Posts Tagged ‘design’

Open-Source on Hyperspeed: Next generation innovation lessons from Shenzhen

In Shenzhen, 山寨 (shanzhai) has a different meaning than mountain stronghold—yet the term so eloquently expresses a continuity, a history, and a genesis. Shanzhai is a Cantonese term, originally used as a derogatory word for knock-offs — because people from rural mountain villages couldn’t afford real Louis Vuitton or officially produced DVDs of Friends. As a result, there was the cheaper, 山寨 version that was a mere imitation, coming from low-end, poorly run 山寨 factories.

David, along with the scholar Silvia Lindtner, has been researching the innovation ecosystem in Shenzhen for the past few years, and they have proposed the term “new shanzhai.” Part of the original shanzhai economy began with copying DVDs. Since copied DVDs couldn’t be played by name-brand players (an attempt to control piracy or simply due to DVD quality issues), a whole set of products were created to support the copied DVDs — and from there, a wildly creative ecosystem appeared.

This is the new shanzhai. It’s open-source on hyperspeed — where creators build on each other’s work, co-opt, repurpose, and remix in a decentralized way, creating original products like a cell phone with a compass that points to Mecca (selling well in Islamic countries) and simple cell phones that have modular, replaceable parts which need little equipment to open or repair.

Shanzhai’s past has connotations of knock-off iPhones and fake Louis Vuitton bags. New shanzhai offers a glimpse into the future: its strength is in extreme open-source, which stands in stark contrast to the increasingly proprietary nature of American technology. As startups in the Bay Area scramble to make buckets of money, being in this other Greater Bay Area makes it clear why there’s so much rhetoric about China overtaking the US. It is.

So writes Xiaowei R. Wang in her Letter from Shenzhen. Its a timely reminder of the way innovation and invention can play out when there are no secrets left to keep. Pragmatism implies that such extreme openness is not the only path open for intellectual property, but its success in the hyper competitive Chinese market does provide us with clear evidence that such a path is viable and feasible.

IKEA in India: Culture Centered Design Strategy

Its taken more than 10 years for single brand retail stores to enter the Indian market, and this year sees India’s first IKEA opening in Hyderabad. TS Ninan introduced their retail challenge succinctly, though he left me wanting more. And this snippet from an interview with the market opening CEO of IKEA in India (who, having laid the groundwork for 6 years, has now left – an interesting and thoughtful strategy right there imo) caught my attention.

In Europe, businesses look at the past, their systems and processes to plan ahead. India does not have a legacy. People don’t look backwards. Here you create the future as you go

Was IKEA’s product, design, and brand strategy going to be as human centered as reports of their 1000 home visits made it seem, or, as the groundbreaker Juvencio Maeztu implies, committing to India means a “culture centered strategy” – that too, one that is customized for each different culture, centered around a metropolitan area. For those who think India is a country, I like to remind them that its closer in concept to the EU, its a single market and currency, but each city has its own languages, culture, cuisine, and clothing, not to mention each state.

Ikea’s global designers meet artisans in co-creation workshops to handhold local artisans design products that meet global quality and design standards.via

I see familiar names in the design article. And I do like the photographs though I recognize my eye is taken aback because the years in Finland have influenced my aesthetic sensibilities closer to the Nordic norm. What I can say is that if this what the Swedes came up with after distilling down their hundreds of home visits, its an excellent integration of two extremes of design language. IKEA will have fun in India, and I suspect they intend to. The takeaway for culture centered design isn’t that “India” will receive one singular design aesthetic or product line but that each one of India’s cultures, both traditional and modern, will be catered to. That is powerful.

Moving from Unbranded to Branded

There’s a larger story here as well. The changes occurring in the Indian consumer market, for instance, and the increase in aspiration, purchasing power, and most importantly, design sensibilities. Back in 1990, during my first job after leaving the National Institute of Design, Ahmedabad, I faced barriers to marketing industrial design services that I suspect don’t even exist now. Product design was imitable and not something one paid good money for oneself. There were corporates who understood our value as a design studio but they were few and far between. Now, IKEA’s entry isn’t into a completely untapped market – there’s competition that’s been born in the last decade, both online and off. And, finally, there’s the handmade artisanal informal sector, who have long copied IKEA products from hand me down catalogs. On the other hand, unlike most consumer brands entering the Indian (or the African market) IKEA recognizes the competition offered by the informal (unorganized, as its known in India) economy, and seems to have addressed it.

What’s interesting about the Wharton analysis from October 2017, is that all the issues it raises seem to have been covered now that IKEA is finally revealing its India strategy as the first store prepares to open this month.

Unlike my concerns back in 2006/7, this time I’m a lot more confident that IKEA will achieve something wholly unexpected in India. I look forward to visiting.

Ecodesign, Ecolabels and the Environment: How Europe is redesigning our footprint on earth

What do chopped fresh green beans have in common with high definition flat screen TV’s? And how does this relate to design? In Europe, they’re both considered consumer products whose journey from raw material to shopwindow requires energy to process—emitting greenhouse gases that can have an adverse impact on the environment—and are considered to possess a ‘carbon footprint.’ In other words, they are products of a larger global industrial ecosystem.

When the postal service is setting down guidelines on the creativity and production of direct mailers so that their customers can better recycle them, it signals that graphic design needs to evolve the way its practiced entirely.


Acronyms and Initiatives
The European Union’s chosen approach to address the issue of environmental degradation and climate change is a combination of regulations, directives and voluntary activities. Industrial designers and engineers around the world are familiar with many of many of these already in effect—the EU Directive on the Restriction of Hazardous Substances (RoHS) and the EU Directive on the Waste from Electrical & Electronic Equipment (WEEE) are top of mind in the field of consumer electronics and other energy consuming products (EUPs)—the first sector to be addressed by these rules.

Just ratified is the new European law on chemicals, REACH (Registration, Evaluation, Authorisation and Restriction of Chemicals), which covers the toxicity and hazards of chemical substances, touching the nascent field of green chemistry. Also to be enforced is the EU Directive on the Ecodesign of EUPs – this will directly regulate the negative contribution to the environment across the entire lifecycle of the product, not just the use phase.

Supporting activities include the Ecolabel—a voluntary certification for a wider range of products beyond those that merely consume energy during their use—helping consumers identify products that have considered all aspects of environmental impact toward minimum ecological footprint, compared to other products in the same category. This includes the chopped green beans, as their total carbon footprint assessed across the supply chain would take into account the energy expended to grow them, process them, package them and deliver them to the neighbourhood supermarket.

All of these and more come under the holistic approach of the Integrated Product Policy (IPP), which can be considered the foundation for such decision-making and the design of the various directives, programs and certifications. The IPP is a systemic look at the environmental impact of the entire supply chain and life cycle of any given product, taking all aspects of the global industrial ecosystem into account: raw materials, manufacture, transportation, distribution, marketing, sales, delivery and waste treatment at the end of life.


The Power of Design
While design has been picking up speed in addressing issues of sustainable development, a quick purview of the larger ecosystem helps in understanding the long-term consequences of the decisions made in the studio. It is recognized that a significant proportion (ranging from 70% to 90%) of any given product’s ecological footprint can be addressed at the design stage. But the considerations mentioned above take into account factors all along the product chain that can directly or indirectly contribute to environmental degradation; decisions made at the design stage now become crucial in ensuring the best outcome throughout the entire system.

Carbon Trust UK‘s simplified diagram of the lifecycle of a typical can of cola, for example, enables us to visualize and correlate the relationship between product design choices and energy consumption at every stage of the supply chain.

Read On…

Shopping for Innovation: What you need to know before hiring a design firm

This guide was written for Core77 in late 2006, co-authored with Steve Portigal. I was looking for it today, as I wanted to share the distinction between a Vendor of innovation and design services and a Partner who goes beyond the requested task to discern and perceive the real challenge to be solved. I couldn’t find it online, Core77 having redesigned their site from the ground up, so I’ve reposted it here from the Wayback Machine.

Getting Started
You’ve read all the articles and can’t possibly stomach one more column on the iPod. It’s clear that design+innovation is the hot topic for business—with businesspeople taking more active notice of the design scene, and designers focusing more on strategy. (It’s not like business and design were so far apart to begin with, of course.) But what about those new to the conversation? If everyone is telling you that design is the differentiator, how do you get started? What are the considerations when bringing on strategic design services?

There are many things you need to consider before hiring a design firm, but we’re going to start with three: The Problem (defining your needs), the People (who the players are), and the Partnership (the nature of the engagement). Design firms are businesses, but with unique perspectives and unique work processes. Understanding a bit of the industry culture will go a long way in helping you to establish a successful engagement.

The Problem: Defining your goals
As with any initiative, you first need to define your problem and your goals. Having these goals well-articulated and written down on paper as a starting point for the discussion is crucial. You may find that your reasons for bringing in design services differ from others in your organization, so you need to get your story straight before you begin talking to creatives. You should also understand that that story is likely to be pushed and pulled.

Design can be brought in as a service, but it’s important to remember that it’s a creative service. Designers are smart and talented people who typically do “think out of the box” (a phrase more derided inside the design community than outside, yet still requested in more initial meetings than you can imagine). So although your desired outcome may be very specific, the designer’s process to delivering your outcome will inevitably involve challenging its very foundations. Here’s an illustration:

Q: How many designers does it take to change a light bulb?
A: Does it have to be a light bulb?

In real terms, this can be the difference between asking a designer to create a new vase, versus asking for a new way to display flowers in the home. The first problem statement already converges on a solution—perhaps prematurely. The second opens up new design opportunities, new target markets, and ultimately potential new revenue streams.

So though you’ll want to define your problem as clearly as possible to begin with, you should also be willing to engage in discussions with designers in order to craft a more open-ended, innovative, and ultimately actionable problem statement. This is the way designers think, but being prepared for this potential frame shift can be a tremendous challenge. You are likely to learn things that you didn’t want to know, that you aren’t even prepared to know, and that challenge your closely-held beliefs. (On the flip side, you should be aware that designers have a healthy skepticism about just how much “paradigm-busting innovation” a given company is prepared to make. The design consulting bar-tale of the client who proclaims, “I want something completely innovative, but I want to keep making my stuff exactly the same way I do now” is legendary, but it’s also true.)

Nevertheless, it is often difficult for clients to think like the designers they hire, and to not see them as threats. This is something you need to consider when you’re bringing in a design consultant: you’re hiring someone to tell you something you don’t know; to provide you with something that you don’t have. But will you be ready to take their advice?

Read On…

Mobile First Africa: Opportunity for Accessories that Boost Productivity on Smartphones

Long ago, when smart phones were still on their way to changing the world, I remember the product development of a host of accessories that would boost business productivity in a variety of areas for phone owners.

The projector phone was one such innovation, flopping back when it was launched due to the tech not having caught up yet. I bring this up because I read an article this morning that highlights a major challenge for the ‘mobile first’ African market.

“We hear about mobile-first Africa, it sounds sexy,” said Nanjira Sambuli, digital equality advocacy manager at the World Wide Web Foundation. “But how much meaningful work can you get done through your mobile. Are we creating a divide? We are not going to be equal if mobile is the only way. Because mobile is for consuming.”

Today, technology is far more advanced, and as China has shown us, far more affordable. Can a range of productivity solutions be launched as accessories for smartphones to disrupt the African SME market?

The Japanese are already ahead with their answers, such as this keyboard by Elecom. The products are all out there, I think its just a matter of identifying the opportunity and the price point for the African markets.

The continent tends not to be taken as seriously for enterprise solutions as it could be. Informal sectors do not mean lack of purchasing power or opportunity space. Perhaps this is the sector that is now ripe for disruption by an enterprising entrepreneur.

Book Review: Operation Elop, the final years of Nokia by Merina Salminen and Pekka Nykänen

Design auditing the new Life Tools for Nokia, Sept 2009, India

Operation Elop, uploaded by Harri Kiljander has just been made available in English and I’m already on Chapter 8. I saw the editor’s tweet 23 minutes after he said “It’s done and available on Medium under a Creative Commons license” and I haven’t stopped diving in and out since.

It starts with a memorable day in Finland – 10th September 2010 – so memorable that one asks “Where were you that day?” and people remember. I remember it well, and I have photographs to prove it. My life changed rather dramatically in the year that followed, and the period that the book covers is the same period I was away from Finland, having already decided to make my home here for the remaining years of my life.

Its complicated, this history of Nokia’s demise. The impact on Finland was palpable, the responses ranging across the spectrum of human emotions. You have to know that I was in love with Nokia and the changes they had wrought across the developing world. In 2007, there’s a photograph of me sitting in their lobby stunned from the impact of coming face to face with a corporation that conveyed the values of their brand. And its because of Nokia’s design and innovation researchers blogging their exploratory user research across Africa that inspired me to do what I have been doing for the past 10 years. Every chapter in this book has been adding new layers to my own personal journey.

I’ll highlight the one paragraph that’s important to me. When all the news was breaking over the years, I thought that Nokia was splitting their product development energies too broadly. In fact, in May 2011, I was invited to a feature phone workshop to present on the future and on Africa. What I said we wanted to put on t-shirts, “Don’t get stuck in the missionary position.” They were taking a Mother Teresa route in Africa instead of focusing on what they were good at – robust engineering and products that stood up to harsh climes and rough usage. At a value for money price point. I didn’t know it was already too late, but here’s the key snippet from the book that helped me make sense of things from long ago as I read it today.

From Chapter 19:

In 2010, the foundation of Nokia’s business consisted of devices priced at a few tens of euros ($30–50), with which one could make calls, send text messages, and use simple web services. Thanks to efficient production, feature phones yielded larger profit margins to Nokia than smartphones. The amazing efficiency was based on the S40 operating system, which had been introduced in 1999. Nokia conquered the world with S40. It was made possible because the system could be tailored at a low cost to mobile network providers operating in different regions. By 2012, Nokia sold 1.5 billion S40 devices across the world.

This was squandered in the race to the top, the glamour of being world famous, complicated by so many factors – all simply and accessibly laid out in the book – that it still makes one weep to think of what might have been. All I know is that the Nokia I own today doesn’t even have predictive text.

I want to thank the translators for their hard work and effort. The book has been a joy to read and it’s kept its Finnishness in choice of words, and sentence structure. You can read it online or download it for free.

A Very Nigerian Opinion on E-Commerce and Online Fashion Startups

Folake Shoga shares her opinion on the recent spate of tech startups and apps mean to serve Nigeria’s fashion and fabric industry.

Two recent articles in Techpoint, the Nigerian online technology magazine, feature initiatives dealing with aspects of the clothing business. One is a startup letting studio space and equipment to makers, 360 Creative Hub; and one is an internet based fabric selling business, Fabricsphere. Reading up on the feasibility of these two initiatives has been an interesting experience, very much encouraged by the richness of Techpoint’s coverage of Nigeria’s tech and business ecosystem.

Having said that, as just a humble, occasional and above all provincial Nigerian, I’ll start by paraphrasing L P Hartley: “Lagos is another country; they do things differently there.” Sometimes, reading official accounts, reports etc of events in Nigeria really jarrs with one’s lived experience of the country (even though being as the standard of written professional journalism is generally excellent, this hardly every happens when reading the actual quality newspapers, Punch and The Guardian and their ilk.) In the aforementioned Techpoint articles some of the prices quoted for goods and services seem steep to me, which surely militates against takeup, but I am, as I said, provincial, and moreover brought up by Ijebu people. No doubt everything costs more in Lagos.

Startup culture is a thing in itself; current, progressive, innovative, aiming to breach new ground or disrupt! received conventions – although strictly speaking away from the comfortable global North there may already be more disruption going on than we are entirely comfortable with. But the term itself, startup, comes surrounded by an effervescence of aspiration, floating on an expectation of the power of a tech-determined state change in human affairs. “First we’ll click here, then we’ll be in tomorrow today already! Yay!!”

As recently as 12 years ago it was impossible to prejudge which casual, frivolous digital activity would end up as an engine of massive social change. Nobody could possibly have foretold, for instance, how a site for rating the comparative attractiveness of your female fellow students could have morphed into a giant data-gatherer, news disseminator and influencer of global public opinion. Or how a site for online shopping could evolve to be at the forefront of research into the logistics of drone technology and other automated delivery systems. So there is a hope and a hype around web-based startup culture, an eye for the next big thing, the next new system that will prove that from small beginnings come big changes. Nigeria, as a vast untapped market, has the potential to be a hive of new technology activity, and Techpoint in it’s many articles provides an interesting and thorough overview of the local scene, though concentrating almost entirely on Lagos.

Read On…

Work in Progress: An Introduction to the Informal Economy’s Commercial Environment

This topic is being shared in the form of a collection of essays on the following themes, each becoming hyperlinked on completion. Do bookmark this page for regular updates.

Introduction to Background and Context, some caveats apply
Fundamental Elements of Informal Sector Commercial Activity
Rural household financial management as a foundation
Linkages and Networks span Urban and Rural Markets
Underlying Principles for Financial and Social Contracts in the Informal Economy
Informal Sector Business Development Strategies and Objectives
Why A Blanket Approach to Formalization is not a Panacea
Disaggregating and Segmenting the Informal Sectors
The Journey to Formalization Cannot be Leapfrogged


Creating Economic Value by Design (John Heskett, IJD 2009)
Financial Behaviour Patterns Observed Among Households in Rural Informal Economy (IDRC, 2009)
More or Less: The Fundamental Principle of Flexibility” Slides (Informal Economy Symposium, 2012)
A Comprehensive Analysis of the Literature on Informal Cross Border Trade in East Africa (TMEA, 2016)

On the relationship between economics and design

This is an extract from the Introduction to John Heskett’s seminal paper, “Creating Economic Value by Design

The work of Herbert Simon, Nobel Laureate in Economics in 1978, is a rare exception of design being considered as a factor in economic theory. His starting point was acknowledging that the world we inhabit is increasingly artificial, created by human beings. For Simon (1981), design was not restricted to making material artefacts, but was a fundamental professional competence extending to policy-making and practices of many kinds and on many levels:

Everyone designs who devises courses of action aimed at changing existing situations into preferred ones. The intellectual activity that produces material artifacts is no different fundamentally from the one that prescribes remedies for a sick patient or the one that devises a new sales plan for a company or a social welfare policy for a state. Design, so construed, is the core of all professional training; it is the principal mark that distinguishes the professions from the sciences. (p.129)

Implicit in Simon’s reasoning is an emphasis on design as a thought-process underpinning all kinds of professional activities; yet the varied skills through which design is manifested are not discussed. He did indicate, however, why design is so rarely considered in economic theory. Economics, he stated, works on three levels, those of the individual; the market; and the entire economy (p. 31). The centre of interest in traditional economics, however, is markets and not individuals or businesses (p. 37). A serious problem is thereby raised at the outset: two important considerations relating to design—how goods and services are developed for the market place and how they are used—receive scant attention.

I was lucky enough to both work with him as a colleague as well as attend his classes in Design Policy and Design Planning & Market Forces as his student. I’ve been diving into my notes and his lectures of late as I wrestle with my theorizing on what I’ve been calling Biashara Economics, whose earliest avatar was the prepaid economy project of 2008/9.

Key Competitive Advantage for Frontier and Emerging Markets

There’s a nuance, I’ve discovered, in the application of user centered design methods for entering the frontier and emerging markets of the developing world where a significant proportion of economic activity is confusingly labeled “informal”, rather than unformal as the case tends to be.

In more advanced consumer market contexts, where there are umpteen data flows, and decades of consumer research and insights to draw upon, the unquestioned assumption is that user research tends to level the playing field among contenders.

However, this doesn’t hold true, in my experience, in the emerging and frontier markets, such as those in East Africa. Simply basing one’s product development and market entry strategy on even the most rigorously designed user research program does not suffice. At the frontier, competitive advantage boils down to how well you interpret your data so gathered using design ethnography methods and quantitative surveys.

The biggest and best data collection in the world cannot help you if it’s not answering the right questions, nor the insights drive design if there are underlying biases filtering the inputs.

The key, as any trained anthropologist will inform you, is in being able to shift one’s perspective sideways, enough so as to perceive the landscape and the context from the viewpoint of the users being researched. And, perhaps, that is why increasing the diversity of experiences and perspectives of your team can make or break your new product introduction and/or your competitive strategy.

An amusing example of this kind of problem is one I discovered yesterday when poking around my twitter profile after the sudden change in UI that took place without warning. It seems that because I hadn’t input my real gender in the system, Twitter’s data analytics designated me “male” based on my tweeting behaviour.

Their age range is vast enough that they cannot go wrong, and besides, a lady never shares her real age. In the grand scheme of things it doesn’t matter if I’m considered male or female in the system. What is of concern is the underlying assumptions that the designers of the system have made when assigning behavioural choices to one or the other gender.

Now, if we were to extrapolate this relationship between initial design settings in the system, and the inaccurate output – as clear a case of their assumptions being rooted in stereotypes as any that I’ve seen – imagine for a moment what would be the case if the same sort of unthinking, unquestioned stereotypes were applied to the interpretation of user research data collected from a geography or context vastly different from one’s own?

What if this same approach was used for the system of designating assumed behaviours and user needs meant to guide the design of solutions for the rural African market woman?

If the most modern and global social media messaging systems of Twitter are unable to distinguish something as basic as gender – they state based on your profile and activity – they’d do better by stating they are unable to distinguish gender based on these factors than to make gross assumptions on “What do women tweet?” in 20 foot pink letters.

I’d have more respect for them tbh instead of feeling I’ve been put in some fluffy fuschia box, as a woman, just because the stuff I do (my profile is professional) and the stuff I tweet about (business, trade, economics, and design strategy) flags me as a male?

Extrapolating this challenge further, in the context of frontier and emerging markets, where the markets are not crowded with competitors at this early stage, nor is your brand recognized, is this the first impression that you can risk making?

I’ve often said that these are some of the most challenging markets, and affordable connectivity is only making it harder – word of mouth now flies at the speed of silicon, and a new entrant must stand up to social media scrutiny.

Frankly, in my own discipline and field of focus, it only makes me more confident of my team’s ability to offer a distinct competitive advantage.