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Design Thinking and
Entrepreneurship: Exploring the
Intersection for Innovation
Design Thinking and Start-up Launch
Design Thinking Module
Compulsory Bibliography (Module 1)
Papers: - Voros, J. (2003). A generic foresight process framework. Foresight.
Books: - Cross, N. (2011). Design thinking: Understanding how designers think and work. Berg Publishers (Bloomsbury). - Dunne, A., & Raby, F. (2013). Speculative everything: Design, fiction, and social dreaming. MIT press.
Compulsory Bibliography (Module 2)
Papers: - Blank, S. (2013). Why the Lean Start-up Changes Everything, Harvard Business Review. - Braun, M., Scott, L., and Cannatelli, B. (2019). Strategy and business models: why winning companies need both, Journal of Business Strategy. - Kim, C.W. and Mauborgne, R. (2005). Blue Ocean Strategy: From Theory to Practice, California Management Review.
Books: - Parolini, C. (2021). Business Planning, KDP.
Before the Course
Cultural and creative industries as drivers for change and development: developing the entrepreneurial idea for an innovative start-up in a small and remote context using foresight scenarios for 2100.
Context: Small and remote place → possible area of exploration (village, system of village, small territory), in which there are some potentialities that can be exploited (in cultural assets and so on) but isolated from innovation, where you identify potential stakeholders, human/cultural/social values and opportunities that can be boosted to generate economic and symbolic value potential.
Using Foresight scenarios for 2100: Like a trend, each team will be given 20 scenarios and select the suitable ones. These scenarios are guiding perspectives towards the future of European small and remote places, developed by an ongoing EU research project.
Sector: Cultural and creative industries → each team will select 1 main sector of exploration, the most suitable to strengthen the potential values identified.
Scope/Opportunity: Entrepreneurial idea → using Design Thinking and Design Features tools.
Entrepreneurship and Design
"Entrepreneurship is a process in which new entrepreneurial opportunities and their implementation in marketable products and services are identified."
Design is a process of logical, critical and creative thinking, that paves the way for unexpected ideas, transformable into marketable products and services.
"The entrepreneur is someone who perceives that opportunity and creates an organization to pursue it, without regard to the resources. The designer is someone who envisions alternative opportunities (projection and organization) and materializes and experiments with ideas."
Why Design Thinking for the Entrepreneurship
Curriculum?
Growing importance of jointly studying design and entrepreneurship:
Design: - A mindset - A set of processes and systemic approaches - A driver for change management and innovation - Shifting from being creatives and service providers to becoming founders, investors and entrepreneurs
Entrepreneurship: - Contributes to sustaining economic growth and development - Creates employment and opportunities - Enables knowledge transfer and innovation in agile, adaptable, inclusive, multidisciplinary and, in some cases, disruptive ways
There is a recognition that both design and entrepreneurship seek opportunity creation, are practice-based, action and process-oriented, and that there is potential for cross-fertilization and the creation of new knowledge.
Interpreting the Design Thinking (DT) Approaches
a) Creative problem solving: Solving wicked problems by adopting both analytical and intuitive thinking. People are seen as users, providing creative solutions to problems.
b) Sprint execution: Delivering and testing viable products to learn from customers and improve the solution. The approach is constantly driven by a practical attitude, and it significantly leverages the contributions provided by minimum viable products.
Cultural (Socio-cultural) Entrepreneurship
Within the knowledge-based economy, culture, art, and design creativity can promote innovation throughout the economy and society by providing input useful for products and services in other sectors.
Cultural entrepreneurs have a role not just in relation to profits, but also in the realization of certain cultural and social values. The key is to understand different contexts and languages, not just listen to people and find a solution.
Entrepreneurship in the Creative Industries:
What Does It Mean? The Concept of Shared
Value
Creative and Cultural Industries (CCIs)
CCIs are "industries which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through the generation and exploitation of intellectual property." CCIs are a template for other industries to follow, as they are a "relevant research setting in which individuals generate creative achievements out of knowledge, skills, and collaborative work forms that bear significant potential for innovation and growth." The economic benefit of CCIs does not merely relate to the production and consumption of cultural goods, but to the creative impact and fostered innovation in other sectors. CCIs represent a form of "design-driven innovation" that is pushed by a firm's vision about possible new product meanings and languages that could diffuse in society, rather than being pulled by user requirements (user-centered design).
Shared Value
Enhancing the competitiveness of a company while simultaneously advancing the economic and social conditions in the communities in which it operates. Creating something valuable in the sphere of economy (economic engine).
What CCIs Are Not
The economic benefit of culture does not merely relate to the production and consumption of cultural goods, but to the creative impact and fostered innovation in other sectors. Innovation in CCIs is not pulled by user requirements (user-centered design), but is design-driven innovation: pushed by a firm's vision about possible new product meanings and languages that could diffuse in society.
The Double Diamond Design Process
The Double Diamond is a graph that represents the process for any Design Thinking process of creation. It is based on two main paths: PROBLEM and SOLUTION, both with a divergent and convergent phase.
Problem Path
Divergent (Exploration): Moment of opening-up, exploring the field of research by identifying opportunities, insights, and so on. Convergent (Definition): Moment of closing-down, defining and understanding our main challenges from the one explored in the divergent/exploration phase.
Solution Path
Divergent (Ideation): Finding ideas based on the material found before. Moment in which we do tests, surveys, and so on. Convergent (Implementation): Delivery and refinement of our central idea.
HMW (How May We)
A central passage that we must ask ourselves during the process.
Regional Focus and the Proximity Economy
Creativity as a Resource for a Territorial Profile
CCIs "have their origin in individual creativity, skill and talent", generating growth and development. CCIs are context-dependent and resilient as "a result of their interdependent relationship with non-creative, traditional businesses." CCIs are important target groups for city, regional, and destination development.
Geographical Proximity
Geographical proximity is neutral in essence and is more or less positive or negative depending on human perceptions and actions. Organized proximity has to do with the different ways in which actors are relationally close, based on the logic of belonging (to the same network) and the logic of similarity (sharing common mental representations).
SO.DE (Social Delivery Service)
Contacts its riders, ensuring adequate training, supporting neighborhood, restaurant and small artisans with low environmental impact (using bicycles, cargo bikes). One single idea with a high level of impact and high interactions.
We-Mi
A case of how local factors have an impact on public administration. The Municipality of Milan created a platform to help citizens find the social assistance, educational services, and other offerings they need. The idea has multiple implementations, both physical and digital, to facilitate and promote citizens' access to public and private services.
RAB (Not a Bar)
A commercial space with a social identity: the job placement of people with intellectual disabilities, going against discrimination. The value is in going against discrimination against people with intellectual disabilities.
Neighborhood School
A project started by the Municipality of Milan, where people with specific expertise go into specific neighborhoods to help run projects and services. The point is why this is possible in Milan and not in other places in the world.
Future Thinking
Foresight Process
A process to imagine the future and gain insights, involving intuition, vision, and long-term thinking. It is about change from a situation in the present to a preferred one, and dealing with the paradox between the present and the future.
Forensic Architecture and Superflux
Forensic Architecture is a research agency that investigates cases of human rights violations and tries to understand the consequences and social impact of events. Superflux translates future uncertainty into present-day choices, making predictions about the future and underlying the potential impact on the present.
Experiential Scenarios
The manifestation of one or more fragments of an ostensible future world in any medium or combination of media, enabling a different and deeper engagement in thought and discussion about one or more futures. Materializing ideas, seeking to manifest possible worlds tangibly.
Types of Futures
Probable futures: Likely to happen, a simple linear extension of the present. Plausible futures: Could happen according to our current knowledge. Possible futures: Might happen, including transgressions of currently- accepted physical laws or principles. Preferable futures: What we want to happen, based on value judgments.
Systemic Events and Discontinuity
What happens to the concept of speculative anticipation if a global systemic scale event, a "black swan" (unforeseen event), affects our social, economic, and technological system? We are directly in a point of discontinuity with respect to the previous systemic evolution.
SMOTIES - Human Cities: Creative Works
with Small and Remote Places
A research project funded by the Creative Europe programme, applying a participatory design approach to 10 small and remote European places. The project is part of the Human Cities network, an interdisciplinary exchange platform examining the livability of public spaces using participatory design. The project aims to boost education and have an impact on these territories.
Project Management (WP1)
Definition of the approach for the implementation of activities with local communities in their small and remote places, to develop creative works with/in public spaces. Steps include desk research, mapping, clustering, defining scope, horizon scanning, future forces, trends timeline, and polarity mapping.
The (extra) ordinary anarchy
This trend imagines a world where people not only take a proactive role, but they also take the lead and become part of the government, actively participating in the governance of their communities.
Born to be there
This idea suggests that people who are from a remote place, leave it, and then come back, learn new skills elsewhere, and then invest their knowledge in their home territory.
The new native place
This idea suggests that people who are not from a remote place decide to move there and make it their new native place, which has been boosted by the COVID-19 situation.
The virtuous cycle
This is a semi-open system where innovation from the outside is brought inside thanks to young creatives who return to their home towns with new experiences and abilities to share and put into practice for innovative solutions or the creation of creative hubs.
The social village
Creativity is a constellation of actions emerging from a network of citizens. Platforms (physical and digital) enable this to happen.
The effective Babble
Creative solutions emerge from the integration of native and non-native people. Diversity is seen as an opportunity for learning and evolving, a positive "Babel" in which the creativity of each person is engaged for taking care of common interests.
The 1 euro house
Local projects and policies are put in place to attract talents and people interested in living in a better place. Pilot projects can experiment with new ways of attracting people interested in being engaged in an active community-building life project.
Co-Created Ecologies
The scenarios in this window focus on emerging models of alternative economic ecosystems and business models. Their common aim is to prepare a fertile ground for local economic transitions that build on sustainability and the bio-economy.
Trend: Living Off-Grid
The concept of Living Off-Grid has expanded from the idea of building dwellings that are not dependent on public utilities to the idea of new self- sufficient lifestyles. This trend can be particularly interesting in small and remote places that cannot be reached by utilities, as it can be a driver for reducing environmental impact and the cost of living.
The 4 Scenarios
a) Light communities: Open networks of people who share the same objective and/or live in the same place. They are communities based on sharing services, products, places, and promoting the territory through independent and collaborative actions.
b) Stone soup - the local Hero: The story of the Stone Soup, a European folk tale, is used as a metaphor to describe how a community can count on its own resources to build something valuable for all.
c) The eco-family: Projects developed in the field of off-grid communities, mainly in remote places, by people who share the same values and goals in life. They are an emerging and growing network of alternative settlements that worship traditions and rituals of the past.
d) Community quilts - Patchwork village: A metaphor for a community in which each person is a piece of a whole, where the skills and abilities of each person contribute to the well-being of all.
Beyond Tourism
The scenarios in this window imagine a world in which people will shift their daily rhythm, where time for work and leisure will merge into a continuous timeline, and new technologies will allow us to visit exotic places while staying local.
Trend: From "Sometime somewhere" to "Anytime
anywhere"
We witness examples of places around the world where massive tourism has completely transformed local realities. These places have started to protect themselves by restricting the number of visitors. At the same time, the recent crisis has reduced the income of many and has highly impacted the tourism sector. However, these events have also allowed people to work wherever and to merge their private leisure time with work time, breaking the "industrial" structure of time.
The 4 Scenarios
a) Instagrammable Hidden Treasures: New landmarks can be found anywhere as long as they are instagrammable! Social networks have become a tool to promote locations and attract visitors.
established good practices, they can enlighten these "local heroes" and help them take the right path, supporting them in their decisions. This highlights the potential for cultural and creative knowledge to be passed down and nurtured within such a society.
Challenges in Remote Areas
Data shows that in small and remote areas of Europe, young people often move elsewhere to seek educational opportunities, with very few returning to their hometowns for work. Moreover, these remote areas tend to have fewer educational opportunities for lifelong learning, which limits the local population's ability to update their skills. However, the recent shift towards more flexible, informal, and digital forms of learning has opened new pathways of opportunity.
Scenarios for Cultural and Creative Education
The scenarios presented in the text consider the potential of cultural and creative education to develop local individual and collective talents by promoting cultural diversity of expression. The development of new generations of local creators should also be supported by actions that attract international talents to exchange knowledge. Attention should also be given to providing access to smaller and less popular cultural repertoires through innovative educational services.
Trend: From "Cultural Dominance" to "Cultural
Integration"
There is an international awakening around the concept of "culture" and the dominance of certain cultures over others, particularly marginal or weaker cultures. The emergence of the "decolonization of cultures" movement aims to revitalize indigenous cultures around the world. While the term "decolonization" may not be suitable in the European context, there is a need to allow smaller and less popular European cultural repertoires to emerge and reach a broader public. This can be achieved by attracting international creatives and highly-skilled professionals to small and remote places, opening up new opportunities for cultural and creative production.
Scenarios for Cultural and Creative Education
a) Bridging Creative Minds : This scenario envisions "alternative learning structures" that allow young talents to approach creative mindsets and imagine their future. This could involve programs that build bridges with other creative realities, both physically and virtually, inviting international talents to share their knowledge and creating on-site workshops with other institutions.
b) Storytelling Our Culture : This scenario focuses on a place where the local culture is valued and treasured. Cultural institutions and citizens come together to define their identity and develop a common storytelling that attracts talents from all over the world.
c) The Village Experience : This scenario imagines a small and remote school for international talents, where learning becomes a life experience in a remote place that allows creatives to emerge in the local life and be inspired by it.
d) This is the Place to Be : This scenario envisions a place where globally inspired learning and local encounters can take place, fascinating young people and potentially having a lasting effect on their life plans. It aims to bring people into resonance and relationships with one another, ultimately generating something like coordinated undertakings.
Scenario Development and Trends
Scenario development is a method to support decision-making and a designer tool that has been consolidated for years. It involves creating "possible events" and describing possible actions and events in the future, helping to visualize different alternatives and push the decision-making process towards a shared strategy.
Scenario development can be used to understand social, cultural, and technological contexts, tell interesting trajectories of innovation, and develop a collective vision of the future, sharing it with a large number of people. This is often done through graphic maps, infographics, reference images, videos, and presentations.
Mood Boards
Mood boards are collections of images, colors, and textures that aim to represent emotions, feelings, moods, and suggested by the research. They are visual tools that tend to avoid the use of words and text. Mood boards can emphasize the qualities of certain lifestyles, tell new stories about possible opportunities through inspiration and evocative images, or return a mosaic of images describing possible solutions through forms, technologies, materials, textures, and interactions.
Trend Research and Forecasting
Trend research involves detecting signs of change happening in the present and analyzing the directions these indicate for possible futures. It investigates social change and social innovations, new lifestyles, and emerging shifts in culture that can impact consumer behaviors and aesthetics. Trend research aims to map a path between what people are doing or buying now and what they might want to do or buy in the future.
Micro and Macro Trends
Micro trends are relatively low-penetration trends, niche phenomena affecting a limited number of industries, which tend to periodically revamp within different spans of time, gaining new tones or meanings. Macro trends, on the other hand, are huge and highly cross-sectorial phenomena happening on a macro-scale, affecting multiple dimensions (culture,
archetypal description of how a particular type of person behaves and what their goals are. The two essential components of a persona are the persona's behaviors and goals.
Design teams have to create multiple personas that represent the range of likely behaviors and goals for any product or service. Personas are archetypes built after an exhaustive observation of the potential users, and they are fictional but absolutely based on real data.
Personas vs. Stereotypes
Personas are different from stereotypes, which refer to the simplified and largely shared vision about an object, place, a fact, or a group of people who may have the same features and quality. Personas are more detailed and representative of real users, while stereotypes are oversimplified generalizations.
Benefits of Using Personas
Personas help designers to focus on user goals, allow multidisciplinary teams to incorporate user needs at an early stage, and provide a broad representation of user requirements. They follow the design process even after the Inspiration phase.
Tips for Defining Personas
When defining personas, include personal data (age, education), professional data (work experience, job title, responsibilities), a fictional name, and a quote that sums up what matters to the persona related to the idea. Also, include the persona's physical, social, and technological environment.
Gathering Data for Personas
In these times, personas can be created using existing data from research institutes, desk research on possible profiles, and surveys through your network.
System Map
A system map is a mandatory visual description of the service technical organization, including the different actors involved, their mutual links, and the flows of materials, energy, information, and money through the system.
Customer Journey Map
Understanding the Concept
The customer journey map (CJM) is a tool used to visualize and understand the user's experience with a service or product. It provides a chronological
sequence of actions and corresponding touchpoints that the user encounters throughout their interaction with the service.
The CJM differs from traditional Customer Relationship Management (CRM) approaches in that it places equal emphasis on the emotional aspects of the user's experience, in addition to the quantitative data such as the number of interactions and time required to access the service.
Key Elements of a Customer Journey Map
Touchpoints : These are the points of interaction between the user and the service, which can be digital, physical, personal, or any other form of interaction. User Perspective : The CJM is constructed from the user's perspective, providing a high-level overview of the factors influencing their experience. Visualization : The CJM is a structured visual representation that enables the identification of problem areas and opportunities for innovation, as well as facilitating comparisons between different experiences. Stages : The CJM typically consists of three main stages: entering the service, using the service, and exiting the service. The pre-service stage is about the user's awareness of the service, while the post-service stage is about feedback and follow-up.
The Design Process
The design process for a CJM involves the following phases:
Define : The goal is to develop a clear creative brief that frames the fundamental design challenge. Develop : This phase involves the creation, prototyping, testing, and iteration of solutions or concepts. Deliver : The resulting project is finalized, produced, and launched.
The process begins with inspiration, where the designer is inspired by the context and engages in divergent thinking. This is followed by ideation, where the focus is on converging, simplifying, and then diverging again before finally converging one last time to arrive at the implementation.
Critiques and Considerations
While the CJM provides a valuable tool for understanding the user's experience, there are some critiques and considerations to keep in mind:
Lack of "How Might We" Connections : The CJM may not always include the "How Might We" conceptual map, which can help identify opportunities for innovation. Personas and Stakeholder Involvement : The CJM should consider specific personas and involve relevant stakeholders to ensure a comprehensive understanding of the user's experience.
