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Transcript of Mackenzie King's Portfolio
32 Joralemon St. #115DBrooklyn, NY 11205718. 404. 4588 @[email protected]
Design + MBAA portfolio of project stories
]
MACKENZIE KING
Innovating business models . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Designing processes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Building organizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
Capturing insights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Facilitating co-creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Design + MBAA portfolio of project stories
MACKENZIEKING
4
5
The teenage design team experiences the design process hands-on, from mar-ket research and concept development to the refinement of prototypes and finally to store shelves. Companies gain access to insights direct from the source.]
Innovating business models.Could a company’s need for consumer insights merge with a school’s mission to educate youth?
SWEAT EQUITY ENTERPRISES
6
Innovating business models.
7
OPPORTUNITY: Marketing exec-utives and ‘cool hunters’ often look to urban youth to forecast market trends. While teens are fascinat-ed with products and fashion, few schools tap into these passions. Similarly, business leaders note creativity as a valuable asset, yet few educators emphasize creativ-ity in their courses. Project-based learning provides skills transfer-able to numerous career paths, yet these projects are resource-intensive.
PROCESS: SEE provides youth with real design projects with real clients. Professionals lead mod-ules that teach skills. Critiques with executives ensure market viability. Companies gain fresh creative insights and high-visibility spon-sorship. Students gain invaluable skills. In partnership with school networks and major corporations, like publisher Pearson, SEE is ex-panding.
8
MY ROLE: At SEE, I worked di-rectly with Marc Ecko, fashion en-trepreneur with sales of $1.7 bil-lion in 2007, the year I was hired. The year prior, my cold call re-sulted in an invitation to pilot his innovative program at UAMA, a NYC high school. Following the pilot, I was invited to help stream-line their operations in prepara-tion for national expansion.
I developed their first training program, hired and trained staff in four states and managed part-nerships with national school net-works. Within six months, I was promoted to Interim Executive Di-rector. The board and I restruc-tured the staffing model, allowing me to focus on strategic business development, working directly with our clients, noted to the right. During the 2009 economic crisis, I increased our operating budget exponentially, positioning the or-ganization for significant growth.
Innovating business models.
9
CLIENTS INCLUDED:
10
SEE fills a gap in traditional pub-lic school education by providing hands-on projects that empower youth as creative leaders with valuable insights. SEE’s ‘train-the-trainer’ model trains a network of educators to lead projects in their schools, with support from profes-sional designers and corporations. Instructional methods that feature communication, collaboration, critical thinking and creativity be-come part of teachers’ toolkits. SEE also helps schools build ca-pacity for earned income projects and dynamic partnerships.
Corporations Schools
Companies act as clients and the SEE team designs solutions to their real-world creative business chal-lenges. 100% of a company’s contribution to SEE (a 501c3) goes directly towards serving more youth; this model of philanthropy can feed a company’s bottomline. Companies may collaborate on a project, sponsor SEE’s social net-working and learning web plat-form, adopt a SEE school or host a SEE team in their company’s facili-ties, as did Marc Ecko Enterprises This option invites teen designers to work alongside professionals.
Innovating business models.
11
Corporations Schools
12
SOLUTIONS: Video game acces-sories for Best Buy, sneakers for Skechers, jackets for Ecko Unlim-ited, marketing campaigns for Radio Shack and cars for Nissan were designed by SEE teams.
SEE trained educators and design-ers to use resources like project-specific interactive workbooks and Adobe Creative Suite. The web platform will continue to connect teens with designers of the brands they love. Research shows that customers will switch brands on the basis of values. When Paul’s watch was featured on Macy’s store shelves, customers and the press alike saw multiple levels of value within the product and its story.
“It’s like The Apprentice meets Willy Wonka.” -Nell Daniel, SEE Co-founder, New York Times
“The watch was a life-changing experience for Paul.” -Marc Ecko, CEO, Marc Ecko Enterprises
“The raw talent in these kids blew us away.” -Bryan Thompson, Designer, Nissan Design America
Innovating business models.
PRESS INCLUDED:
13
14
15
CSI is blinded by their success and rapid global expansion. A new strategic pro-cess aims to infuse design into their cul-ture, allowing them to more effectively and creatively address major market threats.
Designing processes.How does a market leader redefine its strategic planning process?
CLOSURE SYSTEMS INTERNATIONAL
16
Designing processes.
17
PROBLEM: Closure System Inter-national (CSI) faces a paradox between its self-identification as a beverage cap and closure company and its broader range of strengths. Current and future market threats could redefine or even destroy the bottled water and soda market, their key seg-ments. They need a user-friendly process to identify and evaluate their capabilities and market op-portunities.
PROCESS: Issues and tensions within the market and company were examined. Ideation pro-duced a range of ideas including communication, artifacts, activities and systems solutions. Research of both traditional management models and design strategy ap-proaches informed a new set of objectives, process phases, ac-tivities, tools and roles. Scenar-io-building illustrated interactions that we aspired to achieve.
18
Designing processes.
MY ROLE: My training as a design-er and educator proved helpful in advising my fellow team mem-bers, MBA and JD-MBA students, many of which with little work ex-perience. I played a leadership role in introducing principles of design and business model inno-vation into our project approach. I often found myself playing the role of facilitator in guiding my team through the inherently am-biguous phase of defining the key problem. I modeled design techniques and tools through the ideation and development phases that then became elements of our final solution. Examining bottled beverage substitutes proved im-portant. Surrounded by walls of whiteboards, visualization and concept mapping occurred daily.Hired by, and working alongside, the company’s Senior Vice Presi-dent of Global Strategy, we had eight months to define and solve an undefined problem.
19
A Process Book
prepared by:
Melissa Duffy,
MBA Candidate
Mark Freudenthal, JD/MBA Candidate
Matt Janecek, M
BA Candidate
Mackenzie King, MBA Candidate
Hui Wang, M
BA Candidate
Closure
Systems International, In
c.
Design-Infused Strategic Planning Process
Case Western
Reserve University
Weatherhead School of Management
October 2010-2011
Design in
Management
Concepts & Methods
2010/1
1
PRO
CES
S B
OO
K
A Project Report
prepared by:
Melissa Duffy, MBA Candidate
Mark Freudenthal, JD/MBA Candidate
Matt Janecek, MBA Candidate
Mackenzie King, MBA Candidate
Hui Wang, MBA Candidate
Closure Systems
International, Inc.
Design-Infused Strategic Planning Process
Case Western Reserve University
Weatherhead School of Management
April 27, 2011
Design in Management
Concepts & Methods
of Practice
2010/11
PR
OJE
CT
REP
OR
T &
PR
OC
ESS
GU
IDE
A Design Brief prepared by:
Melissa Duffy, MBA Candidate
Mark Freudenthal, JD/MBA Candidate
Matt Janecek, MBA Candidate
Mackenzie King, MBA Candidate
Hui Wang, MBA Candidate
Closure Systems International, Inc.
Exploration of Identity through Design
Case Western Reserve University
Weatherhead School of Management
December 6, 2010
Design in Management
Concepts & Methods of Practice
2010/11
DES
IGN
BR
IEF
20
Space Activities
After examining studios of various design schools and firms, the team envisioned a space that would promote interaction, showcase in-spiration and track projects.
CSI’s former R&D lab housed equipment to test the functionality and durability of caps. The new lab would encourage experimen-tation and the act of collecting and generating ideas and in-sights across multiple stakeholder groups. Visualization, including concept mapping, is encouraged and continuously showcased.
We created a guide that out-lines activities meant to inspire role-sharing and collaboration. Activities ranged from group dis-cussions to work as individuals or in pairs. The team needed an ex-cuse to be casual and creative. CSI employees appreciate family time, so a collaborative workshop series was developed, that would allow the efficiency-focused engi-neers to be carefree and creative alongside their children. The ‘Open Lab’ workshops engage excutives, factory workers and other CSI community members.
Designing processes.
21
Space Activities
PROCESS MODELOPEN LAB
KEY PRINCIPLES
ACTIVITIES = RESULTSCOMFORT+DISCOMFORT
INSIGHTS = IDEAS
FREEDOM + STRUCTURE
IDEATE - CONSTRAINTS
OPEN
LAB
Via an online web platform, stakeholder groups can share or ‘star’ insights and ideas. The plat-form would serve as a gallery featuring creations from Open Lab Workshops, as well as ar-tifacts from activities. Also fea-tured, would be interviews and photographs captured by a new staff person, who would play the roles of ‘design facilitator’ and ‘roving researcher.’ Stakeholder insights and ideas could now be shared via their Smart Board dur-ing meetings or posted in their of-fices.
PROCESS PHASES
OPEN
LAB
PHASE 2: ENVISION
PHASE 3: EXPERIMENT
PHASE 1: DISCOVER
PHASE 4: DECIDE IDEATION CATEGORIESOPEN
LAB
BRANDS & SYMBOLSARTIFACTS &
PRODUCTS
ACTIVITIES &
SERVICESSYSTEMS
CLARITY OF
PROCESS AND MISSION:
Horizon Three (H3)
•HowdoesC
SIdefineinn
ovation?
•Where does CS
I see its com
pany in 5, 1
0, 50
years?
•Howdoes
CSIdifferent
iatebetweenin
novation
andcannibal
ization?
•How does
CSIrecogn
ize the ‘white s
pace’
necessaryto
createsignif
icantinnova
tions?
PRO
DU
CT IN
NO
VATI
ON
: Ef
ficie
ncy
focu
s
•W
hatwillCSIdoifsomeo
nein
ventsacap-less
bottle?
•Doe
sCS
Ipo
ssessskillstran
sferab
le to
othe
r
prod
uctc
ateg
ories?
•Cou
ldprodu
ctdiversificationbe
anan
swer?
•W
hatcanCS
Idotoens
ureitwillsurvive
gam
e
chan
ging
inno
vatio
ns?
•Bysh
iftingfocu
stowards ‘white spa
ce,’wou
ld
CSI’shigh
leve
lofeffic
ienc
yorprod
uctiv
ity
suffe
r?
SHIF
TINg
CO
NSUM
ER
PREF
EREN
CES:
Heal
thy
beve
rage
s•Do
esth
ison
lym
attertoCSI’scustomers(Pepsi
and
Coke
), or
sho
uld
CSI
also
rea
ct t
o th
is
trend
?•Isth
issim
plyapa
ssingtre
ndora
sign
ofissue
s
toco
me?
•Willcampa
ignslike
the
tap
waterproject
enco
urag
e cu
stom
ers
to
avoi
d pa
ckag
ed
beverages?
•Willhe
althy
beverages
like
milkan
djuice
replacethismarket?
•Shou
ld CSI stre
ngthen
itsprod
uctofferin
gs in
alternativesegm
ents?
ACTIO
N PLA
NS UNCL
EAR:
Flexib
le d
eadl
ines
and
mile
stone
s•H
owpresentareuncontrollablevariablesin
theR
&Dprocess?
•How
likelyisitthatprojectmanagers(and
John)canpredictobsta
cles?
•Areaccountabilitym
easurestiedtothetimely
achievem
entofm
ilesto
nes?
•Couldclearlydefinedgoalsandobjectives
creat
e a st
rong
er se
nse o
f pur
pose
and
driv
e
amongtheteams?
•Isthelackofaccountabilitylimitinginnovation
andH3innovation?
UN
DEF
INED
M
EETI
Ng
RO
UTI
NES
: St
iflin
g pr
oduc
tivity
•Are
expe
ctations
clea
rly
defin
ed
before
mee
tings
take
place?
•Doe
sCS
Iha
ve a unive
rsal ‘CS
Ibran
dbo
ok’or
‘styleshe
ets’usedtocreateaco
nsistentin
ternal
andex
ternalbrand
imag
e?
•Cou
ldco
nsistentform
ats
more
clea
rly
and
conc
iselyartic
ulateprojects?
•Cou
ld a
more
detaile
dag
enda
stifle a
nR&
D
mee
tingorm
akeitmoreprod
uctiv
e?
UN
TAPP
ED M
ARkE
T
OPP
ORT
UN
ITIE
S:
Bott
om o
f the
Pyr
amid
•Arethereun
tapp
edopp
ortunitie
sinthebo
ttled
waterm
arket?
•Co
uldad
dressing
thisnew
marketh
elpen
hance
CSI’sbran
dim
age
towardsthatofsocial
respon
sibilityan
dad
ded
value? Wou
ld this
bene
fitCSI?
•Doe
san
infrastructureexistthat can
sup
port
the
mul
ti-tie
red
supp
ly c
hain
requ
ired
for e
ntry
intoth
esemarkets?
DISCUSSION/FEEDBACk
HIERARCHY:
Tendencyforone-w
aydialo
gue
•Do
esitmo
ve slow
lybecau
seof
const
raints
or
variable
swithinthe
process
?
•Istherebuy-inforthe
process
?
•Istheprocess
usedcorrectly?
•Is
the p
rocess
designed t
oenhance
user
experience?
ISSUEOPPORTUNITY
MARkET
ORgANIZATION STRATEgY
ISSUEOPPORTUNITYMARkET
ORgANIZATION STRATEgY
ISSUEOPPORTUNITY
MARkET ORgANIZATION STRATEgY
Tools
22
Encourage the team to raise questions:
• What if caps for soda bottles were edible?
• When will reusable water bottles become the norm?
• How can user insights influence our strategic planning?
SOLUTIONS: CSI faces major market threats that are currently undiscussed. By better defining their strategic planning process, they will have a structure that pro-motes creativity, helping them ad-dress ‘wicked problems.’
Tools for use in the physical and virtual spaces aid interaction and capture insights across the 5 con-tinents of CSI’s operations. The proposed strategic planning pro-cess is composed of four itera-tive phases, noted on the previous page. Activities like ‘4 Orders Ideation,’ featured to the right as a prototype and to the left as a template for the client, can help the team imagine new ventures.
Designing processes.
23
PRO
DU
CTS
& A
RTI
FACT
S
IDEATION
SERVICES &ACTIVITIES
ORg
AN
IZATION
S&
SYSTEMS
COMMUNICATION & SYMBOLS
COMMUNICATION PRODUCTS SERVICES ORgANIZATIONS
24
25
At Urban Assembly School of Music and Art (UAMA), a public high school in NYC, students experience a curriculum en-hanced by studio projects, interaction with creative professionals and outlets to use their arts skills to earn income.
]
Building organizations.What if a public school operated hand-in-hand with leading art, design and music agencies?
]
URBAN ASSEMBLYSCHOOL OF MUSIC AND ART
26
Building organizations.
27
OPPORTUNITY: Statistics show that students are disinterested in high school course material be-cause they do not see how it re-lates to their interests. Working with the Department of Education, nonprofit organization Urban As-sembly saw an opportunity to en-gage students by offering them a college preparatory learning environment that tapped into a special interest, whether it be en-vironmental law, hip hop music or entrepreneurship.
PROCESS: UAMA, UA’s first art-themed high school, shares the vision of educational philosopher Maxine Greene; “art provides a conduit to meaning-making and a way of making sense of the world.” Staff applied the creative process to the development of programs and staffing strategies. Artists and creative professionals quickly became integral members of the community.
28
MY ROLE: As member of the founding leadership team, I had a strong voice in developing the routines, programs and messaging that would quickly define the cul-ture of one of the ‘hippest,’ most innovative small schools in New York City. I managed a budget of $400,000 from the Bill and Me-linda Gates Foundation and over-saw a team of 12 teaching artists.
I developed and coordinated all college prepartory and ca-reer exposure programming. The role of Partnership Coordinator served a critical role in develop-ing mutually-beneficial and last-ing relationships with the corpo-rate, nonprofit, governmental and academic agencies that would sustain programming.
I developed relationships with Sony BMG and Tribeca Film In-stitute, a range of leading institu-tions in their industries.
PARTNERS INCLUDE:
Building organizations.
29
My voice is
important for
all to hear.
To
speak about how I feel, to say
that you are important. My
voice can be loud or low, fast
or slow but always
heard. My voice speaks
of opinions or facts it tells
stories or poems. My voice is
important especially to me
because my voice
reflects who
I have becom
e
and who I
want to be ...
My voice is me.
Urban Assembly School of Music and Art
49 Flatbush Avenue Extension, Floor 8
Brooklyn, NY 11201
www.uamusicandart.org
CLass of 2009
commencement ceremony
30
SOLUTIONS: Via in-school, after school, and summer programming, students engaged in music pro-duction, Hip Hop dance, design, song-writing and photography studio instruction. Mentorships and collaborative projects com-plimented academic and studio instruction. Excited about learn-ing, the students’ attendance rates and grades rose. Students be-came motivated by the prospects of otherwise unknown careers in the creative industries.
UAMA served as an incubator for innovative arts programming that will soon be scaled as a fee-for-service model into its network of 20 schools.
Through a program called Extended Studio, students
learn how to DJ from internationally-renown Scratch
DJ Academy. They can use these skills to earn in-
come at events throughout the school network.
Building organizations.
31
32
.
33
By examining the current customer experience, and perceptions of the brand across market segments, a research plan was devised that would collect insights and offer direction.]
Capturing insights.Should a world-class cultural institution redefine its customer experience to aquire new markets?
34
Capturing Insights.
35
PROBLEM: The Cleveland Or-chestra (TCO) faces a customer acquisition problem. The overall perception of TCO’s Severance Hall experience is that it is inac-cessible, dated, expensive, and formal. As a result, many growing segments of the Cleveland-area population are underrepresented at the orchestra. TCO must deter-mine whether redefining its offer-ings and formats would make it sufficiently attractive to a wider range of segments.
PROCESS: Using a ‘gestalt elici-tation technique,’ represented on the following page, perceptions of the brand were gathered from current and potential segments. Industry trends both in compara-ble orchestras and local arts/lei-sure substitutes were researched. Ethnographic research resulted in an infographic that illustrated the customer experience. It show-cased gaps in the experience.
36
sit & listen
MY ROLE: My experience with ethnographic research and in-formation visualization proved valuable throughout this 4-month project. After experiencing a range of TCO programs both personally and as an observer, I created a mood board exempli-fying the brand. I also designed an infographic that showcases the highlights and lowlights of the customer experience. This docu-ment helped frame our research.
I organized and analyzed large quantities of information gath-ered from interviews and obser-vations. The team and I used tools like SPSS to compare variables and quantify insights. Through debates and discussions, some of which included our mentor, a Harvard professor and McKinsey alum, we produced a comprehen-sive proposal. The presentation that I designed was both visually-appealing and persuasive.
Capturing Insights.
37
OBSERVATION RESEARCH INVENTORY CHECKLIST
SYMPTOMS DIAGNOSIS STATEMENT
RESEARCH PHASES & VARIABLES
38
SOLUTIONS: An analysis of current programs, including a detailed observational study, demonstrated tensions within the current program experience and opportunities for enhance-ment or innovation. Interviews showed that programming for-mat, convenience and brand awareness were key factors in inciting trial; customer satisfac-tion then inspires return visits.
The proposed research se-quence would further analyze TCO’s value proposition via mul-tiple variables in three phases, with particular attention to incit-ing trial with new groups and in-spiring customer loyalty.
Illustrated in an infographic, moments within Mike and
Sara’s visit ranged from positive, or ‘world-class’ (blue),
to negative, or ‘subpar’ (orange). Size represents the
impact that moment had upon their overall experience.
Capturing Insights.
39
APPROACHING SEVERANCE
ACCESSIBLE DURING LUNCH BREAK OR AFTER WORK.ALL PROMO MATERIALS AVAILABLE
IRON BARS, GRANITE AND LOW CEILINGS
LESS-THAN-FRIENDLY TICKET AGENT
ROMANTIC CANDLELIT DINNER
LESS-THAN-SUPERIOR FOOD
NO OTHER OPTION
PREPARING FOR A SPECIAL NIGHT
A BEAUTIFUL DRESS AND A GLASS OF WINE
BRINGING OUT THE JEWELRY
MAKE UP, LIPSTICK AND CURLING IRON
CONSUMER EXPERIENCE
ANXIETY DISCOMFORT
SUBPAR
SERENITY DELIGHT
WORLD CLASS
MEMORABLE
FORGETTABLE
EATING AT THE CASE CLUB
ENTERING THE HALL
EXPERIENCING THE MUSIC
VISITING THE RESTROOM
LEAVING SEVERANCE
DRIVING HOME
WORLD-CLASS EXPERIENCE
CLOSE YOUR EYES, SEE THE MUSIC
TRUE TALENT
SERENITY AND RELAXATION
BUY PARKING PERMIT OR FREE ON THE STREET
THE ANNOYING PARKING SPOT HUNT
THE PARALLEL PARK SQUEEZE
EXPANSE OF BLUE VELVET SEATS
MAJESTY OF ANOTHER ERA
GILDED IN GOLD
GUIDED TO OUR SEATS
LESS-THAN-FIRST-CLASS
PAPER TOWELS AND WATER DRIPPINGS
WAITING IN LINE
TYPICAL MODERN, STANDARD FIXTURES
FROM EXPANSIVE TO CONFINING
FAKE PLANTS, LOW CEILING
CHATTERING OF SATISFIED CONCERT-GOERS
DISCUSS THE MUSIC
WE DON’T GO OFTEN ENOUGH
A SPECIAL NIGHT, INCONVENIENCES THOUGH
MAJESTIC ARCHITECTURE
A CLEVELAND LANDMARK
WHERE DO WE ENTER
A FLOCK OF DRESSED-UP CONCERT-GOERS
THU 6:10PMTHU 6:05PMTHU 4:45PM
BUYING TICKETS
PARKINGTHE CAR
MON 12:15PM THU 6:15PM THU 7:45PM THU 8:00PM THU 9:10PM THU 10:15PM THU 10:30PM
DRESSING UP
APPROACHING SEVERANCE
ACCESSIBLE DURING LUNCH BREAK OR AFTER WORK.ALL PROMO MATERIALS AVAILABLE
IRON BARS, GRANITE AND LOW CEILINGS
LESS-THAN-FRIENDLY TICKET AGENT
ROMANTIC CANDLELIT DINNER
LESS-THAN-SUPERIOR FOOD
NO OTHER OPTION
PREPARING FOR A SPECIAL NIGHT
A BEAUTIFUL DRESS AND A GLASS OF WINE
BRINGING OUT THE JEWELRY
MAKE UP, LIPSTICK AND CURLING IRON
CONSUMER EXPERIENCE
ANXIETY DISCOMFORT
SUBPAR
SERENITY DELIGHT
WORLD CLASS
MEMORABLE
FORGETTABLE
EATING AT THE CASE CLUB
ENTERING THE HALL
EXPERIENCING THE MUSIC
VISITING THE RESTROOM
LEAVING SEVERANCE
DRIVING HOME
WORLD-CLASS EXPERIENCE
CLOSE YOUR EYES, SEE THE MUSIC
TRUE TALENT
SERENITY AND RELAXATION
BUY PARKING PERMIT OR FREE ON THE STREET
THE ANNOYING PARKING SPOT HUNT
THE PARALLEL PARK SQUEEZE
EXPANSE OF BLUE VELVET SEATS
MAJESTY OF ANOTHER ERA
GILDED IN GOLD
GUIDED TO OUR SEATS
LESS-THAN-FIRST-CLASS
PAPER TOWELS AND WATER DRIPPINGS
WAITING IN LINE
TYPICAL MODERN, STANDARD FIXTURES
FROM EXPANSIVE TO CONFINING
FAKE PLANTS, LOW CEILING
CHATTERING OF SATISFIED CONCERT-GOERS
DISCUSS THE MUSIC
WE DON’T GO OFTEN ENOUGH
A SPECIAL NIGHT, INCONVENIENCES THOUGH
MAJESTIC ARCHITECTURE
A CLEVELAND LANDMARK
WHERE DO WE ENTER
A FLOCK OF DRESSED-UP CONCERT-GOERS
THU 6:10PMTHU 6:05PMTHU 4:45PM
BUYING TICKETS
PARKINGTHE CAR
MON 12:15PM THU 6:15PM THU 7:45PM THU 8:00PM THU 9:10PM THU 10:15PM THU 10:30PM
DRESSING UP
CUSTOMER EXPERIENCE
40
41
Aside from differences in age, race, educational and socioeconomic backgrounds, a neighborhood came together to build a design center that equipped them to enhance their community.]
Facilitating co-creation.How could the urban planning process more deeply engage stakeholder groups?
42
Facilitating co-creation.
Facilitating co-creation
43
OPPORTUNITY: Traditional ur-ban planning featuring focus groups or charrettes is often one-sided—void of true stakeholder engagement. The Campus District, a community development cor-poration serving 500 acres near downtown Cleveland, sought out to interact in a more meaningful way. Multiple stakeholder groups were invited to spend 7 intensive weeks working as a real design team to map assets, assess needs, solve problems and propose de-signs for the neighborhoods within the District.
PROCESS: A series of activities introduced the 30 member team to the design and research pro-cess. Time was split between work in the field and in the studio. Midway through, an open studio environment allowed mini-teams to focus on areas including envi-ronment, structures, experiences and communication.
44
MY ROLE: My position coordinat-ing the operations and strategy for the center evolved out of an invitation to join an ad-hoc plan-ning meeting organized by the president of a leading community college in the region; he had a vi-sion for a collaborative venture. Our brief encounter grew into a detailed discussion of possible program structures, and soon af-ter, into a role where I would ad-vise and implement this unique co-creation initiative. My expe-rience working in interdisciplinary design studios with young people served valuable as I crafted the operational, experiential and in-structional studio experience for our diverse team.
My experience working with LaunchHouse, a Cleveland-based business incubator, proved helpful in devising new enterprises for the District and in connecting our team with the Cleveland community.
Facilitating co-creation
45
Collaborative Campus Planning Project
Curriculum, Projects & Deliverables
Week 1Week 2
Week 3Week 4
Week 5Week 6
Week 7
PlanningResearch
ConceptDesign
Implement/Test Proposal Presentation
Goal
Student
Projects/
Deliverables
What is neighbor-
hood?
What is the design
process? Who is our
design team?
What/who is the
Campus District?
Who are the
stakeholders?
What kind of
experiences do
stakeholders have in
the neighborhood?
What is a landmark?
What are the
landmarks of the
District?
What kind of
landmark would you
want in the District?
What are the assets
of the District?
What are the issues
and opportunities?
What form can design
opportunities take?
(design facets)
How do designers
conceive, organize,
model and build their
ideas?
What is a quality of life
experience? How can
we create them in the
District?
What solutions can
we propose to
address assets/opportunities/i
ssues in the District?
What best practices
exist regarding
campus-districts?
(Uni circle)
What do we want the
District to become?
(keywords, images,
inspiration)
‘What’ will we design?
What do we need to
‘do’ to design it?
Do any best practices
exist that we can
borrow from or be
inspired by?
How will we engage
stakeholders to
design/maintain/susta
in the solution?
What resources are
required to
design/build/
implement concept?
How do the proposed
concepts create a
quality of life
experience?
How long will it take
to design/ build/
implement the
solutions?
How will we represent
these ideas succinctly
and professionally?
What features need
clarification?
How will we setup the
space/gallery?
Define Neighborhood
(notes)
Getting to Know
You Game
Resume
Partner Profile Posters
aka Identity Charts
Partner Interviews
aka Partner Biography
Project
Stakeholder
Interviews Five Senses Walk
aka Observation
Exercise
Stakeholder
Storyboard of ‘Daily
Experience’
Sketchbook & Binder
(used daily throughout
project)
Asset/Conditions
Maps aka Grading/
Mapping Your
Neighborhood
Current Landmark
& Fantasy
Landmark Postcard
Field Experience
(4 groups: District
neighborhoods)
aka Walkabout
Field Experience
(Stakeholder-Kidd’s
Farm)
Define District Brand
Field Experiences
(3 groups: Best
Practices- neighbor-
hoods)
Basic Construction
Studio & Bedroom
Floorplan aka Drawing
Scale & Viewpoints &
Home Team Work
Space Project
Online research
(Design Facets)
aka Research Methods
Concept Ideation
aka Investigating a
Focus Theme &
Creating a Neighbor-
hood Resources &
Needs Booklet
Design Pitches
aka Envisioning a
Theme for Community
Development Project
Online research
(Best Practices-
companies/orgs)
Stakeholder
Interviews (Focus:
Business owners)
Field Experiences
(Best Practices- 3
groups: Uni Circle)
Field Experiences
(Stakeholder-St.
Vincent Hospital)
Mood board
aka Choosing a Focus
Theme
Action Plans
(Each design facet team
delegated tasks based
upon individual skills and
interests; Projects ranged
from T-Shirt Design to
scale models)
Online research
(Best Practices) aka
Research Methods
Models/renderings
Focus Groups /
Critiques
Questions for
Consideration
Concept Refinement
Presentation
Boards
Models/renderings
Focus Groups /
Critiques
Project Initiative
‘One Page
Pre-Proposal’aka
Community Develop-
ment Projects/
Products
View Book
aka Project Portfolio
Stakeholder
Storyboard of
‘Proposed Project
Initiative’
Presentation
Rehearsals
aka Presenting to a
Panel of Community
Experts
Project Reflections
aka Portfolio Record
Student Portfolios
aka Building Your
Portfolio Briefcase
Event Preparations
Program Evaluations
Presentation to
Campus District
Board of Directors
Discover Vision
Meet Stakeholders;
Develop Strategy
Identity Issues/Opps
Clarify Roles/Themes
Ideate
Conceptualize & Build
Scenario
Invent New Solutions
Research Best
Practices; Judge
Viability
Realize & Test
Concepts
Refine Concepts
Formalize Proposal
Deliver / Present
Concepts
CityWorks
Curriculum Project Identification R
esearch & Investigation Production Exhibition & Presentation
ObjectivesSkill Assessment &
Team-Building
Intro to Design
Examine Stakeholder
Experiences
Project Overview
Client Assets
& Liabilities
Study Best Practices
Identify Opportunity
Design Workspace
Determine Appropriate
Facets of Design
Propose Design
Solutions
Interpret/ define Themes,
Brand & Teams
Interpret/Apply Best
Practices
Implement & Test Design
Solutions
Compile Design Solutions
into Final Proposal
Tues, Aug 3
Final Presentation
Design Phases
Initial OutcomesParticipants demonstrate skills in creativity, critical think-ing and communication.
Immediate OutcomesParticipants demonstrate a posi-
tive, hopeful attitude towards their community.
Longer –Term Outcomes
Empower a community to transform the Campus District
into a vibrant neighborhood of healthful, well-educated and
sustainable-minded citizens.
Inputs
Agency and schools identify participants to serve as community consultants; participants include residents in
the District as well as students from elementary school, high schools and colleges in District.
Agency provides program coordinator (community liaison), operations coordinator (designer/educator), com-
munications coordinator (designer/educator), 2 professional urban designers, 2 professional researchers, 1
professional graphic designer, and 1 professional industrial designer for program.
Agency provides design lab equipped with supplies, computers and technology.
Activities
Over seven weeks, students and designers complete a series of activities of the design process including
‘project identification,’ ‘research and investigation,’ ‘production’ and ‘exhibition and presentation.’
Participants and designers map community assets; identify community needs and opportunities;
propose projects that build on assets and address opportunities.
Outputs# of community projects proposed in ‘proposal kit’
# of community projects implemented
# of stakeholder interviews completed
# of participants (aka community consultants)
# program hours (working in design studio or via field experiences)
Initial OutcomesParticipants gain insight into the needs and opportunities in the community.
Initial OutcomesParticipants gain knowledge about
the resources and programming of their community.
Immediate OutcomesParticipants use and recommend the health and education resources of their community more frequently.
Immediate OutcomesParticipants continue to engage in
community design programs in order to implement their project ideas.
Collaborative Campus Planning Project
Curriculum, Projects & Deliverables Week 1
Week 2Week 3
Week 4Week 5
Week 6Week 7
PlanningResearch
ConceptDesign
Implement/Test ProposalPresentation
Goal
StudentProjects/Deliverables
What is neighbor-hood?What is the design process? Who is our design team?
What/who is the Campus District? Who are the stakeholders?What kind of experiences do stakeholders have in the neighborhood?
What is a landmark? What are the landmarks of the District?What kind of landmark would you want in the District?What are the assets of the District?
What are the issues and opportunities?
What form can design opportunities take? (design facets)How do designers conceive, organize, model and build their ideas?
What is a quality of life experience? How can we create them in the District?
What solutions can we propose to address assets/opportunities/issues in the District?What best practices exist regarding campus-districts? (Uni circle)What do we want the District to become? (keywords, images, inspiration)
‘What’ will we design?What do we need to ‘do’ to design it?Do any best practices exist that we can borrow from or be inspired by?
How will we engage stakeholders to design/maintain/sustain the solution?
What resources are required to design/build/ implement concept?How do the proposed concepts create a quality of life experience?How long will it take to design/ build/ implement the solutions?
How will we represent these ideas succinctly and professionally?What features need clarification?How will we setup the space/gallery?
Define Neighborhood (notes)Getting to Know You Game
ResumePartner Profile Postersaka Identity Charts
Partner Interviewsaka Partner Biography Project
Stakeholder Interviews Five Senses Walkaka Observation Exercise
Stakeholder Storyboard of ‘Daily Experience’Sketchbook & Binder(used daily throughoutproject)
Asset/Conditions Maps aka Grading/ Mapping Your NeighborhoodCurrent Landmark & Fantasy Landmark PostcardField Experience (4 groups: District neighborhoods)aka Walkabout
Field Experience(Stakeholder-Kidd’s Farm)Define District Brand
Field Experiences (3 groups: Best Practices- neighbor-hoods)Basic ConstructionStudio & Bedroom Floorplan aka Drawing
Scale & Viewpoints & Home Team Work Space ProjectOnline research(Design Facets)aka Research MethodsConcept Ideationaka Investigating a Focus Theme & Creating a Neighbor-hood Resources & Needs Booklet
Design Pitchesaka Envisioning a Theme for Community Development ProjectOnline research(Best Practices-companies/orgs)Stakeholder Interviews (Focus: Business owners)
Field Experiences (Best Practices- 3 groups: Uni Circle) Field Experiences(Stakeholder-St. Vincent Hospital)
Mood boardaka Choosing a Focus Theme
Action Plans(Each design facet team delegated tasks based upon individual skills and interests; Projects ranged from T-Shirt Design to scale models)
Online research (Best Practices) aka Research MethodsModels/renderings
Focus Groups / Critiques
Questions forConsideration
Concept RefinementPresentation BoardsModels/renderings
Focus Groups /CritiquesProject Initiative ‘One Page Pre-Proposal’aka Community Develop-ment Projects/ Products
View Book aka Project Portfolio
Stakeholder Storyboard of ‘Proposed Project Initiative’Presentation Rehearsals aka Presenting to a Panel of Community Experts
Project Reflectionsaka Portfolio RecordStudent Portfoliosaka Building Your Portfolio BriefcaseEvent Preparations
Program EvaluationsPresentation to Campus District Board of Directors
Discover VisionMeet Stakeholders; Develop Strategy
Identity Issues/OppsClarify Roles/ThemesIdeate
Conceptualize & Build Scenario
Invent New SolutionsResearch Best Practices; Judge Viability
Realize & Test Concepts Refine ConceptsFormalize Proposal
Deliver / Present Concepts
CityWorks Curriculum Project Identification Research & Investigation Production Exhibition & Presentation
Objectives Skill Assessment & Team-BuildingIntro to DesignExamine Stakeholder ExperiencesProject Overview
Client Assets & LiabilitiesStudy Best PracticesIdentify Opportunity
Design WorkspaceDetermine Appropriate Facets of DesignPropose Design Solutions
Interpret/ define Themes, Brand & TeamsInterpret/Apply Best Practices
Implement & Test Design Solutions Compile Design Solutionsinto Final ProposalTues, Aug 3Final Presentation
Design Phases
Logic Model for Program Evaluation
46
People find their way through ex-periences via perceptions associ-ated to colors, sounds, smells and tastes. An activity was designed for pairs to enter the field and re-cord their experiences in 5 sites, through the lenses of the 5 sens-es. The professional designers modeled the habit of sketching, as well as other collection meth-ods. With an organized way of observing, they noticed features otherwise overlooked. Collages of images from observation and inspiration were hung throughout the studio.
Observe Interpret Address
The team represented diverse skills and demographics includ-ing designers (urban, industrial, graphic), researchers, students (state university, community col-lege, design school, local elemen-tary school, high school) and resi-dents (public housing project, arts district). Encouraging cultural sen-sitivity was imperative in order to create buy-in from the community and from one another. Our work together spanned the setup of the studio itself, through to the day of our presentation to the board of directors, and now via workshops.
Facilitating co-creation
47
Observe Interpret Address
Research demonstrated that there was little access to sever-al key services. Preliminary re-search and inital plans were as-sembled to help residents start a T-shirt screen printing operation, a newspaper, a laundromat and a concert series.
Follow-up workshops realized several ideas. The team screen printed the T-shirts they designed and now well online. A community newspaper has been published, and a billboard features the their slogan ‘Walk the Walk.’
Collaborative Campus Planning Project The following Initiatives were cooperatively designed and
developed by the Collaborative Campus Planning Project Team
with anticipation of a formal feasibility study and implementation
in the Campus District community.
August 3,2010 Submitted to the Board of Directors
Campus District, Cleveland Ohio
48
SOLUTIONS: The ambitious multi-tiered system that the team proposed took the forms of communication, environment and experience design.
A view book and set of pro-gram proposals captured in-sights and proposed designs. These designs are now being enacted as on-going programs led by the community members that designed them. The proj-ect timeline and curricula has informed a plan to advance the planning project into a con-sultancy that will take this mod-el into other communities. The area institutions are interested in re-investing in the project.
Their first plan included pedestrian walkways, green
spaces, events, beautification and urban community
gardening, economic opportunities, educational, arts,
and occupational programs, and a myriad of services.
Entrepreneurial Events
Facilitating co-creation
49
32 Joralemon St. #115DBrooklyn, NY 11205718. 404. 4588 @[email protected]
Design + MBAMACKENZIE KING