Complete Business Innovation PowerPoint Assignment NO PLAGIARISM

Assignment: Design Thinking: EvaluationIn the business world, the final phase of design thinking is where a solution strategy is selected and a business case is made for the viability of the chosen solution. If the previous phases have been enacted diligently, the proposed solution has a very good chance of leading to an innovation.By now, you have identified an issue or problem in your workspace that can be improved in some tangible way. You have generated a list of ideas that could lead to this improvement, and collaborated with your classmates to gain alternate perspectives and solutions. It is now time to step back from this process and evaluate how design-thinking can be applied to real-world business problems at your organization.For this Assignment, imagine you have an opportunity to meet with the VP of Customer Services. You have 15 minutes to present on the value of the department’s use of design thinking to come up with a solution to a problem the team is experiencing.By Day 7Submit a PowerPoint-style presentation with a pitch script in the Notes section outlining your pitch for the use of design thinking to solve a problem. Be sure to include the following, with any other relevant information that you think is essential to an effective pitch:Identify the potential customers or end users that would be positively affected if the organization adopted the more formal design thinking process.Explain whether design thinking could be effectively integrated into the organization, and why? How would you convince stakeholders within the organization of its value?Be sure to draw on the articles by Brown (2008) and Brown and Anthony (2011) from this week’s Resources to support your conclusions.


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Thinking like a designer can
transform the way you
develop products, services,
processes—and even strategy.
Design Thinking
by Tim Brown
Reprint R0806E
This document is authorized for use only in Laureate Education, Inc.’s Fostering a Culture of Innovation – NEW course at Laureate Education – Baltimore, from August 2017 to October 2018.
Thinking like a designer can transform the way you develop products,
services, processes—and even strategy.
Design Thinking
by Tim Brown
Thomas Edison created the electric lightbulb
and then wrapped an entire industry around
it. The lightbulb is most often thought of as his
signature invention, but Edison understood
that the bulb was little more than a parlor
trick without a system of electric power generation and transmission to make it truly useful.
So he created that, too.
Thus Edison’s genius lay in his ability to conceive of a fully developed marketplace, not
simply a discrete device. He was able to envision how people would want to use what he
made, and he engineered toward that insight.
He wasn’t always prescient (he originally believed the phonograph would be used mainly
as a business machine for recording and replaying dictation), but he invariably gave great consideration to users’ needs and preferences.
Edison’s approach was an early example of
what is now called “design thinking”—a methodology that imbues the full spectrum of innovation activities with a human-centered design
ethos. By this I mean that innovation is powered by a thorough understanding, through di-
harvard business review • june 2008
rect observation, of what people want and
need in their lives and what they like or dislike
about the way particular products are made,
packaged, marketed, sold, and supported.
Many people believe that Edison’s greatest
invention was the modern R&D laboratory
and methods of experimental investigation.
Edison wasn’t a narrowly specialized scientist
but a broad generalist with a shrewd business
sense. In his Menlo Park, New Jersey, laboratory he surrounded himself with gifted tinkerers, improvisers, and experimenters. Indeed,
he broke the mold of the “lone genius inventor” by creating a team-based approach to innovation. Although Edison biographers write
of the camaraderie enjoyed by this merry
band, the process also featured endless
rounds of trial and error—the “99% perspiration” in Edison’s famous de?nition of genius.
His approach was intended not to validate
preconceived hypotheses but to help experimenters learn something new from each iterative stab. Innovation is hard work; Edison
made it a profession that blended art, craft,
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Design Thinking
science, business savvy, and an astute understanding of customers and markets.
Design thinking is a lineal descendant of
that tradition. Put simply, it is a discipline
that uses the designer’s sensibility and
methods to match people’s needs with what
is technologically feasible and what a viable
business strategy can convert into customer
value and market opportunity. Like Edison’s
painstaking innovation process, it often entails a great deal of perspiration.
I believe that design thinking has much to
offer a business world in which most management ideas and best practices are freely available to be copied and exploited. Leaders now
look to innovation as a principal source of differentiation and competitive advantage; they
would do well to incorporate design thinking
into all phases of the process.
Getting Beneath the Surface
Tim Brown ( is the
CEO and president of IDEO, an innovation and design firm with headquarters
in Palo Alto, California. His designs have
won numerous awards and been exhibited at the Museum of Modern Art
in New York, the Axis Gallery in Tokyo,
and the Design Museum in London.
harvard business review • june 2008
Historically, design has been treated as a
downstream step in the development process—
the point where designers, who have played
no earlier role in the substantive work of innovation, come along and put a beautiful wrapper around the idea. To be sure, this approach
has stimulated market growth in many areas
by making new products and technologies
aesthetically attractive and therefore more desirable to consumers or by enhancing brand
perception through smart, evocative advertising and communication strategies. During the
latter half of the twentieth century design became an increasingly valuable competitive
asset in, for example, the consumer electronics, automotive, and consumer packaged
goods industries. But in most others it remained a late-stage add-on.
Now, however, rather than asking designers
to make an already developed idea more attractive to consumers, companies are asking
them to create ideas that better meet consumers’ needs and desires. The former role is tactical, and results in limited value creation; the
latter is strategic, and leads to dramatic new
forms of value.
Moreover, as economies in the developed
world shift from industrial manufacturing to
knowledge work and service delivery, innovation’s terrain is expanding. Its objectives are
no longer just physical products; they are new
sorts of processes, services, IT-powered interactions, entertainments, and ways of commu-
nicating and collaborating—exactly the kinds
of human-centered activities in which design
thinking can make a decisive difference. (See
the sidebar “A Design Thinker’s Personality
Consider the large health care provider Kaiser Permanente, which sought to improve the
overall quality of both patients’ and medical
practitioners’ experiences. Businesses in the
service sector can often make signi?cant innovations on the front lines of service creation
and delivery. By teaching design thinking techniques to nurses, doctors, and administrators,
Kaiser hoped to inspire its practitioners to contribute new ideas. Over the course of several
months Kaiser teams participated in workshops with the help of my ?rm, IDEO, and a
group of Kaiser coaches. These workshops led
to a portfolio of innovations, many of which
are being rolled out across the company.
One of them—a project to reengineer
nursing-staff shift changes at four Kaiser hospitals—perfectly illustrates both the broader
nature of innovation “products” and the value
of a holistic design approach. The core project
team included a strategist (formerly a nurse),
an organizational-development specialist, a
technology expert, a process designer, a union
representative, and designers from IDEO. This
group worked with innovation teams of frontline practitioners in each of the four hospitals.
During the earliest phase of the project, the
core team collaborated with nurses to identify
a number of problems in the way shift changes
occurred. Chief among these was the fact that
nurses routinely spent the ?rst 45 minutes of
each shift at the nurses’ station debrie?ng the
departing shift about the status of patients.
Their methods of information exchange were
different in every hospital, ranging from recorded dictation to face-to-face conversations.
And they compiled the information they
needed to serve patients in a variety of ways—
scrawling quick notes on the back of any available scrap of paper, for example, or even on
their scrubs. Despite a signi?cant investment
of time, the nurses often failed to learn some
of the things that mattered most to patients,
such as how they had fared during the previous
shift, which family members were with them,
and whether or not certain tests or therapies
had been administered. For many patients, the
team learned, each shift change felt like a hole
in their care. Using the insights gleaned from
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Design Thinking
observing these important times of transition,
the innovation teams explored potential solutions through brainstorming and rapid prototyping. (Prototypes of a service innovation will
of course not be physical, but they must be tangible. Because pictures help us understand
what is learned through prototyping, we often
videotape the performance of prototyped services, as we did at Kaiser.)
Prototyping doesn’t have to be complex and
expensive. In another health care project,
IDEO helped a group of surgeons develop a
new device for sinus surgery. As the surgeons
described the ideal physical characteristics of
the instrument, one of the designers grabbed
a whiteboard marker, a ?lm canister, and a
clothespin and taped them together. “Do you
mean like this?” he asked. With his rudimentary prototype in hand, the surgeons were able
to be much more precise about what the
ultimate design should accomplish.
Prototypes should command only as much
time, effort, and investment as are needed to
generate useful feedback and evolve an idea.
The more “?nished” a prototype seems, the
less likely its creators will be to pay attention
to and pro?t from feedback. The goal of prototyping isn’t to ?nish. It is to learn about the
strengths and weaknesses of the idea and to
identify new directions that further prototypes might take.
The design that emerged for shift changes
had nurses passing on information in front of
the patient rather than at the nurses’ station.
In only a week the team built a working prototype that included new procedures and some
simple software with which nurses could call
up previous shift-change notes and add new
ones. They could input patient information
throughout a shift rather than scrambling at
the end to pass it on. The software collated the
data in a simple format customized for each
nurse at the start of a shift. The result was both
higher-quality knowledge transfer and reduced
prep time, permitting much earlier and betterinformed contact with patients.
As Kaiser measured the impact of this
change over time, it learned that the mean interval between a nurse’s arrival and ?rst interaction with a patient had been more than
halved, adding a huge amount of nursing time
across the four hospitals. Perhaps just as important was the effect on the quality of the
nurses’ work experience. One nurse commented, “I’m an hour ahead, and I’ve only
been here 45 minutes.” Another said, “[This is
the] ?rst time I’ve ever made it out of here at
the end of my shift.”
Thus did a group of nurses signi?cantly
improve their patients’ experience while also
improving their own job satisfaction and productivity. By applying a human-centered design methodology, they were able to create a
relatively small process innovation that produced an outsize impact. The new shift
changes are being rolled out across the Kaiser
A Design Thinker’s Personality Profile
Contrary to popular opinion, you don’t need
weird shoes or a black turtleneck to be a design thinker. Nor are design thinkers necessarily created only by design schools, even
though most professionals have had some
kind of design training. My experience is that
many people outside professional design
have a natural aptitude for design thinking,
which the right development and experiences can unlock. Here, as a starting point,
are some of the characteristics to look for in
design thinkers:
Empathy. They can imagine the world
from multiple perspectives—those of colleagues, clients, end users, and customers
(current and prospective). By taking a “people ?rst” approach, design thinkers can imag-
harvard business review • june 2008
ine solutions that are inherently desirable
and meet explicit or latent needs. Great design thinkers observe the world in minute detail. They notice things that others do not and
use their insights to inspire innovation.
Integrative thinking. They not only rely on
analytical processes (those that produce either/
or choices) but also exhibit the ability to see all
of the salient—and sometimes contradictory—
aspects of a confounding problem and create
novel solutions that go beyond and dramatically
improve on existing alternatives. (See Roger
Martin’s The Opposable Mind: How Successful
Leaders Win Through Integrative Thinking.)
Optimism. They assume that no matter
how challenging the constraints of a given
problem, at least one potential solution is
better than the existing alternatives.
Experimentalism. Signi?cant innovations
don’t come from incremental tweaks. Design
thinkers pose questions and explore constraints in creative ways that proceed in entirely new directions.
Collaboration. The increasing complexity
of products, services, and experiences has replaced the myth of the lone creative genius
with the reality of the enthusiastic interdisciplinary collaborator. The best design thinkers
don’t simply work alongside other disciplines;
many of them have signi?cant experience in
more than one. At IDEO we employ people
who are engineers and marketers, anthropologists and industrial designers, architects and
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Design Thinking
system, and the capacity to reliably record
critical patient information is being integrated into an electronic medical records initiative at the company.
What might happen at Kaiser if every nurse,
doctor, and administrator in every hospital felt
empowered to tackle problems the way this
group did? To ?nd out, Kaiser has created the
Gar?eld Innovation Center, which is run by
Kaiser’s original core team and acts as a consultancy to the entire organization. The center’s
mission is to pursue innovation that enhances
the patient experience and, more broadly, to
envision Kaiser’s “hospital of the future.” It is
introducing tools for design thinking across
the Kaiser system.
How Design Thinking Happens
The myth of creative genius is resilient: We believe that great ideas pop fully formed out of
brilliant minds, in feats of imagination well
beyond the abilities of mere mortals. But what
the Kaiser nursing team accomplished was neither a sudden breakthrough nor the lightning
strike of genius; it was the result of hard work
augmented by a creative human-centered discovery process and followed by iterative cycles
of prototyping, testing, and re?nement.
The design process is best described metaphorically as a system of spaces rather than a
prede?ned series of orderly steps. The spaces
demarcate different sorts of related activities
that together form the continuum of innovation. Design thinking can feel chaotic to those
experiencing it for the ?rst time. But over the
life of a project participants come to see—as
they did at Kaiser—that the process makes
sense and achieves results, even though its
architecture differs from the linear, milestonebased processes typical of other kinds of
business activities.
Design projects must ultimately pass
through three spaces (see the exhibit “Inspiration, Ideation, Implementation”). We label
these “inspiration,” for the circumstances (be
they a problem, an opportunity, or both) that
motivate the search for solutions; “ideation,”
for the process of generating, developing, and
testing ideas that may lead to solutions; and
“implementation,” for the charting of a path
to market. Projects will loop back through
these spaces—particularly the ?rst two—
more than once as ideas are re?ned and new
directions taken.
harvard business review • june 2008
Sometimes the trigger for a project is leadership’s recognition of a serious change in business fortunes. In 2004 Shimano, a Japanese
manufacturer of bicycle components, faced
?attening growth in its traditional high-end
road-racing and mountain-bike segments in
the United States. The company had always relied on technology innovations to drive its
growth and naturally tried to predict where
the next one might come from. This time Shimano thought a high-end casual bike that appealed to boomers would be an interesting
area to explore. IDEO was invited to collaborate on the project.
During the inspiration phase, an interdisciplinary team of IDEO and Shimano people—
designers, behavioral scientists, marketers,
and engineers—worked to identify appropriate constraints for the project. The team
began with a hunch that it should focus more
broadly than on the high-end market, which
might prove to be neither the only nor even
the best source of new growth. So it set out to
learn why 90% of American adults don’t ride
bikes. Looking for new ways to think about
the problem, the team members spent time
with all kinds of consumers. They discovered
that nearly everyone they met rode a bike as a
child and had happy memories of doing so.
They also discovered that many Americans
are intimidated by cycling today—by the retail experience (including the young, Lycraclad athletes who serve as sales staff in most
independent bike stores); by the complexity
and cost of the bikes, accessories, and specialized clothing; by the danger of cycling on
roads not designed for bicycles; and by the demands of maintaining a technically sophisticated bike that is ridden infrequently.
This human-centered exploration—which
took its insights from people outside Shimano’s core customer base—led to the realization that a whole new category of bicycling
might be able to reconnect American consumers to their experiences as children while
also dealing with the root causes of their feelings of intimidation—thus revealing a large
untapped market.
The design team, responsible for every aspect of what was envisioned as a holistic experience, came up with the concept of “Coasting.”
Coasting would aim to entice lapsed bikers
into an activity that was simple, straightforward, and fun. Coasting bikes, built more for
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Design Thinking
Move on to the
next project – repeat
Make the case to
the business –
spread the word
Expect Success
Build implementation
resources into your plan
What’s the business problem? Where’s the opportunity? What has changed
(or soon may change)?
Help marketing
design a communication strategy
Look at the world:
Observe what people do,
how they think, what they
need and want
Execute the Vision
Engineer the experience
Prototype some more,
test with users, test
internally – don’t work
in the dark!
Involve many disciplines
from the start (e.g., engineering & marketing)
What are the business constraints (time, lack of resources,
impoverished customer base,
shrinking market)?
Pay close attention to
“extreme” users such as
children or the elderly
Tell more stories (they
keep ideas alive)
Prototype, test,
prototype, test…
Apply integrative
Have a project room
where you can share
insights, tell stories
Put customers in
the midst of everything; describe their
Build creative frameworks
(order out of chaos)
Are valuable ideas, assets, and expertise hiding
inside the business?
How can new
technology help?
Make many sketches,
concoct scenarios
Organize information and
synthesize possibilities
(tell more stories!)
I de
Images copyright © IDEO
harvard business review • june 2008
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