MA Innovation Management 2016

Contents Introduction 4 This is MA Innovation Management 5 Ian Cho 6 Maha Al Sulaiti 8 Ruta Eva Cepulyte 10 Marc Richter 12 Anna Andersson 14 Rose Maufras du Chatellier 16 Olivia-Chelsea Lerner 18 Aurora Pavan 20 Anna Nolda Nagele 22 Ivette Procel 24 Bharvi Layazawala 26 Yiru Yan 28 Mimi Nguyen 30 Ray Chen 32 Stephanos Konstantinou 34 Essi Mikkola 36 Priyanshi Vasani 38 Joyce Chan 40 Fiona Angelica 42 Juliette Colin 44 Nicholas Stafford 46 Priscilla Alcalde Melo 48 Isadora Chavez 50 Sophia Liang-Ying Lin 52 Lilian Yeung 54 Terje Svinning 56 Our Innovation Management Journey 58 Patterns and Perspectives 61 Student Index 62 Acknowledgements 68

We, the class of 2016, invite you to join us on a kaleidoscopic journey, exploring perspectives on innovation management.

A kaleidoscope enables complex, vibrant visions. Through movement and rotation, ever-changing patterns are revealed. They allow us to shake and twist reality into new configurations, giving us the freedom to explore the possibility of change. Even the most mundane objects, viewed kaleidoscopically, can generate patterns and complexities that offer previously unimagined opportunities.

Like a child that marvels at the visual transformations of a kaleidoscope, we are captivated by the explosion of new arrangements and yet undiscovered symmetries that innovation promises. Innovation management is about the optimism of imagining things as they could be, rather than accepting them as unchangeable. Much like a kaleidoscope, at the core of innovation management is the spinning of perspectives to facilitate change. In the past two years we have been encouraged to develop a kaleidoscopic mind, one that is able to observe and appreciate any given situation from a range of perspectives, informed by a diversity of experiences. With a push towards flexibility, agility and self-awareness, we pride ourselves in seeing connections that a more rigid mindset may miss. We find joy in making sense of newly emerged patterns and experimenting to shape meaningful transformation.

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The following is a celebration of the kaleidoscopic perspectives formed under the umbrella of innovation management, a discourse that is colourful, diverse and continually shifting. With each turn of the page we hope to evoke the twist of the kaleidoscope, highlighting the specific nature of each of our approaches. Twenty-six projects, each a thorough examination of a multitude of issues and opportunities, congregating perspectives from varied domains that range from business, creativity and fashion all the way to physics, game-design and dance. Despite – or, rather, thanks to – our wideranging upbringings, experiences and interests, we are united in our endeavour to diffuse our perspectives and inspire innovation.

This is MA Innovation Management MA Innovation Management (MAIM) is a postgraduate course that is part of the Culture and Enterprise programme at Central Saint Martins (University of the Arts London). MAIM recognises the demand for creative and collaborative practitioners who have an understanding of cultural contextualisation of business and design discourses and practices. Its students don’t necessarily design products or services, but rather conduct research, generate insights and critically identify, verify and manage innovation opportunities.

The course aims to develop graduates with an ability to cross discursive, practical, subject and organisational boundaries. The students include philosophers, designers, entrepreneurs, marketing practitioners and artists, coming together to apply connective and creative approaches to managing innovation. The course is renowned for its students’ abilities to work on globally relevant topics, managing themselves as well as others in multidisciplinary and multi-cultural teams. These skills are in line with changes in the innovation industry over recent years and with the evolving demands of a business sector and a society that recognises the importance of creativity.

5

a Yuniy ura Kawam

on

Innovation is hidden in plain sight. My work is to look beyond what is happening on the surface in order to discover the undiscovered. By seeing things differently, insights, inspirations and opportunities start to emerge from all around.

rch a e s e er R

tom

Cus

Open Innov ati

Ian Cho

Ethnography

Walt e Benj r am

in

Rethinking fashion retail innovation: marketplace, marketspace and the non-market Over the past decade, many fashion retailers have adopted digital technology to expand their offer to online stores, to enhance the experience in physical stores and to closely engage with their customers. These advances have resulted in a dramatic increase in complexity in the fashion retail landscape. Although now, more than ever, fashion retailers have access to data that allows them to engage with valuable customer insights, their practices

6

The Arcades Project

‘In situations where innovations proliferate… last thing to do would be to limit in advance the shape, size, heterogeneity, and combination of associations.’

Bruno Latour

Complexity Bruno Latour

Actor-Network-Theory Networks

to collect these insights have become increasingly

their ability to develop customer insights. I conducted

fragmented. Inspired by 'The Arcades Project' by Walter

ethnographic research in three different environments:

Benjamin, my research is an investigation of a holistic

a traditional fashion retailer, a digital fashion retailer

approach to managing customer research in fashion retail

and a social media analytics business. This comparison

with a sociological perspective.

of the marketplace, marketspace and non-market has allowed me to examine the different perspectives on

My research reveals that fashion retailers focus on

the complexity of the surroundings of fashion retailers.

business above all else. They neglect that both fashion

The findings of this research show the need for a holistic

and retail are primarily social phenomena. Hence, the

approach to understanding customer behaviour.

theoretical foundation of my research is centred around sociological analysis. I have adopted Latour’s Actor-

By implementing a holistic customer research practice

Network-Theory and Kawamura’s Fashion-ology to push

that acknowledges fashion retail environments as complex

the boundaries of open innovation and to develop a

networks, fashion retailers could develop a deeper

viewpoint on the fashion retail landscape as complex

understanding of their customers and identify new

networks. This research focuses on the perspectives

innovation opportunities.

of fashion retail practitioners and how they influence

7

rity

ho Aut

ness n e p O

Linka

Foucault

ges

f Role o ent nm Gover

Maha Al Sulaiti I have learned that the power of collaboration and openness can be a constant source of innovation. We are made up of constantly changing networks and leveraging that resource offers great value to individuals, organisations, and even nations – the collective is more powerful than the individual.

Entrepreneurship ecosystems and the role of government This is the age of disruptive start-ups and they are here to stay. In a world full of uncertainties, continuous disruption and technological turbulence, the only way for economies to survive is to re-imagine the business ecosystem into one that allows for a thriving entrepreneurial economy. My paper looks at the role of entrepreneurship ecosystems in influencing economic development and the role that the government plays within an entrepreneurial ecosystem.

Qatar is currently going through a transitional period, attempting to become less dependent on the oil and gas industry and move towards an entrepreneurial economy.

A critical look at Qatar allows for a more in-depth

8

cker

ru Peter D

eurship Entrepren Ecosystem

‘In an age where everything and everyone is linked through networks of glass and air, no one – no business, organization, government agency, country – is an island.’

Don Tapscott

Don T apsco tt Colla b

Networks

oratio

n

understanding of the challenges and obstacles that a

I believe that empowering start-ups and entrepreneurs to

nation may face in diversifying their economy and moving

drive economic change is the future for developed and

from one type of economy to another.

developing countries. Not just through funding schemes and support programmes, but also by transitioning

My research looks at the challenges entailed in cultivating

from exploiting natural resources to empowering human

an entrepreneurial ecosystem with an emphasis on the

resources, thus driving the economy by creating and

role of government. Although the government is an

cultivating an environment that is conducive to innovation

important component of an entrepreneurial ecosystem, it

and experimentation. In order to do that, nations need to

should not be the main driver of the ecosystem. Rather,

look at their own unique climate and culture rather than

the capacity of local talents should be the centre of all

try to replicate successful entrepreneurship ecosystems.

the initiatives in order to create a environment that best cultivates entrepreneurial activities for maximum benefit.

By understanding the network, actors and linkages with the entrepreneur as the focal point and making changes to the system, governments have a better chance of sustaining an entrepreneurship economy and in turn their own economic viability.

9

my o n

Bur n Man ing

to Au

Hackers ous Anonym

re

ep Entr

l

tiona a s i n Orga re Cultu

Ruta Eva Cepulyte

The disorganisation man

My research was inspired by the two men who most influenced me in life.

They shared many things: both were rebellious individuals, both always sought opportunities and advantages with an extreme disdain for norms and rules – and both left my life too soon, with myriad lessons still to be learned.

The core principles behind the informal and black markets can teach us valuable lessons about how we can hack and transform corporate cultures at large. Entrepreneurial, criminal and deviant individuals often surprise us by creating social structures that transcend the horizons of the most innovative companies. They create their own rules of conduct and participation, founded on principles of autonomy which in turn enable trust, commitment and the emergence of a collective mission and purpose.

By shedding the rigid traditions of centralised leadership, organisations are opening the floodgates, allowing for the creativity of those with entrepreneurial, criminal or deviant mindsets to flourish. They provide them with

10

ip

rsh neu

Crime t and Devian Behaviour

ory

ity The x e l p Com

Open Sourc e

ance n r e v o Self-g ‘...as if the living I’ve done so far hasn’t actually been real life but a long wait for it...a long wait for something real’

y

aint Uncert

The Sacrifice by Andrei Tarkovsky

avenues of opportunity for risk, expansion and instil in

Disruptive spirit is needed in business and this is

them a tangible relationship with their own responsibility.

recognised as disorganisation within our organisations.

In place of the outdated model of top-down hierarchical

These types of individuals bring agendas of their own,

structures, collective organisations require team members

aiming to create change from within a new, rapidly

to fluidly adapt to the shifting challenges of the business

evolving economy as these attitudes seem to provide

environment. Less focus on rigidly delivering upon

organisations with keys to the main challenges of

prescribed job descriptions, but rather balancing resources

innovation management. Companies are gradually

and problems in the most effective and creative ways

replacing the traditional organisational man with the

possible. These kinds of collective organisations offer

disruptive disorganisation man. I suggest that the

architecturally structured avenues for individuals to

next evolutionary step for organisations is to embrace

approach their real potential by cultivating instinctive and

change at a much deeper level of organisational

enabled responses. Under such decentralised leadership

architecture by installing the principles of 'The

there is the potential for key business strains to merge, as

Disorganisation Man' as a foundation.

individuals simultaneously become the creative mavericks of a team and also the very managers who in the past were often tasked with reining in and stifling such creativity.

11

Play

Ga

me sD esi g

n

w Flo

Marc Richter Studying innovation has taught me that sometimes even the most inane sources of knowledge can provide valuable insights.

In my final year I aspired to test this lesson by exploring video games. While often portrayed as a waste of time, they provide valuable perspectives on innovation issues.

Csiksze

ntmihal y

i

Beyond failure: what game design can teach innovation management From the time we begin school, we are taught that failure is punished and success is rewarded, thus entrenching a fear of failure into our culture. Yet, experimentation and failure are essential elements of innovation. In this period in history characterised by disruptive technologies, it has become evident that many of today’s largest organisations will no longer be relevant in ten years’ time. As such, it appears more important than ever for organisations to instate a culture of innovation in order to remain competitive. Key barriers to this cultural change are fear of

12

nty

Uncertai

Jesp e Juul r

‘Ever tried. Ever failed.

No matter. Try again.

Fail again. Fail better.’ Samuel Beckett

Failure

ng Learni

Sitkin

Culture l a n io t a is n a Org

failure and the resulting risk-averse mindset.

construct systems that account for failure from their very

These barriers in turn lead to paralysis of innovation,

conception, thus providing valuable insights for innovation

providing a major management challenge for traditional

management in large risk-averse organisations.

large organisations.

Through my cross-disciplinary research on failure I have In order to gain a new perspective on the management

identified potential insights to support companies in the

of failure in innovation, I sought out insights from

evolution and modernisation of their innovation culture

unorthodox sources. While failure often represents a

as well as methods for managing fear of failure. Following

destructive threat in the context of large organisations, my

the conclusion of the course I will seek innovation

research identified game design as a space within which

management opportunities that will allow me to test and

failure is positioned in a highly constructive manner. In

refine my theories on failure in order to help organisations

well-designed games, failure motivates players, providing

improve their innovation culture in this complex climate.

learning opportunities in a number of ways. They offer a safe environment, balance challenge with ability, supply precise and meaningful feedback, and create a narrative that incorporates failure. Game designers

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Lean Start-u p

ip

ersh d a e L

ion Innovat es Process Lean

Mana

Anna Andersson During my educational and professional journey in business and creative contexts, I have noticed that the perception of risk, uncertainty and failure differs between the two domains. Ultimately my objective was to further investigate how I as an Innovation manager should examine the meaning of these terminologies.

Design Thinking

geme

nt

Insights from a critical examination of risk, uncertainty and failure In today’s complex, competitive and fast-moving productand/or service-offering environment, organisations are faced with both environmental changes and revolutionary shifts.

Ideally, a company should be exploiting existing resources by continuously innovating on their established offerings, and explorative by not fearing to imagine completely new ways of operating and discovering new markets. A company that exercises such duality is referred to as an ambidextrous organisation.

14

res u l i a eF v i t c

ru

nst o C

Corporate Culture

‘Risk aversion is also unnecessary because statistically, a large number of projects are extremely unlikely to fail (unless they are higly correlated to the same risks).’

Ed Sy ucat ste io m n

The B la Gam me e

McKinsey & Company

inty Risk, Uncerta and Failure

cy

ra c o t eri

M

D An isco al urs ys e is

During my educational journey on the MA Innovation

research conducted at a Scandinavian leading insight agency,

Management I have examined diverse management theories,

at an innovation conference, and through semi-structured

business research, and participated in primary field research.

interviews with various industry professionals.

I have identified a tendency among corporate businesses: although in theory they do recognise the necessity of

The research provided the opportunity to gain insights into

innovation processes, in practice they are still concerned with

how professionals, involved in innovation projects, should

the related risk, uncertainty and failure.

more effectively examine the meanings of risk, uncertainty and failure. For instance, how authorities within societies and

Therefore, the agenda of my research was to examine and

organisations use their power to transform the essence of

critically analyse the various meanings of risk, uncertainty

these words to then use them in accordance with their own

and failure, particularly in relation to innovation processes.

objectives. Moreover, how innovation managers should strike

I examined the terminologies from socio-cultural and

a balance between a constructive growth culture and an

historical perspectives, comparing them with those from

‘anything goes’-type mentality. The research also provides a

management and business discourses focusing on innovation

set of valuable insights for professionals to deliver innovation

management. In addition, insights were gained from field

projects with better performance.

15

Pau l

Identity l a n o i t a Organis

Rico e

ur

Future Thinki n

g

Foreca st Metho ing dologi es

Rose Maufras du Chatellier Driven by my interest in the fashion industry, I focused my research on fashion organisations working out solutions to better manage continuity and change, tradition and innovation, and conservation and adventure in order to create agile and resilient organisational structures.

mond y a R artin

M

The modern fashion organisation: managing continuity and change The speed of change in the fashion industry induces an inevitable shift away from what fashion organisations perceive as safe. This is forcing them to work towards highly innovative ways of reinventing their organisational identity and methodologies.

The concept of identity is key to understanding modern fashion organisations; it is the very fluidity and adaptability of identity that enables organisations to adapt to change. The context of constant change in fashion trends, ‘fast-fashion’,

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ns

Henri B ergson

isatio n a g r O Fashion

Agile Management

hange

nal C o i t a s i n Orga Trend s

‘To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.’

ility

Henri Bergson

ab Sustain

the evolution of customer tastes and the demand for constant

increasingly challenging business environment, where

novelty has triggered a source of uncertainty in the fashion

volatility and unpredictable demand have become the norm,

system. This environment is pushing fashion organisations to

it is essential for fashion organisations to recognise the

constantly reinvent themselves. They are challenged to

importance of agility.

find the right balance between the continuity of their identity and change.

Currently, a six-month gap separates the moment when luxury and designers’ brands show their collections from the

In an ever-changing industry, forward-thinking and

moment when the collections are actually made available

organisational change are not only welcomed; they

to customers. Meanwhile, fast-fashion organisations are

are needed in terms of business strategy. Forecasting

delivering the latest trends from those collections to

methodologies are key to enabling a forward-thinking and

customers in a matter of weeks. I believe luxury and designer

proactive approach to change, empowering organisations

brands need to shorten their delivery lead time and re-think

to remain relevant to their customers and competitive in

their system of production and retail calendar for a more

their market. However, these methodologies have their

logical, time-effective and sustainable system. To do so,

limitations. The traditional, forecast-based ways of responding

fashion organisational structures need to implement more

to customer demand tend to lack accuracy. In today’s

responsive and agile styles of management.

17

Flow

Meanin

gfulnes

s

Csikszentmihalyi

e ang

Ch

Olivia-Chelsea Lerner My research journey was fuelled by a desire to investigate the relationship between consultant and client. My goal was to discover how meaningfulness can ignite creative problem-solving communities within this traditional dynamic.

Communities

Meaningfulness: a mechanism to foster creative change journeys Over a period of four months I immersed myself as a researcher, investigating the consultant/client relationship during change management processes. My discoveries gave rise to the concern that traditional change management and specifically the relationship between consultant and client may be becoming obsolete due to increasingly disruptive, uncertain and turbulent business environments.

This immersive and inductive research approach was further substantiated with an investigative literature

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Mea nin Mak g er

Creati vity

Coh e & C n-Meita arm r eli

Problem-solv in

g

‘I believe that I am not responsible for the meaningfulness or meaninglessness of life, but that I am responsible for what I do with the life I’ve got.’

Hermann Hesse

Amabile

mapping, focused on unpacking the patterns and layers

to a more appealing future. Meaningfulness in order to

encompassing the discourses at play. This allowed a series

enhance creativity however, is concerned with unbinding

of insights to emerge that are proposed as valuable

control and discarding restrictions in favour of freedom

for managers to engage with in practice, as they could

and the opening of systems. It therefore becomes a

yield the starting point for future research aimed at

balancing act in which managers must promote symbiosis

revolutionising change approaches to be fit for the future.

between disorder and control. Ultimately, we must see an

It was revealed that one way to create a more innovative,

increase in change managers – individuals with hybrid

resilient and lasting commitment during change journeys

job capabilities who are highly concerned with

might be through a more human-centred approach,

acting as meaning makers, mediators, and network

which focuses on developing an intrinsic sense of

mobilisers in order to nurture lasting and creative problem

meaningfulness within the participants.

solving communities.

On a fundamental level, change management is an approach that is structured to support organisations, teams and individuals during the process of change.

It is accepted that for businesses, these transitions are the movement from the organisation's current situation 19

Metaphysics of Change

Robert Chia

m

is Deconstructiv

nge

Cha

Aurora Pavan Designers are often believed to only be executors. By studying innovation management in a school of design, my aim is to employ my creative potential to lead organisational processes. What inspires me the most is what I learn from doing.

It gives me the energy, the passion and the enthusiasm to enhance what I will do in the future.

Intera

Proce ss ction

s

The deconstruction of reality and the creation of future With a background in architecture and art direction, I have always considered creativity, change and flexibility to be essential elements of the design process. On the other hand, as an innovation management student I observe how many organisations adopt methodologies often characterised by intense rigidity, overlooking the opportunity to exploit the potential of change and creativity. In futures studies, this manifests in the use of oversimplified methods that can quickly satisfy clients‘ short-term objectives. Interaction between individuals frequently leads to the learning of new

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Scenario

Art

ies d u t res S u t u F

Creativ

ity

Sensem

aking

‘how an entity becomes constitutes what that actual entity is; so that the two descriptions of an actual entity are not independent. Its “being” is constituted by its "becoming". This is the principle of process.’

Alfred North Whitehead

knowledge, implying ever-changing outcomes, a reality

Life can exist only in an unbalanced and moving universe; if

that organisations would prefer to avoid. With the aim of

we accept this, we finally reject a preference for certitude and

overcoming the above issues, my research investigates

welcome one for possibilities. This has driven my research

principles leading to the development of methodologies that

to pinpoint strategic opportunities for the development of

consider the complexity of reality, the use of creativity and

process-based methods to be used in the field of futures

the continuous becoming of things.

studies. Among these opportunities, I have identified art as a means of stimulating creativity, sensemaking to

My work recognises change as a catalyst for innovation, the

identify plurality and Causal Layered Analysis to understand

emergence of new phenomena out of complex systems.

complexity. These insights can help organisations overcome

Organisations are structured and ordered entities emerging

the lack of understanding of a complex social reality as

from chaotic realities. Their ‘double nature’, chaos and order,

well as consider the plurality of the present and creatively

must be considered as a favourable opportunity rather than

contemplate new alternative solutions.

a threat that needs to be suppressed. The exploitation of the organisation’s real essence favours the creation of conditions that permit their survival in critical situations. It also allows the generation of advancements within the environment in which they exist.

21

Trend-Fo re

casting

Future S h

ock Future

ork w m Tea uhan

McL l l a h s r Ma

Anna Nolda Nagele I have always been curious. Cultural storytelling, in the way it abstracts and reflects reality and transfers meaning, intrigues me as a signpost for my explorations. I want to capture this potential and use it to manifest positive values and anchors in contemporary life.

dia

sme n a r T

Once upon a future time: storytelling manifesting change Businesses fearing to be overwhelmed by progress make use of future studies to support decision-making. Giving organisations the tools to gain power over consumers, with the creation of new needs and fast-changing trends, has worked well as a business model with the rise of capitalism and fast consumer culture. As current social values and morals are increasingly questioned, corporate foresight practitioners struggle to have impact on future development.

With new hopes for the future rising, it is time for futurists to play an active role in creating the future by inspiring

22

‘By making imaginative use of change to channel change, we can not only spare ourselves the trauma of future shock, we can reach out and humanise distant tomorrows’

Story te

lling

Alvin Toffler

Metanarrativ e

rnism Metamode

Scien

ce Fic t

ion

Abstract Reality Henry Jenkins

positive change with their knowledge and authority. To foster

emotional and mental capacity for the future. It serves as a

resilient development and innovation it is necessary to spark

safe place for experimentation and critical reflection, as reality

conversations not only on an organisational level, but to

is abstracted through story elements as well as the selected

translate between private and public and thus support the

media channels. This open discussion helps to identify and

development of new metanarratives, or anchors, in society.

create desired futures and establishes new metanarratives

For futurists the challenge is to oscillate between inside and

about the future. Engaging in methods of simulating

outside. It is to observe societal and cultural changes, break

future visions through user participation and collaborative

them down to an understandable level through transmedia

storytelling in both virtual and real spaces enables motion

storytelling and thus help organisations resiliently face

between individual, organisational and societal levels.

the future. Then it becomes about feeding organisational

This oscillation between different layers of understanding

stories into pop culture and influencing society by sparking

functions best within a well-designed framework of

conversations about the future on the public level.

research insights and can eventually shape the general future sentiment.

Transmedia storytelling extends traditional media with new technology and creates immersive storyworlds in which a conversation about the future is active and present.

The immersive experience prepares its audience with the 23

Marsha ll McLuh an ty

Curiosi

Empathy vation o n n I l a Radic nings a e M f o

Ivette Procel I have come to envision that the power of ambiguity lies in the capacity to see certainty as preposterous. This mindset is essential in allowing one to embrace chaos as a self-organised process that fosters new perspectives, encouraging curiosity and empathy, which are the main drivers towards the creation of inviting ideas.

i

t rgan e V berto

Ro

The strategic use of brand-uncertainty The drivers surrounding traditional consumption are changing and brands are puzzled by the challenge of navigating a world in which the speed of change has increased. The emergence of an ever-increasing certitude of dramatic challenges has influenced both consumer expectations and ways in which brands are produced, consumed and experienced.

My research dissects the different interactions between various actors involved in the process of brand-development and unlocks an innovation management strategy that fosters purpose throughout advertising strategies by linking brand success with social progress.

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'Don’t believe everything you think’

Ambiguity

Allan Lokos

Purpos e Roland Ba r

thes

Uncertainty

Myths

I analyse the different reasons why brands have grown to

By merging the ever-increasing inevitability of dramatic

become myths in modern society. Brands are capable of

technological transformations and the complex drivers of

challenging consumers’ cognitive attitudes by cultivating

consumers behaviour, I introduced virtual reality (VR) as an

strong emotional connections towards society, thus laying the

experimental symbol that transcends the act of consumption

foundations for the development of social empathy as well

with an alternative medium that demands new kinds of

as adding purpose to the act of consumption. To dissect the

interactions. The ability to display social problems through

connection between brands, empathy and purpose, I explore

a set of VR goggles transports the user through a journey

the relation of myths with cultural and ethnic behaviours

of telepresence-experience that reinforces the emotional

as a key tool in creating individuals’ personal, social and

labour of embodying someone else’s truth as a form of

cultural meanings. I also examine memory as a key factor in

constructed reality. Social empathy is thus fostered as a fusion

embracing emotions. It is a form of elaborate encoding that

of aesthetics and affective attitudes that induces curiosity as a

allows individuals to integrate new information with what is

strong driver towards the purpose of having always one more

already known, encouraging the creation of new perceptions

cause to puzzle over.

by linking individuals’ subconscious behaviour with past experiences.

25

isation n a g r O l rnmenta

ve Non-go

thy a mp

E Emoti

on

Bharvi Layazawala Born into an Indian family and raised in Belgium, I have adapted to multiple cultures. Enthused by this global upbringing I realised I wanted to bring about societal change. My journey is led by the people who inspire me, and it is time for me to innovate for them.

ure t l u C

Stories for change: social impact through visual storytelling From my perspective, innovation management is the integration of business, design and culture when an opportunity is found in the midst of this congruity. My research explores this very opportunity by looking at how several non-governmental organisations (NGOs) in Mumbai are unable to explain their mission to their audience. This lack of clarity has resulted in minimal engagement. To rectify this situation, I am exploring how an innovative approach pioneered by 'Humans of Bombay' could be implemented for these NGOs.

26

n Desig

g inkin

Th

Social Entrepreneur

‘Don’t forget – no one else sees the world the way you do, so no one else can tell the story you have to tell.’

Charles de Lint

Soci

al C

hang

e

Visual I m

age

Visual Storyte llin

g

Hum ans o Bomb f ay

'Humans of Bombay', an Indian photo-story social media

storytelling would be an effective tool for NGOs to

platform, uses visual storytelling to create awareness

evoke similar responses from their audience as well as

about the population of Mumbai and spread it amongst

create empathy.

the population. Storytelling has emerged as a design thinking tool that weaves perspectives, deepens an

As an aspiring social entrepreneur, my goal is to go

understanding of who we are as human beings and

back to my Indian roots and implement this innovative

also builds connections. Visual storytelling allows this

approach in my future projects. I aim to nurture skills

platform to present the culture of Mumbai and have

learned during this course and use design thinking as

a social impact, thus incorporating design and culture

the foundation of my entrepreneurial journey. I believe

in a business. 'Humans of Bombay' uses true stories to

that to make a change it is important to identify for

connect with viewers via empathy. Furthermore, these

whom it is you are making a difference. Observing and

stories make the reader feel a connection to the teller’s

understanding real stories through visual storytelling will

unique interpretation of personal experiences and allow

allow me to manage my business across various cultures.

them to develop their own emotional narrative through visual images. Presenting real life stories through visual

27

Sensemaking

to Rober i nt Verga

n Desig h rc Resea

Paul R i

coeur

Yiru Yan As a non-designer accidentally stepping into a design school, working with designers never fails to inspire me. It all started from a simple question. What really intrigues me about design? This led to more and more questions, which ultimately developed into a year-long journey searching for answers.

eorg G s n Ha er m a d Ga

Strategic use of design thinking in collaborative sensemaking Design thinking is currently devalued due to its oversimplification and immature exploitation in order to cater to business needs. A problem-solving framework is fundamentally responsible for restraining design thinking from realising its true value in innovation. The essence of design, the tacit part – the mindset of designers – is overlooked.

Teaching design thinking to non-designers primarily through structured workshops is problematic. It separates doing from thinking, while also reinforcing professional and socially constructed barriers that prevent designers and nondesigners from merging on a deeper level.

28

Roger Martin

Transfo rm

ation D esign

Tim wn o r B

Marina Abramovic king

Thin n g i s De

‘Designing is not just something you do, or that you take lightly when you practice it, but rather it helps to form your identity.’

set

ind er’s M

n Desig

Bryan Lawson & Kees Dorst

I challenged the problem-solving ideology with an alternative

less visible but potentially more powerful benefits. After a brief

view by applying design thinking in sensemaking. It can facilitate

encounter with design thinking in intensive learning-by-doing

the collaboration between designers and non-designers by

experiences, seeds are planted in non-designers. They show

enabling knowledge flow internally and externally, synthesising

tendency to change in ways of thinking and doing. This needs

different understandings into a new frame to approach complex

to be nurtured through ongoing exposure and training so that

situations and problems, meanwhile opening up communication

gradually they embrace and internalise design thinking on their

and reflection to transform thinking and doing.

own terms, consequently externalising it in everyday life. In this way, they become "a transformative agent", being transformed

Two opportunities arose from the study. Firstly, a new framework

as well as transforming other people while widening the

for design thinking in collaborative sensemaking which is a

application of design.

hybrid of design research and co-creation. This could be a new model for design research that differs from the mainstream in terms of timing, method and openness. It could combine design and an open process to engage a wide range of interpreters rather than a closed group of professionals in the beginning of the innovation process. The aim is to frame a complex situation to be innovated rather than generating solutions. Secondly, other 29

e Servic n Desig

Agile Management n Global Expansio Strategy

ech T h stry g i H ndu I

Mimi Nguyen Currently, businesses are heavily focused on exponential growth and market survival.

Strict adherence to traditional management tools and theories will not lead to longterm innovation. One can see that those who succeed are employing unconventional strategies. Thus, I try to challenge present practices and approaches in order to identify opportunities for better performance.

logy o n h c Te tion Adop le yc Life C

Venture D Canvas esign

Design thinking as a tool for global expansion strategy Design thinking has become popular among companies due to increasing competitiveness and uncertainty. In order to grow and survive in economic crises, there’s a shift in the business realm from relying on products to adopting an user-centred approach. Business environments have been shifting during the years of fluctuating market stability from the supply market to the user market. While design thinking is becoming critical in product development, it remains a question how it could influence a company’s marketing strategy to introduce their innovative products and services when entering a new market, and how to manage the process in order to reach a wider audience.

30

‘There’s a way to do it better – find it.’

Lean Startup

king

hin Design T

tics naly

A Lean

Thomas A. Edison

Effectual Entrepreneu rship

Marke ting S trateg y

asm’

in Cross

‘Ch g the

My research examines the current discourse on design

business practices. The empirical study within my research

thinking, and challenges it with other approaches such

provides a comprehensive overview of the marketing

as lean start-up, agile management, lean analytics,

methodologies employed in customer acquisition within

effectual entrepreneurship and service design. I analyse

the high-tech sector, and discusses possible failures and

examples of the marketing strategy in the high-tech

successes of the marketing strategy in the foreign market.

industry to see if any theories can be distilled and applied

I believe that design thinking can be further enriched

further. Moreover, I look into specific marketing tools

with additional tools and applied not only to product

in reference to the process of crossing the “chasm” in

development but also to the process of global expansion

the Technology Adoption Life Cycle. Communicating an

to win over international customers.

innovative service to a wider audience requires better methodologies, since it’s more challenging than reaching just a few early adopters. Hence, I look into the possibility of applying a set of tools from design thinking and other complementary concepts.

This approach gives me the opportunity to juxtapose current concepts of innovation management with 31

Healthc are

phy

gra Ethno

ement g a n a M tion Innova

Experimentation

Ray Chen I used to draw instead of write my diaries when I was a little girl. I love playing with visuals to express business ideas at school.

Design, as a mindset rather than simply a tool to make things pretty, constantly inspires me to take creative and humancentred approaches to business solutions.

es r u l Fai

Implementation of design thinking in healthcare charities In today’s fast-changing environment, organisations strive to innovate to stand out from the competition.

In the search for alternative approaches to fostering innovation, there is an increasing interest in design, both among scholars and practitioners. Design thinking starts to emerge in organisational settings as an approach to boost a company's innovation capability, describing how any firm could benefit from design practice. However, healthcare charities, which aim to use design thinking to deliver systematic changes, still face various challenges due to their unique organisational structures and misunderstandings of the concept.

32

Coll ec

tive

Pow er

Tim B

Organis

ational Culture

Design Thinking

ntred e C an

Hum

row n

‘Imagination is more important than knowledge.’ Albert Einstein

The aim of my dissertation was to research and explore

large project scope. I aim to push boundaries by opening

solutions to effectively implement design thinking in large

up the discussion about implementing design thinking in

healthcare charities. I initially hypothesised that charities

the healthcare sector. Any future work in this subject area

should not only educate employees about design thinking

would benefit from more reliable analysis both in theory

to gain acceptance but also provide necessary skillsets

and practice. In addition, the Engagement Scale needs to

in order to practice it across organisations. Through my

be tested further in projects. It does, however,

analysis on theories and the twelve-week practitioner

initiate the acceptance of design thinking across

research in a leading UK charity, I discovered that the

organisation and propose possible solutions towards

implementation of design thinking should be project-

delivering it in practice.

specific in order to reach maximum efficiency. I thus developed the Design Thinking Engagement Scale to propose levels of engagements in various projects.

Given the nature of design thinking, which champions human-centred approaches, developing new interventions would be extremely beneficial for healthcare charities. It is still an experimental concept within this sector and the execution seems challenging while dealing with such a 33

Virtual Rea li

ty

Retail Trends ds

Tren y g o l o Techn

Brand Loyalty

ation s i l a on Pers

Stephanos Konstantinou I always liked observing people; I’m intrigued by their behaviour. People inspire me – how we communicate with each other, what we wear and how we react to design, technology and our surroundings.

I believe that understanding the evolving nature of human behaviour is where true innovation lies.

lysis Data Ana

Driving customer experience innovation Service brands belong to a vast arena involving strong competition where innovation becomes the accepted authority with regards to competitive advantage. Many service brands focus their attention on the customer experience they are providing in pursuance of brand loyalty. Customer experience, defined as the subjective and emotional interpretation of the service in the minds of customers, requires multiple drivers for its innovation. Successful customer experience innovation advances customer satisfaction, brand loyalty and, subsequently, brand value.

My research further develops the key drivers that foster and manage customer experience innovation and questions whether design thinking is the appropriate innovation management method for such innovation.

34

Customer Expectatio ns

entred c n a Hum

Design Th

inking

Custo m Expe er rienc e nomy o c E nce xperie

E

‘The greatest discovery of my generation is that human beings can alter their lives by altering their attitudes of mind.’ William James

My theoretical research expands on the relationship of

experience have been explored. Accordingly, technological

brands with customer experience, and the positive attribute

innovations and trend awareness by innovation managers are

of innovation to brands. The brand itself has been identified

also identified as key drivers.

as a key driver, highlighting the necessity of brand value reflection on the experience, thereby delivering the brand

I propose the strategic alignment of the identified key drivers

promise. Additionally, customer expectations are also a key

as an opportunity for managers carrying out customer

driver since experiences and expectations are dynamically

experience innovation. Additionally, the development of

related and understanding this relationship is central to

a detailed design thinking toolkit, created specifically for

achieving and sustaining brand success. Design thinking

customer experience that incorporates the key drivers.

can provide various practical tools for uncovering customer

Innovation management is placed in the centre of all drivers

expectations, with its empathetic and human-focused nature

and a holistic, persevering awareness and alignment is

aiding the customer experience innovation process. However,

required for the success of customer experience innovation.

theories fail to describe what could constitute as customer experience innovation. Therefore, through my field research, I identified multiple trending technology innovations that seek to enhance customer experience. Technology trends, such as the use of data for personalisation, augmented and virtual reality and their relationships with brands and customer 35

ental m i r e p Ex ecture t i h c r A

tive a n r Alte paces Art S Spatia l Experi e

nce

Cedric Price

Essi Mikkola In my own creative ventures, I have long been inspired and encouraged by my positive experiences observing art. Since a visit to a museum could provide me with such tremendous inspiration, confidence and creativity, I wondered whether it would be possible to extract that experience from the museum and transport it into everyday life.

Fun Palac e

Museum of streets: inspiring by-passers into creativity in public spaces Innovation – the introduction of novelty into the world of art, industry or science – has its engine in creativity.

Innovation can be thought of as creativity’s crystalline conclusion – the messy impulses of creative thought and action made manifest in the world.

I believe that creativity is a skill that can be learned and that requires practice. Art museums contain a valuable source of knowledge that has the potential of inspiring the creativity of a vast amount of people, but today they interest only a small section of society.

36

elig

Se Tina

A Expe rt As rienc e Art M

useu

Creativity

John Dewey

ms

Benefit s of Arts

‘Every child is an artist, the problem is staying an artist when you grow up.’

Pablo Picasso

Consequently, I set out to investigate how art museums

As a result of my study I ended up suggesting a concept

could contribute more to the development of creativity. At

that uses technology as a means to transport art from

the beginning of my journey, I was determined to explore

museums into the centre of everyday life, in order to

opportunities for bringing more visitors into art museums.

inspire people to connect with and practice their creativity

Throughout my research, however, I began to be more

more readily. The concept comprises an enclosed space

drawn to ideas happening outside of conventional art

that is placed in the public sphere, where it interrupts

museums. Coming across Cedric Price’s ‘Fun Palace’

the daily journey of passers-by. Inside, entrants will

concept was a pivotal moment that set my research on

experience inspiration through art, co-creation and

a whole new course.

creative connection.

Drawing from a range of fields in order to come up with new ideas is typical for innovation. In my case, this meant delving into the discourses of creativity, museums and spatial experiences. Also, alternative art spaces and concepts were investigated in order to gain a breadth of knowledge for experimentation.

37

Peschl and Fundneider

Ikujiro Nonaka

ing Enabl e ledg w o n K on Creati

paces

Enabling S

Priyanshi Vasani I have always been trying to bridge the gap between business strategy and the arts. My experience as a dancer fuelled this research with inspiration. I want to bring the magic of exploring the state of creativity achieved through the body and merge it into the creative dimensions of innovation management.

Eme rg Inno ent vatio n

Dance thinking: enabling innovation through the body and choreographic minds The innovation process is no longer a one-dimensional phenomenon. Rather, it emerges from a highly complex network of interacting actors, dynamics and constraints.

This process is often deemed too messy to be controlled.

Is a linear approach to managing innovation as outdated as a floppy disk? When innovation jumps out of its linear sequence, there are opportunities worth exploring in terms of facilitating emergent innovation. This opens up new perspectives on the ‘management’ aspect of

38

e

Ena b Attit ling ude

it Tac

edg l w Kno

nty

au-Po e l r e M

Choreographic Thinking ‘Without real exchange, you can’t create knowledge.

Knowledge creation is a human activity.’

Nina Bozic

ativity e r C d ie d bo

Ikujiro Nonaka

Em

innovation. My research highlights the importance of

ideas. Through my research, I present the perspective of

enabling innovation rather than simply trying to manage

the human body in dance creation as an ‘enabling space’

it. Enabling and facilitating emergence in the innovation

for knowledge creation.

process often manifests latent sources of creativity.

There is a growing sea of creative opportunities in Embodied knowledge is one such source of creativity.

unlocking the latent repertoire of the human body.

In the era of big data and data explosion, we have

Methodologies for dance creation may hold ways

lost the ability to look inwards and access our deepest

through which latent knowledge can emerge and throw

roots of knowing. Dance is constructed by embodied

light on how this emergence can be facilitated. In this

brains and socio-cultural interactions. It accesses many

sense, emergent innovation is an innovation from within,

kinds of knowledge beyond kinaesthetic intelligence,

knowledge created in this process is not superficial or

including visual, tactile, mental, cognitive, and emotional

artificially grafted onto an organisation by some external

intelligence. Creative processes adopted by dancers are

forces. My research lies on the cusp of a future where

much more open-ended but still have an underlying

innovation detangles itself from linearity and accepts that

spirit of problem-solving. This loosely controlled process

we are an embodied people and that body data is not

of dance creation allows for tremendous emergence of

just an old heritage but also a new capital.

39

l

tu

al

ec ff E

d an

sa au

C

En tre

Sarasvathy

pre

ne

urs

hip Creative Process

Strategic

Joyce Chan Growing up between East and West, I am highly aware of issues that arise by merging the two cultures. I am therefore attuned to challenges faced by young Chinese fashion entrepreneurs operating within the international sphere and wish to map out opportunities for innovation within their business management approach.

Opportu

nity

Mapping cultures: uncovering innovation opportunities for young chinese fashion entrepreneurs The number of Chinese designers at top global fashion weeks has been growing steadily over recent years. Spearheaded by an ambitious pool of young, internationally educated Chinese entrepreneurs, the Chinese fashion movement is gaining momentum. However, obstacles can arise when there is a mix of cultural influences and expectations, particularly during the creative process. Through the lenses of culture, creativity and education, I highlight and investigate the issues for Chinese entrepreneurs developing a creative business in the international sphere.

40

‘Creativity, properly employed, carefully evaluated, skillfully managed and soundly implemented, is a key to future business success – and to national prosperity.’

y

it ativ e r C

s Busines Model ion Innovat

Sir George Cox

tede Hofs n

tio a uc

est East and W

Ed

Cultu

re

I explore how culture has a significant impact on young

alternative ways of business management. They are ready to

Chinese fashion entrepreneurs abroad in terms of conceiving

run things in a very fluid way and, unconfined to a certain

and developing creativity and how this influences their

way of thinking, their businesses can evolve on an adaptive

business model innovation. In order to evaluate the influence

international, cross-cultural scale.

of culture on one’s behaviour and values in the workplace, I use Hofstede’s six dimensions model, which outlines power

As the dichotomy between Eastern and Western influences

distribution and how decisions are made. I also consider

blurs, creating new perspectives, I see a new space for

Sarasvathy’s theory of causal and effectual reasoning, which

innovation unfolding within the management styles and

challenges traditional notions of entrepreneurial thinking. The

creative processes of these cross-continental fashion

Chinese education system is largely didactic, discouraging

businesses. This opens up an opportunity for exploration,

independent creative thinking and failing to offer space

which forms the basis of my dissertation.

for improvisation. This can later impede the creative and decision-making process within a Chinese business. However, this new generation of Chinese fashion entrepreneurs are operating on an international level. Many have worked in multinational companies and international design studios and have absorbed Western influences and a familiarity with 41

Virtua l Enviro nm

Business Plan

ent

nt

elopme v e D d Bran

User Orien te

Future Studies

d

ration

Idea Gene

Fiona Angelica Innovation management has brought me a better understanding of social changes in human behaviour. I am able to recognise public interests utilising exploration and experimentation, which gives me ideas to help innovate better future options for human kind.

Virtual reality: the future artist portfolio My thesis is focused on testing communication capabilities as an effective way to manage innovation through virtual reality as an emerging media. In the digital era, the impact of technology advances the information delivery of communication because of the dynamic environment.

Stemming from the innovation value of communication, idea generation must be well thought-out as the process of managing the language of a certain media.

Communication needs to be delivered in an effective way with specific language in order to define what the audience expects, thus allowing a clear understanding of the demands.

42

sting e T e c n Prese Artist Portfolio

Open In sive r e m Im ience Exper

novation ‘Education is our passport to the future, for tomorrow belongs to the people who prepare for it today.’

lity Virtual Rea

Malcolm X

This social challenge inspired me to explore an ideal

During the journey from hypothesis to research, the

structure and process well-suited to idea generation, to

individual as an artist is able to use virtual reality as a

helping build understanding and to simultaneously attract

medium to showcase their artwork due to the ability of

people's attention. To answer to this opportunity, I tested

implementing ideas as a whole process. Virtual reality

the latest media technologies to explore how their uses

can encourage an audience to feel this novel

may be applied in an artist’s portfolio. Individual portfolios

communication as an in-depth audiovisual experience,

are prone to communicate ideas and stories and thus

thus providing a formerly unknown immersive level to an

have the ability to give an overview of the complete

artist’s digital portfolio.

process of a concept. Along with innovation, electronic portfolios are highly dependent on the development of technology and their ability to connect with an audience. There have been many applications of virtual reality as a communication tool to share knowledge, stories, and exploration. Therefore, taking advantage of virtual reality inside environments could develop the freedom of imagination, allowing artists to build unlimited space and time.

43

Adoption

Embracin g Change

Diff usio

no f In

nov atio n

Smar

t Livi

Juliette Colin My inspiration came from an exhibition exploring smart homes as a new way of living in the future. Having a design, cultural and economic background and a pro-tech futuristic approach, I wondered why we do not all live in smart homes and how we can overcome the barriers to adoption.

ng

al vs.

Radic ntal e Increm ion at Innov

Smart living: leveraging the experience economy towards smart home adoption A fridge that communicates with your washing machine and a thermostat that speaks to your light – does this sound futuristic? With the emergence of the Internet of Things, living in a home where every device is connected becomes a reality. The smart home concept appears as a new disruption for the market economy and for the way we live. However, despite its expected success, most of us have yet to see a real smart and futuristic home and the smart home marketplace seems to face difficulties in the adoption phase.

44

ings h T f o et Intern

‘Most of us spend our lives acting rationally in response to a world we recognise and understand but which no longer exists.’

Technolo gy

Eddie Obeng

Exp e Ma rienti rke al ting

tric n e c rUse proach Ap

Experience Economy

Given this, I respond to the new opportunity for the

through the immersive experience from his own home

implementation of smart homes that are on the border of

environment. This new way of promoting a product can be

mainstream adoption and require new management tools

a successful way for smart home companies to better reach

and innovation processes in order to develop. These tools

the consumer and reduce the high level of uncertainty.

can be found in the area of the ‘experience economy’,

Smart home products have to adapt quickly to user needs.

especially the experiential marketing that I propose as

Therefore, successful adoption will strongly depend on

a solution to the slow consumer take-up of smart home

capable innovation management to analyse these changes

products. From this perspective I investigate the key

and identify paths for successful development.

aspects of experiential marketing, which will support the management of innovation and accelerate the uptake of distributive technology by new audiences in the smart home market.

Through my exciting research journey, which extended from reading theory, to interviewing and experimentation, I discovered a new touchpoint for reaching the user

45

Bryno lfsson & McA fee

Tesla

gy Technolo

Car

Clayton M

. Christen

Nicholas Stafford My journey started with an interest in theories of disruptive innovation and real-world observations indicating that the automotive industry is in the early stages of a paradigm shift. As a designer I believe design and strategy will play a key role in the emergence of the 21st century, digital-age car.

sen

Insurgent innovation: a strategy to navigate a world where the ‘winner-takes-all’ Over the past hundred years the car has attained rich social, cultural and commercial significance and the automotive industry has built a global empire that is deeply embedded in contemporary society. The growing discourse on the future of mobility, the car and the automotive industry is gaining momentum with the ever-increasing inevitability of impending dramatic transformations. The emergence of twenty-first century, digital-technology companies – such as Google with their

46

Thermodynamics

Foucault

Strateg y

Pow er

Design

Baudrillard

‘Two factors in the history of the car that have contributed with such mixed results to its evolution: technology and image.’

Gregory Votolato

self-driving car, luxury electric car manufacturer Tesla, and

mix, I explored an ontological perspective using scientific

the car-sharing platform Zipcar – are challenging the

theories of thermodynamics to better understand

archetypal car’s relevance in today’s digital age. The focus

uncertainty and the mechanics of diffusion within a

of my study was to develop an innovation management

transitional system to achieve equilibrium.

strategy for the implementation of the future car.

Embracing an explorative perspective, which morphed The research I conducted looked at the car from the

between micro (the car’s design and technology) and

perspective of design, culture and business while

macro (the wider ecosystem and power relationships)

adopting a Foucauldian approach to construct and deliver

‘viewpoints’, produced the groundings for a new type

the foundations of the strategy. The study focused on

of innovation strategy that I defined as ‘Insurgent

the interplay between communication, activity and power

Innovation’. This strategy offers an alternative path for

relationships in the context of car culture, the automotive

the implementation of new technologies compared to

industry and the wider global drivers of change. The

traditional disruptive innovation theory for a digital-age

findings revealed a juxtaposition between the growing

world that is more open and offers more opportunities,

order and hyper-perfection of the modern car against

yet is increasingly unequal because power is short lived

the disorder, fluidity and unequal distribution of power in

and predicated on a ‘winner-takes-all’ system.

the world it inhabits. To unpack this dynamic and volatile 47

r erne e L h Jos n Tirol a & Je Open Source

Coll a

bora tive

Cult

ures

y

Clay Shirk

Priscilla Alcalde Melo Being raised in a developing country has made me experience different ways of adaptation. Realising the importance of resilience, I started researching the impact of scarcity in organisations and frugal innovation approaches. My curious mind then led me in the opposite direction, exploring abundance in open source.

Platforms

Open source as a strategy to foster innovation Technology is evolving at increasing speed, drastically affecting our behaviour and the way organisations operate. With online privacy and security threats haunting individuals and the reputation of companies, organisations have been forced to find creative ways of collaborating to solve their problems. In this scenario, open source has become one option, transforming old system structures into permeable and interactive machines. Large tech companies like Google, Facebook and Microsoft have embraced openness strategies, while Tesla, the luxury electric vehicles manufacturer, has gone further and released their patents.

48

ond Eric S. Raym

Inte

rop e

‘Empowerment of individuals is a key part of what makes open source work, since in the end, innovations tend to come from small groups, not from large, structured efforts.’

Disruptio

rab i

lity

Tim O’Reilly

n

Clayton M. Christensen

Stan da

rdisa t

ion

The focus of my research was to analyse the drivers

patents and legal issues, important elements that affect

behind open source strategies and the challenges of

user experience and business decisions.

implementation and coordination. The hypothesis in this work stated that if organisations adopted open source

We are now facing an era of digital disruptions, with

practices and offered their products as platforms that

incumbent organisations in different industries struggling

enabled other people to build upon them, they would

to be resilient within an avalanche of changes. It is a

have more chances to succeed. By conducting design

fact that technology will continue to accelerate, bringing

ethnography research at the Mozilla headquarters in

not only convenience and delight but also complex

London and at a large open source global event, I

societal, economic and environmental problems. I believe

detected patterns of culture and perceived limitations

open source practices should serve as an inspiration

of open source philosophy when applied in business.

for cross-industry collaboration, with partnerships

The findings also consisted of how individuals and

among individuals and organisations. The management

communities collaborate in open source projects,

challenges will be huge, but the opportunities for a better

considering its meritocratic systems of reward. During

and sustainable future are abundant.

my journey, I discovered that open source is aligned with controversial concepts of interoperability, standardisation,

49

Collabo ration

Creativity

Divers

ity

Globalisation

Isadora Chavez I am fascinated by how many of today’s successful communities and organisations are rich in cultural diversity. Inspired by their communication management, I have come to observe that learning to understand and adapt to different cultures and environments is vital to achieving success.

work Team

The role of multiculturalism: addressing communication issues through intangible assets Multinational companies and organisations are increasingly aware of the value that is derived from the smarter use of diverse skills, knowledge and resources.

In an increasingly globalised world, this has brought multicultural communication into the spotlight. The effective collaboration of employees and the interchange of information and ideas between them are recognised competitive tools. Cultural diversity and a broader mix of experiences of the actors involved have led managers

50

Divergent Th

inking

ty n i a t

cer n U

ess

ren a Aw

ation c i n u m Com

rces u o s e man R

Curiosity

Hu

‘Keep your language. Love its sounds, its modulation, its rhythm.

But try to march together with men of different languages, remote from your own, who wish like you for a more just and humane world.’

Hélder Câmara

to rely on the work of heterogeneous teams with diverse

to be a major cause for heterogeneous teams to fail to

skills and knowledge. Their work however, has also been

complete a task successfully. To lead and manage such

shown to suffer from communication barriers as a hurdle

challenges, one must recognise that to fully benefit from

to fully leveraging diversity.

collaboration one needs to minimise and/or counteract the associated communication barriers that may arise.

A first step to overcoming these barriers would be to

Divergent thinking emerged as an interesting approach

understand that cooperation among multicultural teams

to improve multicultural communication by using different

is not a predictable mechanic process, but one deeply

tools and techniques.

connected to individual and collective behaviour. My research has looked into exploring the efficiency of a

Understanding culture as an instrument that we relate

creative process exposed to multicultural collaboration

to in order to interpret our work, our colleagues,

by observing the relationship between a team’s results

managers and/or employees can be the starting point

and the collaborators’ communication. Field research

to developing a framework to manage communication.

in a company with exposure to multicultural diversity

Taking this line of thought further, while avoiding

(within the setting in which it operates) served to

cognitive misunderstandings, could involve assigning and

establish a link between theory and practice. Cognitive

selecting individuals with specific experiences and cultural

misunderstandings and misinterpretations were found

understandings as communication facilitators.

51

mer o t s Cu ship tion a l e R

vation Social Inno

52

ty

abili Sustain

ation r o b a l Col

Sophia Liang-Ying Lin

Open innovation with fitness data: the future of healthcare

Coming from a background of product design and business management, I treasure the power of technology to change people’s lives. Instead of problemsolving, I prefer to explore the underlying ‘why’ from both micro and macro perspectives in order to prevent it from becoming a problem.

progress of technology, tracking devices have greater

In a rapidly changing world that is highly affected by the potential for helping people live healthier lives. There are many uncertainties and unexpected challenges regarding user engagement and sustainability of the business in fitness tracker market, especially given the fact it is packed with competitors offering similar products and services.

This gives an opportunity for innovation management to step in and make a difference.

I first look at the issue from three perspectives: millennials’ changing consumer behaviour towards digital healthcare;

y Strateg

Informat

ion Cycle

hcare

Healt e v i t n e Prev

‘All that is valuable in human society depends upon the opportunity for development accorded the individual.’ Albert Einstein

Mille

nnial

s

Big Dat a

business management of fitness tracker companies;

The potential opportunity to adopt open innovation as

and data transactions in preventive healthcare. I then

a main strategy for fitness tracker companies lies in the

identified a gap between personal data collection from

balance between sharing customer data with health

fitness tracker and from healthcare research organisations,

research organisation and protecting user privacy.

which needs to bridged. While open innovation has

Personal data could be a new form of donation other than

demonstrated its value in the technology industry by

money, as it can help research centres collect data in a

enabling a fluid knowledge flow internally and externally,

more cost-effective way, leading to more reliable analysis.

the strategy can also be applied in healthcare to engage

This can provide a competitive edge for fitness tracker

users and connect data via cross-sector collaboration.

companies by offering corporate social responsibility as a

Users could be motivated by receiving customised

way to build up brand loyalty for a sustainable business.

preventive healthcare reports, and given a sense of social responsibility by contributing thick personal data to healthcare research organisations, thus preventing certain diseases. In this way, a collaborative loop is created by connecting users, fitness tracker companies and healthcare research organisations.

53

Dem o Luxu cratisin g ry

Pine & Gilmore

Data

thy Empa

Experien

ce Design

Lilian Yeung Presumptions are treacherous. Coming from a hospitality background, I was lucky to meet people from all walks of life and am humbled by each individual’s story. I am inspired by those who are unironically enthusiastic about their work, which allows their personalities, passions and creativity to shine through.

Noticing the unnoticed: the role of data in service personalisation The best service experiences are the ones that you do not notice or remember, as they are so sleek and streamlined that they just become part of your experience organically.

Luxury travel has been redefined from being provided with extravagance and opulence to having the time, space and freedom to be yourself. As a result, market leaders have been replaced by those who excel in service personalisation and this has become the latest trend in the discourse of luxury travel service design. In order to better understand each customer’s wants and needs,

54

ent

erm w o mp

‘Imagine others complexly.’

E

John Green

Service Innovat i

on

Hospitality Personalisation Desig n

Think i

ng

many hotels are looking into patterns derived from big

different parts of the world that adopt a customer-centric

data analysis, which is the trend nowadays. However, there

approach during service design and have gained valuable

is currently no effective data capturing system for thick

insights from various perspectives on the subject.

data, which is fundamental for service personalisation.

Through my research, I discovered that the most My research examines the current role of data in service

important factor for succeeding in service personalisation

design and the opportunities for bridging thick and big

is to empower employees to innovate, and a common

data for new service innovation. With almost eight years

challenge is the ability to embrace the complexity of data.

of experience working in the luxury hotel industry, I had

I have also identified trends in the discourse of luxury

first-hand experience in juggling between processing

travel for discerning travellers and proposed new strategic

the vast amount of data collected and the immediacy

business opportunities to leverage traditional brands’

of decision-making for customers. Although insights

expertise while embracing changes in customer tastes and

from data patterns are interesting, I strongly believe

technological advancements.

in acknowledging each person’s complexity, individual wants and desires, and not just treat them as a statistic.

I interviewed hoteliers who run luxury boutique hotels in

55

Multimodal Analysis

ion t a alis

u Vis Imaginarie s

Terje Svinning As a designer, I am a firm believer that knowledge is distributed wider through the responsible exploitation of visualisation.

Designers have the power of multiple forms of language to communicate information that can engage people and potentially change lives. Studying innovation has taught me to look wider for information that leads to deeper insights. These insights can become valuable forms of common knowledge when visualised critically.

56

rse Discou sis Analy

Engaging citizens in urban innovation through responsible visualisation Smart cities as concepts of urban development and innovation have accelerated in popularity in recent years. Yet, there is no consensus on what constitutes a ‘smart city’. While this lack of a common definition has been the focus of many scientific papers, private sector stakeholders involved in smart city projects continue to produce marketing materials that influence the discourse towards adhering to specific neoliberal aims and agendas.

Strategic use of visionary imagery representing cities of the future make promises to mitigate uncertainties, disruptions and crises through diffusion of ICTs.

Ideo

logie s

Smar

t Citi

es

‘What we think about a city and how we perceive it informs the ways we act in it.’

Andreas Huyssen

cus

Citizen Fo

Data

Latour

vation o n n I rban

U

Technological interventions in the present are justified

focus, visual discourses still encode ideological bias

to alleviate the challenges of the future. These corporate

towards distribution of ICTs for profit.

visions of technology-driven urban change afford private sector stakeholders the power to foster top-down forms

Diffusion of mobile connectivity is challenging the

of urban innovation that often fail to address the real

top-down characteristics of technology-driven urban

concerns of citizens.

development by providing citizens with access to realtime information and data on city environments. Through

My research focuses on discursive strategies enacted by

the creative application of evidence-based visualisation,

the stakeholder alliances between private businesses,

city information and data can become powerful forms of

governments and universities, required by the EU in order

common language driving inclusive bottom-up processes

to provide the essential funding for large-scale smart city

of urban innovation. Cities can become collaborative

projects. My analysis determines the power that visual

platforms engaging citizen participation as major

representation of cities have on urban imaginaries, which

stakeholders in innovation ecosystems with businesses,

in turn influence citizen behaviour and lived experiences

universities and governments.

of urban areas. The major findings reveal that while stakeholders’ verbal discourses will follow the EU’s specific benchmarking and funding criteria for social and citizen 57

Uncertainty Project The uncertainty project required us to push boundaries, take risks and learn from failure, while simultaneously developing a deeper understanding of innovation and its relationship to uncertainty, which is the basis of innovation practice. During this project, we collaborated with multiple local authorities in London to develop visions of what the local council of the future might look like by challenging

Our Innovation Management Journey

their roles, organisational structures and cultures. This exciting assignment allowed each student to think big and build future scenarios by creatively applying methodologies such as semiotics, discourse analysis, ethnographic research and design thinking.

The uncertainty project was an opportunity to experiment with uncertainty, risk-taking and failure to expand our understanding of the practice of managing innovation.

Prior to embarking on our individual research, we were challenged by a number of projects designed to expand our understanding of the theory and practice

Discourse Project

of innovation management. Some were collaborative in nature and required us to engage with and leverage

The discourse project was designed to introduce us to

each team member’s unique perspective; others were

Foucauldian discourse analysis, challenging us to develop

individual, prompting deep exploration and self-reflection.

a critical understanding of a range of key contemporary

Every project was profoundly impactful and has shaped

discourses and translating them into foresight strategies.

our perspective on innovation management. Through this

Working in teams, each group became deeply engrossed

journey, we have learned to employ abductive, connecting

in an investigation of one vast theme, such as 'happiness',

and creative approaches to managing innovation and

'nostalgia', 'resilience' or 'authenticity'. This project was a

developing strategic opportunities.

challenging process of investigation into how we shape the thoughts, ideas and beliefs that culminate in forming the constructs of our world. Central to this project was actively applying a discourse analysis to examine the past and how it shapes our present in order to develop insights to forecast future trends and scenarios.

By the end of this project, we developed a deeper understanding of what the future may look like.

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Literature Review The literature review group project required us to work as teams to critically engage with the topics of disruption, entrepreneurship, participation, networks, branding and sustainability. Each group was assigned a topic to be analysed through a surprising selection of seemingly disparate texts. This approach familiarised us with a range of literature coming from the world of innovation management and also diverse fields such as philosophy and sociology. Gathering perspectives from dispersed and sometimes even strange areas facilitated exploration from both mainstream and unorthodox perspectives, thus pushing the boundaries of innovation management and fostering more inventive and unusual outcomes.

The study of these strange works outside the realm of business and design was harnessed by each group to shape thought-provoking approaches and learnings for innovation management.

Self-Positioning Essay The self-positioning essay drove us to adopt a personal and reflective approach to critically position ourselves within the landscape of innovation management.

Throughout this process, each student explored their position within the discourse of innovation management by reflecting upon their interest, skills and expertise, as well as the past works within the course. The goal of this critical reflection was to develop a research plan and strategy to outline how we will progress in the coming months. Ultimately, this was done to create perspectives on innovation management and to develop distinct proposals as to how we will shape and impact the field of innovation management in the future.

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Pirate Utopia Kastner AG, Germany Pirate Utopia is an innovation project initiated and organised by a group of us after our first year of studying innovation management. The aim was to bring forward the perspectives developed throughout the course and apply them to Kastner AG, a medium-sized printing factory with more than 100 years of history, to identify new opportunities and directions in an age of low-cost, high-volume, digital printing. Located in Bavaria, Germany, the business was a symbol of innovation – it had printed the first local newspaper in 1897, supported the local art community and provided jobs for the local area.

We immersed ourselves in the factory and the region for three days, working in a multi-disciplinary team with the

'The experience was a mixture of learning, adventure,

staff as well as people outside the course who came from

surprise, collaboration and experimentation; a fusion of

seven different nations. We did ethnographic research

chaotic and ordered activities to facilitate the generation

observing the printing techniques and processes, and also

of creative ideas.' – Nicholas Stafford (MAIM 2016)

other local businesses such as a hop factory in order to better understand the wider cultural context of the region.

'Through the fresh eyes of the multidisciplinary participants

We asked unusual questions that made the employees

and the liberating setting of the workshop we found a

rethink things they took for granted, such as the core

new perspective and a new awareness of the purpose of

value of their business. The project was driven by

our company and how we could collaborate and innovate

the pirate and entrepreneurship spirit championing

in the future.' – Dennis Kastner (Kastner AG)

experimentation and embracing change.

We would like to give special thanks to Kastner AG

The result of Pirate Utopia went beyond innovating the

for continuing the collaboration with us and their kind

businesses product range. New opportunities

support in bringing this catalogue to life.

were opened up in the most unexpected areas such as services, organisational structure, culture and the space

Kastner AG – das medienhaus

of the factory.

Website: kastner.de Contact: dkastner@kastner.de

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Patterns and Perspectives

within which our thinking and doing operate, as well as to

What you hold in your hands, here, is a snapshot of one

resilience to shake up orthodoxies and formulate multiple

way of making a pattern from a multitude of different

perspectives into forceful designs.

see directions in which new flight can take place and new patterns emerge. The kaleidoscope may start as a neat metaphor, but it becomes more real than that: managing innovation really is kaleidoscopic and will require dynamic

perspectives on innovation management. While this catalogue will endure, fixed in this way for as long anyone

Dr Jamie Brassett FHEA FRSA

might expect, it really is just a moment, a brief capture

Reader in Philosophy, Design & Innovation

of a pattern. Many, many more are possible. Unlike a

Subject Leader & MA Course Leader,

kaleidoscope, this catalogue cannot be shaken to reveal

Innovation Management

something entirely new. Well, not easily anyway. For as

j.brassett@csm.arts.ac.uk

each of us reads and rereads this book, we may find ways to develop new configurations of concepts, practices, processes and stories. We may also come with our own patterns of thought and practice; the course is always interested to hear about how yours and ours collide, whether rebounds occur or new paths emerge.

It is difficult to bring a range of different voices together into one show, or one catalogue, with a theme that both allows a whole to cohere and single approaches to shine.

MA Innovation Management at Central Saint Martins has found this to be the case since taking its first students in 2008. Each student has a particular experiential, cultural and intellectual background, and they come together for two years to see where and how these may be aligned to get stuff done. But we are eager for them not to homogenise. This is why the theme of patterns and perspectives has become important for this year. But such a theme is also important for thinking and doing (we don’t really allow for a distinction) innovation management. To ‘get stuff done’ demands respect for difference, as well as an ability to cohere, to understand the material bases

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Student Index

14 Anna Andersson My focus is on keeping the business and design side intact, and find a suitable balance for each project. annajulianaandersson@gmail.com | linkedin.com/in/annajulianandersson

22 Anna Nolda Nagele I strive to creatively narrate change in order to inspire new modes of being in the world. anna.n.nagele@gmail.com | linkedin.com/in/annagele

20 Aurora Pavan I believe that innovation will always emerge through a well-designed process. By merging design and management, my aim is to continually improve processes. aurora.pavan3@gmail.com | linkedin.com/in/aurorapavan

26 Bharvi Layazawala I intend to amalgamate my multicultural upbringing and design milieu so as to ignite innovation in my future endeavours. bharvi.21@gmail.com | linkedin.com/in/bharvi1

62

36 Essi Mikkola I am a strategic and creative thinker whose aspiration is to improve life through arts and design. essimikkola@gmail.com |

cargocollective.com/essieirene

42 Fiona Angelica I explore idea generation by developing innovation capacity to construct new structural foundations within novel ventures. fioleeca@gmail.com | linkedin.com/in/fiolica

6

Ian Cho I embrace complexity to develop and manage strategic perspectives on customer research. iancho.kh@gmail.com | linkedin.com/in/iankhcho

50 Isadora Chavez A creative and curious mind that believes in the value of teamwork and diversity in producing “big picture� management solutions. tch_@hotmail.com | linkedin.com/in/isadoralanuza

24 Ivette Procel I embrace ambiguity by pushing curiosity as a main driver towards the creation of the right questions. yprocel@hotmail.com |

linkedin.com/in/ivetteprocel

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40 Joyce Chan With a background in fashion, I have an observant mindset, always searching for patterns and connections between seemingly different elements. jszechan@gmail.com | linkedin.com/in/jws-chan

44 Juliette Colin I merge creativity and business in order to foster design-driven innovation and therefore seek to enhance the way we live in and interact with our environment. juliettecolin1@gmail.com | www.juliette-colin.com

54 Lilian Yeung I empathise with each individual’s stories to design personalised, lingering and deeply human service innovations. I also make balloon animals. yeunglilian@gmail.com | linkedin.com/in/liliany

8

Maha Al Sulaiti I aspire to use collaboration and open innovation in building stronger start-ups in an entrepreneurial ecosystem. mahaals@gmail.com | linkedin.com/in/mahaalsulaiti

64

12 Marc Richter I explore unconventional sources of knowledge to better understand the process of shaping environments in order to stimulate innovation. marc.p.richter@gmail.com | linkedin.com/in/mprichter

30 Mimi Nguyen My aim is to enable and apply innovation management concepts to the business realm, which is currently facing disruptive changes. nguyenmimi91@gmail.com | linkedin.com/in/nguyenquynhtrang

46 Nicholas Stafford I endeavour to champion the importance of design in developing new technologies, products, services and business models. nicholasmarkstafford@gmail.com | linkedin.com/in/staffordnicholas

18 Olivia-Chelsea Lerner I strive to further develop my creative capabilities as a meaning maker in order to spark exciting new ideas, projects and experiences around the world. oliviaclerner@gmail.com | linkedin.com/in/olivia-chelsea-lerner

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48 Priscilla Alcalde Melo I design user-centric strategy for products and services in the intersection between people, technology and business. melo.priscilla@gmail.com | linkedin.com/in/prisalcalde

38 Priyanshi Vasani I am passionate about channelling creativity into innovation and about designing methods for realising the creative process. priyanshi419@gmail.com

32 Ray Chen I am not a design expert. I’m not a business genius, either. I am a creative and innovative individual who loves the challenge of combining the two. ruimou.chen@gmail.com

| linkedin.com/in/ruimouchen

16 Rose Maufras du Chatellier I recognise ways for the current fashion system to implement significant change to become a more logical, time-effective and sustainable system. roseduchatellier@gmail.com

66

| linkedin.com/in/rosemaufrasduchatellier

10 Ruta Eva Cepulyte A founder of several start-ups and a freelance consultant who aims to spread magic throughout this expanding and ever-changing physical and metaphysical space. ruta@industry-files.com | linkedin.com/in/rutaeva

52 Sophia Liang-Ying Lin A design thinker who believes technology can bring social good through innovative business strategy. sophia.lin.ly@gmail.com | linkedin.com/in/sophialinly | www.sophialinly.com

34 Stephanos Konstantinou I am a creative thinker who merges design, technology and management to foster captivating innovations that enhance brand value. stephanos.con@gmail.com |

linkedin.com/in/stefanoskonstantinou14

56 Terje Svinning I critically utilise visualisation techniques to expand my repertoire of design by exploring deep meaning in order to widen its impact. terje@svinning.com |

linkedin.com/in/svinning

28 Yiru Yan I am keen to use a creative and philosophical approach to enable design and creativity and increase their value by positioning them in a wider context. ivy.yiru.yan@gmail.com |

linkedin.com/in/yiruyan

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Acknowledgements The MA Innovation Management class of 2016 would like to express our deepest gratitude to the following, who have helped us shape our perspectives in so many wonderful ways.

MA Innovation Management and Central Saint Martins staff

External partners

Professor Adam Thorpe

Alexander Kenmure (Good Gym)

Alice Holmberg

Ben Stevens

Beth Shepherd

Brian Bené (Redscout)

Dr Carlos Peralta

Brian Millar (Senseworldwide)

Claire Healy

Chloe Amos-Edkins

Dominic Stone

Danny Williams (IBM)

Dr Ida Telalbasic

David Braid (MAIM 2011, Idea Couture)

Iñaki Arbelaiz

Deirdre Walters (Untapped Innovation)

Dr Jamie Brassett

Eric Matis (Redscout)

Dr John O’Reilly

Giovanni Marchini Camia

Dr Lawrence Green

Joanna Brassett (Studio INTO)

Lorna Dallas-Conte

Jodie Eastwood (King’s Cross Knowledge Quarter)

Professor Lorraine Gamman

Dr John Curran (JC Innovation & Strategy)

Professor Lucy Kimbell

Jonathan Fraser (Fahrenheit 212)

Maria Ana Botelho Neves

Liam Buswell (MAIM 2014, Fahrenheit 212)

Mark Baker

Magda Tomaszewski (MAIM 2013, We are Listen)

Dr Monika Hestad

Meredith Smith (MAIM 2012, Stripe Partners)

Paul Sturrock

Nick Pye (Mangrove)

Richard Reynolds

Paul Marchant (Transport for London)

Sophie Trench

Pascal Coyne (London Borough of Islington) Suzanne Griffiths (London Borough of Camden)

Sponsors CanO Water Forest Road Brewing Company Kastner AG

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Will Langridge (London Borough of Islington) Yujiao Chang (MAIM 2017)