1. W 1 HAND OUTS PROCESS : WORKSHOP 1. APRIL 21 2009

2. Roger Martin

3. Design Thinking Design Thinking: The Next Competitive Advantage Two fundamental kinds of thinking co-exist and often collide in business organizations: analytical thinking and design thinking. Both have their places, but as organizations grow, analytical thinking — which focuses on exploitation and refinement of the current state of knowledge — often crowds out design thinking, which pushes knowledge forward and creates new possibilities. To benefit from design thinking, a business needs to understand how analytical thinking and design thinking differ, why and how they come into conflict, and how to create an environment which encourages design thinking to flourish. W 1 HAND OUT

4. Roger Martin is the leading proponent of design thinking at business schools. He doesn't mean merely teaching students about the importance of cool-looking stuff. He sees value in the designer's approach to solving problems -- the integrative way of thinking and problem- solving that can be applied to all components of business. Martin's take on the future of management is shooting through innovation circles: "Businesspeople will have to become more 'masters of heuristics' than 'managers of algorithms."‘ What does that jargon mean? Martin is saying that corporate managers will have to become flexible problem-solvers rather than sophisticated number-crunchers if they're to be creative and successful. "With the forces of competition today, it will make the difference between success and mediocrity," Martin predicts. BUSINESS WEEK Roger MartinW 1 HAND OUT

5. The test of a first-rate intelligence is the ability to hold two opposing ideas in the mind at the same time and still retain the ability to function. One should, for example, be able to see that things are hopeless yet be determined to make them otherwise. F Scott Fitzgerald 1941 As quoted by Roger Martin At the opening of his book The Opposable Mind 2007

6. Roger Martin

7. They examine problems as a whole, with careful consideration of how different parts of a situation fit together, rather than analyzing different elements in isolation. They consider multiple avenues of causation for a problem, as well as possible nonlinear relationships between cause and effect, rather than thinking of terms of simple linear relationships between a single cause and effect. They embrace the tension between opposing ideas, and they use that conflict to generate creative new alternatives, rather than making simple either-or decisions. Professor Michael Roberto http://michael- roberto.blogspot.com/2007/06/power-of- integrative-thinking.html Blog 7 June 2007 INTEGRATIVE THINKERSW 1 HAND OUT

8. Integrative thinking is an art — a heuristic process, not an algorithm. The integrative thinker develops a stance that embraces not fears the essential qualities of enigmatic choices. The integrative thinker is a relentless learner who seeks to develop the repertoire of skills that enables him or her to engage the tensions between opposites long enough to transcend duality and seek out novel solutions. Integrative thinkers understand that they are engaged in a creative process that avoids easy, pat, or formulaic answers. In short, integrative thinking is the management style we need if we are to solve the enigmatic problems that face our organizations in the new millennium. Roger Martin Rotman Mgmt Fall 99 - FINAL 28.10.99 12:17 Page 4 Roger MartinW 1 HAND OUT

9. Nonaka and TakeuchiW 1 HAND OUT

10. The Knowledge-Creating CompanyThe Knowledge-Creating Company, by Ikujiro Nonaka and Hirotaka Takeuchi. Oxford University Press, 1995. ISBN 0-19-509-269-4. Knowledge PROCESS Nonaka and TakeuchiW 1 HAND OUT

11. Bi-Assocation.Koestler. A Creative PROCESS THINK THROUGH METAPHORS This Could be That BIOLOGY BUSINESS Arthur KoestlerW 1 HAND OUT

12. My life is shown in what I wear THINK THROUGH METAPHORS This Could be That YOUR JEWELLRY YOUR LIFE Arthur KoestlerW 1 HAND OUT

13. Outward appearance is the surest way to differentiate one person from another, and the desire for objects that can decorate or distinguish the individual appears to be universal. In fact, the practice of personal adornment is at least twenty-five thousand years old. Evidence found in Stone Age graves and domestic sites includes objects that are recognizable as jewelry http://www.worldandi.com/specialreport/afrobead/afrobead.html W 1 HAND OUT

14. On first encounter, outsiders might think that traditionally garbed people--such as the Masai, Samburu, and Ndebele-- have dressed up for some special occasion. This is not the case. Although some jewelry is made so that it can be donned at particular moments--such as for marriage or circumcision ceremonies--most pieces are worn throughout an entire stage of life. For example, indicating her increasing wealth and her place in life, a married woman amasses beaded necklaces as she grows older. Each piece of jewelry, in its shape, patterns, and colors, speaks of the wearer's culture. People within that culture can read a woman's exact status--her age-set, marital status, even whether she has given birth to a son--by observing her beaded jewelry Jewelry and symbol in East Africa Arab traders, sailing down the East African coast in dhows (sailboats), introduced a variety of goods in exchange for ivory and other treasures. The earliest known Masai and Samburu beaded jewelry items, dating from around 1850, were assembled from large red beads originally made in Holland. But the specific look of jewelry in East Africa, particularly among these two peoples, was transformed about one hundred years ago. Traders introduced tiny, colorful glass beads--uniform in size and hue--that had been imported from what is now the Czech Republic. These beads, already drilled with precise center holes, could easily be strung on threads or sewn onto leather. Their variety meant they could also be arranged in contrasting colors and geometric patterns. This revolutionized the look of ornament in East Africa and other parts of the continent. A whole mythology grew up around the beads. Symbolism based on existing Masai beliefs about the natural world remains valid today. Blue represents sky and embraces the Masai belief in Nkai (God). Green represents grass, a sacred element revered because it nourishes the cattle that play such a central role in the cycle of traditional Masai and Samburu life. Red and white are the life- sustaining colors. Red represents the blood of the cattle, and white stands for their milk. These are the basic Masai foodstuffs. (Masai only slaughter cattle for meat to provide for ceremonies marking stages of life. Cattle hides are used for clothing and material for pouches, slings, and straps.) The imported beads enabled the Masai to spell out the essential beliefs and elements of their lives in their dress and personal adornment. W 1 HAND OUT http://www.worldandi.com/specialreport/afrobead/afrobead.html

15. The Knowledge-Creating CompanyThe Knowledge-Creating Company, by Ikujiro Nonaka and Hirotaka Takeuchi. Oxford University Press, 1995. ISBN 0-19-509-269-4. FURTHER READING TACIT TO EXPLICIT KNOWLEDGE

16. Nonaka and TakeuchiW 1 HAND OUT

17. VISUAL SKILLS LEAD TO SUCCESS FURTHER READING

18. RESOLVING OPPOSING MODELS

19. FURTHER READING DESIGN AS THE GATEWAY

20. FURTHER READING BEST BOOK EVER ON DESIGN Published 1964 Out of print Available in good libraries and Specialist second hand dealers

21. Every thing we design and make is an improvisation, a lash-up, something inept and provisional. We live like castaways. David Pye. David PyeWe live like Castaways