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1. Archives and past articles from the Philadelphia Inquirer, Philadelphia Daily News, and Philly.com.
2. In his book Sketching User Experiences, user interface pioneer Bill Buxton describes the Apple iPod as the “overnight success” that took three years to happen.
3. TheINQUIRER publishes daily news, reviews on the latest gadgets and devices, and INQdepth articles for tech buffs and hobbyists.
4. The following is excerpted from the team chapters of the always-excellent Football Outsiders Almanac. Buy it here as a PDF, or here in print.
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Design for Action. Idea in Brief. The Problem. Complex new designs of products (say, an electric vehicle) or systems (like a school system) typically struggle to gain acceptance. Many good groundbreaking ideas fail in the starting gate.

Why It Happens. New products and systems often require people to change established business models and behaviors. As a result they encounter stiff resistance from their intended beneficiaries and from the people who have to deliver or operate them. The Solution. Treat the introduction of the new product or system—the “designed artifact”—as a design challenge itself. When Intercorp Group in Peru took that approach, it won acceptance for a new technology- enabled school concept in which the teacher facilitates learning rather than serves as the sole lesson provider.

Throughout most of history, design was a process applied to physical objects. Raymond Loewy designed trains. Frank Lloyd Wright designed houses.

Charles Eames designed furniture. Coco Chanel designed haute couture. Paul Rand designed logos. David Kelley designed products, including (most famously) the mouse for the Apple computer. But as it became clear that smart, effective design was behind the success of many commercial goods, companies began employing it in more and more contexts. High- tech firms that hired designers to work on hardware (to, say, come up with the shape and layout of a smartphone) began asking them to create the look and feel of user- interface software.

Then designers were asked to help improve user experiences. Soon firms were treating corporate strategy making as an exercise in design. The Freedom To Marry (2017) Full Movie. Today design is even applied to helping multiple stakeholders and organizations work better as a system. This is the classic path of intellectual progress.

Each design process is more complicated and sophisticated than the one before it. Each was enabled by learning from the preceding stage. Designers could easily turn their minds to graphical user interfaces for software because they had experience designing the hardware on which the applications would run. Having crafted better experiences for computer users, designers could readily take on nondigital experiences, like patients’ hospital visits. And once they learned how to redesign the user experience in a single organization, they were more prepared to tackle the holistic experience in a system of organizations.

The San Francisco Unified School District, for example, recently worked with IDEO to help redesign the cafeteria experience across all its schools. As design has moved further from the world of products, its tools have been adapted and extended into a distinct new discipline: design thinking. Arguably, Nobel laureate Herbert Simon got the ball rolling with the 1. The Sciences of the Artificial, which characterized design not so much as a physical process as a way of thinking. And Richard Buchanan made a seminal advance in his 1.

Wicked Problems in Design Thinking,” in which he proposed using design to solve extraordinarily persistent and difficult challenges. But as the complexity of the design process increases, a new hurdle arises: the acceptance of what we might call “the designed artifact”—whether product, user experience, strategy, or complex system—by stakeholders. In the following pages we’ll explain this new challenge and demonstrate how design thinking can help strategic and system innovators make the new worlds they’ve imagined come to pass. In fact, we’d argue that with very complex artifacts, the design of their “intervention”—their introduction and integration into the status quo—is even more critical to success than the design of the artifacts themselves. The New Challenge. The launch of a new product that resembles a company’s other offerings—say, a hybrid version of an existing car model—is typically seen as a positive thing.

It produces new revenue and few perceived downsides for the organization. The new vehicle doesn’t cause any meaningful changes to the organization or the way its people work, so the design isn’t inherently threatening to anyone’s job or to the current power structure. Of course, introducing something new is always worrisome. The hybrid might fail in the marketplace. That would be costly and embarrassing. It might cause other vehicles in the portfolio to be phased out, producing angst for those who support the older models.

Yet the designer usually pays little attention to such concerns. Her job is to create a truly great new car, and the knock- on effects are left to others—people in marketing or HR—to manage. The more complex and less tangible the designed artifact is, though, the less feasible it is for the designer to ignore its potential ripple effects. The business model itself may even need to be changed. That means the introduction of the new artifact requires design attention as well. Consider this example: A couple of years ago, Mass.

Mutual was trying to find innovative ways to persuade people younger than 4. The standard approach would have been to design a special life insurance product and market it in the conventional way. But Mass. Mutual concluded that this was unlikely to work. Instead the company worked with IDEO to design a completely new type of customer experience focused more broadly on educating people about long- term financial planning. Launched in October 2.

Society of Grownups” was conceived as a “master’s program for adulthood.” Rather than delivering it purely as an online course, the company made it a multichannel experience, with state- of- the- art digital budgeting and financial- planning tools, offices with classrooms and a library customers could visit, and a curriculum that included everything from investing in a 4. That approach was hugely disruptive to the organization’s norms and processes, as it required not only a new brand and new digital tools but also new ways of working. In fact, every aspect of the organization had to be redesigned for the new service, which is intended to evolve as participants provide Mass. Mutual with fresh insights into their needs. When it comes to very complex artifacts—say, an entire business ecosystem—the problems of integrating a new design loom larger still. For example, the successful rollout of self- driving vehicles will require automobile manufacturers, technology providers, regulators, city and national governments, service firms, and end users to collaborate in new ways and engage in new behaviors. How will insurers work with manufacturers and users to analyze risk?

How will data collected from self- driving cars be shared to manage traffic flows while protecting privacy? New designs on this scale are intimidating. No wonder many genuinely innovative strategies and systems end up on a shelf somewhere—never acted on in any way. However, if you approach a large- scale change as two simultaneous and parallel challenges—the design of the artifact in question and the design of the intervention that brings it to life—you can increase the chances that it will take hold.

Designing the Intervention. Intervention design grew organically out of the iterative prototyping that was introduced to the design process as a way to better understand and predict customers’ reactions to a new artifact. In the traditional approach, product developers began by studying the user and creating a product brief.

Then they worked hard to create a fabulous design, which the firm launched in the market. In the design- oriented approach popularized by IDEO, the work to understand users was deeper and more ethnographic than quantitative and statistical. Initially, that was the significant distinction between the old and new approaches. But IDEO realized that no matter how deep the up- front understanding was, designers wouldn’t really be able to predict users’ reactions to the final product. So IDEO’s designers began to reengage with the users sooner, going to them with a very low- resolution prototype to get early feedback.