A Model for Measuring and Managing the Impact of Design on the Organization: Insights from Four Companies

Increasing numbers of companies are looking to embed design as a strategic capability to meet today’s business and social challenges. However, integrating design in an organization is a challenge, due to the scarcity of knowledge on managing this process and measuring its impact. This study presents a model for measuring and managing the impact of design on the organization (DIMM). The model builds on four levels of design impact identified in the literature: results, perception, processes, and design culture. The model was tested with four service companies that have recently developed design capabilities. To this end, those responsible for the integration of design were interviewed, using the model itself as an interview guide to confirm its usefulness and identify possible improvements. The results showed that the model was useful to assess the impact of design on companies with emerging design capabilities, but also as a reflection and management tool to align design with strategic objectives and promote its integration into the organization. Finally, future research should test the model longitudinally, as well as in a broader scope of organizations, to validate its usefulness for organizations with greater design maturity.

Tendering a Tactile Tectonic: Discovering and Deploying Architecture’s DNA

In a current academic architectural design culture often characterized by parametricism, cybernetics, and virtual reality, architectural design’s visceral and haptic dimensions have assumed an inferior position in architectural design ideation and process. Whether through intentional dismissal or benign neglect, the design process pursued in many undergraduate architectural programs has assumed an occularcentric modality. Students ideate in a weightless, immaterial, design landscape of simulation, devoid of the shifting qualities of color, light and shadow, the nuance of olfactory and tactile cues, and material resonance. Rather than advance a nostalgic, anti-digitally mediated position, the design practices described here deploy haptic means to tender a design process that advances a tactile tectonic grounded in the DNA or patterns of human experience and nature.

Application of Flower and Bird Patterns in Modern Makeup and Hair from the Perspective of Design Culture

Under the background of the vigorous development of various cultural and artistic forms, the traditional patterns that can express the unique charm of Chinese national culture have become an important material for modern design. Traditional patterns not only have unique decorative functions, but also represent the spirit of traditional culture. Among them, flower and bird patterns are also precipitated by history. It is worth exploring how to combine the flower and bird patterns with the aesthetics of the times, and how to integrate the traditional flower and bird patterns with the nature of the times. Starting with the formation and development of flower and bird patterns, this paper analyzes the historical, cultural and aesthetic attributes of flower and bird patterns from the perspective of design culture, and expounds the application of flower and bird patterns in makeup and hair in various historical dynasties. With the development of the times, the application of flower and bird patterns in modern makeup and hair should be both national and in line with the aesthetic requirements of modern people.

Introduction of design culture as approach in endogenous regional development: a study case in farming community of Sabrang Village, Central Java, Indonesia

Within Design Science, Design Culture is a branch focused on regional development through design principles and participatory tools designed to intrinsically understand endogenous potentials. Designing living is a goal/output based on recognizing regional “color” and facilitating the community for economic sustainability, social acceptability, and environmental soundness. Anthropological/ethnographic study embodied in material culture research is applied practically in learning about life in the field to incite curiosity and learning reflexes. In experiencing communal living, student-participants Observe-Collect-Map valuable tangible/intangible potentials (treasures), and analyses for presentations, ideate visions and co-design with local community as one of stakeholders. As an example, UNS-FSRD Design Culture Laboratory collaborates with UNS-Agriculture Faculty and GAPOKTAN Sedyo Makmur to redevelop Rojolele Delanggu Rice and community-based plantations in Sabrang Village, Delanggu.

Tuning into the design wave. The article is devoted to the Kharkiv School of Design

It provides a panoramic overview of how the school was created and has since developed, including the events and personalities that have had a significant impact on its formation. The article emphasizes the role of Kharkiv Art and Industry Institute (KAII / KSADA) in training specialists for the needs of production, art, science, and culture. The article presents design developments of industrial products and graphic corporate styles ordered by companies and organizations. The importance of international relations for the development of the vocational education system and design practice is emphasized by the examples of partnership projects with the University of Halle-Burg Giebichenstein in Germany and participation in the ICSID “INTERDESIGN‑77” seminar. The materials of the article reveal the huge contribution of the All‑Union Scientific Research Institute of Technical Aesthetics (VNIITE) to the creation of a domestic design system. The fundamental scientific and methodological publications of VNIITE and the program provisions of the concepts of design activities are presented, which outline the development directions of the Kharkiv School of Design. Additionally, the article presents the history of the work of the Kharkiv organization of the Union of Designers of Ukraine and its interactions with KAII / KSADA in holding large-scale cultural and educational events, festivals, exhibitions, and design competitions. In this regard, the content and objectives of the exhibitions-contests “Vodoparad”, “Svitlo”, “Replicants”, “Cult of Design: Digital Life” are analyzed. Their importance for integration into the international design culture is highlighted, as is the development of the directions: “industrial art-design”, “innovative design”, design of “subject-painting installations”. At the end of the article, the level of success of the Kharkiv School of Design is assessed based on a set of criteria. A forecast of the school’s development in the near future is made and the main conditions for its development are indicated.

International Student Competition on Font and Calligraphy Pangram: Origins, Development, Prospects

The article analyzes the experience of holding the Pangram International Student Competition on Font and Calligraphy in the context of the phenomenon of festivals and competitions that popularize the art of type in the cultural space of Ukraine and the world. The purpose of the article is a retrospective review of the five year existence of the competition, its statistical analysis, results and prospects. This study was carried out in the framework of the celebration of the 100th anniversary of KSADA. Its idea is related to the determination of one of the directions of the Academy’s development in the future. The field of international creative competitions is diverse and constantly evolving. The most famous professional type design competitions are Morisawa Type Design Competition, TDC Typeface Design Competition, GRANSHAN Type Design Competition, where designers present their latest developments in type design. The article dwells on the problem of the implementation of creative ideas of art university students through participation in competitions, creative actions, festivals. It was noted that the practice of announcing such competitions is an example of encouraging young people to be creative, and it is an opportunity to find talented labor potential for organizations. The author examines the features of the main type festivals held in Ukraine in different years, namely: Cyrillic Holiday, Ruthenia, Space of Letters. The state of the research of the problem is analyzed. The author emphasizes that the phenomenon of creative actions, festivals and competitions is insufficiently studied in scientific terms. Although they are widely highlighted by local and regional Internet media as significant events, which demonstrates the interest of society. Special attention is payed to the background, development and transformation of the Pangram competition. The main idea of the competition is to give the opportunity to demonstrate the font ideas of students of art higher education institutions from different countries. The competition also promotes the exchange of experience of font schools in Ukraine and other countries, popularizes the role of calligraphy, type and typography disciplines in higher education institutions. The author highlights such conditions and mechanisms of the competition as topics, nominations and categories, event format, the jury and evaluation criteria, partners, and awards. It was noted that the selected remote format proved to be successful in the global pandemic. At the present stage of the development of the art of font and calligraphy in general and in Ukraine in particular, the student competition is a progressive phenomenon of bringing teaching methods beyond the walls of higher education institutions. The present study is important for understanding the trends in modern type design and calligraphy in terms of the formation of Ukrainian identity and the design culture in general.

Co-designing engaging and accessible data visualisations: a case study of the IPCC reports

Creating scientifically rigorous and user-friendly data visualisations can play a critical role in making complex information more accessible to wider audiences and supporting informed decision-making. ‘Co-design’ encapsulates a way of approaching data visualisation that ensures a deep and shared understanding between those creating the visuals (e.g. information designers, content experts, cognitive scientists) and the audience/users. This essay describes co-designing data visualisations with the Intergovernmental Panel on Climate Change (IPCC). A multidisciplinary design team made up of information designers and cognitive and social scientists worked closely with IPCC authors and staff to develop data visualisations for the Summary for Policymakers (SPM) of the Special Report on Global Warming of 1.5 °C and the Special Report on Climate Change and Land. In this essay, the authors consider the three crucial elements that underpin a successful co-design process—practical tools and a flexible method; cognitive science and psychology to better understand the needs of users; and the importance of trust and leadership. The authors reflect on the application of the co-design approach in an IPCC context, noting specific challenges and including recommendations for future IPCC reports. The mutual learning experience of the special reports indicates a shift towards a design culture within parts of the IPCC that recognises the value of telling a compelling visual story while retaining scientific integrity—an approach that has been retained for the Working Group I contribution to the Sixth Assessment Report.

Empathic organizational culture and leadership: conceptualizing the framework

Purpose This paper aims to conceptualize and discuss empathic organizational culture and leadership along with organizational implications. Design/methodology/approach The authors reviewed literature to conceptualize empathic organizational culture and leadership. They referred to Hofstede’s organizational culture concept and studies on empathy to explore how leader–follower relationships are influenced by a leader’s empathic disposition. Findings Organizational leadership is instrumental in shaping employee performance. While work design, culture, peer support and resource accessibility are discernible, leadership style, control and others are covert. Leaders’ empathic attitudes and dispositions can positively influence organizational functions for improved performance. This review suggests that organizational culture should support growth, proper functioning and effective coordination between employees for improved organizational effectiveness. Research limitations/implications The authors conducted searches in leadership and management journals to help conceptualize leaders’ empathic disposition. Future researchers may explore other bodies of literature and the cultural demographic differences in exhibiting empathic leadership and its effectiveness. Researchers can explore how empathic culture relates to job motivation, satisfaction and commitment. The authors suggest that future research may explore how employees’ and supervisors’ behaviors and interactions can create an empathic organizational culture. Practical implications The authors identify the characteristics in an empathic leader to articulate the role of empathy in leadership. Alignment between person, group norms and organizational values is more important than the existence of culture. Originality/value Empathy is studied by researchers from various disciplines. Similarly, employee well-being has received attention from organizational researchers from many fields. However, researchers have given inadequate attention to conceptualizing an empathic organizational culture and its interrelationship with leadership. The authors offer a more positive perspective to the leader-member exchange (LMX) research by describing how leaders can sustain positive relationships with employees rather than the purely transactional exchanges that characterize LMX.

Design Culture in the Era of Industry 5.0: A Review of Skills and Needs

The objective of this article is to analyse the designer skills and company needs that are important for design culture development in the coming era of Industry 5.0. For this purpose, 83 SMEs operating in the manufacturing sector in Italy, Spain, Romania, and Poland were analysed. Qualitative and quantita-tive research conducted within the European project Intride let the authors state that in the 21st century context, companies will need to look for designers with specific skills. Based on their study, the authors indicate the most important skills for further development of design culture from the areas of soft, technological, design, digital, and green skills. Further, the authors suggest that it is necessary to con-tinue research on identifying the most needed skills for smart designers in manufacturing and in rele-vant curricula at universities, which might fill educational gaps related to these skills. They propose the concept of the “smart designer” as a design innovation trigger in the manufacturing sector.