, 157, 171 Mandarina Duck 33
Ferry, Joe 199 innovation market position 46
field research 38 collaborative cultures 141 marketing 34–8
firefighters 63–5 definition 18 markets 34–9, 120
Flaherty, J. 30, 32 design strategy review 175 Marzano, Stefano 104, 168, 201
flexibility 60 examples 63–4, 75, 131, 133, 176, 183 mass customisation 118–19
Flux·, Antoni and Lorenzo 66 marketing 36 measurement
focus groups 38 versus improvements 120 benefits 172
FooGo/The Formation 176–7 working relationships 83 outcomes 173
Freeplay Foundation 19, 161 Innovation Landscapes 107 quality, time and cost 149
functional teams 140 integrating design 174 success 170–3
intellectual property (IP) 172–3, 188 meetings 76, 78, 156–7
G interpersonal skills 86 metaphors 42
Gantt charts 152–3 Intersect Portfolio (Herman Miller) 81 method cards (IDEO) 108–9
gatekeepers 82 interviews 42 mid/business-unit level 49
Genersys 159 IP see intellectual property mind mapping 142
global to local design 166–9 iterations 114, 115 MINI 33, 37, 115
Gorb, P. 12, 14 models 7
GP designpartners 57 J Moleskine 15
Greger, Rudolf 199 Journals 206 monitoring design 164
Griffiths, David 199 Joyn 135 mood boards 42
guidance 134–5 Jump 129 Muji 61, 159, 161
guidelines see design guidelines JVC 122–7
GuixÈ, Marti 69, 71
N problem-solving 104–6, 112
N Projects 128–9
National Health Service 60, 172, 182–3
NEC Corporation 55, 161
negotiating skills 87
network society (1982–97) 24
networking 82
NHS see National Health Service
NICE Systems 163
Nouvel, Jean 179, 180–1
O brands 102, 129
observation method 106
operational level 17
operational strategy 28, 92
opinion polls 42
opportunities for design 28–33, 66
Orange Brand Futures group 93
organisational chart 54
organisational goals 12, 16–17, 26–89
out of house design teams 50–2, 98
see also consultancies
outcomes measurement 173
Oyster cards 49
P report writing 194
packaging design 177
paradigm of change model 30–2
partnerships 33, 56
Patent Office/patents 173
performance 148–9
PEST analysis 30
Philips 93, 105
‘pitch’ 52, 82
planning 32, 58–61, 76, 150, 152
PLC see Product Life Cycle
policies see design policies
Porter, Michael 118
post-project review 157
post-war society (1945–57) 22
Powell, E. 18, 141
power figures 82
Power.org 57
presentation skills 88, 145
Press, Mike 12, 40, 162
pricing design 52
problem owners 82
service development 34, 36
product design 14 service offers 114
Product Life Cycle (PLC) 38–9 shoe design 66–71, 159
product and service development 34, 36 Siegel, RitaSue 201
production processes 160 Silken Group 178–81
profitability 52 SMART objectives 138
project brief see client brief Smith, Brian 132–3
project management 104–7, 148–57 social responsibilities 158–61
project planning 76, 150, 152 software tools 79, 152, 153
project teams 140 sourcing materials 158–9
promoting SPeAR see Sustainable Project Appraisal
Routine
design strategy 54–7 speed to market 120
proposals 50 staff recruitment 189
protecting designs 172–3, 188 stakeholder buy-in 54–5, 66, 168–9
prototyping 104–5, 107, 115 standardised processes 114
Starck, Philippe 13
Q stimulation 138
quality measures 149 strategic level 12, 17, 28, 92–5
see also design strategy
R structure, creative teams 134–5
R&D see research and development Studio Red 167
RAP UK Ltd. 176–7 success measurement 170–3
raw materials sourcing 158–9 sustainability issue mapping 110–11
RED Unit (Design Council) 56 sustainable design 127, 177, 184–5
Sustainable Project Appraisal Routine
research and development (R&D) 34, 36 (SPeAR) 113
responsible design 158–61, 177 Swatch 119
review meetings 156–7 SWOT analysis 30
reviews 136, 174–5
RIBA see Royal Institute of British Architects T
risk management/audits 154–5 tactical level 17
Rockwell, David 102, 140 Tauw 165
role playing 106 team-working 127, 134–5, 140–1
rosters 95 see also working relations
Royal Institute of British Architects (RIBA) telephone skills 89
116–17 Terfenol-D 33
Terra Plana 159
S TfL see Transport for London
Said Business School 18 thermal imaging cameras 62–5
St. Luke’s Communications Ltd. 135, 190 thinking styles 138, 142–4
Santos, JosÈ Manuel dos 202 Thomson, Michael 202
scenario planning 32 Thonik 45
Schlingmann, Sarah 201 time factors 148–9, 155
scope creep 156 Topalian, A. 12
Selby, Samantha 201 Toyota 141
selling design strategy 54–7 trademarks 173
 Index | 213

Transport for London (TfL) 49

Triple Bottom Line 172
Twiki 153

U
user needs see customer needs

V
value added/created 6, 36, 170, 172–3, 183
value for money measurement 172
values and beliefs 28
van Dijk, Edo 202
Van Kerm, Thierry 203
verbal communication 84–9
visual communication 142–5
visual identity 46
Vitra 13, 135, 191
Volkswagen 151, 153, 157
Volvo 102
von Stamm, Dr Bettina 203

W
W. W. Stool 13
Wabi shoes (Camper) 67, 71, 121
Walk-in-Progress stores (Camper) 69
Walton, Victoria 201
waste disposal 160
Water Cube 113
Watt, Cameron 203
websites 206–7
Wegener 47
Whirlpool Corporation 13, 141, 160, 175
whole-brain thinking 142, 144
working environments 14, 120, 135, 138
working relations 82–3, 127, 134–5, 140–1
written communication 192–5

Y
Yahoo! 74–5
Yorkshire Water 95

Z
Zoomer (Honda) 128–9
 APPENDIX
Additional Credits
All diagrams redrawn/designed by Giles Rollestone.
p.20. Wedgwood cameo. Courtesy of Wedgwood Visitor Centre.
p.20. Portrait of Isambard Kingdom Brunel. Courtesy of The
Brunel Engine House, London.
p.20. Crystal Palace exterior. Courtesy of Tallis’ History and
Criticism of the Crystal Palace.
p.20. Toast rack, designed by Christopher Dresser, from the
collection of Ellen & Bill Taubman. Courtesy and copyright
of Michael Whileway 2001/the Victoria and Albert Museum
Collections.
p.21. AEG Turbine Hall: Courtesy and copyright of Max A Monaco.
p.21. Bauhaus table lamp MT8 1924, designed by Carl Jacob
Jucker & Wilhelm Wagerfield. Courtesy of the Victoria &
Albert Museum Collections.
p.21. Portrait of Wells Coates. Courtesy of WellsCoates.org.
p.22. Time magazine cover October 31 1949. Courtesy of Time
magazine.
p.22. Eames chair. Courtesy of Vitra Design Museum/The
Furniture Society.
p.22. Olivetti Lettera 22, designed by M. Nizzoli. Courtesy
of Olivetti.
p.22. AT&T telephone, designed by Henry Dreyfuss. Courtesy
of the IDE Virtual Design Museum/ Henry Dreyfuss Associates.
p.22. Panton chair. Courtesy of Art Net.
p.23. portrait of Thomas Watson Jr. Courtesy of IBM.
p.23. Beovision 1400. Courtesy of Bang & Olufsen.
p.23. Sony Walkman. Courtesy of Sony.
p.23. Carlton cabinet, designed by Ettore Sottsass. Courtesy
of the Design Museum.
p.24. Apple Mac. Courtesy of Entire Low End Mac.
p.24. The Euro. Symbolic-2001, copyright of European Community
2006. Courtesy of the European Commission Audio Visual Service.
p.24. Portrait of Stefano Marzano. Courtesy of Philips Design.
p.25. D-school manifesto. Courtesy and copyright of Stanford
University Institute of Design, 2005.
Attila the Hun, p87. Supplied by Nancy Carter at North Wind
Picture Archive.
Winston Churchill, p.89. Copyright 1941. J. Russell & Sons.
Leonardo da Vinci, p.154. Supplied by Alinari Archives.
URL Credits
A420. www.A420.com
ACID. www.acid.co.uk
AHDS Visual Arts. http://visualarts.ahds.ac.uk
Alloy Ltd. www.thealloy.com
Banana Design. www.bananadesign.co.uk
Basecamp. www.bascamphg.com
Beverley Knowles Fine Art. www.beverleyknowles.com
Buildark. www.buildark.com
ED&S. www.novar-eds.com
Eden Design & Communication. www.edendesign.nl
Genersys. www.Genersys-Ireland.com
Giles Rollestone. www.rollestone.com
GP Designpartners. www.gp.co.at
Innovation Leadership Forum. www.innovationleadershipforum.org
Integrity Design Management. www.integritydm.co.uk
José Manual dos Santos. www.thenodecompany.com
Jump Studios. www.jump-studios.com
Kajima Design Europe. www.kajimadesigneurope.com
Karen Wilks. www.karenwilks.co.uk
RAP UK Ltd. www.rapuk.com
Twiki. www.twiki.org
Vitra. www.vitra.com
All reasonable attempts have been made to clear permissions and
trace and credit the copyright holder of the images reproduced.
However, if any have been inadvertently omitted, the publisher will
endeavour to incorporate amendments in future editions.
 Acknowledgements | 215

APPENDIX

Acknowledgements

Special Thanks
Giles Rollestone; Caroline Walmsley, Renée Last and Brian Morris at
AVA Publishing; Karen Wilks at Karen Wilks Design; The Directors
Fund at the University College for the Creative Arts; Dick Petersen,
John Hawkes, Cameron Watts, Chris Holt, Ian Dumelow, Roni
Brown, Stuart Hodges, Helen Bacon, Sonja Dahl, Alice Huang, Lynne
Elvins, Darryl Feldman, Mat Hunter, Colum Lowe, Chris Luebkeman,
Brian Smith, David Hands and Caroline Norman.

Thanks
Dids MacDonald, Mick Eadie, Marie-Therese Gramstadt,
Nina Warburton, James Lamb, Jennifer Greitschus, Jackie Young,
Anna Davidson, Jason Fried, Martina Hettel, Birte Cobarg,
Katja Reimund, Alison Walden, Soledad Olmo, Ruth Coughlan,
John Pipino, Jeff Tull, Laura Brock, Mark Finnie, Vanessa Hopkins,
Edo van Dijk, Sarah Vernon, Dave Floyd, David Cooper,
Matt Chetwood, Ingeliese Neilsen, Silke Becker, Rocio Diaz
Fernandez, Ailana at Innocent, Justin Shennan, Jade Hutchinson,
Simon Jordan, Akiko Koga, John Chapman, Tony Quinn,
Pierre Vinsot, Shahar Sibershatz, James Lawless, Diane Foley,
Caroline Farley, Emma Fieldsend, Emma Karidian, Nicola Fowler,
Jamie Ford, Ange Dunselman, Marta at Silken Hotels,
Melissa Hemsley, Joan MacKeith, David Jones, Peter Theony,
Annabel Buckingham, Adelaide Turnbull, Annette Evans,
Chris at Moleskine, Marta Meneres, Alan Hely, Sheryl Seitz,
Graham Taylor, Lorette Natal, Angela Knorr, Rory Caren,
Susan Dean.
Design
Management
Design management – the management of design
strategies, processes and projects – is an intricate subject.
As the role of design in the world continues to broaden,
organisations are increasingly viewing design as being
integral to their decision-making processes.
This book leads the student through the key knowledge,
practice and skill areas of design management, focusing
on the strategy, process and implementation involved
in the management of design.
Opening with a contextual overview of the subject, this
book then explores the stages involved in the application
of design to business. Each topic is accompanied by
key questions that get the reader to think about the
issues raised, and professional case studies and interviews
demonstrate the knowledge and practices described.
Areas of key practical skills are outlined in order to bridge
the gap between creativity management and academic
theory, and professional practice.
an AVA Academia advanced title

ISBN 13: 978-2-940373-12-3

9 782940 373123
£27.50