Dissertations / Theses on the topic 'Design thinking'

Orientador : Profª. Drª. Maria do Carmo Duarte Freitas
Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Sociais Aplicadas, Programa de Pós-Graduação em Ciência, Gestão e Tecnologia da Informação. Defesa: Curitiba, 04/08/2015
Inclui referências : f. 184-188
Resumo: O lean thinking e o design thinking são modos de pensar aplicados ao desenvolvimento, produção e gestão de bens e serviços. O primeiro articula-se em função da atribuição de valor pelo cliente e é voltado para a redução do desperdício. O segundo tem suas ações centradas no usuário e é voltado para a inovação. Baseando-se na análise dos seus princípios, este trabalho de pesquisa identifica as aproximações teóricas e as relações entre as duas áreas. A metodologia envolve a revisão de literatura e a análise qualitativa da amostra constituída pelos textos com os princípios do lean thinking e do design thinking e cinco artigos sobre cada um dos dois temas. O tratamento qualitativo dos dados utiliza a estratégia de codificação e pauta-se na Teoria Fundamentada nos Dados (TFD). Para a operacionalização do trabalho de análise qualitativa por meio de codificação utiliza-se o software ATLAS.ti. Os diferentes níveis de codificação permitem identificar 12 aspectos de aproximação entre as duas áreas. Uma análise final desse conjunto leva aos cinco mais relevantes: cliente, experiência, iteração, inovação e valor. Desta análise também deriva uma convergência teórica que possibilita entender como estes aspectos se relacionam entre si em termos de identificação do agente, definição do processo e constituição do ativo. Também permite inferir que a atribuição de valor é o aspecto que estrutura as relações entre o lean thinking e o design thinking. Os resultados da pesquisa apresentam um novo olhar sobre a dinâmica das relações destas duas áreas e abrem horizontes para aplicação prática destas conexões assim como para novos estudos sobre o tema.
Abstract: Lean thinking and design thinking are ways of thinking applied to the development, production and management of goods and services. The first is articulated according to the value assignment by the client and is aimed at reducing waste. The second has its actions focused on the user and is geared towards innovation. Based on the analysis of its principles, this research identifies the theoretical approaches and the relationship between the two areas. The methodology involves a literature review and a qualitative analysis of two texts with the principles of lean thinking and design thinking and five articles on each of the two themes. The qualitative data processing uses the coding strategy and is referenced on the Grounded Theory. In order to implement qualitative analytical work through coding is used ATLAS.ti software. The different levels of coding allow to identify 12 aspects of rapprochement between the two areas. From this set, a final analysis led to the five most relevant: customer, experience, iteration, innovation and value. This analysis also derives a theoretical convergence that enables to understand how these aspects relate to each other in terms of agent identification, process definition and constitution of assets. Also allows to infer that the value assignment is the aspect that structures the relationship between lean thinking and the design thinking. The research results present a fresh look at the dynamics of the relationship of these two areas and open horizons for practical application of these connections as well as for further studies on the subject.

The fashion system is contributing to the environmental and social crises on an ever increasing scale. The industry must transform in order to situate itself within the environmental and social limits proposed by economist Kate Raworth, and the 17 sustainable development goals set out by the United Nations. This research explored methods of eliminating textile waste through utilising zero waste pattern cutting to expand the outcomes possible within industrial contexts and speculates as to the implications for the wider industry and society. Employing an experimental and phenomenological approach, this thesis outlines the testing of known strategies in the context of industry and responds with new emergent strategies to the challenges that arose. A series of interviews were conducted with designers who have applied zero-waste fashion design in an industry context – both large and small scale – to unpack the strategies used and contextualise the difficulties faced. The findings that emerged from the iterative design practice and the experience of working within the field tests inform the surrounding discussions and reflections. This reflection brings into sharp relief the inherent conflicts that exist within the fashion system and has led to the development of a series of theoretical models.The implications for design and industry are broad. Firstly that while this thesis outlines garment design strategies, and broader – company-wide – approaches that can work to reduce waste in a given context, this research finds that a holistic transformation of the internal design and management processes of the industry is required for them to be successful. In response, theoretical models have been developed which seek to articulate the constraints, roles and actions of design within broader company practices, while contextualising these within the economic system it operates. It is clear that reducing waste will only have a minor positive effect on the environmental outcomes unless we also reduce consumption of raw materials through reducing yield or reducing consumption – ideally both. These findings and models point towards a necessary recalibration of the industry as a whole – small changes are not enough as the existing methods, processes and ethos are deeply embedded, and its agents are resistant to change. The results concur with previous research and conclude that a fundamental shift in thinking is required – one that prioritises a different set of constraints to those the industry and society currently focus on – in order to make the rapid and meaningful change necessary.

Der Untersuchungsgegenstand der vorliegenden Arbeit ist, die mit dem Begriff „Design Thinking“ verbundenen Diskurse zu bestimmen und deren Themen, Konzepte und Bezüge herauszuarbeiten. Diese Zielstellung ergibt sich aus den mehrfachen Widersprüchen und Vieldeutigkeiten, die die gegenwärtigen Verwendungen des Design-Thinking-Begriffs charakterisieren und den kohärenten Gebrauch in Wissenschaft und Wirtschaft erschweren. Diese Arbeit soll einen Beitrag dazu leisten, „Design Thinking“ in den unterschiedlichen Diskurszusammenhängen grundlegend zu verstehen und für zukünftige Verwendungen des Design-Thinking-Begriffs eine solide Argumentationsbasis zu schaffen.
This thesis’ research objective is to distinguish the discourses to which the term “design thinking” refers, to carve out their central themes and concepts, as well as to debate the conceptual relations between them. The background of this objective lies in the ambiguity and the inherent contradictions of how “design thinking” is generally applied and referred to, hindering coherent and consistent usage both in academia and the business world. This thesis shall therefore contribute to elucidate the diversity of meanings of design thinking as well as to point out conceptual interrelations and coherences in order to establish a more solid foundation for future design thinking discourse.

Med globaliseringen har världen snabbt förändrats och designerns roll är inte längre lika självklar. Vi har tittat på hur man kan expandera begreppet design och utnyttja designerns kvalitéer inom nya områden. Magisterexamensarbetet "Design Thinking in Business Innovation" syftar till att undersöka hur man kan utnyttja designyrkets kreativa och innovativa processer inom affärsutveckling. I vårt exjobb har vi jobbat med ett av Storbritanniens ledande vitvaruföretag, GDHA, och har tillsammans med marknadsföringsstudenter från Stockholms Universitet tagit fram affärsstrategier för hur de kan agera på en framtida marknad. Kombinationen av kreativt tänkande och traditionell affärsutveckling genererade nya innovativa koncept med syfte att utifrån företagets förutsättningar stärka dess konkurrenskraft och skapa nya affärsmöjligheter. "Design Thinking in Business Innovation" resulterade i en ny arbetsmetod samt tre koncept som visualiserar resultatet av en kreativ affärsutvecklingsprocess. Dessa koncept sträckte sig från konventionell produktutveckling för differentiering till utveckling av nya försäljningskanaler samt en helt ny affärsidé som bygger vidare på GDHAs kärnverksamhet. Koncepten konkretiserades i form av en modell av ett kylskåpskoncept, samt tre stycken animerade kortfilmer.Som ett resultat av vårt exjobb har vi startat Remotel, ett design kontor som fokuserar på affärsutveckling genom användarorienterad research, kreativa processer och visuell kommunikation (mer info på www.remotel.se).
The world is undergoing change and the disintegration of the old economy is becoming evident. Production is moving to low cost countries and competition is growing fierce. In order to stay competitive, companies around the world recognises the need to become more innovative. In order to achieve this it is imperative to balance and compliment the linear business thinking that still rule the managerial body. Leading research in this area suggest that the key to innovation in business development lies within the creative thinking of the design field. This paper describes a joint master degree project that seeks to test these theories and develop methods and protocols to put them into practice. So the question is, what happens when one use industrial  design as a tool to innovate business in the Creative Economy? The research group consists of four industrial designers from Konstfack, University of Arts, Crafts and Design in Stockholm and four marketing students from School of Business, Stockholm University. During the project we applied action research and introspection in a case study where new business strategies where formulated for a live company as our empirical base. The process proved more difficult but also more rewarding than initially anticipated and resulted in several new potential strategies for the company while providing valuable insight and experience in interdisciplinary team work in this field. This paper presents suggestions to how design thinking and business thinking can be combined in the process of developing business strategies and accentuates some of the skills and qualities that inherently drive this process. The collaboration investigates the synergy between designers and business managers and illustrates the potential in combining these competences to find new ways to create, re-define and develop businesses in the creative economy.

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This research presents the interface between Education and Design Thinking, which is a method that uses a wide range of knowledge to solve proposed challenges in different areas. In using this methodology to search for changes on the dynamics and relations at school, Education opens the possibility to rethink its characteristics and problems. The present work realizes a research on a second grade mid school’s classroom of a private school in São Paulo, in order to raise its problems and find solutions based on the tools of Design Thinking. For this purpose, analyses, along with the coordination, teachers, inspectors and the canteen’s owner, which obstacles they notice on the teaching-learning process of the school, asking the students, through a printed survey, the positive and negative aspects of this process and what they would like to be improved. The result of the research and its analysis was the creation of a specific Design Thinking tools kit for this school.
A presente pesquisa apresenta a interface entre Educação e Design Thinking, que se trata de um método que usa de conhecimentos variados para resolver desafios propostos em diferentes áreas. A Educação, ao utilizar essa metodologia para buscar mudanças nas relações e dinâmicas escolares, abre a possibilidade de repensar suas características e também seus problemas. Desse modo, este trabalho realiza uma pesquisa em uma sala de aula do segundo ano do ensino médio de uma escola privada de São Paulo a fim de levantar seus problemas e encontrar soluções para eles com base nas ferramentas do Design Thinking. Para isso, investiga, junto ao coordenador, aos professores, aos inspetores e à dona da cantina, quais são os obstáculos que percebem no processo de ensino-aprendizagem da escola em questão, e indaga os alunos, por meio de um questionário impresso e distribuído à turma, a respeito dos pontos positivos e negativos desse processo e do que gostariam que fosse melhorado. O resultado da pesquisa e de sua análise foi a criação de um kit de ferramentas de Design Thinking específico para essa escola.

This thesis explores the role of interpretation in design activity through the development of a computational model of constructive interpretation. It asks the question: how does the construction of interpretations from expectations within a situation affect design activity? This work hypothesises that designers construct their world from their expectations through interpretation. In interpreting their own work designers are able to make unexpected discoveries and explore the implicit knowledge held within their expectations of the world. These expectations are grounded in experience. A conceptual model for constructive interpretation is described. Knowledge held by designers is represented in a perceptual symbol system, in which knowledge organised in a hierarchy. Within this hierarchy, higher layers represent an increased level of abstraction. Knowledge is learnt through experience in an environment. The topmost layer in this hierarchy is the situation.Interpretation occurs through pull from the expectations. Expectations in a layer are changed by the layer above. The construction of expectations utilises knowledge about the world that the designer gains through experience. A computational framework for this conceptual model is described: (i) based upon conceptual spaces, where expectations within the situation perturb each other; and (ii) based upon a hierarchy of unsupervised learning networks, where prototypes represent convergence zones within conceptual space. Constructive interpretation is implemented in a number of demonstrations utilising modified self-organising maps linked together to represent layers in the conceptual model. Demonstrations show: (i) how situations are changed through construction from implicit expectations; (ii) how situations co-ordinate concepts through expectations that are grounded in experience; (iii) how construction from expectations produces stability in a chang ing environment; and (iv) how useful rather than accurate in! terpreta tions can be produced by constructing from expectations. A model of constructive interpretation in design is developed in which a system iterates through generation of designs from expectations and constructive interpretation. In one experiment an agent has experience with a number of floor plans. It uses its experience to draw in a design medium and interpret its own work. Through constructive interpretation from implicit expectations the situation changes leading to a new space of designs. It provides a model of the way that designers make unexpected discoveries within their work that are useful to the design task, through expectations, and relevant to the source, as the basis for constructing the interpretation. Another experiment uses sets of growth indicators about countries as concepts. The model shows how the space of designs changes through constructive interpretation and explores the effects of salience weighting upon the construction of interpretations. The work looks towards a situated model of design: a model of design that integrates interpretation, expectation and memory into the one cognitive framework. Constructive interpretation has applications for models of analogy and computational creativity. Future work in constructive interpretation is described.

This doctoral thesis adopted a phenomenographic approach to study the qualitatively different ways in which educators experience design thinking teaching in higher education at a global level. The study found four qualitatively different ways of experiencing design thinking teaching in the higher education context, and extends design thinking teaching practice to a more holistic structural understanding of design thinking pedagogy.

This study aims to explore the value and values of design thinking as an approach. More specifically, this study interrogates and explores the value and values of characteristics in design thinking. Moreover, this study specifically focuses on and interrogates characteristics identified by Charles Owen and Tim Brown in more detail. An attempt is made to critically discuss preconceived ideas regarding the nature of design thinking as a methodology and process. As a result, the characteristics identified in this study serve as the main point of departure. These inform and guide the study towards an understanding of value and values within design thinking. The understanding of design thinking relies on an understanding of design, but more specifically, the changing nature of design as a discipline and field of study. Therefore, this study begins with a brief history of design praxis, which serves as a foundation for contextualising design thinking. In addition, the history of design covered in this study serves as the foundation on which design thinking itself is based. This study especially seeks to uncover the history and origins of design thinking from various points of view. The history of design thinking is fairly complex, thus the various points of origin assist in a better understanding thereof. These points of origin are critiqued and compared in an attempt to further illuminate the value and values of design thinking as an approach. As a result, the different origins of design thinking are linked to the characteristics identified by Owen (2005a:12-14; 2006a:3-5; 2006b:24-25) and Brown (2008a; 2009a:49-62, 71-77, 85-86), which further communicate the need for value and values in design thinking. In addition, this study investigates various criticisms against design thinking, in an attempt to understand many of the uncertainties surrounding the term. Moreover, the various criticisms are discussed and critiqued in order to build a case for design thinking, as well as the value and values it may add to any future outcome. Lastly, this study briefly explores the ethical values that underpin certain responsibilities within design thinking. Ethics and responsibilities play a key role in any design and design thinking outcome, and are discussed with this in mind. This study aims to explore the value and values of design thinking as an approach. More specifically, this study interrogates and explores the value and values of characteristics in design thinking. Moreover, this study specifically focuses on and interrogates characteristics identified by Charles Owen and Tim Brown in more detail. An attempt is made to critically discuss preconceived ideas regarding the nature of design thinking as a methodology and process. As a result, the characteristics identified in this study serve as the main point of departure. These inform and guide the study towards an understanding of value and values within design thinking. The understanding of design thinking relies on an understanding of design, but more specifically, the changing nature of design as a discipline and field of study. Therefore, this study begins with a brief history of design praxis, which serves as a foundation for contextualising design thinking. In addition, the history of design covered in this study serves as the foundation on which design thinking itself is based. This study especially seeks to uncover the history and origins of design thinking from various points of view. The history of design thinking is fairly complex, thus the various points of origin assist in a better understanding thereof. These points of origin are critiqued and compared in an attempt to further illuminate the value and values of design thinking as an approach. As a result, the different origins of design thinking are linked to the characteristics identified by Owen (2005a:12-14; 2006a:3-5; 2006b:24-25) and Brown (2008a; 2009a:49-62, 71-77, 85-86), which further communicate the need for value and values in design thinking. In addition, this study investigates various criticisms against design thinking, in an attempt to understand many of the uncertainties surrounding the term. Moreover, the various criticisms are discussed and critiqued in order to build a case for design thinking, as well as the value and values it may add to any future outcome. Lastly, this study briefly explores the ethical values that underpin certain responsibilities within design thinking. Ethics and responsibilities play a key role in any design and design thinking outcome, and are discussed with this in mind. This study aims to explore the value and values of design thinking as an approach. More specifically, this study interrogates and explores the value and values of characteristics in design thinking. Moreover, this study specifically focuses on and interrogates characteristics identified by Charles Owen and Tim Brown in more detail. An attempt is made to critically discuss preconceived ideas regarding the nature of design thinking as a methodology and process. As a result, the characteristics identified in this study serve as the main point of departure. These inform and guide the study towards an understanding of value and values within design thinking. The understanding of design thinking relies on an understanding of design, but more specifically, the changing nature of design as a discipline and field of study. Therefore, this study begins with a brief history of design praxis, which serves as a foundation for contextualising design thinking. In addition, the history of design covered in this study serves as the foundation on which design thinking itself is based. This study especially seeks to uncover the history and origins of design thinking from various points of view. The history of design thinking is fairly complex, thus the various points of origin assist in a better understanding thereof. These points of origin are critiqued and compared in an attempt to further illuminate the value and values of design thinking as an approach. As a result, the different origins of design thinking are linked to the characteristics identified by Owen (2005a:12-14; 2006a:3-5; 2006b:24-25) and Brown (2008a; 2009a:49-62, 71-77, 85-86), which further communicate the need for value and values in design thinking. In addition, this study investigates various criticisms against design thinking, in an attempt to understand many of the uncertainties surrounding the term. Moreover, the various criticisms are discussed and critiqued in order to build a case for design thinking, as well as the value and values it may add to any future outcome. Lastly, this study briefly explores the ethical values that underpin certain responsibilities within design thinking. Ethics and responsibilities play a key role in any design and design thinking outcome, and are discussed with this in mind. This study aims to explore the value and values of design thinking as an approach. More specifically, this study interrogates and explores the value and values of characteristics in design thinking. Moreover, this study specifically focuses on and interrogates characteristics identified by Charles Owen and Tim Brown in more detail. An attempt is made to critically discuss preconceived ideas regarding the nature of design thinking as a methodology and process. As a result, the characteristics identified in this study serve as the main point of departure. These inform and guide the study towards an understanding of value and values within design thinking. The understanding of design thinking relies on an understanding of design, but more specifically, the changing nature of design as a discipline and field of study. Therefore, this study begins with a brief history of design praxis, which serves as a foundation for contextualising design thinking. In addition, the history of design covered in this study serves as the foundation on which design thinking itself is based. This study especially seeks to uncover the history and origins of design thinking from various points of view. The history of design thinking is fairly complex, thus the various points of origin assist in a better understanding thereof. These points of origin are critiqued and compared in an attempt to further illuminate the value and values of design thinking as an approach. As a result, the different origins of design thinking are linked to the characteristics identified by Owen (2005a:12-14; 2006a:3-5; 2006b:24-25) and Brown (2008a; 2009a:49-62, 71-77, 85-86), which further communicate the need for value and values in design thinking. In addition, this study investigates various criticisms against design thinking, in an attempt to understand many of the uncertainties surrounding the term. Moreover, the various criticisms are discussed and critiqued in order to build a case for design thinking, as well as the value and values it may add to any future outcome. Lastly, this study briefly explores the ethical values that underpin certain responsibilities within design thinking. Ethics and responsibilities play a key role in any design and design thinking outcome, and are discussed with this in mind. This study aims to explore the value and values of design thinking as an approach. More specifically, this study interrogates and explores the value and values of characteristics in design thinking. Moreover, this study specifically focuses on and interrogates characteristics identified by Charles Owen and Tim Brown in more detail. An attempt is made to critically discuss preconceived ideas regarding the nature of design thinking as a methodology and process. As a result, the characteristics identified in this study serve as the main point of departure. These inform and guide the study towards an understanding of value and values within design thinking. The understanding of design thinking relies on an understanding of design, but more specifically, the changing nature of design as a discipline and field of study. Therefore, this study begins with a brief history of design praxis, which serves as a foundation for contextualising design thinking. In addition, the history of design covered in this study serves as the foundation on which design thinking itself is based. This study especially seeks to uncover the history and origins of design thinking from various points of view. The history of design thinking is fairly complex, thus the various points of origin assist in a better understanding thereof. These points of origin are critiqued and compared in an attempt to further illuminate the value and values of design thinking as an approach. As a result, the different origins of design thinking are linked to the characteristics identified by Owen (2005a:12-14; 2006a:3-5; 2006b:24-25) and Brown (2008a; 2009a:49-62, 71-77, 85-86), which further communicate the need for value and values in design thinking. In addition, this study investigates various criticisms against design thinking, in an attempt to understand many of the uncertainties surrounding the term. Moreover, the various criticisms are discussed and critiqued in order to build a case for design thinking, as well as the value and values it may add to any future outcome. Lastly, this study briefly explores the ethical values that underpin certain responsibilities within design thinking. Ethics and responsibilities play a key role in any design and design thinking outcome, and are discussed with this in mind. This study aims to explore the value and values of design thinking as an approach. More specifically, this study interrogates and explores the value and values of characteristics in design thinking. Moreover, this study specifically focuses on and interrogates characteristics identified by Charles Owen and Tim Brown in more detail. An attempt is made to critically discuss preconceived ideas regarding the nature of design thinking as a methodology and process. As a result, the characteristics identified in this study serve as the main point of departure. These inform and guide the study towards an understanding of value and values within design thinking. The understanding of design thinking relies on an understanding of design, but more specifically, the changing nature of design as a discipline and field of study. Therefore, this study begins with a brief history of design praxis, which serves as a foundation for contextualising design thinking. In addition, the history of design covered in this study serves as the foundation on which design thinking itself is based. This study especially seeks to uncover the history and origins of design thinking from various points of view. The history of design thinking is fairly complex, thus the various points of origin assist in a better understanding thereof. These points of origin are critiqued and compared in an attempt to further illuminate the value and values of design thinking as an approach. As a result, the different origins of design thinking are linked to the characteristics identified by Owen (2005a:12-14; 2006a:3-5; 2006b:24-25) and Brown (2008a; 2009a:49-62, 71-77, 85-86), which further communicate the need for value and values in design thinking. In addition, this study investigates various criticisms against design thinking, in an attempt to understand many of the uncertainties surrounding the term. Moreover, the various criticisms are discussed and critiqued in order to build a case for design thinking, as well as the value and values it may add to any future outcome. Lastly, this study briefly explores the ethical values that underpin certain responsibilities within design thinking. Ethics and responsibilities play a key role in any design and design thinking outcome, and are discussed with this in mind.
Dissertation (MA)--University of Pretoria, 2015.
Visual Arts
MA
Unrestricted

This thesis aims to discuss ways to open up the brief in designing for extreme environments, such as intensive care units and remand prison. Focusing on „designials‟ (fundamental forms of design being), the methodology intends to illustrate that things; objects may directly impinge on certain „existentials‟ (fundamental forms of human being). Moreover, the method is a form of critical design enabling designers to shift focus from “analysing the functionality of a design in use” (Torkildsby 2012, p. 18), e.g. by performing a functional analysis, to “analysing the form of being human that a design in use defines” (Ibid), and more importantly, what may happen if we do not – thus the “dark side” of design thinking. Here I am outlining the existential designial analysis in a design manual and further discussing, through the context of a fictive dialogue, How, Why and When it can be applied to the design of these environments.

Editor: Lars Hallnäs (LHS), Swedish School of Textiles

This licentiate thesis presents and discusses experimental explorations in search for new methods of form-thinking within the knitwear design process. The position of textile knitting techniques is somewhat ambiguous. This is because they are not only concerned with creating the textile material, but also with the form of the garment as these two are created in the same process. Consequently, the common perception of form and material as two separate design parameters can be questioned when it comes to knitting. Instead, we may view it as a design process that has a single design parameter; a design process in which the notion of form provides the conceptual foundation. Through conducting a series of design experiments using knitting and crochet techniques, the notion of form was explored from the perspective of the way in which we make a garment. The outcome of the experiments showed that there are possibilities for development of alternative working methods in knitwear design by viewing form in terms of topological invariants rather than as abstract geometrical silhouettes. If such a notion, i.e. a notion of a more concrete geometry, were to be implemented in the design process for knitwear, it would provide another link between action and expression that could deepen our understanding of the design potential of knitting techniques and provide the field with new expressions and gestalts.

Even though disciplines that are not traditionally affiliated with design have started to show interest in design thinking such as business, education, healthcare, engineering, and IT (Clark and Smith, 2008; Cross, 2007, 2011; Dorst, 2011; Finn Connell, 2013; Lawson, 2004, 2006; Owen, 2007; Razzouk and Shute, 2012) design thinking studies has tended to focus on limited design disciplines such as architecture, engineering design, and industrial design and there are not enough studies to prove that designers in different design fields perform design processes as design thinking literature proposed (Kimbell, 2011). This qualitative study explores the design process of professionals from different design disciplines, in order to understand the similarities and differences between their process and the design activities proposed by the design thinking literature. Design strategies of experts from different design disciplines were studied and compared, in relation to the activities proposed by the design thinking literature. This basic qualitative study was designed to use semi-structured interviews as the qualitative method of inquiry. This study employed purposeful sampling, specifically criterion sampling and snowball sampling methods. The researcher interviewed nine designers from instructional design, fashion design, and game design fields. A semi-structured interview protocol was developed and participants were asked demographic questions, opinion and values questions, and ideal position questions. Demographic questions provided background information such as education and number of years of design experience for the participants. Opinion and value questions were asked to learn what participants think about the research questions. Ideal position questions let participants describe what good design would be. The researcher analyzed the interview data and the results were reported in a way to demonstrate the differences and similarities within and across disciplines.
Ph. D.

L’obiettivo di questo elaborato è presentare il concetto di Design Thinking come approccio consulenziale mirato all’individuazione di una soluzione innovativa di qualsiasi natura. L’idea nasce dalla necessità crescente delle organizzazioni di produrre soluzioni ad elevato contenuto innovativo da proporre al mercato. Necessità spesso difficile da soddisfare a causa delle numerose variabili, interne ed esterne all’organizzazione, da tenere in considerazione e che influenzano il risultato da ottenere. Fare innovazione significa infatti trovare qualcosa di nuovo o individuare un nuovo modo di fare qualcosa di già noto, questo significa che la direzione da prendere non è chiara né conosciuta da nessuno, altrimenti non sarebbe innovazione quella che stiamo perseguendo. Oggi più che mai servono quindi procedure, modelli e strumenti da poter utilizzare per imboccare il prima possibile la strada ottimale, riducendo l’incertezza ed esplicitando il più alto quantitativo possibile di dati e di informazioni sensibili alla sfida che vogliamo affrontare. Il Design Thinking nasce proprio con questo scopo: aiutare le organizzazioni a strutturare i processi, le attività e l’organizzazione e la gestione aziendali in modo da favorire lo sviluppo di processi e la nascita di prodotti ad elevato contenuto innovativo.

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1994.
Includes bibliographical references (p. 119-123).
The focus of this thesis is the relationship between the natural landscape and the architecture of northern New Mexico. Through the design of a home and work-related out-buildings elements of reference are used to preserve an interplay between the landscape and the architecture. A dialogue between the largeness of the landscape and the comparative smallness of the human scale is maintained through the use of references such as walls, columns and gateways. Additionally, this thesis explores the multiple roles of these references in exploring the function of transitions (inside to outside and outside to inside) . The architectural history of northern New Mexico as well as current building trends inform the thinking and the design presented. Materials such as pumice, wood, stone and concrete are used to understand the different ways materials interact with tile landscape and how they cue experienced in relation to the landscape.
by Paul N. Richard.
M.Arch.

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.
Includes bibliographical references (p. 241-244).
The traditional approach to the design of everyday objects is articulated by form and function. This thesis aims to model an approach to design thinking that extends the praxis of form and function to include the expression of time. Designing objects to explicitly express the passage of time extends their useful-useable-desirable quality to include a storied expression of their everyday existence. We introduce a design synthesis framework with a set of principles for object-story-construction. These are used to refigure a recorded history to project an object-centric perspective. Our principles and method suggest a new class of objects that could be present in future spaces. Situating point of view, experiential compression of time, and the privileging of extraordinary over ordinary events within a collection of records are critical to the art of history-making. In our approach, the object is instrumented with sensors to continuously capture the passage of time in an audio stream. This stream is parsed in order to highlight extraordinary events from the perspective of the object. These events are then arranged such that the object can express its everyday history to humans and/or other objects in a timely and aesthetically engaging way: we call this "audio time-lapse". The audio time-lapse provides a temporal compression of the historical stream. This thesis considers how the capability for recording and expressing history can add aesthetic and cultural value - a "storiedness" - to the object.
by Hyun-Yeul Theresa Lee.
Ph.D.

This dissertation entitled, Exploring Design Thinking for Instructional Practice, is situated in the cognitive rigor of design thinking instructional practice and engineering design-based capstone courses. The content of the instructional practice connects with educators employing a wide range of intellectual activities or cognitive tasks in formulating their curriculum. Key attributes of design thinking were identified through a focused literature review with an emphasis on theoretical propositions applicable to instructional practice. This dissertation contains two manuscripts: (a) an exploration of the theoretical literature related to design thinking explicating implications for instructional practice, and (b) a case study involving a small, purposive, sample of undergraduate faculty members teaching engineering design-based courses with findings broadly applicable to design processes in college curricula. The faculty participants in the case study were educators at a large, public, research-intensive university in the southeastern region of the United States. The data analyses involved triangulation of semi-structured interviews conducted with faculty participants and their design-based course materials, including syllabi and lesson plan materials. The study's thematic findings were not tied to engineering but rather course design, design process, and course management. The findings show the utility of artifact creation for learning with understanding for everyone, not just engineers and other traditional designers. Overall, the dissertation contributes to pedagogy that promotes student-centered engagement for learning with understanding. It recommends design thinking instructional practice for inclusion in designing and making artifacts of constructed knowledge for learning with understanding engagements across the academy.
Doctor of Philosophy
This dissertation entitled, Exploring Design Thinking for Instructional Practice, integrates a wide range of intellectual activities also referred to as cognitive tasks of student-centered design thinking activities. In this dissertation, these tasks are useful for tackling problems that are not well-defined, such as, open-ended, real-world problems. Examples of this pedagogy are useful for educators considering and/or implementing design thinking in their curricula. This dissertation contains two manuscripts: (a) an exploration of the theoretical literature related to design thinking from theory to artifact making, and (b) a case study involving undergraduate faculty members teaching design thinking in design-based courses. The study's faculty participants were educators teaching engineering capstone courses at a large, public, research university in the southeastern region of the United States. Their students design and make solutions for open-ended, real-world problems that are not in textbooks and do not have "right" answers. The study's data collection phase involved interviews with the faculty participants and course materials (syllabi, lesson plan materials, handouts, and course websites). Data analysis produced three robust themes: course design, design process, and course management. These themes suggest that a design thinking instructional practice belies perceptions that design thinking is tied exclusively to engineering and other traditional design disciplines. The findings suggest that design thinking pedagogy engages students in creation of artifacts, learning with understanding, hands-on experiential learning in iterations, use of productivity tools, teamwork, and new starting points when outcomes do not meet expectations. Overall, the findings suggest design thinking pedagogy promotes student-centered design thinking activities.

Design thinking has gained a lot of importance and visibility in the last decades. Its increasing importance is due to the variety of applications that it has and the variety of fields in which it can be applied. Design thinking is an approach for creative problem-solving and for the opening up of paths that had been previously unexplored. It is defined as a ‘systematic and collaborative approach for identifying and creatively solving problems’. (Luchs, 2015) Throughout the thesis, I will describe the foundations and origins of design thinking in the first place. I will continue describing it as a factor to create innovation and I will dig deep in explaining how it can lead to competitive advantage. I will further discuss how it is employed within companies and how it can be employed to design original and new, tangible and intangible solutions. The focus will be on competitive advantage achieved through design thinking and its sustainability over time, and in relation to other companies.

Technological/engineering design based learning (T/E DBL) provides a context in which students may utilize content knowledge and skills to develop prototype solutions to real-world problems. In science education, design based science (DBS) utilizes technological/engineering design based approaches in science education as a means for enhancing the purpose of and relevance for scientific inquiry by contextualizing it within the goal of developing a solution to a real-world problem. This study addressed the need to investigate the ways in which students utilize higher order thinking skills, demonstrated through the use of knowledge associated with declarative, schematic, and strategic cognitive demand when in engaged in DBS activities. The purpose of this study was to determine what relationships exist between engagement in DBS and changes in students' depth of understanding of the science concepts associated with the development of design solutions. Specifically, the study determined how students' abilities to demonstrate an understanding of the science concepts, required by assessments of different cognitive demand, change as they were engaged in a design-based science unit associated with heat transfer. Utilizing two assessment instruments, a pre/post-1/post-2 test and content analysis of student design portfolios based on Wells (2012) and utilizing Li's (2001) system to code student responses, the following research question was addressed: What changes in students' science concept knowledge (declarative, schematic, and strategic demand) are evidenced following engagement in design based learning activities? Although the results are not generalizable to other populations due to the limitations associated with the study, it can be concluded that design based learning activities incorporated in science courses can foster higher order thinking. Results from the study suggests that students' abilities to demonstrate their understanding of certain science concepts through higher order thinking, including utilizing concept knowledge strategically in open-ended problem solving, increased following engagement in design based learn activities. Results have implications in technological/engineering design education, in science education, and in integrative STEM education. Implications include the utility of design portfolios as both an assessment instrument and learning tool to ensure that concept knowledge is explicitly connected to and used in the design activity.
Ed. D.

This thesis aims to discuss ways of opening up the design brief when designing for extreme environments such as intensive care units and remand prisons. Focusing on “designials” (fundamental forms of design being), the methodology intends to illustrate the fact that objects may directly impinge upon certain “existentials” (fundamental forms of human being). Moreover, the method is a form of critical design that enables designers to shift focus, from analysis of the functionality of a design in use, e.g. by performing a functional analysis, to analysis of the form of being human that a design in use defines. More importantly, this thesis considers what may happen if we do not take into account this aspect of design; in other words, the “dark side” of design thinking.

Editor: Lars Hällnäs (LHS), Swedish Shcool of Textiles

In all industries, the global competition has expanded the needs to reform businesses in   orderto stay ahead of competition. All organizations have to find ways to work with complex problems and big challenges concerning the understanding of the present and intuiting the future. Also they should be prepared to see what will come next to the market and if this challenges their current position. Interestingly, a concept called Design Thinking intends to provide one way to work with these demanding issues. Even though the concept has relatively scarce study basis concerning its empirical usage and also critique towards it exists, it has an emerging interest while several companies are adapting the concept in their operations on a growing basis. Interestingly, this concept is proposed to be applicable also in technology design activities in a supplier-­‐customer relationship. Hence, this study is conducted to discover what is the empirical foundation of Design Thinking in this technology design context to create new knowledge both to the academic community and to practitioners working with technology design activities. By conducting a case study at SAP, one of the first movers using Design Thinking in technology design activities, stimulating results are discovered about the value creation and value delivery of the phenomenon in the context. The study results show that Design Thinking states to create value especially with two  elements in technology design: ideation capability and business and technology alignment. These stated value elements deliver value to companies with three different value delivery logics: functional improvement capability perspective, problem solving capability perspective and business innovation capability perspective. However, since this study has both its limitations and delimitations, these stimulating findings provide mostly key guidelines and points of discussion rather than exact facts. Especially it is an area of interest if these findings can be confirmed in further research.
I alla branscher har den globala konkurrensen utökat behovet av företagsreformer för att ligga steget före konkurrenterna. Alla organisationer måste hitta sätt att arbeta med komplexa problem och stora utmaningar för att skapa ökad förståelse för pågående och framtida händelser. De bör också vara förberedda på förändringar som kommer att ske på marknaden och undersöka om dessa utmanar deras nuvarande position. Ett koncept som kallas designtänkande möjliggör ett sätt att arbeta med dessa krävande frågor. Trots att dess empiriska användning har en relativt begränsad studiegrund och att det finns kritik mot konceptet, finns det ett framväxande intresse då företag tillämpar konceptet i en ökande grad. Några föreslår att konceptet även är applicerbar i teknologidesign i en leverantör kundrelation. Denna studie är därmed genomförd för att upptäcka vad som är den empiriska grunden för designtänkande i denna teknologidesign sammanhanget för att bidra till ny kunskap både för akademiska världen och utövare som arbetar med teknologidesign.  Genom att genomföra en fallstudie på SAP, ett av de första företag som använder designtänkande i teknologidesign, har stimulerande resultat upptäcks om värdeskapande och värdeleverans av konceptet i sammanhanget. Studieresultaten visar att designtänkande skapar värde framförallt med två element i teknologidesign: idéutformningskapacitet och affärs och teknikinriktningssammanhållning. Dessa angivna värde element levererar värde till  företag med tre olika värdeleveranslogiker:funtionellt förbättringsförmågaperspektiv, problemlösningsförmågaperspektiv och affärsinnovationsförmågaperspektiv. Eftersom denna studie har både sina begränsningar och avgränsningar, bidrar dessa stimulerande iakttagelser mestadels med viktiga riktlinjer och diskussionspunkter snarare än Exakt fakta.  Det är speciellt ett område av intresse om dessa resultat kan bekräftas i ytterligare forskning.

The design of an applied game is complicated by needing to balance its usefulness, game- play experience, and sustainability. In the applied design process, game designers occupy a pivotal position between game design knowledge, development team, co-designers, and players. From this complex web of interaction, the designer is still expected to invent a new game. From a design investigation perspective, there is an opportunity to expand our general knowledge of game design by exploring first-hand the design and development of an applied game. The aim of this practice-led PhD research was to design and develop a pervasive multi- player applied video game as a tool for psychiatric healthcare workers treating patients suffering from depression and psychosis. The applied game Moodbot was co-designed during an intensive iterative process with healthcare experts and patients from Altrecht Mental Healthcare Institute and developers from the HKU University of the Arts. The following exegesis highlights game design knowledge gained from the development of the applied game Moodbot co-created with psychiatric healthcare workers, psychiatric patients, game artists, programmers, audio designers, and game designers. A design decision tool based on epistemic frameworks is used in this dissertation to structure and explore the applied game decision-making that shaped Moodbot and specifically examines a critical design decision moment, which looks at the influences from technology and co-designers on the design and designer.

Distribution through electronic media provides an avenue for promotion, recognition and an outlet of display for graphic designers. The emergence of available media technologies have enabled graphic designers to extend these boundaries of their practice. In this context the designer is constantly striving for aesthetic success and is strongly influenced by the fashion and trends of contemporary design work. The designer is always in a state of inquiry, finding pathways of discovery that lead to innovation and originality that are highly valued criteria for self-evaluation. This research is based on an analysis of the designer perspective and the processes used within an active graphic design practice specializing entirely within a digital collage domain. Contemporary design methodologies were critically examined, compared and refined to reflect the self-practice of the researcher. The refined methodology may assist designers in maintaining systematic work practices, as well as promote the importance of exploration and experimentation processes. Research findings indicate some differences in the identified methodologies and the design practice of the researcher in the sense that many contemporary designers are not confined to a client-base but are self-generating design images influenced by contemporary practitioners. As well as confirming some aspects of more conventional design processes, the researcher found that accidental discoveries and the designer’s interaction with technology plays a significant part in the design process.

Design thinking ability is vital for engineers who are tasked with solving society's toughest sustainable development challenges. Prior research identified that the percentage of design thinkers among freshmen engineering students is greater than the percentage among the general population. However, engineering education's lack of attention to fostering creative ability may cause the design thinking ability of senior engineering students to suffer. The research addressed in this thesis compares the design thinking ability of engineering students across age groups, and compares design thinking ability between the design disciplines of engineering and architecture. To draw design thinking comparisons between these groups, a survey with a nine item design thinking instrument was distributed nationally to freshmen engineering students (n= 2,158), senior engineering students (n= 1,893), and senior architecture students (n= 336). The survey instrument was validated by conducting confirmatory factor analysis on the senior engineering and senior architecture samples' data. The Analysis of Variance (ANOVA) test was utilized to statistically compare scores across sample groups. Both the freshmen engineering students (2.80) and senior architecture students (3.30) scored significantly higher on the design thinking scale than senior engineering students (2.59). These results have important implications for engineering educators as engineering education may contribute to a decrease in design thinking among senior engineering students. A lower design thinking score among seniors was consistent across all engineering sub-disciplines and should be of concern to engineering educators, since design thinking skills are critical for the development of engineering solutions to grand societal challenges.
Master of Science
Design thinking is a way of thinking about the design process which places the user at the center of the design. Thinking about design in this way is a vital ability for engineers and other design professionals to develop because it enables them to solve “wicked” problems like sustainable development challenges. Wicked problems are those which are difficult to solve due to the number of conflicting components involved. Prior research has found that design thinkers are more prevalent among engineering students in their first year of study than among students in other majors. However, engineering education does not attribute much attention to the development of creative ability which could cause the design thinking ability of engineering students in their final year of study to be worse than the ability of those in their first year, as well as worse than the ability of students who study other design disciplines like architecture. This study compared the design thinking abilities of engineering students in their final year of study to engineering students in their first year and to architecture students in their final year. The goal of making these comparisons was to explore if engineering education helps or hinders the development of design thinking. A survey with nine questions related to design thinking was distributed nationwide. The data from the survey was collected and statistically analyzed. The results showed that the design thinking ability of engineering students in their final year was significantly lower than the ability of first year engineering students and significantly lower than the ability of final year architecture students. A decrease in design thinking ability between freshmen and senior year must be addressed by engineering educators. The National Academy of Engineers and industry leaders are calling for the development of engineers who are design thinkers, and the results of this paper suggest that some changes may need to occur within the engineering education curriculum to accommodate this need.

Design Thinking är ett spännande och fortfarande relativt outforskat område med rötter i Service Management. Med hjälp av designerns verktyg och metoder och en mångvetenskaplig grund med fokus på kundens behov kan Design Thinking bidra till att utveckla produkter och tjänster och genom detta öka lönsamheten för företag. Syftet är att göra en deskriptiv studie av området Design Thinking som metodiskt arbetssätt vid tjänsteutveckling. Detta appliceras sedan på verkligheten för att komparativt se hur tre svenska bolag arbetar med tjänstutveckling inom en av världens största tjänstebranscher utifrån områdena Service Management och Design Thinking. Uppsatsen beskriver utvecklingen från Service Management till Design Thinking och hur man har gått från att utveckla tjänster till att designa tjänster. Uppsatsen har använt en kvalitativ metod vid datainsamling. Detta har gjorts genom intervjuer med de tre valda försäkringsbolagen samt med en tjänstedesignbyrå som samarbetat med ett av bolagen. Teoriavsnittet inleds med en teoretisk bakgrund där en djupare förståelse skapas inom områden Service Management och Design Thinking. Detta för att underlätta tolkningen och analysen av teorierna. En teoretisk modell för tjänsteutveckling har valts ut för respektive område, samt en som tolkas dess skillnader och likheter. Samtliga teorier har sedan tolkats och analyserats utifrån den empiriska studien av försäkringsbolagen. Några slutsatser som uppsatsen har genererat är att de studerade försäkringsbolagen inklusive tjänstedesignföretaget arbetar utifrån kundens behov när det utvecklar tjänster. Däremot visar undersökningen att försäkringsbolagen inte interagerar med kunden i den utsträckning som teorin säger samt att försäkringsbolagen anlitar tjänstedesignföretaget i ett senare skede av tjänsteutvecklingen än vad som egentligen är syftet enligt teorin. Intresset för Design Thinking kommer främst från tjänstedesignföretaget och inte i första hand  från försäkringsbolagen. Utvecklingen från Service Management till Design Thinking visar även att designerns roll har förändrats då denne nu kommer in och är med genom hela processen istället för att som tidigare endast vara med i slutskedet.

Design Thinking is a relatively young and unexplored field with its roots in Service Management. By using the tools and methodology of designers, working in multidisciplinary teams and focusing on the consumers needs Design Thinking can contribute to the development of services and thereby increase the profitability for business. The objective of this paper is to construct a thorough description of the field Design Thinking and its methodology in service development. This is subsequently applied to the swedish insurance sector to comparatively describe how three insurance companies develop their services in one of the worlds greatest service industries. The paper initially describes and explores the development from Service Management to Design Thinking and how one has gone from merely developing services to designing services. Some conclusions that the paper has discovered are that the insurance companies we studied focus on consumer need. However, the study shows that the companies don't interact with the consumer to the extent that is described in the the theorethical models relevant for the paper. According to the study of Design Thinking, the designer is supposed to be involved throughout the entire process and not merely in the later fases as they are in Service Management. The analysis shows that the insurance companies choose to recruit designers only when they feel it to be neccesary, not involving them in the business development which is the next competitive advantage for companies today.

Computational design is often depicted as an instrument for analysis or production, but it is also a space in which to explore and create new ways of working and thinking. This thesis explores how, through critically engaged practice, designers working computationally are uniquely able to envision and work toward desirable futures, challenging a techno-utopian status quo and projecting humane alternatives. What computational design methods, approaches, and strategies can help to bring about these desirable futures? Through primary research involving interviews with computational design practitioners, developing interactive software prototypes as investigative tools, and conducting design workshops, I investigate various modes of working computationally. Building on this research, I propose a three-part framework that synthesizes high-level approaches to computational design work. The first component, generating, reveals how computation enables the designer to work at various levels of abstraction, navigating large possibility spaces. The second, simulating, provides a frame for envisioning and modeling potential interventions in complex systems. Finally, interrogating, drawing from both Schön’s ‘reflective practice’ and Wark’s ‘hacker ethos,’ encourages computational designers to critically question their tools and practices in order to discover new ways of working and thinking. I conclude by discussing potential embodiments of this framework in computational design education.

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics
The purpose of this action research is the identification and experimentation of the concepts and methods used in classical design with the aim of understanding its implication for the engineering organization design theory. This way, to renew this engineering organization design, a design space was conceived to use classical design methods in order to generate not only a designed-based organization design interface for an Eco Hotel, but also to create useful methods and tools for organization design practitioners and non-organization design practitioners, which facilitate the organization design construction and maintenance. For this purpose it was applied and tested in several real organizations, interviews and focus groups. The final result of this action research will be a design-based organization design generator and its outcome that is a unique functional, simple and sustainable Eco Hotel design-based organization design interface that people love, considering always the context and user profile in which it is inserted.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro Tecnológico, Programa de Pós-graduação em Engenharia e Gestão do Conhecimento, Florianópolis, 2011
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As organizações colaborativas, em busca de maiores condições de competitividade necessitam entrar nos canais de comercialização tradicionais agregando valor aos seus produtos. Um meio importante é a atuação do agente de design, que pode extrair os conhecimentos das organizações (implícitos, tácitos, objetivos e explícitos), codificá-los, gerando o conhecimento organizacional, e produzir o conhecimento objetivo após combiná-lo com o seu conhecimento tácito. Nesse contexto, esta tese tem como objetivo propor um sistema de produção do conhecimento sobreposto a um modelo de gestão estratégica de design, para o qual foi necessária uma fundamentação teórica sobre a gestão do conhecimento (que possibilitou uma visão do processo de produção do conhecimento e a importância dos tipos de conhecimentos para a criação do conhecimento objetivo); da gestão estratégica de design (caracterizando suas atividades, aplicações e mutações na demanda), e finalmente estabelecer a relação entre a nova gestão do conhecimento com a gestão estratégica de design, que, por sua vez, está fundamentada no design thinking, uma nova abordagem de pensamento que caracteriza o agente de design. Partiu do pressuposto de que as habilidades do agente de design, na utilização de um sistema de produção do conhecimento, facilitarão a construção de conhecimento objetivo, e auxiliarão a organização colaborativa familiar a construir uma vantagem competitiva, por meio da visualização da sua natureza conceitual e origem. Este pressuposto visou o esclarecimento da questão central da tese, que é: como a Gestão estratégica de design sobreposta a um sistema de produção do conhecimento pode incrementar a competitividade, sustentabilidade e diferenciação das organizações colaborativas? Como metodologia, sua natureza é descritiva e seu delineamento apóia-se nos seus objetivos, utilizando uma abordagem qualitativa, e a partir da observação etnográfica em organizações vitivinícolas. O modelo proposto, sobreposto por um sistema de produção do conhecimento, visa a otimização de recursos (sustentabilidade); um melhor posicionamento da organização no mercado (competitividade); e a oferta de diferenciais de valor aos clientes (diferenciação).

A study has been conducted into improving construction design through the application of the lean thinking paradigm. Its objective was to identify the issues relating to design efficiency and how a lean thinking approach might address these issues. The investigation consisted of examining work already undertaken in the field by other researchers"to identify the state of the art. The change order request system was examined to gain first insights into waste in construction design, and to gauge the size of the opportunity for the application of lean thinking. An Electronic Data Gathering Tool (EDGT) was then developed to allow further exploration of the design decision making process at the system / sub-system level. The EDGT was used on three live construction projects. From the data recorded a design planning tool, Design Decision Planner (DDP), was created to help improve control of the design process and lead to a more standardised approach to construction design. Standardising the approach to product development is an important component of lean thinking. The main recommendations for making construction design lean are: Use DDP to plan and improve control of the design decision making process, assign design responsibility and to make the process more transparent. 2. Measuring progress against planned design is a useful process metric. 3. Improve the designer's cost and programme visibility when choosing between design options. 4. Redefine the role of the quantity surveyor from cost controller to value for money assessor. The role needs to be better integrated into the design process to reach its full potential. 5. Need to develop more rigorous methods of assessing the buildability of design options. This problem could be eased in the short-term by incorporating construction professionals into the early design phases. 6. Designers need to use more process reason drivers when choosing between design options, not just functional criteria. 7. The change order request system could be redesigned to identify the root causes of contract issue design changes and, hence, improve the design decision making process.

Tarkett AB is one of the world's largest companies that manufacture floors and operates in over 100 countries. Tarkett Ronneby is one of two larger recycling centers the company possesses, and they are currently recycling all of the spare material and waste material from the manufacturing processes. Customers to Tarkett are lately offered to bring back used floors to recycle the material. Currently, Tarkett is annually importing and recycling 17 000 tons of material from the production and their customers, and the amount of material handled is estimated to increase to 30 000 tons per year. To handle the amount of material Tarkett Ronneby is going to build a new recycling center. The initial research questions for this master thesis were:• How to dimension the recycling center to handle the predetermined capacity?• How to organise the transport of materials to handle the predetermined capacity?On a higher level, this contribution has also highlighted several findings in relation to the following research question:• How can Design Thinking be used in practice to design a warehouse?To answer the question of whether design thinking can be used as a method for developing a recycling center, this was used as a method. Design thinking was used in all the steps of the development process - to know about both explicit and tacit needs related to the development of the recycling center. Company visits allowed to emphasise with the different stakeholders for the solution, getting in touch with employees and learn more about the processes connected to the recycling center. During the ideation phase, brainstorming has been used to create ideas focusing on smaller parts of a solution. The generated ideas have been combined to create final ideas which were prototyped in a digital environment and the first two were also simulated in discrete-event simulation software. The result was more insights into the problem and an iteration to the define phase was conducted. The iterative nature of the Design Thinking process also meant that new needs were stated along the process and the research questions were redefined to the following:• How shall the predetermined units be stored to fit in the predetermined storage area?To solve this question, the Theory of Inventive Problem Solving (TRIZ) was used to systematically explore solution strategies for the given problem and propose original ideas. The result is a final prototype in a digital environment showing how the structure of the units stored in the recycling center will look like. According to the model the warehouse will only consist of stackable units and the tent will consist of both stackable and non-stackable units. From the results, it is clear that an investment must be done to store the desired amount of units in the tent and in narrow aisle forklifts. The main future work will be to contact the forklift supplier used at Tarkett Ronneby, STILL, and order GX-X/GX-Q-forklifts, lay a concrete slab, and to update the placing software to cope with the changes and to maintain a high placing accuracy of the units.

Design Thinking is a new interdisciplinary approach that combines different methods and tools from several disciplines to connects various fields of activity also linked to Industry world. This methodology is deeply changing the way to find solutions in order to be competitive in a variable market characterized by an ever-increasing rate of innovation in which it is located the new paradigm of the Industry 4.0. This study is addressed to understand how Design Thinking approach can fit the new dynamics of Industry 4.0. The analysis consists in the study of Design Thinking methodology applied to a real case of Italian firm inserted in the context of a project linked to Industry 4.0. Thanks to the definition of a design challenge, firm has developed theme related to digital transformation and has applied concretely on a case the techniques acquired through the Design Thinking approach with the goal of presenting a measurable and presentable solution. Finally, it was discovered what and how this project led to real and measurable results within the organization by enabling new strategic skills to be acquired through innovative teaching and networking.

This research investigates how employees at multiple levels of a large financial services corporation, become aware of, and recognise the possibilities of design thinking and its potential link to drive innovative practices. The aim is to understand how employees, without a background in design, view design and innovation, how design thinking is being employed and the relationship of design thinking to innovation. Recommendations are provided for large organisations seeking to use design thinking methodology to deliver human centric solutions for their customers and achieve genuine transformative innovation. Implications of this research include key insights for industry, large organisations and practitioners.

Automotive design is a specialized discipline in which designers are challenged to create emotionally appealing designs. From a practice perspective, this requires that designers apply their hermeneutic as well as reflective design thinking skills. However, due to the increasing demand for new car models, it is not always possible to keep generating new car designs without some form of assistive means. Therefore, it is common practice to use Automated Morphing Systems (AMS) to facilitate and accelerate the design process in the automotive industry. However, AMS, which is an efficient algorithmic driven tool for form generation, lacks the emotional knowledge of human beings, as well as the ability to introduce a “creative” and preferably a “winning” design. The purpose of this research is to study designers' reasoning about product (automotive) form, their form generation activity, and the implications of these. The research objective is to understand how designers generate forms driven by their implicit values, beliefs and attitudes towards designing, and how these are supported by their visualization and representation skills. Four research questions have been formulated in order to get a firm answer posed in this research. Generation of measurable and testable data – which involved both qualitative and quantitative research to gather and analyze implicit and explicit designer’s knowledge – constituted the main empirical effort for this thesis. A design research methodology framework consisting of three different parts was used in this data gathering exercise. These parts are: descriptive study I, prescriptive study, and descriptive study II. They involved methods such as surveys, observation studies and evaluation studies. Master’s students’ evaluations as well as the designers’ own interpretations of their sketches – which represent the sequence of morphed forms – were considered essential aspects of the empirical studies. The findings of this study can be summarized as follows: Approaches in form development among designers vary due to their experiences, which affect their sketching abilities, activities, and implicit thinking patterns. In their sketching and form development activities, designers emphasize the most informative views, such as façade and three quarter front views, compared to other views of the car. Rather than adopt a uniform transformation strategy which includes the entire car, they also select what elements to morph. In manual form generation, designers contribute with their personal and creative input in the development of the forms of the overall car, its selected items, and regions that determine the overall character of the car. Major differences in the morphing approaches applied by designers and automated CAD systems reside in the recognition and interpretation of the meaning of form elements. Considering the inability of AMS to morph selectively and inconsistently, as well as to introduce ambiguity and variance, it is suggested here that AMS may be useful only for convergent transformation, which typically occurs during the later stages of the styling process. Although perceptions vary according to how representations are presented in the morphing process, the Perceptual Product Experience (PPE) framework can still be considered a useful tool for establishing familiarity, for understanding quality characteristics and the nature of the product, and, finally, for determining meanings and assessing the values of form elements. In conclusion, the work presents a descriptive model for practice-based design thinking about form development in automotive design. Manual interpolative morphing has been the focal area of study. The study categorizes meaning with respect to designer perception. Based on the study of manual morphing exercises, a new methodology of analyzing form syntactics, pragmatics and semantics related to design thinking, form development, and automotive design has been developed.

The concept of Design Thinking (DT) has emerged in business and management discourses as a promising approach to innovation. Numerous organisations start to apply DT practice on different scale for the purpose of the strategic renewal. Despite the growing popularity of the phenomenon in practice, there exists no coherent conceptualisation of DT in theory. The field of DT is young, full of contradictory statements and ambiguities, especially for what regards DT outcomes and benefits. Hence, this dissertation aims at consolidating the field by advancing knowledge on how DT is understood and practiced in organisations. For this, a practice-based approach was selected as a research perspective for gaining theoretical insights based on empirical findings. Moreover, this dissertation aims at explaining the relationship between the DT practice and innovation processes in organisations, so that to establish a dialogue between the two fields. For pursuing these goals, the literature on DT and innovation has been comprehensively reviewed for identifying existent problems and challenges of both fields. The empirical part of the research is developed according to an interpretative philosophical position and a qualitative approach. A single case study of the IBM Company was selected as a research strategy. The primary data were collected by a combination of three ethnographic methods (interviews, mobile ethnography, digital ethnography), and blended with secondary data from the desk research. In the analysis phase, a grounded theory approach and the narrative analysis were used to process the data. Research findings provide a historical context of the IBM Corporation and the IBM Design Company. Then, the IBM DT framework is analysed, and compared with how it is put in practice by IBMers in Italy. The IBM DT practice revealed to be constituent of three main components (mindset, agency, tools) that are orchestrated by DT principles. It was possible to find sub-dimensions and main characteristics for each constitutive element. Specifically, 3 sub-dimensions of mindset (learner, inventor, doer), 4 working modes associated with agency (explorative, sensemaking, imaginative, generating), and four typologies of tools (methods, techniques, frameworks, digital software). Moreover, six DT principles were identified, namely: humanocentrism, focused improvement, diversity-driven collaboration, holism appreciation, continuous learning, and multimodality. It was possible to observe how DT practice contributes to the innovation process in four different innovation phases: identification of the opportunity for change, strategy formulation, roadmap planning, crafting the final output. Finally, the role of contextual factors in the DT practice is discussed. Based on findings, some insights are drawn about the characteristics of the DT practice, and some ideas are advanced regarding the nature of the phenomenon. Finally, possible ways to contribute further to the field development are discussed, together with practical implications.

Novice instructional designers have limited experience working with ill-structured problems, and often do not possess the mental models to effectively analyze, manage, and communicate the overall design process of new instructional design projects (Wedman and Tessmer, 1993; Rowland, 1992; Perez and Emery, 1995; Liu, Gibby, Quiros, and Demps, 2002). In their 2016 article of expert instructional design principles applied by experienced designers in practice, York and Ertmer proposed the following questions for future research, "(a) Can we teach principles to novice instructional designers? (b) What methods should we use to provide this information?" (York and Ertmer, 2016, p. 189). This research further explored these questions and offers a new model of expert instructional design heuristics incorporating design thinking methods. The purpose of this study was to identify design thinking methods that aligned with heuristics of expert instructional design practitioners, and to design and develop a new model of heuristics and design thinking methods, which could assist novice instructional designers as they enter the instructional design field. The literature outlines challenges reported among novice instructional designers throughout the instructional design process, which includes their ability to solve ill-structured problems; conduct thorough analyses; collaborate in teams; negotiate priorities; generate a variety of ideas for solutions; overcome resource, budget and time constraints; communicate and manage projects with stakeholders; and prototype, iterate and pilot new design solutions (Rowland, 1992; Hoard, Stefaniak, Baaki, and Draper, 2019; Roytek, 2010; Liu, Gibby, Quiros, and Demps, 2002; Chang and Kuwata, 2020; Tracey and Boling, 2014; Perez and Emery, 1995; Williams van Rooij, 1993). The model offers novice instructional designers specific methods and combinations of methods to use for every stage of the instructional design process. As instructional designers implement design thinking methods within the context of their daily situations, they should become more comfortable and begin to adapt the methods to meet their individual needs for each stage of their process.
Doctor of Philosophy
Instructional design is a system of procedures for developing education and training curricula in a consistent and reliable fashion (Branch and Merrill, 2011; Branch and Kopcha, 2014). It embodies an iterative process for outlining outcomes, selecting teaching and learning strategies, choosing support technologies, identifying media, and measuring performance (Branch and Kopcha, 2014). Instructional designers use models of instructional design and instructional development to communicate tasks and procedures of the instructional design process (Andrews and Goodson, 1980). Over the years, numerous models of instructional design have been developed and adapted to meet the varying needs of instructional designers and developers. There is a consensus that most instructional processes consist of five core elements or stages: analysis, design, development, implementation, and evaluation, which are commonly referred to as ADDIE (Seels and Glasgow, 1990; Branch and Kopcha, 2014). While often considered generic, the ADDIE framework contains a useful set of common criteria, which most designers state as important or necessary as a part of any instructional design process (Pittenger, Janke, and Bumgardner, 2009; York and Ertmer, 2011; 2016). Novice instructional designers have limited experience working with ill-structured problems, and often do not possess the mental models (prior experience) to effectively analyze, manage, and communicate the overall design process of new instructional design projects (Wedman and Tessmer, 1993; Rowland, 1992; Perez and Emery, 1995; Liu, Gibby, Quiros, and Demps, 2002). In their 2016 article of expert instructional design principles applied by experienced designers in practice, York and Ertmer proposed the following questions for future research, "(a) Can we teach principles to novice instructional designers? (b) What methods should we use to provide this information?" (York and Ertmer, 2016, p. 189). This research further explored these questions and offers a new model of expert instructional design heuristics incorporating design thinking methods. For this study, heuristics were defined as generalized stages of an instructional designer's process and design thinking was defined as a human-centered design process for solving complex problems. The purpose of this study was to identify design thinking methods that aligned with heuristics of expert instructional design practitioners, and to design and develop a new model of heuristics and design thinking methods, which could assist novice instructional designers as they enter the instructional design field. The literature outlines challenges reported among novice instructional designers throughout the instructional design process, which includes their ability to solve ill-structured problems; conduct thorough analyses; collaborate in teams; negotiate priorities; generate a variety of ideas for solutions; overcome resource, budget and time constraints; communicate and manage projects with stakeholders; and prototype, iterate and pilot new design solutions (Rowland, 1992; Hoard, Stefaniak, Baaki, and Draper, 2019; Roytek, 2010; Liu, Gibby, Quiros, and Demps, 2002; Chang and Kuwata, 2020; Tracey and Boling, 2014; Perez and Emery, 1995; Williams van Rooij, 1993). The model offers novice instructional designers specific methods and combinations of methods to use for every stage of the instructional design process. As instructional designers implement design thinking methods within the context of their daily situations, they should become more comfortable and begin to adapt the methods to meet their individual needs for each stage of their process.

Current trends in technology have led to a need for creativity and innovation in the design of contemporary digital products and systems. This has resulted in design thinking and creative design process having a higher profile in digital design practice. In turn, this has impacted computing education, by creating a need for computing students to develop creativity and design thinking skills. Creative design is taught using design studio teaching methods, which require a culture, environment and activities that are different to the teaching methods used in traditional computing education. Some computing academics have implemented courses using aspects of studio teaching methods, but no clear guidelines for a computing academic without creative design experience to fully apply studio teaching methods in courses could be found. The reason for the change in the role of design in the digital domain and how it affected the needs of computing students was investigated and a comparison of typical design studio and computing teaching methods was conducted using a learning systems model adapted for this specific purpose. This led to an identification of areas that required further investigation, or gaps in the knowledge of how to adapt design studio methods for use within a traditional computing education environment. These gaps were used as the basis for identifying a set of research questions for an empirical study. An exploratory case study was conducted at the Nelson Mandela Metropolitan University to answer the research questions. Three computing academics implemented studio teaching methods within three separate modules, following provisional guidelines devised from the preliminary research. Feedback was collected from the lecturers and the students registered for the modules regarding their experiences. It was found that it would be possible for computing academics to implement aspects of a design studio approach within the existing computing environment. An explicit teaching method, termed the computing studio teaching method, was developed from the results of the case study. This teaching method aims to provide computing academics with little or no creative design experience with explicit methods for implementing modified design studio teaching methods in order to promote creativity and design thinking within traditional computing modules. This teaching method will be tested, validated and refined in future research.

Design thinking has attracted a significant amount of interest and attention from the non-design sector in areas such as finance, government services and transport. This has resulted in new definitions that appear to describe design thinking as the mythical process that generates innovation and as a result, creating confusion and causing some to question its meaning. Research was undertaken to explore the possible knowledge gap that exists between academic and practitioner understanding of design thinking and its practical application. The relationship between the two has been articulated and a data driven model of design thinking created to further understanding of the meaning of design thinking. Firstly, an initial literature review was conducted to examine the origins, ownership and relationship between design thinking and four other related terms. Secondly, four common characteristics of design thinking were identified from projects reported by academics and practitioners as examples of the application of design thinking. The literature review provided the point of departure for the design of the empirical research instrument (RI). From the initial literature review four common characteristics of design thinking was identified; they were: drivers , experts , impact and processes . The research methodology employed constructivist grounded theory using a multi-qualitative method to maximise the capacity to gather high quality data. Pilot studies were conducted internally to test out the research instrument. From the pilot studies an additional common characteristic identified: design problem , being traditional or non-traditional. Following the pilot studies, primary data collection methods of interviews and online survey were employed. A total of 56 participants took part in the study, the participants who took part were academics and design practitioners from around the world. A total of 13 interviews were conducted and 43 survey responses were collected. The interviews and online survey used in data collection formed two stages of a triangulation strategy that was used to explore all the research questions. ii Two data sets were created from the interviews and online survey, which were analysed by thematic analysis and content analysis. From the thematic analysis, the five common characteristics identified from the literature review and pilot studies were confirmed; two additional common characteristics were identified as multidisciplinary and knowledge . Content analysis was conducted to identify evidence to describe the 7 common characteristics identified. Furthermore, the modes of expression for design thinking were also identified from the data in order to explore its relationship to design education. Case study analysis was the third stage of the triangulation strategy employed. It was conducted to check the reliably of the findings. This involved three design school case studies and three practice-based case studies of which two were for product designs and one was for service design. A qualitative data model of design thinking was developed to present the findings of the research. The research was then validated by a PhD seminar at Lancaster University and a validation study with experienced design practitioners. A final literature review was conducted after the validation studies to compare the research findings to the most recently published literature. From the literature review and validation studies, any appropriate findings were incorporated into the theory constructed.

This study empirically explores operational practices and archetypes of design thinking in various organizational constructs. The emphasis is on examining the common operational practices applied in design thinking initiatives, to determine whether there are variations in the patterns of applications of these operational practices across different design thinking initiatives, and to identify what may explain such variations if they indeed do exist. The extant literature on design thinking distributed across many disciplines was assessed to determine the common operational practices underlying design thinking initiatives. These practices were then tested in the real-work context of 41 design thinking initiatives.

Two hypotheses were central to this study. First, the many operational practices of design thinking can be reduced to certain core elements or factors that are consistent across various contexts of design thinking initiatives. This hypothesis is tested through factor analysis of 32 operational practices of design thinking across 41 design thinking initiatives. Second, there will be specific archetypes or clusters of design thinking across various contexts where emphasis on core operational practices will vary depending on the context of the design thinking initiative. This hypothesis is tested through cluster analysis of the results of the factor analysis of the 32 operational practices of design thinking derived from the data cross the 41 design thinking initiatives. The cluster analysis assesses whether there are, indeed, archetypal differences in terms of these core operational practices. Then, using qualitative data derived from interviews of 10 design thinking initiatives, case exemplars highlight each of the four archetypes of design thinking initiatives and further speculate on the assumptive domain or the guiding principles that undergird these different archetypes of design thinking operational practices.

This study shows seven factors of operational practices of design thinking emerging from the data, identifying empirical categories that are present across various contexts of design thinking initiatives. These empirical categories highlight the consistency and importance of concepts in design thinking, including cooperative understanding; aspirational visioning; truth seeking; comprehensive solutioning; optimistic collaborating; analytical prototyping; and personal reflecting. Further analysis of the data revealed four archetypes of design thinking initiatives that differed by operational practices of design thinking as well as other key organizational characteristics. A metaphorical construct was applied to the archetypes to symbolize the similarities of the design thinking initiatives to four sports races: training, emphasizing learning by doing and more novice design thinking initiatives; marathons, capturing personal reflection in long timeframe change initiatives; relays, highlighting team collaboration and codesign in complex initiatives; and sprints, emphasizing fast-paced product innovation initiatives. Case studies of the four archetypes were used to provide context to the archetypes. Speculation on the underlying assumptive domains of the archetypes is captured in a model differentiating designer-led versus team-driven design thinking initiatives and low versus high sense of urgency.

Ideally, the results of this study may provide diagnostic insight into the patterns of design thinking initiatives, thus helping managers recognize aspects of design thinking that may already be present in their organization. The archetypes may also be used predictively, aiding organizations pursuing design thinking by utilizing the model as a way of identifying characteristics similar to their own design thinking considerations and goals.

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O momento de transformação do jornalismo, que é acompanhado pelas assessorias de imprensa, demanda mudanças. As influências da cultura profissional, rotinas de trabalho e saberes da profissão interferem no resultado final da prática em Assessoria de Imprensa, como no uso de novas metodologias. Este trabalho tem por objetivo apresentar as contribuições da metodologia Design Thinking para uma Assessoria de Imprensa de uma Universidade. Para isso, foi realizada pesquisa bibliográfica e documental sobre os temas Newsmaking, Assessoria de Imprensa e Design Thinking, definindo pontos de atuação do uso da metodologia no jornalismo e em Assessoria de Imprensa, com base na análise das rotinas de trabalho e estruturas organizacionais. Desse modo, são apresentadas articulações entre o Newsmaking e a Assessoria de Imprensa, bem como relatos de usos do Design Thinking em Jornalismo. São apontadas técnicas de Design Thinking sugeridas para aplicação na Assessoria de Imprensa da URI Santo Ângelo, no noroeste do RS, estruturada com base em uma observação participante da realidade da instituição. A partir da pesquisa, foi possível perceber que a metodologia de Design Thinking tem contribuições relevantes para o campo da comunicação, com aplicações na geração de novos produtos, relacionamento com a imprensa, definição de pautas, eventos gestão, entre outros processos. Ao final, o estudo traz propostas para a aplicação da metodologia de Design Thinking em Assessoria de Imprensa, apontando ferramentas e modelos que podem ter sua utilização de modo prático no modelo da Universidade e em outras organizações.
On the verge of constant evolution of Journalism and Press Office, a demand for change rises. Professional Culture, Working Routine, and Field Knowledge directly interfere on final results of Press Office praxis, as well as on using new methodologies. This paper aims to present methodological contributions on Design Thinking for the praxis of a University’s Press Office. A documental and bibliographical research was carried out on Newsmaking theory, Press Office and Design Thinking - Participant Observation took place in order to map the Press Office of URI Santo Ângelo on Northwest of Rio Grande do Sul – Brazil. Suggested techniques on Press Office were also pointed out. It was a major concern to define points of action on the use of Journalism and Press Office theory, basing on working routine and business organizational charts. Therefore links were made between Newsmaking theory and Press Office as well as the use of Design Thinking tools on Journalism field. During the research it was possible to notice that Design Thinking methodology has relevant contribution to communication field, since it has applicable tools of generation of new products, communication with the press, stories definition, management events, among other processes within Press Office. Finally, the study brings proposals to the application of Design Thinking methodology on Press Office, pointing tools and models that may have applicability on a practical way on the model of the University and in other institutions.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research proposes to discuss what design thinking is, and how it uses collaboration to suggest innovations. It is an applied purpose research with a descriptive subject that uses the qualitative method in its approach. It has by type of research, the bibliographical for the literature review and the theoretical foundation. It seeks to identify in the theory consulted the concepts of design thinking, design, collaboration and innovation, using etymology and chronology to do it. Analyzes the various Stages and Models that describe the activities belonging to the design thinking process, proposed by the different authors studied, to interpret their similarities and differences, and thus to conclude these can be re-read in agreement to the Steps proposed by Tim Brown (2008): Empathy, Ideation and Implementation. Finally, it also suggests some future studies that may give continuity to this line of research
Esta pesquisa se propõe a discutir o que é design thinking, e como este utiliza a colaboração para sugerir inovações. É uma investigação de finalidade aplicada, com um objetivo descritivo que utiliza o método qualitativo em sua abordagem. Tem por tipo de pesquisa, a bibliográfica para a revisão da literatura e a fundamentação teórica. Busca identificar na teoria consultada, os conceitos de design thinking, design, colaboração e inovação, lançando mão à etimologia e à cronologia para tal. Analisa as diversas Etapas e Modelos que descrevem as atividades pertencentes ao processo de design thinking, propostos pelos distintos autores estudados, para interpretar suas similaridades e diferenças, e assim concluir que estes podem ser relidos em acordo às Etapas propostas por Tim Brown (2008): Empatia, Ideação e Implementação. E por fim também sugere alguns estudos futuros que podem dar continuidade a esta linha de pesquisa abordada

Thesis submitted in fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology
The study explores the development of an activist animation brand, The Adventures of Soeperguava. As a lesbian anti-heroine, Soeperguava’s raison d'être is to expose and challenge discrimination – still prevalent in South Africa, twenty years after apartheid. Although human rights are entrenched in Chapter 2 (Section 2.1) of the South African Constitution and these rights exist on paper, myriad forms of prejudice persist within our society and need to be addressed. As a qualified legal scholar, brand strategy educator and brand development specialist, the author utilised Design Thinking methodology to identify brands as cultural artefacts. As such, brands are able to create meaning and effect social change. Design Thinking endeavours to address ‘wicked problems’, defined as social or cultural problems that are difficult or impossible to solve (Rittel 1967). This study explores the manner in which Design Thinking is applied to mitigate wicked problems through the development of a creative-activist brand. The researcher traces the development of the animation brand from its inception in December 2010 to its dissolution in March 2012. The research was conducted via a qualitative, illustrative, single case study methodology focused on Soeperguava. Elements of appreciative inquiry, journaling, lived experience, narrative and thematic analysis are included in the research. Design thinking, team dynamics and brand identity models are supplemented by open-ended questionnaire analyses. The selected methodologies aim to establish the reasons why the collaboration between an animator, a brand strategist, film producer, content producer and a writer failed. Subsequent rigorous analysis identified themes traversing three sets of data. These were refined into five meta-themes, the determining factors for effective brand development via a design thinking approach. The five meta-themes are: 1 collective buy-in; 2 in-depth, collective comprehension and commitment; 3 evolutionary leadership and management; 4 clarity and transparency; and 5 insightful reflection. For the purposes of this study, the research questions the role of Design Thinking and Team Dynamics within the context of brand development. A new model for collaboration is proposed as a framework for implementation in the 21st century. The model integrates and synthesises three key aspects: two Design Thinking models and a Team Dynamics model. Design Thinking is an under-researched topic in South Africa. This study reveals the need for further multi- and interdisciplinary research, identifying and discussing potential research opportunities.

Waste management has been considered as a significant challenge for sustainable development. From EPA report, furniture is the number one least-recycled item in a household. In current markets, much of furniture is made of composite material, which isn’t feasible to separate. This design project is based on the trend of sustainable furniture as well as the rapid expansion of recycling culture. It contains both tangible furniture design and intangible metadesign thinking. Here it comes with thesis statement: In order to raise public awareness of sustainability, how to design a furniture product with metadesign thinking? The content of the project is a modular table design that combines both recycle material and mass-producible ready-to-assemble furniture (RTA). This table design is including freehand sketches, hand-made models, Rhinoceros 3D modeling and short instruction movie.

Die Förderung von Innovation und Kreativität, und die gezielte Entwicklung innovativer Dienstleistungen stellt insbesondere kleine und mittelständische Unternehmen (KMU) vor Herausforderungen, da sie oft über begrenzte Ressourcen (Kapital, Personal, Zeit) und unstrukturierte Innovationsprozesse verfügen (Disselkamp, 2015). Dies gilt gleichermaßen für den spezifischen Fall von industrienahen Dienstleistern (IND), bei denen es sich in erster Linie um KMU in einer Business-to-Business (B2B)-Umgebung handelt. Ein prominenter Ansatz für Innovationsentwicklung ist Design Thinking (DT), ein explorativer, lösungsoffener Prozess, der die Benutzerperspektive zur Entwicklung innovativer Produkte auf der Grundlage heterogener Teams und Kreativität einnimmt (Brenner, Uebernickel, & Abrell, 2016; Brown, 2008; Johansson-Sköldberg, Woodilla, & Çetinkaya, 2013). Bislang gibt es wenige Beispiele, wie DT durch IND in der Praxis eingesetzt werden kann (Joyce, 2017). Eine mögliche Erklärung hierfür ist, dass der DT-Ansatz in erster Linie für Produktinnovation entwickelt wurde (Disselkamp, 2015; Matthing, Sandén, & Edvardsson, 2004). Insbesondere die Prototyp-Entwicklung, als eine Phase im DT-Prozess, zeigt deutlich, dass der DT-Ansatz und seine kohärenten Methoden auf die spezifischen Bedürfnisse von IND erst noch angepasst werden muss. Dieser Beitrag weist das bisher nicht ausgeschöpfte Potential von DT für IND auf, und dient somit als Handlungsempfehlung für die Wissenschaft.

The subject of this thesis is an innovation process using design thinking approach and resulting in a potentially successful new product, a board game. The first part reflects the theoretical approaches to innovation in general, the division innovation by various aspects and the models of the innovation process. Further is presented approach design thinking in more details, because this approach will be applied of the specific case of new product development in the practical part. The theoretical part is closed by methods financial evaluation of investments, which will help to evaluate a new product economically. The practical part begins with a description of the object of the innovation process and introduction of market of board games. This is followed by development a new product by design thinking approach, which is divided into phases inspiration, ideation and implementation. The result of the innovation process is a board game, that reacts and responds to the needs and wishes of potential customers, because of the empathy in the initial phase. Its economic viability was confirmed through the application of some methods of financial evaluation of investments.

Il seguente lavoro di tesi cercherà di indagare i temi dell’innovazione, al fine di mostrarne l’applicazione pratica in un caso studio. Si partirà dal concetto di innovazione, se ne analizzeranno i principi chiave, con una particolare attenzione alle fonti dell’innovazione e ai network collaborativi. Un’attenzione particolare verrà data inoltre ai programmi di finanziamento della Comunità Europea, non solo perché sono programmi che promuovono la collaborazione, l’innovazione e indagano sulle problematiche più significative dell’innovazione, ma anche perchè il case study oggetto di analisi è proprio un progetto di ricerca europeo. Il focus del secondo capitolo sarà il design, se ne analizzeranno i vari punti di vista che negli anni si sono susseguiti, fino ad arrivare al concetto di design thinking. In merito al design thinking ci si soffermerà sulle fasi salienti della progettazione e sull’aspetto human-centred dell’innovazione, sull’applicazione del design thinking nelle aziende fino a toccare concetto di innovazione sociale. Tutti questi temi sono racchiusi nel caso studio Mywear. Mywear è un progetto di ricerca della commissione europea, in cui non si entrerà nel merito del progetto in sé, ma se ne indagheranno i temi su citati, rintracciabili chiaramente in alcune fasi del progetto dandone una presentazione completa, soffermando l’attenzione su un’azienda in particolare, appartenente al partenariato.