Posts Tagged ‘creativity’

The two top skills of great innovators

Wednesday, December 9th, 2009

The Harvard Business Review this month features a fascinating piece by Jeffrey Dyer of Brigham Young University, Hal Gregersen of Insead, and the omnipresent Clayton Christensen, entitled “The Innovator’s DNA.” The authors have completed a six-year study, summarized in the article, involving an in-depth analysis of 25 innovators and a further survey of 3,500 others who were connected to innovation in some way. The study attempted to identify key skills that separated great innovators from the rest of us.

The authors found five key innovative skills – Associating, Questioning, Observing, Experimenting and Networking.

In the article, a chart compares four iconic modern innovators (Michael Dell, Pierre Omidyar, Scott Cook and Mike Lazaridis) with noninnovators, in each of the five skills. The innovators are much above the noninnovators in each dimension, but in two skills the difference is stark: Associating (according to the authors, “the ability to successfully connect seemingly unrelated questions, problems or ideas from different fields”) and Questioning (”ask[ing] questions that challenge common wisdom”). Noninnovators fell below the 50th percentile on these dimensions, while the icons were with one exception above the 95th percentile of those studied.

Related posts:
Smart World
The Opposable Mind
On Experimentation

My reading journal: Roger Martin’s “The Design of Business”

Wednesday, November 11th, 2009

design of business coverThe Design of Business: Why Design Thinking is the Next Competitive Advantage,” by Roger Martin. 2009: Harvard Business Press, 190pp.

When did you read it? November 2009.

Subject: Hot on the heels of Tim Brown’s “Change by Design,” Rotman School dean Roger Martin, author of “The Opposable Mind” discusses how design thinking can help businesses balance exploration (the search for new solutions) and exploitation (extracting value from existing solutions) to improve their innovative capability.

Did you like it? How many stars would you give it (1-5)? 4

Summary: Martin describes the process of innovation in three steps, something he calls the “knowledge funnel”: (1) staring into a mystery; (2) coming up with a heuristic, or rule of thumb, that allows you to address the mystery; (3) systematizing your solution – in Martin’s words, turning the heuristic into an algorithm. This process, to Martin, is design thinking.

He spends time discussing the preference business has for reliability (i.e., consistency and repeatability) over validity (meeting a desired objective). Validity is the starting point for innovation – the discovery of something new that helps illuminate a mystery. Since validity is not predictable or repeatable, and tends to rely on qualitative, intuitive assessments (i.e., pattern matching), companies that rely on quantitative measurement struggle with it. It was easiest for me to understand validity, as Martin uses it, as a synonym for “right-brained” or “artistic.” Successful businesses balance the desire for reliability with a relentless search for new validity.

As Martin described this process – taking mysteries, developing heuristics and then refining algorithms from it, it seemed quite simple. Why doesn’t every company do this? But I also thought that there are lots of mysteries that don’t lend themselves to heuristics, and lots of heuristics that can’t turn into algorithms. There are lots of failures on the way to the next great business algorithm. Not only that, there are lots of successful businesses built on heuristics alone [for example, your favorite restaurant, assuming it's not part of a chain]. Martin’s point, which is not stated explicitly, is that you can’t build large businesses without this transition to algorithms. You can’t have McDonald’s without a cooking and serving system. You couldn’t have Wal-mart without its distribution model.

There’s not a discussion of the cost of algorithmized businesses to society. On my last trip to downtown Boston I was hard pressed to find a business that was not part of a national chain; much different from when I Iived there in the 1990’s. But I digress – Martin isn’t writing as a social critic; he’s a business professor.

Favorite quotes:

“Vice President of Marketing” denotes a permanent position with a set of ongoing tasks…. As well suited as that construct is for running known heuristics and algorithms, it is not an effective way to move along the knowledge funnel. That activity is by definition a project; it is a finite effort to move something from mystery to heuristic or from heuristic to algorithm. pp.118-119

Designers produce prototypes for feedback, but managers are accustomed to delivering final products. p.121

Status comes from running large, high-revenue business units whose operations have been reduced to reasonably reliable algorithms that product results on time and on budget. Those are the highest goals, that is, the ones that command the highest compensation. That is why most executives prefer the known to the unknown. p.125

Was it similar to anything you have read before? Of course, there are echoes of “Change by Design” (Brown’s earlier HBR article is referenced). And the idea of “staring into mysteries” reminds me somewhat of “changing the inherent meaning of a product” from Roberto Verganti’s “Design Driven Innovation.” 2009 is definitely the year of design thinking in business!

Martin’s book is less ambitious than Verganti’s, but broader (in a good way) than Brown’s. And his ability to create a powerful, memorable metaphor remains intact (I think I’ll be using “knowledge funnel” and maybe even “validity vs. reliability” in the future).

Will this book end up on your bookshelf or in the library donation pile? The bookshelf.

Related posts:
On “The Opposable Mind”
Processes can be art or science
On “Design-Driven Innovation”
Reading journal: “Change By Design”

Don’t worry about Lego Star Wars impairing kids’ creativity

Tuesday, September 8th, 2009

The New York Times this weekend profiled the business revival at Lego Group (”Turning to Hollywood Tie-Ins, Lego Thinks Beyond the Brick“).

The numbers speak for themselves:

Amid a 5 percent drop in total United States toy sales last year and the industry’s worst holiday season in three decades, according to Sean McGowan, an analyst at Needham & Company, Lego’s sales surged 18.7 percent in 2008. And despite a worsening global recession, Lego powered through the first half of 2009, with a 23 percent sales increase over the period a year earlier. It earned $355 million before taxes last year, and $178 million in the first half of 2009.

But the article contained an ominous message:

In the United States, Lego’s biggest market and the biggest toy market in the world, games with themes like “Star Wars” and “Indiana Jones” were among the reasons Lego sales jumped 32 percent last year, well above the global pace. But experts like Dr. Jonathan Sinowitz, a New York psychologist who also runs a psychological services company, Diagnostics, wonders at what price these sales come.

“What Lego loses is what makes it so special,” he says. “When you have a less structured, less themed set, kids have the ability to start from scratch. When you have kids playing out Indiana Jones, they’re playing out Hollywood’s imagination, not their own.”

Even toy analysts who admire the company and its recent success acknowledge a broad shift. “I would like to see more open-ended play like when we were kids,” says Gerrick Johnson, a toy analyst at BMO Capital Markets in New York. “The vast majority is theme-based, and when you go into Toys “R” Us, you’d really be challenged to find a simple box of bricks.”

Um… these guys have never been to my house. My 8- and 6-year-old sons are big Lego fans. Last winter, when we were at Disney, my 6-year-old chose to spend his birthday at the Lego Imagination Center. They’ve gotten “theme-based” kits for the Hogwarts Castle, various Star Wars fighters and Indiana Jones.

But if you think that has inhibited my kids’ creativity, you are dead wrong. Once these kits are built (sometimes even before they’re built), the pieces are repurposed to fit whatever my kids want to make. The 8-year-old built a little Segway-like device for a Storm Trooper to battle in; the 6-year-old mashed up a character with Storm Trooper legs, Indiana Jones’ whip and Harry Potter’s friend Hagrid’s bushy brown beard. The minifigures, in particular, are ripe for innovation and storytelling. Which makes sense–people like stories with other people in them.

Legos when I was growing up were 2- 4- 6- and 8-dot bricks, the occasional wheel and window. My guys have innumerable pieces from which to create–and they do, without limits and with interesting, unique pop-culture references that weren’t possible in my day.

I think creativity among our young is alive and well, and movie tie-ins won’t bother it.

Related post:
Lego knows partnering

Shop Talk Podcast: Roberto Verganti on “Design-Driven Innovation”

Tuesday, August 25th, 2009

Roberto Verganti’s book “Design-Driven Innovation” is one of the best business books of the year. It discusses the methods certain companies use to create products with radically new meanings, offering customers something they never realized they wanted and generating long-term competitive advantage and outsized profits as well. In this podcast, Professor Verganti discusses the ideas behind the book and how it applies to companies like Apple, BMW, Artemide, and Harley-Davidson.

For more information, visit the book’s companion website.

Podcast: Roberto Verganti on Design-Driven Innovation (mp3, 39:41)

Timeline:

0:35 What is the “meaning” of a product?

6:00 The meaningfulness of the iPhone

13:50 The role of “interpreters” in Design-Driven Innovation

19:50 Relationships between companies and interpreters

23:45 What is the CEO’s role in Design-Driven Innovation?

30:00 How much of the CEO’s time is required?

33:25 More resources on Design-Driven Innovation

Related post:
Review: “Design-Driven Innovation”

[Theme music: "Up the Coast" from West Indian Girl's CD "4th and Wall"]

“Design-Driven Innovation”–the powerful advantage that comes from changing the meaning of a product

Wednesday, August 12th, 2009

One of the best books of the year is undoubtedly “Design-Driven Innovation: Changing the Rules of Competition by Radically Innovating What Things Mean,” by Roberto Verganti. In it Verganti, a favorite of this blog, attacks one of the central mysteries of innovation–how can a company successfully create a product that is a radical break from the past, and which shows the way to a new future?

We’ve seen these products at work. The mobile phone is one. The personal computer is another. We know that you can’t survey users to determine what these products will look like or what they should do. So how to create them (apart from cloning Steve Jobs, who seems to have a knack for the radical innovation)?

Most companies punt on this question and are satisfied to extend existing products into adjacent spaces, fix latent customer pain points, etc. These are fine tactics, but with the ease of imitating product features and the speed with which information and intelligence flows, extension is a less and less stable platform for growth (arguably, it is an unhealthy and unproductive basis for business – in Umair Haque’s term, “thin value“).

Besides, as Verganti points out, radical changes in meaning yield longer product life cycles and more profitability.

So what’s the key to achieving this sort of innovation? Verganti writes that it is changing the meaning inherent in the product. The Wii changed the meaning of gaming from “passive immersion in a virtual world for young adults” to “active physical entertainment for everyone” (p.65). iPod/iTunes changed the meaning of a digital music player from a storage medium to a seamless platform for finding, buying, organizing, transporting and listening to music. The iPhone (not specifically discussed in the book) changed the meaning of a mobile phone from a voice device, with a few data applications attached, to a platform where data applications are the central focus of the product. The phone part is almost an afterthought! (I’ve noticed that iPhone customers are very tolerant of poor voice quality and dropped calls–deficiencies that would doom a plain mobile phone.)

In all the above cases, the changes of meaning opened up entire new markets, created hard-to-duplicate ecosystems and caused competitors to spend time and resources figuring out what the changes meant and how/whether to follow.

So how would a company create a new meaning for a product or market segment? That will have to wait for another post.

Related postsi:
Roberto Verganti podcast
How to improve innovation in rapidly-changing markets
An alternate approach to innovation: the Lombardy Design cluster
A quick skim covering innovation, marketing and complexity

Thinking about… Verganti’s “Design-Driven Innovation”

Wednesday, July 29th, 2009

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