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    Saturday
    Jul242010

    TEDx Taipei

    Here are some photos from the TEDx Taipei event which occurred yesterday. It was a great event, super well organized, with excellent speakers all around. Congrats to Kevin, Jason and the whole team for putting on a terrific show. There were many people I didn’t get photos of, this is just a small selection of what was on offer.

    The event was held in a renovated space that is now an arts/culture center

    Rehearsal

    Jason and Kevin on stage

    Dinner the night before, with the group Shakespeare’s Wild Sisters Group doing a sketch based around Michael Jackson, and with a performance of Thriller.

    TEDx Day

    Jason doing introductionsZoo Nutritionist demonstrating zoo feeding practices with volunteersAnother zoo feeding practice: the Pinata

    A chalk wall for people to leave messages
    Designer Alice Wang presenting. This is what it feels like on-stage, a blurThe BaBa Band

    Taiwan tennis professional and advocate Jeff Hsu


    Dancer Fang-Yi Sheu

     

    Friday
    Jul092010

    Mapping My Work Life

    As part of preparing my talk for the TEDx event in Taipei later this month, I created this graph showing the ratio of the various types of activities I’ve done over my work career. I don’t know if I’ll end up using it in the talk, but it was an interesting exercise to think about how the various strands of interests and experiences have ebbed and flowed throughout my now almost 20 years of worklife.

    I categorized the various things I’ve done into six buckets - industrial design, user research, interaction design, strategy, writing, and marketing. For the most part these aren’t roles in the traditional sense. I’ve never had “interaction designer” as a title, and the spike of writing in 1996 wasn’t because I suddenly became a writer, but because I was doing my Masters degree. But these activities were important parts of whatever role I was doing at the time. Over my eight plus years at frog I’ve had four titles and at least six roles.

    It’s satisfying that today there is a pretty evenly distributed mix of all the things that I’ve been interested in doing over the years. When I started out as an industrial designer I couldn’t imagine doing anything else, or ever getting bored with it. But as I worked more and got more projects under my belt, other areas of expertise caught my interest and I recognized things about what I was good at and - just as importantly - not good at, which steered my career in different directions.

    Where I am now is “postdictable” - not predictable by me twenty years ago, but perfectly logical in hindsight.

    What would your personal map look like? And is your current mix of activities what you want to be doing? Is it a surprise or a planned progression?

    Wednesday
    Jul072010

    What you can learn from Virgin America's Strategy Canvas

    The common wisdom for starts-up looking to take on entrenched competitors is to look at what the competitors are doing and offer a different - but relevant - value proposition to customers. The best-selling book Blue Ocean Strategy which came out a few years ago gives a clear way of thinking about and visualizing your unique value, the “strategy canvas”. Unfortunately it’s not always as simple as just “thinking differently”. The struggling upstart airline Virgin America is a case in point.

    Virgin America offers a superior product at a lower price, has an enthusiastic fan base, and cutting-edge marketing - all usual ingredients for market disruption. So why can’t it take a sizable bit out of entrenched competitors? Fast Company reports on how Virgin has faced barrier after barrier to expanding its service into new markets, a critical step for an airline to gain enough geographic footprint to attract a sustainable quantity of passengers.

    The article quotes Hubert Horan, an aviation consultant:

    “King Solomon couldn’t start a U.S. domestic airline these days. No matter how well they’re run, it’s tough for any airline that’s small to survive.

    Here are these well-run efficient airlines [Virgin, JetBlue, Southwest] — people like them, they have low costs — but they can’t get the badly run inefficient airlines to go away. In a competitive market, the people with the better-run companies ought to drive the high-cost companies out of business, and that just doesn’t work in the airline industry.”

    Here is a strategy canvas of the airline industry, comparing Virgin, Southwest, and an averaged “Legacy” airline. The strategy canvas evaluates several dimensions of competition (e.g. prices, convenience) on simple low-to-high scales. You draw a “value curve” crossing the points where entrenched competitors sit for each of the competitive dimensions, and then look for white-space opportunities to differentiate. (My tongue-in-cheek but not entirely incorrect one-line summary of BOSis: look at what the competition is doing, and do the opposite.)

    Admittedly this diagram is a quick and dirty analysis but you can immediately see how Virgin and Southwest have very different value curves than legacy outlines. (And yes I recognize that there is variation within the legacy airlines, they aren’t all exactly the same, but like I say I’ve averaged them for the purpose here. This is is often what is advocated in BOS, which uses Southwest as a case study of creating a new value curve - see the graphic on p38.)

    Strategy canvases are a nice way to quickly take the pulse of a category. But they are also easy to do poorly by leaving off important dimensions that may not be about the more obvious factors of product innovation.  This strategy canvas, for example, leaves out the political and geographic lockout that the legacy airlines have created, which - as Virgin is showing - are vital to market traction. Don’t make the mistake that some companies (and industry analysts do) of cherry-picking your competitive dimensions to make yourself look good, and leave out ones that may have a critical impact on your ultimate success.

    Sunday
    Jun272010

    Why Apple is the Master Craftsman

    Whatever you may think about Apple there is no denying that they continue to set new standards for craft. Craft? Yes, that seemingly old-fashioned word that many confine to quilting, scrap-booking and other pursuits often disparagingly categorized as women’s activities. My alma mater, the California College of the Arts, dropped the word craft from its name years ago, feeling that it was dragging the image of the school down. But craft as a concept has made something of a comeback in recent years, and no-one in the mass-production realm is doing it better than Apple.

    That’s no accident. It’s the result of enormous amounts of hard work and financial investment, much more than most companies are willing to stomach. Apple’s head of design, Jonathon Ive, said in a recent rare interview with design site Core 77 about the iPhone 4:

    “A big part of the experience of a physical object has to do with the materials. [At Apple] we experiment with and explore materials, processing them, learning about the inherent properties of the material—and the process of transforming it from raw material to finished product; for example, understanding exactly how the processes of machining it or grinding it affect it. That understanding, that preoccupation with the materials and processes, is [very] essential to the way we work.”

    High quality craft comes about from an interplay between a material and a person, whether they be a woodworker, metal-smith, designer, engineer, or production-line worker. Good craft comes from intimate familiarity and ongoing hands-on manipulation of the material and the forms it can make, not from abstractly visualizing the form as is often done through CAD renderings. They can be highly photorealistic, but often not usefully informative to the design process as they lack tangibility. Ive goes on to say:

    “The best design explicitly acknowledges that you cannot disconnect the form from the material—the material informs the form. It is the polar opposite of working virtually in CAD to create an arbitrary form that you then render as a particular material, annotating a part and saying ‘that’s wood’ and so on. Because when an object’s materials, the materials’ processes and the form are all perfectly aligned, that object has a very real resonance on lots of levels. People recognize that object as authentic and real in a very particular way.”

    Forty years ago, design philosopher and master wood craftsman David Pye argued that design is always limited by budget, not technique. The ideal form promised by superior technique, he said, will always lose out to affordability, and therefore design will always be compromised. What is remarkable about Apple is that they have navigated around this paradox to a large extent. Obviously they don’t make the cheapest computers around, but they have brought a incredibly high level of quality to everyday products at prices that many people can afford and an increasing number are happy to pay. It used to be that you had to pay tens of thousands of dollars for an object with this degree of precision, whether it was jewelry, a car, or a fine watch.

    Apple has done it by taking techniques and materials that everyone else uses for small-batch prototyping, and scaled them up to be mass-production ready, such as how it carves out aluminum blocks to create the shells for everything from iPod Nanos to MacBook Pros to the new Mac Mini. They work closely and over the long term with a small set of suppliers to hone the techniques and get the costs out, rather than doing what everyone else does which is to shop around every year to different vendors, always hunting for the lowest price. Apple isn’t afraid to “single source” a technique, technology or material from a vendor if it gives the right affect and advantage, while other companies avoid like the plague being locked into single vendors.

    And of course Apple has famously fanatical attention to every detail that starts at the very top with Steve Jobs, and percolates out to the rest of the company. Apple is certainly not unique if you look across all companies in all industries, but very few - if any - of their direct competitors have it.

    So it’s not magical how Apple does what it does with the quality of its products. It’s just that most other companies don’t have the patience, budget allocations, or sheer will to pull it off.

    Tuesday
    May252010

    IBM Study: CEOs See Creativity and Managing Complexity as Today's Vital Skills

    IBM has just released its fourth annual survey based on 1500 face-to-face interviews with global CEOs. Past studies have been rich sources of understanding the trends that company leaders are seeing shaping their businesses. The opening statement by IBM’s own CEO, Samuel J. Palmisano, sets the stage for this year’s study:

    “[E]vents, threats and opportunities aren’t just coming at us faster or with less predictability; they are converging and influencing each other to create entirely unique situations. These firsts-of-their-kind developments require unprecedented degrees of creativity — which has become a more important leadership quality than attributes like management discipline, rigor or operational acumen.”

    Later, the report states:

    For CEOs and their organizations, avoiding complexity is not an option — the choice comes in how they respond to it. Will they allow complexity to become a stifling force that slows responsiveness, overwhelms employees and customers, or threatens profits? Or do they have the creative leadership, customer relationships and operating dexterity to turn it into a true advantage?

    Today’s complexity is only expected to rise, and more than half of CEOs doubt their ability to manage it. Seventy-nine percent of CEOs anticipate even greater complexity ahead. However, one set of organizations - we call them “Standouts” - has turned increased complexity into financial advantage over the past five years.

    Creativity is the most important leadership quality, according to CEOs. Standouts practice and encourage experimentation and innovation throughout their organizations. Creative leaders expect to make deeper business model changes to realize their strategies. To succeed, they take more calculated risks, find new ideas, and keep innovation in how they lead and communicate.

    Having written a lot about the new breed of complex problems businesses are facing today, this rang true with me. In fact, the study’s findings line up well with the challenges and approaches I describe in Innovation X. Here’s a small sample.

    • Embody creative leadership: Creative leaders invite disruptive innovation, encourage others to drop outdated approaches and take balanced risks. (In Innovation X I refer to this as Divergence)
    • Reinvent customer relationships: In a massively interconnected world, CEOs prioritize customer intimacy as never before. Globalization, combined with dramatic increases in the availability of information, has exponentially expanded customers’ options. (Immersion)
    • Build operating dexterity: CEOs are revamping their operations to stay ready to act when opportunities or challenges arise. (Adaption)

    The report is fairly lengthy but an easy read, and well worth getting. Unfortunately the site seems to be having some technical glitches and it took me several tries to actually download the PDF (registration required with opt in/out contact info). Get the report here >