Alimento para el pensamiento - Un enfoque para la innovación basado en los servicios.

8/9/2019 Alimento para el pensamiento - Un enfoque para la innovacin basado en los servicios.

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FOOD FOR THOUGHTA service based approach to embedding innovation

RDubhthaigh

& TokeBarter


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PrefaceContext

ResearchKey insightsA design-led approachService structureThe KitchenThe ActorsThe Snacking serviceThe Fast Food serviceThe Gourmet service

ImplementationResearch partnersAbout the authorsAcknowledgementsGlossary

CONTENTS

0304

060810121618202836

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PREFACE | JEREMY MYERSON

space transferable to other locations has

broadened into an examination of whatorganisations need to be innovative on aday-to-day basis. To extend the metaphor,there is plenty of meat on the bones.

I am grateful to research partnersBOX, an innovation exchange at the Lon-don School of Economics, and architectsDEGW for originating the study and forsupporting its unanticipated trajectoryand provocative outcomes. At a time

when companies worldwide are invest-ing heavily in new project spaces andconsultant-led change programmes inorder to learn to innovate more effectively,I believe that the new service design thatemerges here can act as a catalyst for amuch-needed debate on what is reallyrequired to be successful at the trickybusiness of generating new ideas.

JEREMY MYERSON, DIRECTOR INNOVATIONRCA

PROFESSOR OF DESIGN STUDIESROYAL COLLEGE OF ART

There is now a general consensus in

business that organisations of all typesmust innovate in order to stay in thegame. Few doubt the need to generateand implement new ideas in a fiercelycompetitive knowledge economy.

But that consensus quickly breaksdown when it comes to how to innovate.How you go about building an innova-tion culture in your company is a toughnut to crack. Do you invest in an internal

innovation resource or rely on theexternal impact of away days, workshopsand consultant input? That is the crux ofthe problem.

This publication describes a collab-orative project undertaken by two designresearchers at the Royal College of Artthat explores the issue of embeddinginnovation in organisations. Food ForThought takes a design-based approach;

this is not simply in the context of designas an essential element in the innovationprocess itself, but in recognition of theway in which design can create anddescribe scenarios for change.

Previous projects on the RCAsResearch Associates programme havelooked at triggers for innovation, butalways through the lens of physicalartefacts such as innovation spaces,

furniture or communication devices. Thisstudy by Toke Barter and R Dubhthaighof RCA Interaction Design focuses onservice design, using the metaphor of arestaurant service to describe howan in-company innovation resourcemight operate.

The narrative that unfolds with ahead chef, cooks and waiters coordinat-ing three levels of service, snacking,

fast food and gourmet innovation crystallises the issues in a vivid way.What began as a study of how to makethe experience of one special innovation


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Why we wrote this book

This book is the outcome of a yearscollaborative research into the role ofinnovation in corporate organisations.

Innovation has long been seen asa specialised art a skill that lies witha certain resource within an organisa-tion or with an external consultant. Inthis research, we set out to demystifyinnovation practice and create, through

a service-based approach, a frameworkfor embedding innovation tools andprocesses into everyday working life.

Innovation is already being tackled bylarge organisations, but from a businessmanagement viewpoint. This projectis situated within the emergent fieldof design-led innovation, offering analternative structure for implementinginnovation practice in large organisations.

Towards an innovation economy

Over the last few decades, the world has

moved towards a knowledge economy.Competitor countries, such as Chinaand India, are not only growing theirmanufacturing base, but are also invest-ing heavily in R&D and professionalskills. To compete in this global arena,knowledge work and innovation practiceplay a vital role in UK business.

CONTEXT

The Cox Review of Creativity in Business

was commissioned by the UK Govern-ment in 2005 to look at how best toenhance UK business productivity bydrawing on creative capabilities. TheReview states, sustained success inbusiness regardless of sector increas-ingly depends on the ability to innovate,to exploit new ideas and opportunitiesahead of the competition.

Indeed, there is clear evidence that

those businesses that make designintegral to their business, out-performcompanies that do not. The UK DesignCouncils research, tracking sharesof design-aware companies includingDiageo and GlaxoSmithKline, showedthey out-performed the FTSE 100index by 200% over a ten-year period.Progressive businesses see the value indesign thinking. In fact, design is now

being used for such diverse purposesas evaluating social and political issues,regenerating business in deprived areasand revitalising whole economies.

However, despite the growing roleof design-led innovation in business,according to the Cox Review, it still facesa number of barriers, including:

limited understanding of where and

how greater creativity could be usedto business advantage lack of confidence in the idea that

the investment, in terms of time,money and disruption, will givea return

lack of knowledge of how to go aboutit, or where to turn for help.

Productive work in todays society andeconomy is work that applies vision,

knowledge and concepts work that is

based on the mind rather than the hand.PETER DRUCKER, LANDMARKS OF TOMORROW, 1965


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Current business models

There are many ways of integratinginnovation practice into businesses, butfrom our research we have identifiedthree main approaches.

Deparmentalised Innovation practiceis most often concentrated withinspecific departments of an organisation.While there are valid reasons for keepingit isolated it is protected from conflict

and its potential has the room to benurtured it also has negative effects.The ability to draw on the knowledge ofthe entire organisation is lost, and thisseparation can also lead to the percep-tion that innovation is outside the norm,and not part of daily working life.

Spin-off Some organisations spin-off orincubate separate companies, providing

them with the capital and expertiseto develop an innovation. However,organisations that do this are in dangerof removing key knowledge and skillsthat then have no direct path back intothe organisation.

External Consultants Externalconsultancies are often used to manageinnovation practice within large corpora-

tions. While they provide specialisedknowledge and skills, this expertiseresides outside the company. New skillsare prevented from being developedin-house and a culture of dependency onexternal knowledge develops.

The first wave of design management

teaching in business schools in the 1980s-

90s is now giving way to what might be

seen as a second wave, with a focus on

design leadership and design thinking.LUCY KIMBELL, C&J CLARK FELLOW IN DESIGN LEADERSHIP AT THE SADBUSINESS SCHOOL, UNIVERSITY OF OXFORD

New educational models

In order for design-led innovation toovercome these barriers in business, thefirst point of change lies in education.

Over the last 10 years, a growingnumber of MBA programmes haverecognised this new role of design inbusiness and management. For example,the SAID Business School in Oxford isexploring ways of incorporating design-led innovation into more traditional

business degrees. The Stanford Instituteof Design (D-School) is more explicitlydesign orientated, using prototyping anditerative processes and user research. Itdraws students from various disciplinessuch as engineering, medicine, businessand the humanities to create an innova-tion programme.

These courses aim to producebusiness leaders who understand how

innovation works and can bring designthinking into organisations. As thesedesign-led programmes flourish, so toowill the nature of innovation in business.


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During the initial phases of this project,

research was carried out into innova-tion processes, environments andframeworks, and methods for embed-ding these innovation models into theeveryday life of organisations.

User research

Innovation workshops, undertaken incollaboration with innovation consultantsLudic, BOX, Group Partners, architects

DEGW, and computer managementconsultants EDS were crucial in inform-ing and refining the approach to theproject. They provided insight into howevents are run, how environments areused, the role of facilitators, methodsdeployed and how participants interactwith each other.

A three-week workshop with designstudents at the Designskolen Kolding

in Denmark also proved valuable intesting ideas and ways of working witha creative audience. It helped to definethe relationship between process andoutput, the need for a facilitator and therole of conceptual frameworks.

In addition, our commercial experi-ence running our own comany Radarsta-tion has given us a first-hand view of thechallenges faced by large organisations

in driving innovation, which in turn hasinformed this research.

Reading and interviews

The literature review for this researchfocused on innovation processes andspaces. We explored several designmethods that are currently used in in-novation processes, especially those thatdraw from the field of interaction design

including Informance, Bodystorming,Experience Prototyping, Lego SeriousPlay, Futures Visualisation and DesignImprov.

RESEARCH

We also looked at how the business

press discusses innovation practice andspecifically how it situates design withinthe overall innovation process.

Several experts from the innovationconsultancies and academia contributedto this research. The Social Psychologydepartment at the London School ofEconomics provided particularly usefulinsights into conceptual frameworks forinnovation.

Defining innovation

Within design and business, there ismuch debate about the relationshipbetween innovation and design andwhat role, if any, a designer should havein shaping organisational processes andstructures.

In fact, among many the wordinnovation itself is seen as a hackneyed

term. However, we believe that innova-tion is still an appropriate term whendefined as:

a process that brings ideas

together in new ways in order

to form new solutions.


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Our research has shown that innovationpractice consists of a complex web of

drivers and barriers. Any rigid approachto innovation will break down whenimposed on the everyday reality of apeople-driven organisation, where jobinsecurity, project envy and corporateinertia are often present.

We have gained a number of keyinsights from our research, which havedriven our subsequent designs.

Innovation is encouragedbut not supported

There is a great deal of talk in businesscircles about the need to innovate. Manylarge organisations pay lip service to theneed for innovation but fail to provide thenecessary support or training to enableemployees to generate, test, iterate andcommunicate ideas on an ongoing basis.

A lack of dedicated time for innova-

tion was often cited as a key barrierduring our research. Corporate cyclescan also act as a barrier by measuringpeoples performance against short-termmetrics that mitigate against risk-takingand innovation.

Crash dieting

Most innovation models invite short,external injections of fresh ideas. These

occur through away days, workshops andconferences, which are often dependenton outside consultants. However, much ofthe knowledge gained at these facili-tated events is lost when everyday workroutines begin again. It can be difficultfor those who attend external events toinspire their entire organisation to em-brace the outcomes of these workshops.

A scattergun approachInnovation processes and tools often lack

a guiding framework within organisa-tions. The drive to innovate has led to amultiplicity of tools and methodologiesbeing used. At present, these are usedpiecemeal and with varying degrees ofeffectiveness.

Too often, these abstract tools aredivorced from their context of use. It isthe interaction between people that isthe key to innovation regardless of the

tools or methodologies used.To create truly innovative organisa-tions the approach to creative thoughtand innovation needs to be cohesive,with an underlying framework thatguides and supports the whole inno-vation process.

KEY INSIGHTS


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Outside-in innovation

A major issue with using external inno-

vation consultants is the perceived lossof project ownership by internal teams.While consultants do provide valuableexpertise, this lack of buy-in by staff canstifle innovation.

Dependency on outside contractorsalso means that valuable skills are notlearned in house, and the tacit knowledgeof employees is not used to full effect.

Innovation an act of divineinspiration?

Innovation is sometimes presented as amoment of magical or divine inspiration.In our view, this has led to a misunder-standing about the process of innovation,and the belief that it is only available tothe gifted few. Such a perception candamage the long-term reach of innova-tion within a company marginalising it

and removing it from everyday practice.At the heart of all innovation processesare some simple transferable skills thatcan be learned. A design-led approachcombines innovation and creativity withstructure and discipline, so that innovationis allowed to become part of everybodysworking life within business.

New spaces and new processes

The shift towards knowledge work overthe past 30 years has led to the creationof new kinds of working environ-ments, which emphasise co-operation,teamwork and creativity. Our researchpartner, DEGW, is a world leader in theconstruction of such innovative officeenvironments.

However, while we recognise theimportance of the office environment in

supporting innovation, we feel that forthese spaces to be used more effectively

and efficiently, they require a support-ing framework. Often, these spaces are

under-utilised due to organisationalmindsets. With the correct processessupporting them, they can act as genuinecatalysts for innovation.

Creativity cannot be viewed as a

skill possessed by the gifted few. It

needs to pervade the thinking of

the whole business.THE COX REVIEW, 2005


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Authors as designers

We have carried out this project as re-

search associates at the Royal College ofArt. However, we have also been able toon draw on our professional experienceas designers in an everyday practice,working with a broad range of commer-cial, public and academic clients.

Our main interests lie in exploringhow design can be used beyond itstraditional boundaries. We believedesign-led tools and processes can help

solve complex issues, whether redesign-ing public services, for example theRed teams work at the Design Council,re-energising economically depressedareas like DOTT07 in the North East ofEngland or shaping business strategy,like service designers Live|work.

Design-led innovation

From our research, numerous interviews

and own daily practice, we believethat there are three main areas wheredesign can play an important role in theeveryday innovation process:

generating ideas testing and iterating ideas communicating ideas

Like our definition of innovation, a

design-led approach shapes both theprocess of innovation as well as the finaloutputs. And like design, the innovationprocess is not always linear, so theseprocesses can happen at various stagesof a production cycle.

Above all, design is a social processand can act as the glue that bindsdifferent people, with different skills andoutlooks, together.

A DESIGN-LED APPROACH

design processes

ideas


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Generating ideas

Despite the common misconception

that designs are arrived at in a flash ofartistic genius, creative ideas can in factbe generated using simple tools andprocesses. A number of these can beapplied to any field, or re-designed totackle specific problems an organisationmay encounter.

Design tools and processes can help to: generate new ideas

(e.g. brainstorming sessions) facilitate conversations betweenpeople (e.g. guide and drivean event)

create a common language andunderstanding (e.g. visualisation ofabstract thinking)

shift mindsets (e.g. help people seean issue differently)

create platforms for sharing and

cross-pollinating ideas (e.g. socialsoftware tools that work acrossdepartments)

inspire and inform debate (e.g. aninternal exhibition)

All of these provide a breeding groundfor new ideas.

Testing and iterating ideasDesign is invaluable in making ideas vis-

ible. New design ideas are often sketchedup quickly to allow for comment in theearly stages. This enables people tounderstand the potential of an idea ina tangible format, and also highlightpotential flaws, allowing for evaluationand creating debate.

Building simple prototypes allows forearly testing of concepts. Prototypes arenot limited to only exploring the physical

properties of a product, but also theinteractions and experiences.Complex systems or abstract ideas

are better tested through scenarios, sto-ries or artifacts (evidence) that capturean audiences imagination and highlightthe impact that their implementationcould have.

Communicating ideas

Design is a powerful tool for effectivelycommunicating an idea clearly, simplyand dynamically. It makes new conceptsreal, giving them life and helping toachieve the support of stakeholders bothwithin the organisation and externally.This buy-in is crucial for innovationpractice to thrive and succeed.

Effective communication is alsoimportant when implementing an

innovation giving people a constant torefer to, ensuring that the idea comes tofruition as originally intended.

Good design allows everyone to com-municate together clearly and coherent-ly. It creates a common language amongthose involved in a project, ensuringsuccess from outset to completion.


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PROPOSITION

Why in-house?

Making the service in-house means

that it is always available and becomesan integral part of the business. As theservice grows organically, innovationtools and processes are spread throughosmosis from the support service intothe organisation, and a common lan-guage is constructed for communicationacross disciplines and departments. Theservice also acts as an innovation hubby redistributing knowledge, ideas and

human resources.

Where does it sit?

The innovation support service is cross-organisational, so works at every leveland within every department. It linksstrategy to operations and allows for thecross-pollination of ideas and insights. Italso helps to integrate external knowledgeresources, when and where required.

No organisation ever created an innovation.

People innovate, not companies.SETH GODIN, FREE PRIZE INSIDE, 2004

We believe that the best way to embedinnovation practice within an organisa-

tion is via an in-house innovationsupport service.This approach offers an alternative

to current business and design-basedmodels of innovation, being design-led,people-focused and enabling, ratherthan controlling, of innovation practicewithin organisations. It provides asustainable framework for embeddingdesign-led innovation practice, allowing

it to grow organically.Above all, it supports people intheir everyday working lives, facilitatinginteractions between them, empoweringthem with new processes, helping themto share knowledge, and implementingnew skills.

How does it work?

The innovation support service works

in a similar way to technical supportservices within large organisations.It is non-disruptive,offering supportwhen and whereneeded. Owner-ship rests with thewhole organisationrather than witha specific depart-

ment, and the skills and knowledge ofthe innovation support service can beutilised by everyone.


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The restaurant as metaphor

The framework of the innovation service

is analogous to food, or, more specifical-ly, the service structure of a restaurant.As you would find in a restaurant,

the design-led innovation service ismulti-disciplinary, skilled and iterative.It encourages similar rituals and socialinteractions to those that exist betweenthe diner and the kitchen staff, and itsoutput can range from a quick snack toa ten-course banquet.

Innovation, like cooking, is a trans-ferable skill that can be improved withpractice. For example, all the facilitiesneeded to create a new and inspiringmeal may be present in a kitchen, butskills and guidance must also be presentto create that new dish.

The in-house innovation supportservice makes skills available to all sothat they can be used to benefit an

entire organisation.

SERVICE STRUCTURE


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Three service offerings

The innovation support team provides

three distinct levels of service, rangingfrom micro-interventions with littledirect contact to quick, simple outputsand more thorough long-term, process-driven solutions. We refer to these threelevels of service as Snacking, Fast Foodand Gourmet.

Snacking

Innovation Snacking consists of small

interventions into an employees every-day experience. Snacking highlights anddistributes knowledge and tools througheasily-accessible channels in the workenvironment, enabling everyday innova-tion practice.

Fast Food

Fast Food Innovation practice is a prod-uct-driven innovation support, which

gives project teams quick, results-drivensolutions. Each Fast Food product isbased on a simple template, but thentailored to meet the specific require-ments of the project.

Gourmet

Gourmet Innovation is bespoke pro-

cess-driven support. As it focuses oninnovation practice, the final outcomeis not pre-set. A member of the innova-tion support service is embedded intoproject teams, for deep engagementover a sustained period of time. Theyshare knowledge and guide the develop-ment of a project, co-creating innovationpractice with the project team.

A more detailed exploration of the Snack-ing, Fast Food and Gourmet services canbe found on the following pages.

SERVICE ACCESS POINT SERVICE EXPERIENCE DELIVERABLE

work environment microinterventions

enablingSNACKING

support orderedwhenever needed

rapid productsolutions

empoweringFAST FOOD

embedded directlywithin team process drivensolutionsembeddedGOURMET


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The Kitchen is at the heart of the innova-tion support service, is highly visible and

operates across the whole organisationat multiple levels. It has its own budgetand funding. It is not in competition withother departments but its multi-disciplin-ary team plays a supporting role to all.

The Kitchen uses design-basedthinking and skillsets to push innovationthroughout the organisation by serving as:

a production studio where the inno-

vation support team designs andbuilds solutions a reference space or knowledge

resource for both the innovationsupport team and the rest of theorganisation

an experimental space wherenew processes are created,new trends spotted and newmethodologies piloted

an exhibition space to showcase theinnovation of the entire organisation.

THE KITCHEN

Values at the heart of the Kitchen

The Kitchen is:

Open physically, in processes and inoutputs. There are no smoke and mirrors every part of the process of innovationis made visible to the rest of the organi-sation, anyone can come into the spaceto draw on resources, and its output iswidely visible.

Supportive the Kitchen helps toembed the processes and tools it usesthroughout the organisation.

Responsive it responds to the needsand demands of the rest of the organi-sation, helping them to achieve theirobjectives.

Proactive it communicates new know-

ledge, tools and processes. It activelylooks for knowledge both inside andoutside the organisation acting as aconduit for specialised advice and skills.

WAITER

KITCHEN

ORGANISATION

COOKBOOK

THE CHEF

THE COOKS


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Broadly, there are three main actors inthe innovation support service: the chef

who sets out the vision, the cooks whodo the production work and the waiterswho liaise between the Kitchen and therest of the organisation.

The chef

The chef is a design champion who

provides leadership at a strategic level.This person sits on the board, andtherefore has access to the highest levelsof a company. The chef sets out the roleof the innovation support team and thekind of work it will do.

The chef also runs the Kitchen,carries out research, writes new recipesand recommends dishes to the projectteams. Ultimately, the chef acts as a link

between the ground floor and the verytop of an organisation.

The cooks

The cooks form a creative productionteam that comprises various skills all ofwhich can be tailored to the needs of theorganisation. Cooks might be graphicdesigners, film makers, photographers,writers, programmers, web developers,

model builders, ethnographers, userresearchers and so on.They work together to evolve

solutions depending on the needs of aparticular project or piece of work andcombine their skills to create a final dish.

The waiters

The key skill of the waiters is commu-nication. They are the eyes and ears of

the Kitchen and are people orientated.As well as liaising between the cooksand the Kitchen, they move across allsilos, serving several groups or resourcesconcurrently.

Waiters explain the role and uses ofthe Kitchen and the whole innovationsupport team, communicate the needsof the project teams to the cooks and thechef and offer advice and take requests.

Their service is discreet and non-intru-sive waiters are there just when youneed them.

THE ACTORS


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Cookbook

The metaphorical Cookbook is the knowl-

edge repository of the Kitchen and aresource for the innovation support team.It is also a practical reference tool thatcan be used by the organisation at large.

It is a living resource that is con-stantly being expanded, iterated andimproved upon. The Cookbook outlinesthe tools, processes and methodologiesof the innovation support team, andhas templates for common outputs

and solutions that can be tailored tospecific problems.It contains knowledge about staff

tracking skills and interests that canbe called on when relevant, helping anorganisation utilise all the skills it has in-house and allowing employees to workon projects that appeal to their interests.

The Cookbook is also a home for finished

outputs outside of their project teams,where they can be visible to the widerorganisation and act as inspiration toothers. In this way it serves as a libraryfor completed work outputs from allthree services offerings can be retrievedfrom here and, where appropriate, sentout again.

The chef is the primary author andeditor of the Cookbook, but all Kitchen

members, the wider organisation and, attimes outside experts, can contribute to it.


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Keywords

bite-sized

intimatedistributedinspirationalinterventiondesk-basedcross-pollinationpervasive

What is Innovation Snacking?

Innovation Snacking consists of small

interventions made into an employeeseveryday experience. It introduces thein-house innovation support service tothe rest of the organisation in a non-disruptive, non-threatening way.

There is little direct contact with theKitchen. Instead, Snacking highlightsand distributes knowledge and toolsthrough easily-accessible channels, suchas a desktop computer, items left on

desks or an internal exhibition, directto employees.

There are two main types of Snacks:

Knowledge Snacks

Each Knowledge Snack is a discrete,focused package of knowledge fromthe Kitchen, based around a particulartopic that informs or inspires the worker.

Here, Innovation Snacking is a one-way distribution channel that sharesknowledge across the organisation andcross-pollinates ideas.

Potential formats for KnowledgeSnacks could include viral ethnographyand in-house exhibitions.

SNACKING

Tool Snacks

These are small, personalised tools that

create new mental spaces, facilitatedifferent ways of working or help tocreate new sets of relationships betweenco-workers, fostering new links betweenpeople. Potential formats for Tool Snackscould include social software tools forsharing ideas and forming new alliancesacross departments.

Who would use Innovation

Snacking?Innovation Snacking is used by everyonein the company, from the CEO to themailroom staff.

When and why would it be used?

As the name suggests, InnovationSnacking occurs in short, intimate andengaging experiences. It is pushed toemployees in a non-disruptive way in

their immediate working environment(e.g. their desk). It is then up to eachperson to engage with it.

Knowledge Snacks enable workersto stay informed of current thinking,both internally and with expert externalknowledge. The specific Snack mightbe of particular interest to them orthey may just want a distraction for 10minutes in the course of the working day.

Tool Snacks can be used to createa different mental space, unblocking ordisrupting the workers mindset. Theybecome part of the workers environment(virtually or physically) for longer-termuse. Tool Snacks can be used proactively to inspire new ideas, form new relation-ships with co-workers, or in an ambientfashion, supporting work in general.


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The waiters work proactively acrossthe organisation, gathering ingredientsfor the Kitchen. They ask questionsabout work, observe and carry outuser research.

Collected ingredients are supplied tothe chef who decides which informationto feed back to the organisation.

1 2

SNACKING | FLOWS

WAITER

ORGANISATION

1


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COOKBOOK

THE CHEF

2

3 4

KITCHEN

The cooks package this information forconsumption, drawing on the tools andmethodologies in the Cookbook. Snacksare then sent out to the organisation toengage and inspire.

The Snacks are stored in the knowledgeresource of the Kitchen, the Cookbook,for future use.

3 4

THE COOKS

EXTERNAL INGREDIENTS


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Format

Desk-based innovation accessed throughthe immediate work environment.

Chance encounters

The Kitchen has matched the profile oftwo people from different departmentswithin the organisation that they deemcould benefit from meeting each other.

The Kitchen does not want to forcethis link but rather enable a chanceencounter for the two individuals to

meet under informal circumstances andthrough coincidence.

The meeting is orchestrated throughan invite left on the desk of bothindividuals awarding them a small breakin the same location and time. Choosingto follow up on this subtle interventionis up to each person, though it does pro-vide the opportunity to form a valuable

new social alliance in another depart-ment that could bring new insightsto the table.


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SNACKING | CUSTOMER JOURNEY


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Keywords

direct

fastresponsiveproductmenusupportresultsempowering

What is Fast Food Innovation?Fast Food Innovation is product-driven

support, which gives project teamsquick, results-driven solutions. Each FastFood product is based on a templatefrom the Kitchens Cookbook, but thentailored to meet the specific require-ments of the project.

Contact with the innovation supportservice is initiated by project teams.They know what they want to achieveand what the outcome will be.

The menu

Project teams select their requirementsfrom a set menu of design solutions.This menu is web- or intranet-based. Itbreaks down Fast Food products accord-ing to the specific innovation cycle ofthe organisation, so teams can see whatworks best at the stage they are at. Themenu explains the range of products on

offer, how they are best used andshows examples.After choosing a Fast Food Innova-

tion product, a waiter takes any specificchanges that need to be incorporatedand communicates these to the Kitchen.

FAST FOOD

In a relatively short space of time thecooks produce the Fast Food, feeding it

back into the project teams own innova-tion process.

Who would use it?

Project teams that require a known de-sign-led output for either testing an ideaor communicating project outcomes.

When and why would they use it?

Fast Food Innovation is best used at

key stages of the innovation cycle. Forexample, at a design stage to producequick, simple, engaging prototypes thatallow for the testing and iteration of anew concept. This early testing refinesideas and avoids costly failures at alater date.

Fast Food Innovation can also beused to communicate finalised ideas andconcepts in an engaging way, generating

buy-in within the organisation and pro-viding a solid focus for implementation.Project teams throughout the

organisation may lack the specialiseddesign skills needed to effectively buildor communicate their idea. While stillretaining ownership of the project theycan draw on the resources of the Kitchento directly support their project goals.


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A project team needs a particular prod-uct from the Kitchen. The team refersto the web- or intranet-based menu andordering system which gives a set list ofoptions explaining what they are and

where in the project cycle they shouldbe used.

The order is received in the Kitchen anda waiter meets with the project teamto take the specifics of the order. Thewaiter liaises between the team and theKitchen for the duration of the project.

1 2

FASTFOOD | FLOWS

ORGANISATION

WAITER

PROJECT TEAM

1

4


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THE KITCHEN

COOKBOOK

3

2

The cooks draw on standardisedtemplates from the Cookbook to buildthe output needed, adapting it for theparticular needs of the project team.The output is fed back into the Kitchen

knowledge resource, the Cookbook, forfuture reference.

Fast Food products are turned outquickly by the Kitchen and soon theproject team will have what it ordered.They can use it to test their innovationor to communicate it to the rest of

the organisation.

3 4

THE COOKS


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FASTFOOD | DESIGN EXAMPLE

Evidence from the Future

DefinitionDocumentary, spatial or physicalexamples of future services or systems.

Format

A tangible flight ticket that embodiesideas for a carbon-neutral flight service.

Touchpoint

Accessed and ordered off the pre-set

Fast Food menu on the intranet andspecifics of the order are taken bythe waiter.

TimescaleQuick turn-around as the design is basedon a template in the Cookbook.


A project team is working on a new ser-vice for the airline industry that is windpowered using windmills to offset thecarbon produced by aircrafts. In order togain buy-in from the board to take the

project on, they require some evidencefrom the future to help make their ideatangible and real.

On the following pages we have outlined inspirational examples of FastFood produced by the Kitchen.


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Experience Prototype

Definition

Dynamic sketch of a future product,service or system, for testing andevaluation.

Format

An interactive prototype on a mobilephone for navigating everyday health,such as areas to avoid with pollution ora high pollen count.

TouchpointOrdered off the intranet Fast Food menu,and specifics of the order are taken bythe waiter.

Timescale

Quick turn-around as the design is basedon a template in the Cookbook.


The Technology R&D department isdeveloping a location-based service formobile phones that takes real-time dataand matches it with a location to helpsomeone navigate their way throughunhealthy areas. Implementing such a

system is costly, so they want to test howpeople might interact with it at an earlystage and build these findings into theirfinal design.


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FASTFOOD | CUSTOMER JOURNEY


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Keywords

bespoke

integratedlong-termembeddedprocess-basedco-creation

What is Gourmet Innovation?

Gourmet Innovation is bespoke, process-driven support. As it focuses on innova-tion practice, the final outcome is not

pre-set. Unlike Fast Food Innovation,the project team gets a person, ratherthan a product.

Cooks are embedded into projectteams for deep engagement over asustained period of time. They shareknowledge and guide the developmentof the project, co-creating innovationpractice with the project team. Anexample of such a process, based on our

own practice, might include the follow-ing four stages:

Finding Researching potential usersand markets and exploring newopportunities.

Mapping Focusing the research andpulling out relevant insights to informfuture designs.

Designing Creating potential innova-tions, and testing and iterating ideas toarrive at a final solution.

GOURMET

Building Correctly managing imple-mentation and seeing the innovation

through to market.

The cook, whose expertise complementsthe specific task the team is dealingwith, works closely with them while stilldrawing on the production capabilitiesof the Kitchen and knowledge from theCookbook.

Who would use it?

Project teams, at both a strategic andoperational level, who want to be guidedand supported with a design-led innova-tion practice.


Gourmet Innovation is used over thecourse of a whole project / innovationcycle. The earlier the innovation supportteam is involved with the project, the

more value will be gained from GourmetInnovation.Project teams draw on this service

offering when faced with a new chal-lenge where previous ways of workingdo not apply. The cook works with theteam to create a new process, guidingthem along the path of innovation.

As the Gourmet Innovation serviceworks with teams, in-depth knowledge

is embedded into the entire organisa-tion through osmosis empoweringthe project team with new skills andnew ways of working. In time, they willdevelop the skills to manage their owninnovation practice.


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A project team requests help fromthe Kitchen.

The chef sends a cook with relevantexpertise to work with the group. Thisperson is embedded within the projectteam and works alongside them over aperiod of time.

1 2

GOURMET | FLOWS

ORGANISATION

PROJECT TEAM

1

4

THE COOK


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THE KITCHEN

COOKBOOK

3

2THE CHEF

Whenever needed, the embedded cookcan draw on resources from the Kitchen,knowledge and processes from theCookbook and the production capabili-ties of the cooks.

The final output is generated by both theproject team and the Kitchen. It may besomething bespoke to the specific projector may draw on resources already in theKitchens Cookbook (such as Snacking or

Fast Food formats).

3 4

THE COOKS


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GOURMET | EVIDENCE

Facilitated brainstorm

DefinitionExercise in which all members of a groupspontaneously and rapidly generate andcontribute ideas, guided by a member ofthe innovation support service.

Format

A facilitated event for generating ideasfor new product offerings.

TouchpointA cook (expert in idea developmentprocesses) joins the team.

Timescale:Long term for the duration ofthe project.


The marketing department wants todevelop a series of new products thatmeet specific needs of an exciting targetaudience. They invite a cook, recom-mended by the head chef, to join the

team for the duration of the project toguide and support them through theprocess of generating new ideas.

On the following pages we have outlined inspirational examples of theGourmet services offered by the Kitchen.


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Strategic Journey Planner

Definition

A tool that uses physical objects toexplore a strategic developmentover time.

Format

Custom-made physical tools and pro-cesses for exploring new strategies.

Touchpoint

A cook (expert in strategic processes andtools) joins the team.

Timescale

Long term for the duration ofthe project.


The strategy department has beenasked to develop an approach for howthe company can best gain access to

emerging markets in China. The issue isparticularly complex, with many stake-holders and timescales that must all betaken into consideration. They invite achef, who they also worked with on arecent project, to help them produce aseries of custom-made physical tools andprocesses to map out and explore themany alternative futures the companycan embrace.


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GOURMET | CUSTOMER JOURNEY


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Putting it into practice

This research lays the foundation for along-term and sustainable approach toembedding innovation within or-ganisations. In this publication we haveoutlined an alternative to current models a design-led, service-based frameworkthat works in-house to support innovation.

The set-up phase

We envisage two distinct phases in the

lifecycle of an in-house innovation sup-port service. In the set-up phase, a coreteam conducts an innovation audit, ac-cessing the strengths and weaknesses ofthe organisation and how design can beused to support innovation. The servicesimplementation must be driven by, andadapted to suit, the nature and structureof an organisation, the expertise of itspeople and its current and future goals.

The run phase

In the run phase, the service growsorganically and sustainably, supportingpeople across the whole organisationand adapting to their needs.

Value sets the changing nature

of design in the business world

As the knowledge economy changes theinner workings of corporate businesses,

the role of designers will also need tochange. Currently, designers tend to shyaway from business thinking, but for thetwo to work together effectively, design-ers must learn the needs and languageof business.

Both design and business must alsobe able to challenge preconceptionsabout their different fields, and workin collaboration. The more design skills

become integrated into the corporatearena, the more they will be seen as rel-evant to all areas of business life, ratherthan simply for the aesthetic good.

IMPLEMENTATION


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Some key considerations

Based on our research, we see the fol-lowing as key considerations for success-ful business and creative collaboration.

Innovation can be learned throughsimple processes and tools

Effective design-led communicationis crucial for crossing mental anddepartmental silos and gettingbuy-in

Design can enhance an idea, makeit easier to understand and easier toimplement

Early testing and iterating of an ideais essential. This provides theopportunity to get feedback on aconcept, improve it and developit, without having to spend largecapital on changing it at a later stage.

Changing organisational cultures

Innovation doesnt happen overnight it demands a cultural shift in the wayan organisation thinks and works. Toachieve this, innovation services shouldbe incorporated discreetly and in anon-disruptive way. Instead of going ona crash diet of innovation, it calls for aslow, bottom-up approach, where designprocesses become integral to the fabricof an organisation, and change corpo-

rate culture in the long term.

time

embedded innovation

current innovation models

innovationprocesses


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This research project is a collaborationbetween InnovationRCA at the RoyalCollege of Art and two industry part-

ners: leaders in innovation, BOX, andworld-renowned workspace architectsDEGW.

InnovationRCA

InnovationRCA is a network set up bythe Royal College of Art to link RCAgraduates with business to createinnovation opportunities. It focuses ondeveloping new knowledge through

applied research; new products throughdesign and rapid prototyping; and newpractices through innovation train-ing and development. The ResearchAssociates Programme, on which FoodFor Thought has been developed, isInnovationRCAs flagship programme inapplied research.www.innovation.rca.ac.uk

BOXBOX, located at the LSE, draws onacademia and merges it with businessesto cross-pollinate ideas. It is not anacademic institution but is located inone to draw knowledge from the bestof both worlds. BOX raises the game forhow people act, think and innovate ingroups, right at the working interface ofuniversity research and business.

RESEARCH PARTNERS

BOX uses specially designed spacesand decision support systems, and offersleading-edge facilitation, coaching,

and team-building services. Working and playing together with foremostresearchers and sector specialists, BOXusers quickly and collectively draw newinsights, models and strategies straightfrom the maelstrom of competitive andorganisational complexity.www.boxexchange.net

DEGW

DEGW is a leading strategy and designconsultancy, operating from 12 officesworldwide. Its projects accommodate theimplications of the changing nature ofwork at all scales. DEGW uses its knowl-edge to help its clients use space moreproductively, enhance organisationalperformance and develop solutions,which are adaptable over time. Whetherworking with government, corporate

clients, city planners or developers,DEGWs focus is on positive change inthe working environment.www.degw.com
http://www.innovation.rca.ac.uk/http://www.boxexchange.net/http://www.degw.com/http://www.degw.com/http://www.boxexchange.net/http://www.innovation.rca.ac.uk/


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R Dubhthaigh & Toke Barter areResearch Associates at InnovationRCAat the Royal College of Art, London.

Rs background is in graphic designand Tokes in interactive media. Both aregraduates of the Interaction Design MAat the RCA.

In 2004, they formed Radarstation,a London-based consultancy specialisingin design-led futures using creativeprocesses to find, map, design andbuild the future. In October 2005,they returned to the RCA as Research

Associates, exploring innovation toolsand processes in association with Boxand DEGW. In their professional practicethey work with a range of commercial,public and academic clients that includeLego, Hitachi, Live|work, Rich Mix, BP,The Department of Trade & Industry,BBC, Future Foundation and Vodafone.www.radarstation.co.uk

ABOUT THE AUTHORS

radarstation design-led futures
http://www.radarstation.co.uk/http://www.radarstation.co.uk/


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We would like to thank the following fortheir support and encouragement during

the project: Jeremy Myerson and RamaGheerawo at InnovationRCA, AndrewHarrison at DEGW, Lewis Pinault at Box,Tony Dunne and James Auger fromInteraction Design at the RCA.

We would also like to thank thefollowing people for their insights,opinions and informative discussions:Paul Ashcroft and Garrick Jones fromLudic, Lucy Kimbell from SAID Business

School, Naomi Gornick, Jennie Winhallfrom RED, Fran Samalionis and MikkelKoser at IDEO, Chris Thompson andKatrina Koffler from Viadynamics, PriyaPrakash at the BBC, Jack Mama at Phil-ips, Tracy Currer, John Thackara, LisaGodson and particularly Gill Wildmanand Nick Durrant at Plot.

This project was completed with thehelp of Frances Lewis, Mikkel Lundsager

Hansen, Line Lunnemann Andersen,Andreas Mlgaard, Margaret Durkanand especially Clare Meredithand Anja Stub.

ACKNOWLEDGEMENTS

Text: Toke Barter and R Dubhthaigh with Frances LewisDesign: Mikkel Lundsager Hansen & Line Lunnemann Andersen, www.kongtukan.com

2006 InnovationRCA, Royal College of ArtBritish Library Cataloguing-in-Publication Data: a catalogue record for this book isavailable from the British Library. All rights reserved. No part of this publication may bereproduced, stored in a retrieval system or transmitted in any form or by any means, elec-tronic, mechanical, photocopying, recording or otherwise, without the prior consent of thepublisher. All ideas or concepts described or depicted in this document are the intellectual

property of the research partners/designers/college. Further copies can be obtained fromthe InnovationRCA.

ISBN 1-905000-31-6


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Bottom-up approach implementationdone in small parts, building from the

most basic to the complex

Cookbook the knowledge resourceof the innovation support service andorganisation as a whole

Crash Diet Innovation an externallyled and short-term approach to innovation

Design-led futures using design tools

and process to explore and shape thefuture

Evidence from the future documen-tary, spatial or physical examples offuture services

Experience prototype dynamic sketchof a future product, service or system,for testing and evaluation

Facilitated brainstorm exercise inwhich all members of a group spontane-ously and rapidly generate and contrib-ute ideas, guided by a member of theinnovation support service

Fast Food Innovation product-driveninnovation support that provides quick,results-driven solutions from a set menu

Gourmet Innovation bespoke, em-bedded, process-driven support over asustained period of time

Innovation a process that brings ideastogether in new ways in order to formnew solutions

Kitchen the physical and spiritual

home of the innovation support service,acting as both production studio and in-novation hub for the whole organisation

GLOSSARY OF DESIGN-LED INNOVATION

Knowledge economy internationalindustry that is based on mental rather

than physical labour

Touchpoints points of interactionbetween a user and a service

Scenario ideas for new products,services or systems communicatedthrough stories

Snacking small interventions made into

an employees everyday experience toinspire and help them innovate.

Social software an application thatallows people to interact and sharecontent digitally through a computernetwork

Stories from the future potentialfutures made tangible and emotive

through storytelling

Strategic Journey Planner a toolthat uses physical objects to explore astrategic development over time

Viral ethnography key ethnographicinsights distributed in easily-accessibleformats


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Food For Thought is an exploration intoinnovation practice in corporate organi-

sations, from a design-led perspective.It looks at how innovation is currentlyviewed in both design teaching and inbusiness, and the benefits of makinginnovation practice an everyday partof an organisations process. To do this,Food For Thought makes the novel andinsightful comparison between an in-house innovation support service andthe restaurant experience, and how their

processes and outputs mirror each other.

Central to this is the accessibility ofinnovation practice to the entire organi-sation, from the ground floor to the verytop. Through inspirational examples, thisbook shows how innovation tools andtechniques can release potential, bringfinancial returns and enable true innova

Alimento para el pensamiento - Un enfoque para la innovación basado en los servicios.

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