IEEE Catalog Number: ISBN:

CFP13YAJ-POD 978-1-4799-1541-5

2013 IEEE Tsinghua International Design Management Symposium (TIDMS 2013)

Shenzhen, China 1-2 December 2013

Design thinking as a disruptive discourse.

Embracing conflict as a creative factor. Francesco Galli, Irina Suteu

Department of Design - Politecnico di Milano - Milano - Italy francesco.galli@polimi.it, irinamaria.suteu@polimi.it

Abstract— The design discipline is nowadays extending its boundaries, becoming more than a profession, a way of thinking and a problem solving approach. This process implies bringing together multiple models of reasoning, modalities of practice and divergent perspectives. A large amount of literature has been dedicated to the adoption of design thinking in other disciplines [1] [2] [3], and to its successfully application in business practices [4]. However, less attention has been put on the contrasts and frictions provoked by the designerly system of thinking. Before understanding and accepting an approach specific to the design profession, as a valid and reliable working principle, the confrontation between the different actors in a multidisciplinary team has to pass through a conflictual phase [5] [6]. Taking into consideration a series of experiences that involve multidisciplinary teams, the next paper concentrates on the conflict as a powerful and essential step in the creative process. In this sense the conflict management will be presented in terms of understanding the root of the contrasts, proposing that rather than leveling the differences, through mitigation, the conflictual, moment has to be exploited as an important step in the working process[7].

The main question asked in the paper is: what if design could be used as a provoking factor, in order to create entropy and induce, more creative problem solving approaches?

The paper will unfold in several parts: first the design thinking approach will be explained. The second part will stress out the increasing ethnic and disciplinary diversity of the workgroups and the benefits of the differences. In the third part the critical moments in the project management flow will be underlined. The discussion will show different methods to channel conflict towards a creative change in the reasoning system introducing design as a creative element. We will conclude by proposing a different way of looking at the design thinking, emphasizing its potential as a disruptive discourse in the context of multidisciplinary working teams.

Keywords— design thinking, team management, disruptive

design, task conflict

I. INTRODUCTION. DESIGN THINKING The design practice offers a wide range of

opportunities for engaging a research inquiry. Although relatively new and in an ongoing change, the strategies employed in the design research have been already outlined and examined in several occasions. Designedly ways of knowing [8] trigger designedly ways of researching [9] or, in other words the specific manner in which designers craft their

toolboxes for deciphering the knowledge created in the process of designing, by designers, and/or the other participants in the design project. An extended body of literatures concentrates on the study of the individual heuristics in the work of junior and expert designers [10] and their capability of balancing and reformulating the brief. It was shown how this critical analysis of the brief helped a better definition of the ill-defined or wicked problems and the consequent solution generation [11]. To contrast this perspective, the present paper starts from the premise that a designer is always surrounded by a network of experts and stakeholders with which she or he has to interact in an ongoing negotiation. Seen from this perspective the design process is not simply a protocol that has to be followed but a series of actions that respect an initial planning, an activity that encounters modifications according to the incoming flow of information, unpredicted actions taken by the participants, or unexpected events. Rather than looking at leveling the conflicts coming from diverse perspectives through compromises, the paper proposes an alternative view on the divergences, emphasizing their creative potential.

II. MULTIDISCIPLINARY DESIGN TEAMS A. Diversity in design teams

Nowadays the design practitioners are confronted with more and more complex requirements that ask for innovative approaches in tackling the constraints of the project. The almost unrestricted access to information provided by the digital technologies, combined with the overwhelming abundance of consumer products and services, have a strong influence on the expectations of the potential clients. In the same time the capability of the design firms to mobilize and connect large networks of expert advisors pushes the boundaries of innovation with every project. The design requirements in this case become almost like a hypothesis, in which, as Tim Brown explains:

… the project brief is not a set of instructions or an attempt to answer the question before it has posed. Rather, a well-constructed brief will allow for serendipity, unpredictability, and the capricious whims of fate, for that in creative realm from which breakthrough ideas emerge. If you already know what you are after, there is usually not much point in looking. [12] This definition could be inspiring for the working

designers, but also implies certain qualities of the team members either than their trained expertise and experience in

dealing with a certain aspect of the project. More important “the creative realm from which breakthrough ideas can emerge” has to be firstly suggested by the brief, but in a second instance constructed through collaboration. If companies and organizations set-up very high standards of innovation expressed in the hypothesis of the design project, what would be the right recipe for a successful design team? Given the complexity of the brief, that requires problem setting and solving and the accurate prediction of the end user behavior, the diversity of the design team could bring benefits to the end result of the project [13]. By acknowledging the differences, the identification of the creative aspect of conflict could trigger breakthrough ideas. While the activation of the innovative potentials of diversity could only emerge in the presence of a common ground of discussion that is socially constructed and shared, the novelty of the ideas comes from the contrasting perspectives and the transfer of skills and perspectives in different disciplinary contexts. B. From personal to collective action

The heterogeneous characteristic of the project teams in architecture and design are nowadays a frequent reality that tends to expand for several reasons. Firstly the phenomenon of globalization extends the area of action of the professional design studios, increasing the necessity to maintain a dialog across the disciplinary and geographical boundaries. Secondly the technological complexity and the systemic essence of the design interventions and solutions, demand the creative collaboration of diverse professional figures, with different logical perspectives, priorities, languages and communication tools. As Meurer stresses out, this kind of action:

…is tied in with interests and, as such, it is characterized by ambivalence, a propensity for conflict and ambiguity. Action is a communicative process. It takes place through motion: through intellectual motion, the motion of people, and through the motion and reshaping of knowledge, substances, things, and data. [14]

All individuals take action each in a particular manner that has to be synchronized. For this reason it is necessary to establish an order of constructive dialectics that will enable a rich and qualified exchange. The dialog and conversation have to prevail the debate, and the double stance of listener and answerer, has to be considered by all participants in the conversation. Rather than depending on the individual skills, the quality of the end result relies on the ability of the team members to find the right balance in the dynamics of sharing the various contributions. C. Breakdown and breakthrough ideas

The achievement or failure of a state of balanced dialog stays primarily in the language employed in the negotiation and the meaning conveyed by this language. It is through (verbal) language that the communication problems come to surface underlining the cultural differences, and most important shaping the awareness about each participant’s diversity [15].

Given the outcome oriented nature of the discipline, for the design practitioner the first step is the conscious acknowledgement of the potential of the tacit knowledge that can trigger the discoveries of unbeaten paths, by first pinpointing relevant problems for then proposing solutions. Taking these considerations into the midst of the conceptual phase of the design project involving heterogeneous groups, the question emerging is how to create a wireframe that will relate the multiple coordinates of the design activity. As Polany explains, “if all knowledge is explicit, or capable of being

clearly stated, then we cannot know a problem or look for its solution. …if problems nevertheless exist and discoveries can be made by solving them, we can know things, and the important things that we cannot tell ” [16]. In the context of a design team the language leads to actions and productions, in which frictions coming from the contrasts between individuals generate breakdowns; in other words short-circuits that could be interpreted either positive or negative [17]. The question is how designers can sense the opportunity emerging from breakdowns and, perhaps most important, if this kind of disruptions could be consciously generated, in the case of a stagnating workflow.

III. CREATIVE DIVERGENCES A. Is consensus beneficial? While breakdowns could be beneficial during the work process, they also have a strong psychological impact on the team creating divergences. In order to understand the creative potential of the breakdowns it is important to look at the design process as a structured activity whose goals have to be achieved in several steps [18]. In this sense in order to complete a design brief the, the working process follows a hierarchy (fig.1).

Fig. 1. Hierarchical level of activities (Kuutti, 1995)

Here it is important to underline the cyclic development of the activity that passes through a continuous definition of the actions and tasks triggering a change in the operating conditions. Considering an initial the consensus on the type of activity to perform and the motive of that activity, the divergences are expected to occur at the second level of activity and are related to the differences in the cognitive perspectives, in other words to the meaning and value attached to the task to be performed. This phenomenon is widely known as task conflict and has been thought to increase the creativity of the group [19]. The dissent generates doubt and challenges the status quo and comes from a minority, in this way forcing the group to accept the re-evaluation of the actions considering alternative processes [20]. In the case of the design team that seeks innovative solutions, the role of the design professional is to pose these challenges expressing them through alternative multimedia languages and therefore externalizing the potential of the differences.

IV. MANAGING DISSENT. A WORKING EXAMPLE In order to illustrate the creative potential of conflict and

dissent, the following chapter shows the working experience of a heterogeneous group working for a design project [21]. The group included mixed disciplinary background of the team members as belonging to interaction design, management, environmental sustainability studies, graphic design, performance arts, media communication and business

management, and the experiment took place in the master degree program offered by a Canadian higher education institution1. This complex disciplinary appurtenance was doubled by the cultural belonging, which increased the complexity of the social mixture in the team2. The shared language and social conventions made the communication among the team members possible. The situation of the design project and the particular quality of the brief, dealing with the perception of the social issues in the city system, and the modalities to meaningfully communicate them, brought to surface the deeper and less visible differences of the members. Because of their highly conceptual nature, the brainstorm sessions were the moments in which the different perspectives triggered individual framing [22] of problems, giving them different meanings and values. At this point it is necessary to define three modalities involved in the brainstorm process. First of all the warm up and approach to the brief was managed through verbal conversation, in a second instance, when the brief appeared more clearly identified for the members, the team agreed on designating one of the members to write several lists of parameters that will help the definition and organization of the attributes related to the concept. This process proved to be particularly time consuming for the team members, who in the effort to avoid conflicts encountered difficulties in reaching a decision with respect to the validity of the content generated. The assignment imposed by the faculty members was at that moment particularly important because asked for the visualization of intermediary ideas and the division of the team of eight in four teams of two people. Shortly before the assignment the group encountered a low energy level that favored the emergence of affective dissensions. At that point the intervention of a short sketching exercise gave space to the expression of individual views on the project.

The observation of the working flow and the behavior of the team unveiled a sequence of actions performed by the team such as:

- Conversation–sessions, in which verbal language prevailed, intended to reach an initial understanding

- Gestures – expressing consent or disagreement regarding the argument discussed

- Lists – individual and collective notes containing written information about the attributes and constraints of the brief

- Drawings – graphic annotations Although the same typology of actions was observed and studied in different workgroups [23] (Tang & Leifer, 1998) the particularity of the above-mentioned workgroup was a lack of visual representations and the preference given to written and spoken language. In other words the actions intended to reach the goal were delayed by the commitment to compromise. Looking at the activity levels model the experience indicates the exact point of conscious conflict intervention that can trigger the innovative outcome (fig. 2)

1Institute Without Boundaries at George Brown College, Toronto Canada 2 9 students – 4 women , 5 men, from Saudi Arabia, UK, Mexico, and

Canada

Fig. 2. A temporary induced conflict zone in the activity flow

Fig. 3. The revised action-goal cycle generated by conflict / disruption

At this point it is important to show the emotional and affective impact that the divergences create in the team. It is enough to envision a working scenario to understand the temporal limits of the activity and the pressure to meet the deadlines. For this reason the conflict has to be understood as a limited resource that can guide the team towards more innovative solutions but has to end in the final phases of the project. For this reason the effort of conflict negotiation could lead to innovative solutions only when they generate an important work output [23]. The effort of integrating conflicting perspectives enriches both the personal development and the group performance [24] and is therefore beneficial when seen from developmental perspective.

V. DISRUPTION AND LEADERSHIP Although the example presented referred to a small group

in an academic setting several issues have been underlined. Firstly the design thinking should catalyze the conflict rather than moderating it. This implies the introduction of unusual even utopian perspectives that generate a breakthrough in the stagnating creativity. Secondly the actions engaged have an important impact on the social configuration of the group that tends to temporary re-configure following a hierarchical model. In this situation the role of creative leader emerges, proposes an exercise of power and control over the activity flow. Thirdly the leadership has to be understood as a role that consciously challenges old schemes adapting to rapidly changing situations.

This contrasts with the traditional scheme of leadership [25] that places a clear outcome as the end goal of the process and underlines the innovation within the process, supported by strong social interaction ties [26] (Lynn & Reilly, 2002)

Fig. 4. The leadership process (Dunham & Pierce, 1989)

In this case the concept of generative leaders [27] fits the profile of design professional trained to adapt and improvise innovative solutions in a variety of disciplinary domains. As Mumford suggested one of the main ingredients of the successful leaders in the present globalized agencies is the creative thinking skills that enable envisioning a multitude of innovative ideas and the outcome of their application [28]. All the above suggest a new way to look at the design expertise and re-define the design-thinking process, as creatively disruptive rather than emphasizing mitigation and consensus. The role of the designer is a central one, given by the multidisciplinary expertise and creative thinking in ambiguous situations.

VI. CONCLUSION Traditionally the design education emphasizes the technical

expertise preparing young practitioners to operate in a multitude of disciplinary environments. This type of basic skills are however extended through practice into the necessity to adapt to a changing environment that favors the flexibility of thought and the extension of the creative capabilities from their merely practical application to a global understanding of complex systems. Moving from the already acknowledged design thinking expertise presents the designer as a mediator and innovator in small and large scale teams and organizations, we propose an alternative perception of the designer’s role. Starting from the leadership process model proposed by Dunham & Pierce, we introduce the design input as creating a conflict situation, in which the term is intended in its etymology: conflictus – a contest of contrasting perspectives.

Fig. 5. Fig. 5 Design input into the leadership process

In this case the task cycle in the creative process is boosted by the disruptive input. This type of intervention is particularly relevant in the presence of uncertainty in decision making creating the necessary entropy that cam generate a change in the line of thought in the mean time inducing a new dominance balance in the work group.

If so far the role of the designer was outlined as a member of democratic teams, the paper emphasized the role of creative disruption and dissent brought by the designer’s expertise. Rather than leveling the differences in heterogeneous groups the impact of the design thinking has to be seen as opening controversy and debate. From there emerges a new type of group organization that has to be managed by a creative, generative leader that can assume unpredicted, ambiguous outcomes. What we suggest is not that designers are intrinsically apt to fulfill this role, but rather that the education and life learning expertise gives them the potential to access high organizational positions, that haven’t been envisioned in precedent.

REFERENCES [1] Buchanan, Richard. "Design research and the new learning." Design

issues 17.4 (2001): 3-23. [2] Cross, Nigel. "Designerly ways of knowing: design discipline versus

design science." Design issues 17.3 (2001): 49-55. [3] Brown, Tim. “Change by design”. HarperCollins, 2009. [4] Martin, Roger L. “The design of business: why design thinking is the

next competitive advantage”. Harvard Business Press, 2009. [5] Cross, Nigel, Kees Dorst, and Norbert Roozenburg. "Research in design

thinking." (1992): 3-10. [6] Stumpf, Simone C., and Janet T. McDonnell. "Talking about team

framing: using argumentation to analyse and support experiential learning in early design episodes." Design studies 23.1 (2002): 5-23.

[7] Jehn, Karen A. "Diversity, Conflict, and Team Performances Summary of Program of Research." Performance Improvement Quarterly 12.1 (1999): 6-19.

[8] ibid. [2] [9] Saikaly, Fatina. "Approaches to design research: Towards the designerly

way." sixth international conference of the European Academy of Design (EAD06), University of the Arts, Bremen, Germany. 2005.

[10] ibid. [5] [11] Archer, L. Bruce. "Whatever became of design methodology." Design

Studies 1.1 (1979): 17-18. [12] ibid. [3] p.23

[13] Page, S. E. "The Difference. 2007." p.313 (2008). [14] Meurer, Bernd. "The transformation of design." Design issues 17.1

(2001): 44-53. [15] Edward, T. "Hall, Beyond Culture." New York: Anchor Books 222

(1976): 13. [16] Polanyi, Michael. "The tacit dimension. 1967." pg.12. Garden City, New

York 217 (1967) [17] Flores, Fernando, et al. "Computer systems and the design of

organizational interaction." ACM Transactions on Information Systems (TOIS) 6.2 (1988): 153-172.

[18] Kaptelinin, Victor, Kari Kuutti, and Liam Bannon. "Activity theory: Basic concepts and applications." Human-computer interaction. Springer Berlin Heidelberg, 1995. 189-201.

[19] De Dreu, Carsten KW, and Michael A. West. "Minority dissent and team innovation: the importance of participation in decision making." Journal of applied psychology 86.6 (2001): 1191.

[20] Berman, Evan M., Jonathan P. West, and Maurice N. Richter Jr. "Workplace relations: Friendship patterns and consequences (according to managers)." Public Administration Review 62.2 (2002): 217-230.

[21] [21] Suteu, Irina. “Creative processes in heterogeneous design teams. The study of group dynamics from an activity theory perspective.” Unpublished PhD thesis (2011).

[22] [22] Schön, Donald A. "Knowing-in-action: The new scholarship requires a new epistemology." Change: The Magazine of Higher Learning 27.6 (1995): 27-34.

[23] Sheldon, Kennon M. "Creativity and goal conflict." Creativity Research Journal 8.3 (1995): 299-306.

[24] Mumford, Michael D., and Sigrid B. Gustafson. "Creativity syndrome: Integration, application, and innovation." Psychological bulletin 103.1 (1988): 27.

[25] Pierce, Jon L. and Dunham, Randall B. “Managing”. Scott Foresman & Co. (1989).

[26] Lynn, G. S., and Reilly, R.R.. “Blockbusters: The Five Keys to Developing GREAT New Products”, New York: HarperBusiness. (2002)

[27] Surie, Gita, and James K. Hazy. "Generative leadership: Nurturing innovation in complex systems." EMERGENCE-MAHWAH-LAWRENCE ERLBAUM- 8.4 (2006): 13.

[28] Mumford, Michael D., et al. "Developing leaders for creative efforts: A domain-based approach to leadership development." Human Resource Management Review 17.4 (2007): 402-417.

Table of Contents Part 1: Design Management, Innovation, and Market Exploitation

P1-0529-02 Networks: Open, Closed or Complex-Connecting philosophy, design and innovation 1 Jamie Brassett P1-0530-02 Saudi-China Friendship-From relations to innovations 12 Bakhotmah, Fawaz Abid,Mingxi Tang P1-0530-03 It’s not about the Planet-Embracing eco-design, driving competitive advantage 23 Richard S.G. Chipps P1-0621-01 Team Equilibrium and Innovation Performance 30 Marco Vinicio Ferruzca Navarro,Josep Mª Monguet Fierro,Jorge Rodrigues

Martinez,Alejandro Trejo Omeñaca

P1-0621-02 From Production to Purpose-Using design led innovation to build strategic potential

in a family-owned SME 37

Anja Krabye,Cara Wrigley,Judy Matthews,Sam Bucolo P1-0624-01 Six Models of Managing Design in Manufacturing Industry 47 Xihui Liu P1-0628-02 Teaching Design Thinking and Design Led Innovation to Non-Designers: a Tertiary

Facilitator Multidisciplinary Study 55

Jonathan Morehen, Cara Wrigley, Natalie Wright P1-0629-02 The Strength of Olistic Design for Organisation, between Effectiveness and

Disruption 64

Francesco Galli, Marco Maiocchi, Margherita Pillan P1-0630-05 Designing Innovative Business Models:Five emerging meta-models 70 Dean Johnson, Cara Wrigley, Karla Straker,Sam Bucolo P1-0630-06 Design Management in Korean Entertainment Business 78 Hyobin Jung, Hyoung-wook Jo, Kyung-won Chung P1-0630-14 Discuss of Chinese Industrial Structure Adjustment Based on Design Innovation 83 Hong Hu,Nan Gao P1-0630-17 Exploring Photography as A Method for Research 90 Yongsheng Wang, Hua Dong P1-0630-21 Research on Internal and External Mechanisms of Attributes Transmutation and

Dissimilation during Product Evolution-The case of personal mobile communication terminal

96

Qiwei Liang, Liqun Zhang P1-0708-02 Design as a Transformative Force inside Business Organizations-A case study of a

socio cultural center located in a marginal zone of Mexico City 104

Cruz-Megchun, Beatriz Itzel

P1-0709-01 A Review of Global Design Economies:Implications for the future of the profession &

for policy formation 112

Alex Williams

Part 2. User Study, Design Thinking and Design Innovation P2-0517-01 Forms, Illustrations and Color in the Design of Children's Books N/A Hongcheng Li Weiping Hu Yanlei Wang P2-0519-01 Research on Information Visualization Design Based on the Cognitive Theory 123 Tao Xi P2-0523-02 Design Driven Product Innovation in Enhancing User Experience Oriented

Organisational Culture in B-to-B Organisations 127

Maarit Heikkinen, Hannamaija Määttä P2-0527-01 Exploring Innovative Ways for Companies to Engage with Customers through the

Internet in Developing New Products 136

Wei Liu,James Moultrie P2-0529-01 Design Thinking as a Disruptive Discourse Embracing Conflict as a Creative Factor 142 Francesco Galli, Irina Suteu P2-0530-08 The Design Analysis of Products to Alleviate Human Fatigue 147 Ying Zhong P2-0626-03 Design as A Facilitator-Thinking of designer’s role and skills as facilitator in the

complex context 150

Churan Yin P2-0627-02 Discovering and Developing the “Insight” by Opportunity-oriented User Research 154 Jian Guan, Jun Cai, Jikun Liu P2-0629-01 Exploring the Norms for the UX Design of Intelligent Products: A Case Study 158 Chensheng Wang, Liang Chen, Lichang Zhao,Mengyan Li P2-0630-18 A Study of Urban Youth Classification using Self-knowledge Method 166 Honghai Li,Xin Liu,Bingxue Gao P2-0630-22 Techniques Employed in Nudging People to Make Better Choices N/A Xi Ai,Ying Zhang P2-0729-01 Power of Ideas in Shaping and Delivering Design Business Success 178 Simon Bolton,Camille Chinneck

Part 3. Brand, Design Tactic and Product management P3-0523-01 Brand Passionate Consumption: What is it?How does it work? 184 Hui Zhong, YanJie Zhang P3-0622-01 Design Identity System Based on Product Identity and its Case Studies 192 Fei Hu Wei Wang Jun Hu Yang Wang

P3-0627-01 A Conceptual Designer-led New Product Development Process Model for Chinese SMEs

200

Ke Lou, Darren John Southee, Erik Bohemia P3-0629-05 Design Innovation-The role of design in combining process and product innovation 212 Mingchang Wu P3-0717-01 Importance of Vendor and Manufacturer Relationship for Effective Lean Practices 217 Muhammad Rafid Mahmood, Usama Bin Perwez Anum Abdul Salam P3-1001-02 Study on Interactive Product Experience Design Methods based on MAX6\MSP 225 Yanrui Qu, Wen Su, Yanshan Peng

Part 4. Design and Business Innovation Strategies P4-0522-01 Towards Creating a Sustainable Design Ecosystem for MSMEs-A Design Clinic

Approach 230

Shashank Mehta P4-0531-01 Embedding Design Capacity in Research Driven Innovation Teams 236 Lisa Malmberg,Stefan Holmlid P4-0618-01 The internationalization of Mexican Design:The case of design firms and individual

designers 242

Jorge Rodríguez-Martínez,C. Sue Andrade-Díaz,Marco Vinicio Ferruzca-Navarro P4-0628-01 Design LED Innovation: Shifting from Smart Follower to Digital Strategy Leader in

the Australian Airport Sector 251

Rebecca Price,Alexander Dreiling,Cara Wrigley,Sam Bucolo P4-0629-04 Early Challenges of Shifting an Australian Manufacturer’s Utilisation of Design 259 Rohan Doherty,Cara Wrigley,Judy Matthews,Sam Bucolo P4-0630-04 Making Sense of Purpose, Direction and Innovation:An embedded design led

innovation case study in the Australian Mining industry 268

Peter Townson,Judy Matthews,Cara Wrigley,Sam Bucolo P4-0630-08 Using the Methods Designers Use as Aids to Thinking-The case of public-private

partnerships in sustainable agricultural value chain development 277

Niti Bhan,Bart Doorneweert P4-0630-10 The Challenges of Adopting Design-Led Innovative Strategies in Not for Profits-The

role of consumers, culture and employees 284

Erez Nusem,Cara Wrigley,Judy Matthews,Sam Bucolo P4-0630-19 Make a Stop for a Bookshop Applying design to create a holistic experience for

chinese bookshop 294

Haochen Wang

Part 5. Service, System Designs and Business Model

P5-0620-01 Matching the Innovation of Products with Organizational Change: Introducing Design Knowledge into Chinese Furniture Manufacturing Companies

303

Xiaobo Qian,Alessandro Deserti P5-0628-05 Can Emotion Provide a New Approach to Business Model Innovation? 312 Karla Straker,Cara Wrigley ,Michael Rosemann P5-0628-06 The Role of Servicescapes as Touchpoints for Different Service Settings 318 Kyongsill Lee, Kyung-won Chung, Ki-Young Nam P5-0630-07 Design Led Innovation to Rejuvenate Local Food Systems and Healthy Communities:

An Emerging Research Agenda 323

Emily Ballantyne-Brodie,Cara Wrigley P5-0630-11 Changing Human Behavior Through the Options and Feedback Design of Service

Systems 331

Zhenwei You, Haruo Hibino, and Shinichi Koyama P5-0701-01 Service Design Tools as Frameworks in the Generation of Business Ideas-An action

research case study 338

Laura Mata García,Alessandro Deserti,Carlos Teixeira P5-0703-01 Does Visual Communication Get Through to Its Audiences 345 Tore Kristensen,Gorm Gabrielsen

Part 6. Intellectual Property and Design Management Education P6-0605-01 Dancing with Ambiguity-Design thinking in interdisciplinary engineering education 353 Ville Taajamaa,Heikki Sjöman,Senni Kirjavainen,Tuuli Utriainen,Lauri Repokari,Tapio

Salakoski

P6-0626-02 Chinese Students’ Conceptions on a Sino-Finnish Joint Program of International

Design Business Management 361

Fei Fan P6-0628-10 Intellectual Property Protection in Design Management 366 Liang Jing P6-0629-06 IP, an Interesting Phenomenon-The relevance of patents for the design-led start-up

business 370

Matthias Hillner P6-0630-13 Engaging Design Students in User Research 381 Hua Dong,Shu Yuan P6-0708-03 Do Design Management Curricula Meet Current Global and Local Practice in the

UAE? 386

Cruz-Megchun, Beatriz Itzel