Organizational culture isn’t just a hot topic–it’s an untapped asset and potential liability for all businesses. And yet, for all its potential to make or break, few know how to manage cultures with proficiency. In her newly released book, Culture Your Culture: Innovating Experiences @Work, Karen Jaw-Madson provides the much needed, step-by-step, “how-to” for designing, implementing and sustaining culture. Karen is principal of Co.-Design of Work Experience where she focuses on culture and organizational change.
We recently had the opportunity to ask Karen some of our own questions.
A 2015 survey from Columbia Business School and Duke University found that out of almost 2,000 CEOs and CFOs, 90% said corporate culture was important, but only 15% felt that their culture was where it needed to be.
Would you give a quick synopsis of DOWE? What is it and how does it work?
Design of Work Experience (DOWE) is a concept and methodology that partners employees and their employer to co-create, implement, and sustain culture. DOWE is comprised of four main components: the combination of DESIGN and CHANGE processes enabled by leveraging and building CAPABILITY and ENGAGEMENT throughout. When you dig deeper, the process is further segmented into 5 phases: UNDERSTAND, CREATE & LEARN, DECIDE, PLAN, and IMPLEMENT. All the phases are organized as a series of iterative learning loops, each with its own specific set of activities.
4 Components of DOWE
Is there one of the four components of DOWE that is more difficult than the others?
The difficulty (or ease) with any aspect of the DOWE process would depend on the individual organization–their current strengths and capabilities, as well as their current context. For example, a company used to constant change may find the change process more familiar than one that has not experienced a lot of change. Another may be dealing with apathy, so engagement may be a challenge, and so on and so forth.
It’s at the top of nearly every organization’s strategic priority list. Whether due to tepid growth, robust competition, globalization, budget constraints, or a myriad of other reasons, almost every organization is seeking innovation. Looking for the next big thing to transform the business and to improve a customer’s experience is always top of mind for a leadership team.
“Don’t worry about failure; you only have to be right once.” –Drew Houston
Steven Hoffman is Captain and CEO of Founders Space, a Top 10 Incubator in Inc. and the #1 Accelerator for startups coming to Silicon Valley from overseas in Forbes. He is constantly innovating, and he is a serial entrepreneur and investor. From his vantage point, he’s seen what works and what doesn’t. His book, Make Elephants Fly: The Process of Radical Innovation, is a practical guide to help startups achieve breakthrough growth and help more established organizations find a path to successful innovation.
It is a compelling read, filled with great examples to help you achieve faster growth. I recently spoke with Steve about his book.
“Copying is a brilliant business strategy.” –Steven Hoffman
One of your chapters is focused on copying vs. creating. You say, “Copying is a brilliant business strategy.” What role should copying play in radical innovation?
All great innovations are built on top of previous discoveries. Copying is an essential starting point. Steve Jobs copied Palm Pilot when developing the iPhone. Mark Zuckerberg copied Friendster and Myspace when developing Facebook. Brian Chesky copied Craigslist when developing Airbnb. But all these brilliant entrepreneurs innovated radically, and that’s why they were able to breakthrough and become so much bigger than their predecessors.
To innovate, you must start with something, and it helps to pick a business model that works. That’s where copying comes in. Once you’ve identified the customer need, then you must figure out how to radically improve it. There are only two ways to break through:
1) You create a product that is exponentially better. This is what Google did with its search engine. It was ten times better than the preceding search engines.
2) You create something new, something that offers a different value than the competition. This is what Twitter did with its micro-blogging platform. It wasn’t like a typical blog because it limited posts to 140 characters, which created an entirely new experience for readers and bloggers.
Design thinking is one way to reframe problems, ideate solutions, and iterate toward better answers. It helps solve wicked problems. Those are the type that are especially insidious and difficult.
In a new book by Jeanne Liedtka, Daisy Azer, and Randy Salzman, Design Thinking for the Greater Good: Innovation in the Social Sector, the authors take on the challenge of applying design thinking to the social sector. The principles apply to all organizations and may help you reach a breakthrough in your organization. I recently spoke with Randy Salzman about their research. Randy is a journalist and former communications professor. His work has been published in over one hundred magazines, journals, and newspapers, from the Wall Street Journal and the New York Times to Mother Jones, Bicycling, and Style.
Design thinking is a modern version of what was once common, a method of addressing and solving problems outside of normal professional siloes. After about 500 years of ever-greater specialization, society is recognizing that wicked problems lie between the professions, between those siloes, and that most “answers” require a grasp of human behavior and a willingness to deeply understand the entire problem, not just “my” professional aspect of it. Design thinking, often called human-centered design, asks us to explore deeply, empathize continually, ideate rapidly, prototype simply and iterate constantly in order to address the problems that bedevil us. Unlike, for example, LEAN and most analytical methods of addressing problems, design thinking seeks to hold problem-solvers in the question space, rather than rapidly jumping to an answer as most Type A personalities – who corporate leaders tend to be — do. Reframing the question, exploring it deeply—and especially building solid empathy with users and other stakeholders—allows design thinkers to find unarticulated needs and desires and build solutions—tapping into unintentionally hidden aspects of human behavior. In today’s “quantitative” planning world, design thinking seeks to return to “qualitative” understanding of both bigger, and littler, picture issues.
It is being used today all over the world in a variety of very different organizations. Would you give us a few examples?
While many know of the success of Intuit, 3M, Proctor and Gamble and other major corporations in producing new products and services via design thinking approaches, less is known about the problem-solving methodology’s work outside of product development, and in social sector and government organizations. Today, many U.S. government bureaucracies – from Health and Human Services, the VA, even the armed forces – are today seeking to understand the people they serve at a much deeper level than treating people as numbers using a quantitative statistical approach. Non-profits, hospitals, and educational institutions are also adapting their thinking towards design-thinking’s “possibility first, constraints later” approach to problem solving. For instance, The Kingwood Trust in the United Kingdom is using design thinking to sense and adapt to the needs of autistic adults who cannot use written or oral language to even express their likes or dislikes, and involving them in the design of their living spaces. The Community Transportation Association of America is using it to build local capacity to solve the work-transport needs of lower income employees. Monash University Hospital in Australia has completed a dozen design thinking projects and are presently engaged in solving the truly “wicked” problem of how medical providers can deliver and be compensated for wellness instead of for providing interventions. All these stories are in our book, Design Thinking for the Greater Good: Innovation in the Social Sector. But the stories are too many to fit into any book. We only touched on the New Zealand government’s culture-wide tipping to design thinking. Most governmental ministries in that Pacific nation have a design-thinking shop aimed at exploring deeply and empathizing continually with the stakeholders they serve.
We like to talk in terms of a shift from “Innovation I” to “Innovation II” and liken to this shift to the one that occurred in quality, post WWWII. In the same way that quality was originally the realm of specialists and then gradually (facilitated by TQM) spread to the point where, today, quality is everyone’s job up and down the organization, innovation is increasingly seen as belonging to those outside of research & development and senior executives. For organizations to adapt and thrive in today’s climate of political and economic uncertainty and challenge, we submit that all staffers, all employees, need the training and authority to innovate. It must become a core organizational capability. In this environment of broadened responsibility for finding new ways to create value for stakeholders, design thinking can do for innovation what TQM did for quality – help us to teach, scale and democratize it.
Certainly, possibilities for innovation are accelerating for a variety of technological reasons, from big data to computing capacities. There has been less attention to the human dimension, to the awareness that flawed human beings do not behave like the so-called “rational consumers” the quantitative planning world was based on. As the authors of Nudge put it, man is not “homo economous” but “homo sapiens,” and until thinkers began to understand that most of us act without thinking – rationally or otherwise – very little qualitative understanding of human behavior was considered by “garage” and other technological innovators. Now—in what some are calling the “Smart Machine Age”—there is an awareness that every idea and every concept needs accompaniment from a social technology which aids in its spread. We think of design thinking as a social technology for change. As more and more business, governments, organizations recognize that a qualitative understanding of their stakeholders is needed, design thinking opens up a new kind of conversation that creates space for innovation to birth and blossom.
Each of us can become more creative. Inside YOU is creative genius, as unique to you as your fingerprints.
It’s up to you to unlock it.
Over many years, I’ve had the opportunity to interview numerous experts in the field of creativity and innovation. Whether learning from an entrepreneur or an artist, I have collected some of the best advice available on how to boost your creativity.
And these experts have shared with me what we get wrong when we think about innovation. There are myths that we believe to our own creative detriment. Don’t believe these limitations which lock you in to a dull, gray world!
“This world is but a canvas to our imagination.” –Henry David Thoreau
I found it fascinating, and I kept returning to the prompts to push myself. Then, I reached out to Jane to talk about her research and experience into creative strength training.
Jane Dunnewold teaches and lectures internationally, and has mounted numerous one – person exhibitions of her art work around the world. The former President of the Surface Design Association, she has authored numerous books on textile patterning and surface design.
“You are perfect the way you are…and you could use a little improvement.” -Shunryu Suzuki Roshi
Yes, Skip, it IS possible. It would be disingenuous to say that everyone is capable of being creative at the same level, but EVERYONE is capable of learning to think (and behave) more creatively than they do right now. Of course there are people who are really creative, and they’ve embraced it. I’m not talking about them. I’m talking about the large percentage of adults who are “out of touch” with what it means to be creative.
Re-connecting with creativity happens in stages. The first step is acknowledging how you feel about your own abilities. You might not feel very creative. You might not feel creative at all. Either way, I’d be inclined to ask, “What about other people? How creative do you think they are?” Because most of us can see something creative about other people’s behavior more easily than we can see it in ourselves.
Once we begin to notice other people’s creative ability, it’s easier to acknowledge our own. After all, if everyone else has at least some modicum of creativity, by default we must, too! Accepting that creativity is in us, no matter how untapped it may be, is the first step in learning how to unlock its potential.
Copyright Jane Dunnewold. Used by permission.
By the way, I highly recommend actually writing down whatever you’re thinking concerning creativity – yours or someone else’s – because then you’ve tethered your thoughts to the earth plane. We’ve all had the bummer experience of having a great idea – one we can’t possibly forget. But then it slips out of consciousness, and no matter how hard we work to get it back, it’s gone. Writing captures thoughts and ideas in order to allow time to develop them.
The second stage is remembering creative approaches or ideas we’ve used in the past. Sometimes I use a few questions to get people started, like, “Can you remember making something as a kid, from odds and ends – maybe re-purposing something, maybe even a toy? What was it? How did you do it?”
Another good question? Games we invent as kids. What were the rules? Who made them up? These prompts almost always lead to memories of creative activity—changing a recipe, fashioning a quick fix for some household problem, coming up with a gift for someone that was off the wall. Most people are creating all the time. They just haven’t named it yet. So asking someone to recall small acts of creative action primes the mental pump.
The third stage encourages people to embrace being creative on a regular basis. Because, as is true of all learned behavior, practice helps us get better at whatever we’re doing. Athletes don’t come out fully formed and neither do musicians or spiritual guides. Each works repeatedly at improvement. Creativity isn’t any different. You may not ever be the most creative kid on the block, but you can get a heck of a lot better at it if you intentionally seek opportunities to be creative in your approach to work or play – or Life, for that matter – and then embrace those opportunities.
Cultivating strategies to enhance the ability to think creatively include asking questions when you face a situation where the “same old, same old” doesn’t feel like the best solution. The questions could include:
What’s boring about how this is usually resolved?
What are the roadblocks to the problem’s solution?
What’s the craziest solution I can think of right now?
What would ___________ do? (Not Jesus, but someone you really admire and believe is a creative person! What would that person do under the circumstances?)
Maybe you’re not problem solving per se; you’re just thinking about your life and wishing you could be “more creative.” If that’s the case, then answer these questions:
Is there something I’d really like to learn to do?
Am I afraid to try it? Why? What am I afraid of?
Can I accept trying something even if I’m crappy at it, if I think it will be fun?
Each of us can craft questions that suit our own situation and personality. But ask a few of the above to kick things off. Get a feel for how to advance beyond usual thinking where problem solving or personal use of time is concerned.
“Find your own rhythm. Seek your own alignment.” -Jane Dunnewold
Copyright Jane Dunnewold, 2005, Used by Permission
I LOVE this question! Stamina = strength, right? Athletes build physical stamina, and you might think “creative” stamina only applies to artistic types. But anyone can build creative stamina by showing up and by working with the three stages I described above. Just don’t turn away or give up when the going gets rough. I’m reminded of the movie “The Shawshank Redemption”: Tim Robbins cogitating, strategizing, working endlessly, bit by bit, to escape from prison. Creative stamina isn’t as harrowing as that, but it does involve good-naturedly returning to a situation with resolve. As an artist, it means not getting a “poor me”’ attitude when things aren’t going well in the studio. It would be easy to look at what other accomplished artists have done, and give up. Just shelve it. But don’t. Keep working. And there’s always more to do. The end goal is elusive. This is the story of authors who send manuscripts to 50 agents before they find one who will give them the time of day. This is the story of actors who try for roles until they’re totally beat, but go to auditions anyway – and eventually land a part.
People who don’t think of themselves as creative assume what I’m describing has nothing to do with them. But it does. Building creative stamina means figuring out what you care about and then engaging with it creatively—whether you love to cook, and the vegetable soup isn’t quite right, or you love to garden, but the ground is hard as a rock. Maybe you don’t even know what creative passion is, but you keep showing up and trying things on for size.
“If you always do what interests you, at least one person is pleased.” -Katherine Hepburn