In Change by Design, Tim Brown, CEO of IDEO, the celebrated innovation and design firm, shows how the techniques and strategies of design belong at every level of business. Change by Design is not a book by designers for designers; this is a book for creative leaders who seek to infuse design thinking into every level of an organization, product, or service to drive new alternatives for business and society.

Shows how the techniques and strategies of design belong at every level of business, in the first book to detail IDEO's internationally recognized Design Thinking process.

Change is inevitable. This is the only constant in our lives. Yet, change is also something that we fear. We seek comfort in the familiar, in routines and in conventions. We are afraid of things that we don't know or we don’t understand. We fear change because we don’t know how change will affect us. Change, however, is necessary for progress. Sometimes, change happens naturally due to circumstances beyond our control, and sometimes we initiate change because we can or because we must. In 2020, we experienced the biggest change of our lifetimes. For a brief moment in history, the world came to a halt. Then, everything changed. Many things that we used to take for granted no longer applied. We experienced major disruptions to our daily lives. As if in some kind of perfect storm, so many things happened all at once – global pandemic, social inequalities, climate change, racial injustices, riots and unrests, gender struggles and rapid advances of new technologies. This book started to take shape in the midst of it all, and in a way, it is a time capsule of how we experienced the birth of what became known as the 'new normal'. Designers are the kind of people who thrive in times of change. In fact, it is their job to create change. The nature of their job is such that they have to take an existing situation and change it into a better, or a more preferred situation. Some do this by relying on their imagination and personal experiences, and some use evidence-based research to inform their work. Regardless of this, many share the belief that they can somehow make the world a better place – on a micro or a macro level. During this period of massive change, Gjoko Muratovski invited ten highly influential design figures – including iconic design leaders such as Carole Bilson, Karim Rashid, Bruce Mau, Steven Heller and Don Norman – to reflect on the state of things today. In return, each one of them shares a highly personal account on why change is good. The book also features a foreword written by the president of the World Design Organisation (WDO), Srini Srinisavan, and a conclusion by one of the greatest design philosophers of our time, Ken Friedman. By looking to the past and reflecting on the present, these designers project very personal images of the future that they would like to see. The conversations are very broad, and they cover highly diverse topics. From the effects of the pandemic, to issues of race and gender, notions of beauty, technology and industry, to global and local economies, politics, power, privilege and the importance of community. A 'must-read' for anyone interested in how designers and design can change the world. Gjoko Muratovski is a university executive, award-winning designer and innovation consultant working with leading organisations, Fortune 500 companies and governments from around the world, and a fellow of the Design Research Society.

It's time to design the next iteration of higher education. There is no question that higher education faces significant challenges. Most of today's universities aren't prepared to tackle issues like demographic change, the continued defunding of public education, cost pressures, and the opportunities and challenges of educational technologies. Then, of course, there is the shock of the COVID-19 pandemic, which will reverberate for years and may very well usher higher education into an era of significant structural change. Some critics argue that a premium should be placed on change functions—that is to say, on creativity, innovation, organizational learning, and change management. Yet few institutions of higher education have functions focused on thoughtful, iterative problem-solving and opportunity identification. The authors of Design for Change in Higher Education argue that we must imagine and actively make our way to new institutional forms. They assert that design—a practical art that is conceptually rich and visible in its concreteness—must become a core internal competency of the university. They propose one grounded in the practical experiences of a specific educational design organization: Michigan State University's Hub for Innovation in Learning and Technology, which all three authors have helped to run. The Hub was created to address issues of participation, impact, and scale in moving learning innovations from the individual to the collective and from the classroom to the institution. Framing each chapter around a case study of design practice in higher education, the book uses that case study as the foundation on which to build design theory for higher education. It is complemented by an online playbook featuring tactics that can be used and adapted by others interested in facilitating their own design work. Touching on learning experience design (LXD) as an increasingly critical practice, the authors also develop a constructivist view of designing conversations. A playbook that grounds theory in practice, Design for Change in Higher Education is aimed at faculty, staff, and students engaged in the important work of imagining new forms of education.

The book explores transitions in design practice and features 'untold stories of innovative design practices from around the world

Until now, the literature on innovation has focused either on radical innovation pushed by technology or incremental innovation pulled by the market. In Design-Driven Innovation: How to Compete by Radically Innovating the Meaning of Products, Roberto Verganti introduces a third strategy, a radical shift in perspective that introduces a bold new way of competing. Design-driven innovations do not come from the market; they create new markets. They don't push new technologies; they push new meanings. It's about having a vision, and taking that vision to your customers. Think of game-changers like Nintendo's Wii or Apple's iPod. They overturned our understanding of what a video game means and how we listen to music. Customers had not asked for these new meanings, but once they experienced them, it was love at first sight. But where does the vision come from? With fascinating examples from leading European and American companies, Verganti shows that for truly breakthrough products and services, we must look beyond customers and users to those he calls "interpreters" - the experts who deeply understand and shape the markets they work in. Design-Driven Innovation offers a provocative new view of innovation thinking and practice.