Hasta La Ideas

New York’s Grand Central Terminal is an ideal spot for a flash mob–remember when Moncler Grenoble’s stone-faced model-dancers took to the floor in Carlo Mollino-inspired skiwear? As part of the big 100th birthday bash, the insta-happening experts at Improv Everywhere recruited 135 LED-flashlight-wielding performers to light up Grand Central’s grand windows, mesmerizing passersby. The impressively choreographed affair, a project cooked up with MTA Arts for Transit, was something of a homecoming for Improv Everywhere, which in 2007 staged “Frozen Grand Central,” a flash freeze that has racked up 32 million views on YouTube. Watch both successful “missions” below.

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Over the past weekend, Core77 ventured up to Boston to check out the inaugural edition of the HarvardxDesign conference, a collaboration between the students of the Harvard Business School and the Harvard Graduate School of Design. The conference explored ways to use the principles of design to transform business and education and included both a speaker series and a design challenge. We hit the ground running on Friday night with a series of rapid-fire presentations from the likes of Hunter Tura, CEO of Bruce Mau Design; Paul Pugh, VP of Creative for Software Innovation at frog; and Marco Steinberg, Director of Strategic Design at the Finnish Innovation Fund.

Hunter Tura preached how imperative it is for designers and businesspeople to collaborate as early in the product development process as possible in order to create the most holistically successful results. “The Design School students need to introduce themselves to the Business School students,” said Tura, “because these people will one day control the fate of your brand.” Tura continued with describing how innovation, certainly the buzz word of the conference, has become like irony. “It’s very difficult to define, but you know it when you see it,” said Tura, while showing examples of products that have changed stagnant markets. Most importantly, though, innovation is not some stand-alone goal to achieve—”innovation is not something that exists in a vacuum”—but rather something that is dependent on the design process.

Paul Pugh talked about bucking the stereotypes in design in order to find happiness. He put up the typical design thinking process, with steps like Discover, Concept, Refine, and Deliver. “These are really marketing diagrams about how design works,” said Pugh. “At frog, we try not to stick to that.” The very rigid process of design thinking can be limiting, so teams at frog are allowed to come up with their own processes and ways of working, all in the pursuit of turning a sort of happy chaos into the best end results. Pugh described how software design projects are often regarded as trivial, especially in comparison to social innovation projects. “But look at software design as a humanitarian project,” said Pugh, flipping the modality on its head. “People sit in front of screens all day—we can make them happier and make their lives better. Always think about how products can change a person’s life.”

Lastly, Marco Steinberg stole the show with a passionate and down-to-earth talk about using design to face the world’s biggest problems. “Our challenges are on such a grand scale. Combine that with diminishing resources and now it’s about redesign, not just making the systems more efficient,” said Steinberg. He described the aging populace in Finland where the tax base is shrinking, yet the need for services is quickly increasing. This seemingly necessitates the need for service designers, yet solely using service designers as the solution “will only make the services more pleasant—we’ll just die more pleasantly,” but not solve the root of the problem. Government needs to engage all stakeholders into to administer its services better.

During the panel, Steinberg continued to inspire the audience with his stories of struggling to change the culture of government through embedded designers. “The public sector has no history [of design],” said Steinberg. “If we can figure out how to get in, then we’re not burdened by any legacy.” However, unlike the oft-repeated design thinking maxim of failing early and often, designers in government cannot be allowed to fail since there won’t be another opportunity to try again. Steinberg also offered two “sinister” strategies that he uses to effect change more rapidly: the Trojan horse—”we give you what you want, but load it with what you need”—and creep—”do small things, work at the margins, then take bigger and bigger bites.” Although we had never heard of Marco Steinberg before today, he is definitely worth keeping an eye on.

Saturday started off with a somewhat status-quo yet highly enjoyable lecture on using design to shape business strategy from IDEO’s Colin Raney, who proffered Richard Buchanan’s Orders of Design as a basis for understanding business design. The Orders of Design start with graphic design, then evolve to products, to interaction design, and finally to system design, which includes businesses, government, education and other organizations. “Business is the platform for design,” said Rainey. He then described the steps for integrating the design thinking process into business strategy, which include visualizing the system, looking for areas of potential leverage, and then implementing a series of systemic changes to redefine the system.

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Since its inception in 2008, the Mayo Clinic Center for Innovation has become the poster child for internal innovation practices. The Center for Innovation focuses on engaging all of the stakeholders in the healthcare system, from doctors to patients to staff, and introducing the design process as a means of taking healthcare to the next level. We had the chance to sit down with the Center for Innovation’s Gerry Greaney and Molly McMahon to talk about how design is reshaping healthcare.

Core77: What is the Center for Innovation?

Gerry Greaney: We’re a very interesting and diverse group with backgrounds in design, healthcare, finance, budget management, IT, and we’re taking the design thinking and design research approach to try to transform the delivery experience of healthcare.

Have you seen the Center transform, along with the culture and behaviors at the Clinic?

Molly McMahon: Definitely. When we first started, we moved out of this kind of raw space in the back area that wasn’t finished and that was also right inside the patient clinic hallway. Our team was split—we didn’t have a dedicated space for ourselves. Then last March, we moved into to this new, open space with everyone on the same floor. Space is a [scarce] commodity and really valued at Mayo. If you’re given more space, then you’re worth something. It shows that the Clinic has made an investment in us as well as through the work that we’ve been doing.

GG: I think what’s happened over the past couple of years is that more and more groups throughout Mayo have engaged with the Center and as they’ve done that, they’ve started to really understand what the value is. When you bring something like a design approach into a medical institution, it’s very different than the scientific, analytical lab approach that’s prominent there. It’s hard to understand initially what the value of this is—until you experience it. And then once you go through that, you can see the benefit. And when that happens, more people talk about it. It’s about getting a foothold.

What kinds of attitudes have you seen? When you say, “I do design and innovation,” do people balk at that?

MM: I would say it’s more of a slight confusion or an ‘Explain more,’ because as soon as you say the word ‘design,’ from their perspective, they’re looking at it as, “Are you designing the curtains in the room or the bed? What are you trying to design around or change?” From that, I think it’s more of a confusion around the term ‘service design’ and how it fits into how what they’re doing and what we’re going to provide to their services.

GG: I think there are times when people may wonder why we’re needed and we have to show why we are. Maybe we go a little further to do that and to really capture the stories people tell and things we’re told by patients and then translate it into something that applies to the work that needs to be done.

So why is the Center for Innovation needed?

GG: I think it’s because there’s only so much you can do to address the change that needs to happen in healthcare with the approaches that have been tried already. So there are certain things that you can identify through equality efforts, things that have made huge progress in improving efficiency. But there are certain things that you don’t see when you look at things that way. By looking very carefully through a patient experience and trying to understand the greater context of health for patients, you start to see some opportunities that you might not see if we were only focused on purely the medical side of things, purely the care aspect.

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Fashion force Fern Mallis was back on stage at New York’s 92nd Street Y last night for a chat with the irrepressible Betsey Johnson. The designer, clad in a black tee that proclaimed her a “rocker,” shredded leggings, wedge sneakers, and a hot pink tutu that she would later shimmy out of to get comfortable, bounded on stage with a signature cartwheel and concluded the evening by showering Mallis, her old friend, in rose petals. “That was good I think,” she said of their fizzy dialogue before skipping off to greet fans. Here’s ten fun facts that emerged from the conversation:

10. She spends $20,000 a year on hair extensions. “It costs 5,000 a pop to look this cheap and trashy,” she said.

9. She made her first garment at age four. “I still have that apron. The print is so great. It has little Scottie dogs on it.”

8. She dropped out of Pratt Institute after one year to pursue…cheerleading. “Pratt was a bitch. It was a killer year. I didn’t have time to do anything…well, I had time to eat. I think I gained 100 pounds. But we didn’t have time to sleep. I had to leave and cheerlead [at Syracuse University].”

7. As a guest editor at Mademoiselle, she traveled to London (and met Margaret Thatcher). “I came back [from London] and wanted to be an American Mary Quant. I connected with that fashion–primitive, basic, almost flat-patterned, primal, kindergarten kind of clothing.”

6. At least one First Lady has worn her clothes. “Jackie Kennedy came in [to mod NYC boutique Paraphernalia] and bought 12 or 13 of these satin-backed crepe bush shirts. [She was pictured wearing one on the] cover of Life, tromping around in Cambodia.”
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The 2013 Sundance Film Festival gets underway next Thursday in Utah, and festivalgoers have Todd Oldham to thank for taking this year’s merchandise in a fresh new direction. The designer not only developed a line of ‘Todd Oldham for the Sundance Film Festival’ gear, including bags and wallets made from recycled festival banners, but also acted as curator for Sundance Film Festival Editions. For the new initiative, he invited Sundance alums such as Morgan Spurlock, Amy Sedaris, and Parker Posey to design a product–a button, a t-shirt, a tote. “It wasn’t hard to get them on board,” said Oldham in an interview with the Sundance Institute. “I did curate, but the art was really in asking the right person for the right task. And they are so talented–Mike White is a great graphic designer as well as filmmaker, Stacey Peralta is an artist, so I knew I had good, wildly creative people.” John Waters whipped up a subversive t-shirt (pictured).

In addition to whimsical apparel and recycled accessories, Oldham also brought his editorial expertise to the festival with a new book, Sundance Film Festival A to Z. He invited 26 illustrious illustrators–including Caitlin Heimerl, Chris Silas Neal, Michele Romero, and Yuko Shimizu–to have their way with one letter, with each letter representing festival films and artists (yup, “R” is for Redford). “We got very sophisticated, learned efforts. Some don’t tell the story at first glance. It’s super fun to try and decipher what the artist saw,” noted Oldham. “Illustrators have vivid imaginations and are usually forced into linear systems with tasked briefs. But we just let people do whatever they wanted and they were delighted to be unedited!” And if you detect a hint of Pee-Wee’s Playhouse in the cover art, that’s because it’s the work of Wayne White.

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