'Gut Feeling' in Designing and Developing New Products in Small Creative Companies
Lead Research Organisation:
Manchester Metropolitan University
Department Name: Centre for Enterprise
Abstract
'Gut feeling' is often understood to be an implicit part of creative designing yet its process has not been observed and is little understood. Designers think of themselves as intuitive, and they are expected by employers to behave in intuitive ways when designing consumer goods. In contrast, engineering designers are not expected to exhibit these characteristics and would typically work in apparently more rule-based ways. The history of observing designing has often been largely reductionist and rationally based.
This proposal aims to make gut feeling and its value explicit by eliciting the views and experiences of practicing designers and those closely linked to design within small firms. This will include the recording the recollections of selected intuitive tracks or themes within early stage designing of consumer goods. After an initial scoping workshop in the University, a number of network events will held be over 6 months in each company and will involve analysis of the recorded discourses used by designers in their exchanges. This will establish the places of gut feeling in practical design decisions and produce original research material. Designers' gut feeling in 'hindsight stories' will be recorded. Within each company this will attempt to capture critical details of the start, evolution journey, lifespan and geography of selected critical intuitive decisions. This will involve extremely sensitive participation by the research student and generate a considerable amount of text-based narrative, which will be ethically developed and evaluated.
Software (Nvivo 9) will be used to manage these narratives and the development of models of the concepts and ideas emerging from the analysis, while providing an audit trail of the analysis process. The research will be underpinned by previous work in both Knowledge Transfer and Risk in Design by the supervisors originally funded by AHRC: RG/AN6609/APN17512, 1/2/04-30/4/07 and will form a sound basis for participation with small companies and in dissemination. Participation will provide an effective and novel means of identifying decision-making in authentic situations, over extended periods within new product development projects.
By capturing intuitive themes from designer's original decisions it is planned that the explicit nature and value of intuition will be characterised in detailed case study material for each company. The wider implications of gut feeling or intuitive thinking, including creativity in design, as a central component of designed products will contribute to a clearer understanding of innovation in designing products. It is hoped to provide a defence of creativity within increasingly pressured and restricted design environments.
This research is important because it will provide new knowledge about designing, the design process and participatory research methods. It will also increase the capability of participating companies and their designers to utilise intuition, through in-company seminars at the completion of the work. Dissemination will be for academic communities through journal publication but also for participating companies and will include international network development aimed at further research.
This proposal aims to make gut feeling and its value explicit by eliciting the views and experiences of practicing designers and those closely linked to design within small firms. This will include the recording the recollections of selected intuitive tracks or themes within early stage designing of consumer goods. After an initial scoping workshop in the University, a number of network events will held be over 6 months in each company and will involve analysis of the recorded discourses used by designers in their exchanges. This will establish the places of gut feeling in practical design decisions and produce original research material. Designers' gut feeling in 'hindsight stories' will be recorded. Within each company this will attempt to capture critical details of the start, evolution journey, lifespan and geography of selected critical intuitive decisions. This will involve extremely sensitive participation by the research student and generate a considerable amount of text-based narrative, which will be ethically developed and evaluated.
Software (Nvivo 9) will be used to manage these narratives and the development of models of the concepts and ideas emerging from the analysis, while providing an audit trail of the analysis process. The research will be underpinned by previous work in both Knowledge Transfer and Risk in Design by the supervisors originally funded by AHRC: RG/AN6609/APN17512, 1/2/04-30/4/07 and will form a sound basis for participation with small companies and in dissemination. Participation will provide an effective and novel means of identifying decision-making in authentic situations, over extended periods within new product development projects.
By capturing intuitive themes from designer's original decisions it is planned that the explicit nature and value of intuition will be characterised in detailed case study material for each company. The wider implications of gut feeling or intuitive thinking, including creativity in design, as a central component of designed products will contribute to a clearer understanding of innovation in designing products. It is hoped to provide a defence of creativity within increasingly pressured and restricted design environments.
This research is important because it will provide new knowledge about designing, the design process and participatory research methods. It will also increase the capability of participating companies and their designers to utilise intuition, through in-company seminars at the completion of the work. Dissemination will be for academic communities through journal publication but also for participating companies and will include international network development aimed at further research.
Planned Impact
This research is important because it will:
1) Provide new knowledge about designing, the design process and participatory research methods
2) Develop the field of design thinking for practitioners and researchers
3) Increase the capability of the participating companies and their designers
A contribution to a global understanding of the place and meaning of 'gut feeling' in design is planned where such terms are used regularly with little common understanding. An indicative explanation has been expressed around the fundamental notions of human identity, unity, essence and dependence (Guarino and Welty, 2000). A sharing of knowledge of practice-based principles of intuition in design will stimulate a new and wider cultural discussion about the nature of design and the aspirations of designers. Such potential sharing, particularly within the early design phases are described by Kitamura et al (2004) as being scattered across technical domains. Whilst sharing may suggest the unification of ideas and the development of generic styles of thinking it is envisaged that recognising individual designer's interpretation around intuition can positively impact on the quality of design thinking and risk.
It is planned to bring forth new practical knowledge about design in an environment where risk assessment is increasingly encouraged but paradoxically intuition is relied on. This will influence the role of designers as team members where they will increase the transparency of what they might do without such transparency affecting its novel value. The direct relevance of the work is potentially seen in both designers' ongoing work and in the collaborating companies increased understanding of intuition. As intuition is an important component of creativity, so this project proposes a defence of creativity in design. The Centre for Enterprise will ensure that the participating companies have increased unusual knowledge about the development of design and the aspirations of their designers. The Department of Culture, Media and Sport (DCMS) has been active in helping to develop Creative Industries, most recently through a variety of 'creative economy' projects throughout the UK, along with the Higher Education Academy (HEA) and the National Endowment for Science, Technology and Arts (NESTA, The Work Foundation, 2007). The design sector is an important part of the economy with an annual turnover of £11.6 billion and employs 185,000 people in the UK (DCMS, 2010, 2013).
References
DCMS (2010) Design, Department of Culture, Media and Sport, Creative Industries section, http://www.culture.gov.uk/what_we_do/creative_industries/3276.aspx,
Guarino, N., and Welty, C. (2000) A Formal Ontology of Properties. In, Dieng, R., and Corby, O., eds, Proceedings of EKAW-2000: The 12th International Conference on Knowledge Engineering and Knowledge Management. Berlin: Springer LNCS Vol. 1937, pp. 97-112. October
DCMS (2013) 'Making it easier for the media and creative industries to grow, while protecting the interests of citizens', Department of Culture, Media and Sport, Creative Industries section,
https://www.gov.uk/government/policies/making-it-easier-for-the-media-and-creative-industries-to-grow-while-protecting-the-interests-of-citizens
Kitamura, Y., Kashiwase M., Fuse, M. and Mizoguch, R. (2004) Deployment of an ontological framework of functional design knowledge, Advanced Engineering Informatics Vol. 18, Issue 2, April, pp. 115-127
The Work Foundation (2007) Staying ahead: the economic performance of the UK's creative industries, Published report: the Department of Culture Media and Sport. http://www.theworkfoundation.com/research/publications/publicationdetail.aspx?oItemId=176
1) Provide new knowledge about designing, the design process and participatory research methods
2) Develop the field of design thinking for practitioners and researchers
3) Increase the capability of the participating companies and their designers
A contribution to a global understanding of the place and meaning of 'gut feeling' in design is planned where such terms are used regularly with little common understanding. An indicative explanation has been expressed around the fundamental notions of human identity, unity, essence and dependence (Guarino and Welty, 2000). A sharing of knowledge of practice-based principles of intuition in design will stimulate a new and wider cultural discussion about the nature of design and the aspirations of designers. Such potential sharing, particularly within the early design phases are described by Kitamura et al (2004) as being scattered across technical domains. Whilst sharing may suggest the unification of ideas and the development of generic styles of thinking it is envisaged that recognising individual designer's interpretation around intuition can positively impact on the quality of design thinking and risk.
It is planned to bring forth new practical knowledge about design in an environment where risk assessment is increasingly encouraged but paradoxically intuition is relied on. This will influence the role of designers as team members where they will increase the transparency of what they might do without such transparency affecting its novel value. The direct relevance of the work is potentially seen in both designers' ongoing work and in the collaborating companies increased understanding of intuition. As intuition is an important component of creativity, so this project proposes a defence of creativity in design. The Centre for Enterprise will ensure that the participating companies have increased unusual knowledge about the development of design and the aspirations of their designers. The Department of Culture, Media and Sport (DCMS) has been active in helping to develop Creative Industries, most recently through a variety of 'creative economy' projects throughout the UK, along with the Higher Education Academy (HEA) and the National Endowment for Science, Technology and Arts (NESTA, The Work Foundation, 2007). The design sector is an important part of the economy with an annual turnover of £11.6 billion and employs 185,000 people in the UK (DCMS, 2010, 2013).
References
DCMS (2010) Design, Department of Culture, Media and Sport, Creative Industries section, http://www.culture.gov.uk/what_we_do/creative_industries/3276.aspx,
Guarino, N., and Welty, C. (2000) A Formal Ontology of Properties. In, Dieng, R., and Corby, O., eds, Proceedings of EKAW-2000: The 12th International Conference on Knowledge Engineering and Knowledge Management. Berlin: Springer LNCS Vol. 1937, pp. 97-112. October
DCMS (2013) 'Making it easier for the media and creative industries to grow, while protecting the interests of citizens', Department of Culture, Media and Sport, Creative Industries section,
https://www.gov.uk/government/policies/making-it-easier-for-the-media-and-creative-industries-to-grow-while-protecting-the-interests-of-citizens
Kitamura, Y., Kashiwase M., Fuse, M. and Mizoguch, R. (2004) Deployment of an ontological framework of functional design knowledge, Advanced Engineering Informatics Vol. 18, Issue 2, April, pp. 115-127
The Work Foundation (2007) Staying ahead: the economic performance of the UK's creative industries, Published report: the Department of Culture Media and Sport. http://www.theworkfoundation.com/research/publications/publicationdetail.aspx?oItemId=176
Publications
Jerrard B
(2017)
Gut Feeling in Small Design Consultancies
in The Design Journal
McNeill, T.
(2014)
The role of the individual entrepreneur in driving business growth
McNeill, T.
(2015)
The Mindset of High Growth Report
| Title | Gut feeling video |
| Description | Presentation of research and findings in a lively form for external audiences, currently 600+ downloads |
| Type Of Art | Film/Video/Animation |
| Year Produced | 2015 |
| Impact | Interest from the creative sector organisations (Creative England etc); engagement by regional policymakers and decisionmakers in the idea of gut feelings in innovation |
| Description | Designing and NPD utilised the social term gut feeling as a contribution to personal risk strategies by both designers and others associated with NPD. This was used by several team members, and not just designers. Some interpretations of gut feeling, as part of strategic decision-making which fall outside of straightforward cause-and-effect logic, appears to be systemic in the majority of companies researched. A use of the term 'gut feeling', within the company, appears to reflect good knowledge capacities and confidence Gut feeling was a frequently used on-going aspect NPD, particularly for fast, early-stage initial solutions, and openly acknowledged by most as not merely semantic. Its management depended on the nature and sector focus of the company. Some welcomed it, others resisted it depending on the interpretation of professional rule based constraints and guidance and compensated appropriately. The use of the term 'gut feeling' in NPD can be used to merely bolster confidence. The acknowledged value, or otherwise, of gut feeling, impacted NPD where substantiated risk-taking and risk sharing was present but such value was unacknowledged when such strategies conflicted with rules and conventions of professional product design. When experienced designers made decisions, based on deep product knowledge, adroit readings of the market and a good sense of balance between form and function etc., gut feeling was acknowledged to be a strategic risk. The use of 'gut feeling' as a strategy in NPD is an aspect of the human condition and cultural environment in risk-based decisions. Product designers recognised that consumers and clients also act on gut feelings and utilised aspects this knowledge, thereby sharing certain risks. 'Gut feeling', as an unconscious part of aesthetic based or non-aesthetic based decisions; around one NPD it may be used by several people within the company in paralle Gut feelings represent an aspect of risk-based serial innovation and cannot be easily separated from the combined practices of design and entrepreneurship in small company NPD. |
| Exploitation Route | The initial findings were delivered to the 37th Institute for Small Business Conference Manchester 5-6th November 2014 (1). This paper was also published in the proceedings of this international conference. A paper has been prepared for submission to Design Studies (Elsevier) for 2015 (2). Case studies of each company have provided detailed narrative based case studies of NPD, Design and Risk, which are stored in the Centre for Enterprise archive for potential use in education and training. A 'VideoScribe' animation video of gut feeling in new product development has been developed from the research findings. A planned international AHRC network and will be based on the findings on this research and an AHRC Collaborative Doctoral Studentship is to be specified for one of the participating companies in this research. |
| Sectors | Creative Economy Manufacturing including Industrial Biotechology |
| URL | http://www.mmucfe.co.uk/what-we-do/research |
| Description | Dissemination included an international participatory seminar at the Design Council in London, attended by invited guests from a cross-section of the creative industries, and scholar-practitioners in the fields of design and business (30th September 2014). In addition, each participating company received a completing report-back presentation of the use of gut feeling in their company. They had the opportunity to discuss the application of the results of the research. The 'VideoScribe' animation video of gut feeling in new product development is selectively available through 'YouTube'. 'Gut Feeling' in Designing and Developing New Products in Small Creative Companies - https://www.youtube.com/watch?v=nXIepFEx1rU The video has been shared on a number of external platforms including Design Network North. The research team have been invited to present their findings to the membership of 'Design Network North' in 2015. This agency services around design and NPD to numerous member companies, this includes 'Design for Business' and 'Growth Accelerator'. 1) Wright, L., Jerrard, R., Martin. L (2014) 'Gut Feeling' in Designing and Developing New Products in Small Creative Companies. ISBE Annual Conference Paper Manchester, November. 2) Jerrard. R., Wright., L., Martin, L., (2015) Gut feeling as risk in designing new products. Submitted to Design Studies/Elsevier, February 2015 |
| First Year Of Impact | 2014 |
| Sector | Creative Economy,Manufacturing, including Industrial Biotechology |
| Impact Types | Cultural Economic |
| Description | Collaboration with Innovation Risk Group |
| Organisation | Royal Bank of Scotland |
| Country | United Kingdom |
| Sector | Private |
| PI Contribution | This is a three country alliance which comprises academics (eg from the University of Copenhagen) with practitioners from the British Industrial Design Association. |
| Collaborator Contribution | This is ongoing, with joint publications in process |
| Impact | Ongoing |
| Start Year | 2014 |
| Description | Collaboration with Innovation Risk Group |
| Organisation | University of Copenhagen |
| Country | Denmark |
| Sector | Academic/University |
| PI Contribution | This is a three country alliance which comprises academics (eg from the University of Copenhagen) with practitioners from the British Industrial Design Association. |
| Collaborator Contribution | This is ongoing, with joint publications in process |
| Impact | Ongoing |
| Start Year | 2014 |
| Description | Collaboration with Innovation Risk Group |
| Organisation | University of Edinburgh |
| Country | United Kingdom |
| Sector | Academic/University |
| PI Contribution | This is a three country alliance which comprises academics (eg from the University of Copenhagen) with practitioners from the British Industrial Design Association. |
| Collaborator Contribution | This is ongoing, with joint publications in process |
| Impact | Ongoing |
| Start Year | 2014 |
| Description | Seminar at the Design Council |
| Form Of Engagement Activity | A talk or presentation |
| Part Of Official Scheme? | No |
| Geographic Reach | National |
| Primary Audience | Professional Practitioners |
| Results and Impact | 30 people attended the meeting, which sparked questions and discussion afterwards, and we have had increased interest in related subject areas |
| Year(s) Of Engagement Activity | 2015 |