The #FutureMuseum Project invites professionals from around the world to share their ideas about the future of museums. Practitioners and experts based in 14 countries have contributed their ideas to the project, which were published in issue 22 of Museum-iD Magazine in Spring 2018, and will be published in the forthcoming Vol.3 of the Museum Ideas book series. Below is my contribution, in which I consider the role of human-centered processes such as Design Thinking and Service Design in the museum of the future.
The museum of the future will be more visitor- and guest-centered than ever before in the history of museums and cultural institutions. Human-centered processes such as Design Thinking and Service Design will become critical, foundational skills for emerging museum professionals, and museum staff will need to be fluent in people-centered, qualitative methods and practices in order to bring nuance and insights to the “big data” at their fingertips and better serve their audiences.
“Museums that cling to traditional, authoritative models will lose audiences on a dramatic scale to new types of experience-driven, guest-centered organizations that we can’t even imagine today.”
This transformation in the traditional museum model has been emerging over the past two decades, but will become the norm and not the exception in the future. As stated in the most recent Culture Track report published by LaPlaca Cohen, “With loyalty now rooted in trust, consistency, and kindness, empathic, service-focused relationships will replace existing transactional models.”
This notion of empathic, service-focused relationships is nothing new in for-profit organizations, and museums of the future will embrace this holistic and human-centered approach as well. The museums that cling to traditional, authoritative models and artifact-driven approaches will lose audiences on a dramatic scale to new types of experience-driven, guest-centered organizations that we can’t even imagine today.
Read what other museum professionals have to say about the future of museums in the full issue online here.
School Retool is professional development fellowship that helps public school leaders redesign and transform school culture. The program is grounded in the notion that big change starts small, and by implementing small, scrappy experiments or “hacks,” one can effect large-scale transformation.
To support leaders in catalyzing change, the program introduces them to “Quick Wins”—small things that can be done with little advance planning or budget to build empathy for and connection with end users.
While principals are the “designers” of school culture, museum professionals are the “designers” of the visitor experience, and the key to developing an engaging and human-centered experience is understanding the people for whom you’re designing. These Quick Wins are things you can do next week to flex a “hack mindset,” build deeper empathy for visitors, and understand what resonates with them so that you can design better exhibitions, services, programs, and products.
1) Relocate your desk for a day
This is one of the most popular Quick Wins with school leaders in the School Retool program. The principals I worked with moved their desks into the hallways of their schools and found it to be an eye-opening experience. They saw, heard, felt, and even smelled their schools from a completely new perspective.
For museums professionals, this can be achieved by setting oneself up to work for a day, half day, or even a few hours, in a cafe or other public space.
Experience your museum from a different point of view and gain empathy and insights through observing and listening to visitors.
Set aside a few hours to a full day when you don’t have meetings. Think of it as an opportunity to get work done without usual interruptions.
Choose a public space (museum cafe, a public seating area, or even the information desk).
Grab your laptop or reading materials and settle in.
Take in everything that happens in the space throughout the day with all of your senses—listen, watch, feel, and even smell!
Reflect on what you noticed and learned at the end of the day (it’s important to do this within a couple of days so you don’t forget).
2) Run a live poll
Museum professionals can use this as an opportunity to get real-time feedback on topics ranging from visitor amenities to upcoming programmatic content. But don’t approach this as you would a market research exit survey; think of this as an opportunity to have meaningful, face-to-face conversations with a handful of real visitors.
Capture the pulse of your visitors, and make yourself the face of your institution—one that is accessible and open to feedback.
Find a colleague to join you—it’s easier to capture feedback with a partner who can take notes.
Consider offering something to thank visitors, such as note cards, posters, free passes, or other small gifts.
Choose a question or subject area you’d like to explore through the lens of your visitors.
Write the question on a small signboard, and stand in the atrium, cafe, information desk, or other high-traffic area.
Invite visitors to answer the question. You can capture their feedback in a variety of ways: take notes on Post-its and post them; capture notes on an iPad; or even create audio recordings on your phone.
Compile the answers, and share them with your staff and visitors.
3) Take a visitor to coffee
The thought of asking a random visitor to have coffee with you may seem terrifying at first, but when framed as a chance to share their expertise and personal experiences—and potentially impact the future of the museum—most visitors are delighted to talk and have someone really listen to them.
Having a face-to-face, unscripted conversation with a visitor (or visitors) over a drink is an invaluable way to learn more about who they are as people and gain insights into their needs and expectations.
Assemble your supplies: notebook; pen; staff badge (so they know you are legit); and any incentives you can offer (free passes, gift card, coupons, etc.)
Park yourself somewhere conducive to intercepting people (near benches, outside the cafe, in the store). It’s fine to meet with more than one person at a time (a couple, for example).
Offer the incentive and a drink in exchange for a half hour of their time.
Focus on listening. What is their experience like in your museum? What are their hopes and dreams — in and outside of the museum context?
Take notes. Take photos with permission (you may want to bring photography permission forms if you have them).
Reflect on what you heard. Did you hear anything unexpected? What opportunities are there for change?
4) Shadow a visitor
The companion project to School Retool is the national Shadow a Student challenge, an immersion journey that ask principals to experience their schools through students’ eyes, capturing observations and then reflecting and acting on them. The shadow experience is a game-changing and humbling experience for school leaders, and can be the same for museum professionals.
Ethnographers, educators, and researchers have long known the power of shadowing to build empathy and arrive at insights. Shadowing someone and experiencing their joys and frustrations can increase empathy and uncover insights in a relatively short amount of time.
Recruit a colleague to join you. It’s helpful to have a second person to observe and take notes.
Set aside time and block off your schedule.
Assemble your supplies: comfortable shoes; smart phone; notebook; pen; gifts/incentives for visitors (passes, gift cards, coupons); photo permission forms.
You can either intercept visitors as they arrive and ask to shadow their visit, or, pre-arrange it in advance and meet them before they start their journey. Shadowing a visitor’s journey to the museum can be extremely powerful, although this takes more advance planning and preparation.There are many ways to pre-arrange this: you can call a local hotel concierge during the run of a popular exhibition and offer free tickets to a guest who will allow you to shadow her/him; you can pre-recruit visitors through websites like Craigslist or NextDoor.com (again, you may want to offer free tickets or other incentives); or you can pre-recruit through word-of-mouth in your neighborhood, through a child’s school, or at a local gym or community center.
If the visitor will be taking public transportation to the museum, meet them at the train station or bus stop and ride along.
Adopt a “beginner’s mind.” You will learn the most by having beginner’s eyes and putting your expectations aside. Resist the urge to answer questions that arise during the visit about logistics or content; don’t be an expert.
Capture what you see and hear.
Make time for reflection shortly after the visit is over. Consider:
What did you see and hear?
How did it feel to be with the visitor?
What surprised you? What does this make you wonder?
These Quick Wins, adapted from the national School Retool fellowship, are small hacks that museum professionals can implement as ways to gain deeper empathy for museum visitors. And deeper empathy can lead to a better visitor experience, because by truly knowing our visitors, we can create better exhibitions, services, programs, and products for them.
These small wins are meant to lead to larger changes in institutional programs, policies, and strategies by uncovering insights into what visitors think, feel, and do. They don’t require extensive advance planning, endless meetings, and significant budget. Let us know if you try one of these Quick Wins by sharing your experience in the comments below!
Staff at J. Paul Getty Trust have been increasingly focusing on incorporating design thinking strategies and user-centered design practices into the public-facing work of various groups inside the Museum, Trust, Research Institute, and Conservation Institute. I’ve been honored to work with the Getty over the past few years on training various Getty teams in design thinking and conducting user research, and am thrilled to see the latest development in their work.
It is rewarding to me, both professionally and personally, to see how staff inside an institution as large and complex as the Getty have adapted tangible activities from human-centered design and “hacked” them to affect small, incremental changes. This parallels work I’m currently doing with School Retool, a professional development fellowship that helps public school leaders redesign school culture using small, scrappy experiments called “hacks” that can lead to big organizational changes.
(I’m also immensely impressed with the work that the Getty is doing around adopting a more user-focused and audience-based approach to social media. You can read more on the Getty Iris blog about the launch of the @GettyHub pilot project and, if you really want to geek out, the complete project plan.)
The story below, originally published under a CC BY 4.0 license on The Iris blog, outlines how the Getty has leveraged human-centered design to increase internal digital literacy and build a more joyful and human-centered culture.
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What do you want your workplace to be, and how can you make positive change this year? Here are a few things we’ve learned from experiments at the Getty.
The two of us work on digital publications and digital engagement respectively here at the Getty, but in between building books and running social media projects we often find ourselves hatching plans to increase digital literacy and joyful culture across the institution. Over the last couple years we’ve run a series of 10-minute peer-to-peer technology classes, gone semi-rogue introducing new communications tools and meeting formats, and co-hosted a 100-person on-site retreat for staff working on digital projects, among other drinks things. The premise of these side projects has always been that individuals like us, at any spot in the org chart (we’re each sort of in the middle of ours) can and should strive to make meaningful cultural change where and when they can.
Aside from making for a better workplace for us individually, we believe this kind of grassroots effort can have a cumulative and lasting positive impact across an organization over the long term. The effect may be magnified as more staff are motivated to participate similarly, though we’ve struggled with this here at the Getty.
We started with the idea that if we created some of the interactions we wished existed, at least a few of our peers would be inspired to join us and come forward with their own ideas. We’ve also hosted meetups where our colleagues have come up with all sorts of amazing ideas for demos, workshops, trainings, lunch circles, and other skill-building, knowledge-sharing schemes. Together we’re on the right track, but so far only a few of these great ideas have materialized. We’ve been thinking a lot about why this is, and what gives an idea momentum.
For a session at the most recent MCN (Museum Computer Network) conference (held November 1–4, 2016, in New Orleans; the theme was The Human-Centered Museum), we wanted to mirror the culture-changing side projects we’ve been doing, but we also took the opportunity to tackle this empowerment/agency problem for ourselves—and for session attendees. We started by honing in on our process. What is at the core of what we’re doing here, and how could we codify that in as minimal a way possible? Through this, we’ve realized that all our efforts, no matter how big or small, have always started with two very simple questions:
What kind of workplace do we want?
What one thing will we do to help create it?
Step 1: Understand what it is you really want
We’ve found it helpful to take a moment to think about what it is we want out of work, and this goes deeper than things like better pay or a better boss. (Our bosses are great. We’re talking hypotheticals here.)
Instead, we try to consider the root emotional and social qualities that are most important to us, and how it would look if these qualities were present. So, you might think not (or not only) better pay but acknowledgment of your hard work. Not a better boss but support to keep growing in your job. Your guiding values or ideals. Here are some of ours:
Annelisa: Generosity, Integrity, Kindness, Play
Greg: Creativity, Community, Equity, Joy
The idea here is: a) it’s healthy to have a better sense of your own needs and how they may be affecting your work culture/experience for better or worse, b) you can create immediate positive change to fulfill those needs, and c) if you want something, chances are that at least some of your colleagues do as well. So if you can address your needs, you’ll also be addressing some of theirs.
Step 2: Formulate those wants into questions begging for answers
For example, let’s say you’ve identified kindness as one of your core workplace wants, and you know that certain meetings tend to be contentious, unkind spaces. If you say, “the problem is that people are rude to one another in meetings,” it’s a mental dead end. The answer to that statement, if you bother to answer it at all, is “Yes, that’s a problem.” If, however, you reframe that problem as a “How might we…” question, you suggest that a solution is possible and give yourself an opening for brainstorming one:
“How might we encourage staff to be polite in meetings?”
Or, better yet, really own the kindness aspect you’re after:
“How might we make meetings feel like a hug?”
Step 3: Brainstorm solutions and make them tangible
When you start brainstorming answers to your “How might we…” questions, don’t feel like you have to find the perfect idea right away, or that it has to be the most all-encompassing be-all and end-all solution to the problem. The goal is to find a single, achievable idea that you can use to address the issue and bring a bit of positive change to your workplace. This is what we call our “one thing.” When you come up with your most promising “one thing” the next step is to test and refine it. For that, we can turn to another key component of the design-thinking process, prototyping.
Creating a prototype, or mock-up, of your solution gives you something you can put in front of real users to get their feedback. The simpler and quicker-to-make your mock-up is (they’re often made with paper and markers), the less you have to lose if your testers find some problem with it and the easier it is to iterate on your idea and try again. The goal is to do just enough to communicate the key parts of the project or idea you want to test. But what are the key parts of these culture-changing projects we’re trying to get off the ground?
Looking back and evaluating some of the past projects we’ve been part of, we realized they had two very simple common traits. The staff retreat was called the Getty Digital Share—not “conference” or “summit”—and Getty folks responded as if “digital shares” were a thing people did elsewhere, like unconferences or meetups. This helped us all feel excited to participate. The digital-skill-building program, led by a team of volunteer teachers, was described as peer-to-peer drop-in classes and called 10-Minute Tech. It even had its own logo, which staff UX designer Cathy Bell did for us! In our experience, successful ideas had a catchy name and a brief description that struck a chord and were short enough for people remember and pass on.
At its most basic, then, a successful idea prototype has only two things:
Name or identity
For the prototype itself, we think it’s important to have something tangible, so we created some simple cards for MCN, and brought a pile of colorful markers, asked participants to think of names and an elevator pitch for their idea, and then asked them to write or draw it. The card made it physically tangible, the name gave it an identity, and the elevator pitch gave them a way to test it by pitching it to potential collaborators. This is the minimum viable product, or as Allegra Burnette (of Forrester Research and formerly MoMA) put it in another MCN session, the minimum loveable product.
As a side note, the “How might we…” + “one thing” model is also helpful to improve existing processes or projects—it doesn’t have to be the beginning of a big new initiative. Making a recurring meeting more productive, or changing the tone of an email chain, can have a big emotional impact. For example, a monthly info-sharing meeting of social media folks became a biweekly collaborative brainstorm known as POST Office, got an emoji (the horn), and has been re-energized with a new process. (Thanks to our Getty Publications colleague Miranda Sklaroff, founding POST Office captain and bringer of treats!)
Step 4: Make your “one thing” happen
The cards and the process are a way to distill positive change into manageable, vision-able bits. You don’t need a massive institutional effort. You don’t need to accomplish everything at once. Just find one thing you can do that will help make the workplace you want and try to do it. And when that succeeds or fails, find another one thing and try again.
Ultimately, of course, a cute name and sales pitch aren’t enough to make a thing happen. What everyone really needs is agency from within and support from their colleagues and their supervisors to take on a side project, no matter how small—and the time and resources, both financial and social, to make it happen. But we’ve found that by packaging ideas with a simple name and elevator pitch description we have what we need to start seeking collaborators (or co-conspirators) and support. It’s a tool both for testing and implementation. And we also have what we need to motivate ourselves and remind us what we’re trying to do, and why it is worth the effort.
We’d love to hear from you! What strategies for positive change have you tried in your workplace? What are your aspirations for making the workplace you want in 2017?
A design sprint is a multi-step team process for answering critical business questions through researching, prototyping, and testing ideas with customers or—in the case of a museum—visitors. Design sprints combine tools and methods from design thinking, business strategy, and product innovation, and have been popularized and codified by Google Ventures with the Sprint book.
Introducing the design sprint approach to product development into an organization as large and traditional as the British Museum is no small feat. I spoke with Shelley Mannion, the Head of Digital Product Development, and Kevin Bickham, the Lead Interaction Designer, about running a sprint focused on improving wayfinding at the Museum.
I was particularly impressed with their openness to trying this new way of working and their candidness around their learnings and mistakes. In my conversation with them, I identified five key lessons that apply to any team running a design sprint.
1) Choose your problem carefully
One of the most important discussions the team had before they ran their sprint was around what problem to tackle. Even though Mannion and Bickham work in the Digital Product Group, they picked a problem that was broad and lent itself to both digital and analog solutions so that staff from different departments could feel invested in the outcomes.
The Digital Product team had been doing user research as part of website redesign project, and learned that visitors were not planning their visits before arriving. “There is this assumption that people are using our website and our digital offerings before they arrive, but they are not,” explained Mannion. “They arrive and ask, ‘Where do I start? What do I do?’”
So the team decided to focus on wayfinding, and framed the sprint problem as:
“How might we improve wayfinding in the British Museum?”
2) Start small and be willing to feel your way through it
Mannion and Bickham chose to experiment with their own team for their first sprint as a way to test-drive the process and “work out the kinks,” in Mannion’s words.
“We are not experts . . . and this is not something we do regularly or methodically. But we did it quickly with our own team first in an effort to teach ourselves,” said Mannion. “We went into and said, ‘OK, let’s give it a go!’”
“The design sprint approach freed things up,” added Bickham. “It gave us an opportunity to break with our usual, solutions-oriented way of thinking.”
The team relied on their collective knowledge and experience (Bickham is a graduate of Stanford’s Product Design program and Mannion is an experienced product developer), but admitted they “felt their way through” at points. But they kept on going, working quickly. They compressed their sprint into two half-days, and conducted a total of 25 interviews with and observations of visitors.
3) Use the sprint as an opportunity to evangelize
Armed with a one-year-old department and a fairly new digital strategy, the Product Development team has been adopting aspects of The Lean Startup and Business Model Canvas and working in ways that differ from the wider organization.
Instead of trying to sell the rest of the Museum on the new disciplines of product management and user experience design, Mannion and Bickham used a sprint as a way to demonstrate their process and approach.
“One of our motivations in running a design sprint was to show the strengths of our user-centered process,” explained Mannion. “It helped us to evangelize and advocate for the way we work and to help colleagues from other disciplines understand what product management and UX are.”
For example, in some areas of the organization, there is a culture of decision-making based on stakeholder opinion rather than on visitor research. Although these teams have “visitors’ best interests at heart,” they are not used to working in a process that relies so heavily on user input, noted Mannion. So one of the hidden agendas of their sprint was to demonstrate the power and value of a user-centered process.
4) Make your sprint work visible
The British Museum team didn’t have a dedicated space for their design sprint, which turned out to be an advantage.
After the first day of their sprint, they left their work up in a shared meeting area used by other departments. This meant that colleagues walked by and saw their work, and it became a talking point and conversation starter.
Staff were surprised to see that the “digital team was using markers and paper,” said Mannion. “Our colleagues’ expectations of what our department can offer them were challenged. This was a way of saying, ‘We are not just here to make websites, we want to work with you to solve big, important problems.’ It was advocacy.”
They also discovered that having their work posted made it easier to jump back in on the second day, and that explaining it to colleagues was easier. “We could show people visually what was coming out of the sprint, and it was very rich,” noted Mannion.
5) Build on your failed prototypes
One of the ideas that the team prototyped was the concept of a “meeter-greeter”—a staff member or volunteer who greets visitors and answers questions.
The team created a simple sign that said, “Can I help?” and went in front of the Museum and into the Great Court. One person held the sign while another person stood off to the side to take notes and photos.
Their assumption was that visitors would ask about objects in the collection. However, aside from questions about the Rosetta Stone and mummies, there was not much about the objects.
“Many staff, ourselves included, often assume that visitors are coming for this particular object or this particular collection, yet we got very few questions about objects. One group of tourists didn’t make it beyond the souvenir shop,” noted Mannion. “There were lots of questions about the coat check and bathrooms!”
What they did discover, though, was that visitors who speak languages other than English are delighted when they discover a staff member speaks their language. “We know that visitors are not clear which visitor services staff members speak which languages, and they discover by luck,” Mannion explains. “So we experimented with holding up a sign in English while wearing something that says, ‘I speak French’ for example. And we discovered that this made visitors felt welcomed and relieved.”
They then took these findings to a new cross-departmental working group on wayfinding that has begun since the design sprint. This is one of the initiatives they are looking to pilot over the next year.
The Product Development team plans to run at least one design sprint per quarter going forward, with the next one planned for October. This next sprint will focus on creating content for Chinese tourists, who are one of the fastest growing audience groups.
“Museums are notoriously siloed organizations,” said Mannion. “They can be territorial and people often work in isolation. Applying the design sprint approach really helps break down those traditional boundaries and demonstrates how, working together with colleagues from other disciplines, we can tackle tough problems that impact the visitor experience.”
Whenever I lead a workshop or give a talk about applying design thinking in museums and non-profits, inevitably someone asks a variation of this question:
How do I get our director/my boss/the curators/my colleagues on board with this process?
This question touches on one of the most demanding — and, in my opinion, impactful — aspects of human-centered design: promoting change. Not surprisingly, this, more than finding the time or budget, is often the biggest challenge faced by many individuals when trying to promote human-centered design in their organizations.
What is design thinking?
Design thinking is a set of methods and mindsets for solving problems, discovering opportunities, and generating innovative, human-centered solutions. It’s a framework comprised of a series of steps and associated methods, and it is accompanied by core mindsets. At its heart, design thinking (also referred to as human-centered design), is about adopting a human-centered perspective and an attitude of continual experimentation.
Problem definition techniques such as Empathy Mapping and Point of View statements
Solo and group ideation exercises
Rapid prototyping methods
Frequent cycles of user testing
Design thinking means working differently
The steps, methods, and mindsets of the design thinking process require museums to work and think differently. Despite a nascent movement to understand the relevance of human-centered design in the museum sector (see the theme for the 2016 Museum Computer Network conference), adopting a human-centered mindset in what have traditionally been object-centered institutions is no trivial feat.
Below are five steps I often share when I’m asked the question, “How do I get the museum director/my boss/the curators/my colleagues on board with this process?”
1. Get a buddy
It’s hard enough to try to change traditional organizations (which the majority of museums are), and it’s even harder to go it alone. Even if you are a one-person department, you need to find an ally somewhere else in your organization.
For example, in one museum I worked with, a staff member from the digital team paired up with someone in the education division. Even though they worked for different bosses on different projects, they both had a shared vision around starting from the needs of visitors, and they informally supported each other in a project focused on the needs of first-time museum visitors.
2. Start small and under-the-radar
This may seem obvious, but I often I see early adopters start with the biggest, juiciest project. It makes sense that you are most invested in and excited about your big, high-profile project, but don’t start here. Pick an under-the-radar project as your first experiment.
Consider picking a project that has internal “users” or “customers,” something that Robert Weisberg did at the Metropolitan Museum of Art when re-thinking internal publishing workflows.
But make sure that your colleagues hear about it afterward. Because once you have tried out design thinking methods and have captured stories from visitors (see #4), it will be much easier to make the case of applying this way of working to a higher-profile project.
3. Don’t ask for permission
I’m a big fan of the adage, “It’s better to beg for forgiveness than to ask for permission.” As long as you’re not endangering yourself, your colleagues, your visitors, or your museum’s collection, don’t ask for permission.
I have learned this one from personal experience. If there is a way to say no, chances are you will hear it.
In various museums I’ve worked with, I have been told that I could not: talk to any visitors while standing in front of works of art; bring small paper prototypes into galleries; ask staff members to stand during a brainstorming meeting; bring coffee to a meeting; ask staff to eat lunch together.
I’m sure the hard-working and officious staff members who told me these things meant well, but I sure wish I had not asked! Nevertheless, I proceeded with all of the above transgressions—without any repercussions.
4. Show, don’t tell
The digital team in one museum I worked with filmed interviews with visitors on their iPhones (with permission from the visitors, of course), and played short video clips at a curatorial meeting. Instead of the web team telling curators that visitors were not understanding the language and information design in a specific area of the website, they played the videos to make their case.
Instead of bringing a written report to a meeting, bring videos, audio recordings, photos—let your visitors “speak” in their own voices. When you allow your visitors’ voices to be heard, it is no longer about you trying to convince your institution of something; the first-hand stories speak for themselves, and are far more powerful than an abstracted report.
5. Measure, and report, your results
Your first project may be a low-stakes one-off, but if you can measure and demonstrate positive results, it can be the start of instituting broader change. And measuring results does not have to involve a lengthy, formal evaluation study conducted by an outside firm. Results can be measured with quick and dirty methods, such as short exit interviews or web stats.
Start small to make design thinking a way of life in your institution
More often than not, true institutional change happens top down. If you get a buddy, start with a low-profile experiment, gather stories and evidence, and measure and share your results, you will have the necessary ammunition to get executive-level visibility and buy-in for making design thinking a way of life in your museum.
The Denver Museum of Nature & Science (DMNS) has launched a museum-wide initiative to infuse design thinking into their internal DNA as part of an effort to become more relevant and accessible to the Denver community. In this post, I explore five steps the DMNS has taken to embed design thinking into the organization.
1. Recognize that change is needed
The Denver Museum of Nature & Science (DMNS) is a 115-year-old institution that welcomes nearly 1.4 million visitors every year. More than 90% of visitors rate the museum at an “exceptional” level in satisfaction surveys, and the Museum has a membership base of over 62,000 households. It’s a museum that is doing quite well at the gate, by all standards.
Yet, in the words of the Vice President of Visitor Experience Mary Hacking, the Museum “can’t afford to rest on its laurels.” Over the past year, Museum leadership has become increasingly invested in ensuring that the museum is relevant, accessible, and welcoming to visitors of all cultural and socioeconomic backgrounds.
In response, the Museum’s senior leadership has kicked off a new, cross-museum initiative to investigate and explore ways to build deeper and more meaningful connections with the local community. And one of the ways they have set out to do this is through a new way of working and collaborating internally: design thinking.
2. Involve the entire organization
From security guards to trustees, the Museum has made a commitment at all organizational levels to change the way they design and develop new programs and exhibits.
In my work with the Museum, my colleague Maryanna Rogers and I have trained nearly 100 staff in human-centered design methods. These trainings have taken the form of intensive, immersive, multi-day workshops in which staff tackled specific and timely challenges, such as: “How might we better connect the Denver community with nature?”
Staff from every department in the museum participated, including the CEO and trustees, along with team members from Research and Collections, Exhibits, Marketing, Volunteer Services, Finance, Guest Services, Technology, Food Services, and the Gift Shop. Through these trainings and subsequent activities such as brainstorming sessions, the DMNS’s ultimate goal has been to give staff a set of tools and a process by which to make change happen.
3. Examine internal assumptions
The design thinking process has helped the DMNS staff become aware of and question internal assumptions. For example, something the Museum has been consciously exploring through the design thinking process is the perception of “waste.”
Museum staff recognized early on when starting to experiment with design thinking that there were staff who viewed some of the open-ended, exploratory activities such as uncensored brainstorming and low-resolution prototyping as “wasteful.” But in order for the Museum’s community-focused initiative to succeed, they needed to give staff the permission to try things out and fail.
Amanda Bennett, Director of Marketing and Communications at DMNS, explains: “Even if something turns out to not be relevant to our current project, the application may be beneficial elsewhere. This led us to have great internal conversations about ‘waste’ and how it can ultimately be helpful—and even necessary—particularly when prototyping. We want to create a culture of courage, which means appreciating the idea of creating ‘waste’ in order to create the best product for our guests.”
4. Try new methods “a la carte”
Museum staff have recognized that it’s extremely difficult to drop everything and use a new process from scratch. So they are asking their colleagues to pick and choose tools from the design thinking process “a la carte.” Many staff reported feeling overwhelmed when they first started incorporating new methods of working, but felt better when they learned that even a lo-fidelity prototype could yield valuable insights.
Examples of some of the things that staff at the DMNS have tried include: holding brown bag lunch trainings around each phase of the design thinking process; forming internal “affinity” groups to support each other; setting up a dedicated prototyping space; and, making time and space in meetings to share progress—as well as failures.
5. Slow down and listen
One of the Museum’s big learnings has been around how important it is to really listen to the community.
As part of the community initiative, the DMNS was planning to implement a new discount program for low-income visitors. “Initially, we thought it would be straightforward and simple to model this on an existing low-cost annual pass program at another science museum,” says Bennett.
To think through the annual pass program, staff went out into the community and did interviews and observations. They also ran a series of workshops with participants from social service agencies and community organizations in which they explored models of low-income programs together.
What they discovered was that the issue of cost was far more nuanced. For example, through their community interviews, they met Maria, a recent immigrant to Denver with three kids between the ages of eight and 18. Even if the Museum is free, Maria said she won’t come if there is not something there for her entire family. In fact, even though she is on a very tight budget, she is willing to spend money if it’s for something that will be fun and rewarding for everyone in her family of five.
As a result of this, the Museum reframed the problem, and decided to scrap the plan for a low-income annual pass, and is instead prototyping and testing other ways to develop affordable programs for families.
“Had we not used the design thinking process, we would have grossly misjudged what local community members needed. We would have done what we thought was appropriate for this program—and it would have failed,” explains Bennett.
Moving forward, the DMNS is incorporating design thinking practices and tools into a variety of strategic initiatives. The Museum’s internal Audience Insights department has conducted pre- and post-assessments to measure staff’s creative confidence around using design thinking, and the survey results have indicated that the design thinking process has helped staff connect with their natural ability to generate new ideas and has given them the courage to experiment, be “wasteful,” and take risks.
As Amanda Bennett commented to me after our last training, “The simple truth about design thinking is that it is a powerful set of tools and will be the foundation for driving this Museum forward.”
As more museums adopt human-centered design practices, I’m always searching for case studies from different types of institutions. Examples from the J. Paul Getty and Rijksmuseum demonstrate how design thinking is being implemented in larger institutions, but what about smaller and midsized museums?
Recently I spoke with Jon Carfagno, the Director of Learning and Audience Engagement at the Grand Rapids Art Museum, or GRAM, about how the museum is taking a human-centered approach to the development of everything from strategic planning to the visitor experience.
In my conversation with Carfagno, I identified three aspects of GRAM’s application of human-centered design that were critical to its success:
Make an institutional commitment
Don’t go it alone
Start with small experiments
Make an Institutional Commitment
In early 2013, GRAM was transitioning to new leadership and going through the American Alliance of Museums (AAM) accreditation renewal process. The Museum leadership recognized a unique opportunity to apply human-centered design, and decided to develop what Jon describes as a “human-centered strategic plan”—one that strengthens internal staff capabilities around innovation, builds museum-community relationships, and focuses on an improved visitor experience.
Says Carfagno, “We recognized parallels between the Falk predictive model of visitor experience and human-centered design, and started to realize the significance that human-centered design could play in our planning process.”
The staff, board, and volunteers embarked on what Carfagno describes as “innovation blitz work” to develop a future-focused strategic plan. They examined current practices and assumptions, surveyed trends, and defined how the museum could offer transformative experiences across channels.
The Museum completed the new strategic plan in the spring of 2014 and it has since been recognized by AAM’s Accreditation Commission as model and is referenced in the AAM Information Center document library.
In addition to making an institutional commitment to developing a human-centered, forward thinking strategic plan, museum staff completed training in human-centered design methods through a local design incubator, GRid70. Staff members from various departments, including the Director and CEO, were given the time and space to learn tools that they could bring back to the Museum’s daily practices.
Don’t Go It Alone
GRAM is located in West Michigan, an industrial design hub that houses the headquarters of several international companies, including Steelcase and Herman Miller. The Museum board includes staff from many local companies, and the institution has strong ties to the West Michigan design and innovation community.
Instead of trying to go it alone, GRAM reached out to the community. The Museum partnered with the Amway Business Innovations Group and a local design agency, Visual Hero, for staff training and on the strategic plan development. Through a combination of in-kind donations and non-profit rates, GRAM was able to leverage the expertise of the local community.
The museum also partnered with AIGA West Michigan, the local chapter AIGA, the professional association for design, to launch a program called Design Briefs. This program transforms the Museum into an incubator for ideas through evening events that feature crowd-sourced presentations of new products, services, and social entrepreneurship concepts moderated by a panel of interdisciplinary experts from GRAM and the local design community.
Start with Small Experiments
After the Museum’s rollout of the new strategic plan and the Design Briefs program, the staff at GRAM began to try small experiments they could make to improve the visitor experience at GRAM.
One such experiment emerged after conducting visitor observations in the galleries, reviewing logs of notes from front-line staff, and interviewing guards. The staff noted that there were a significant number of written and verbal complaints and comments from visitors every month in response to guards reminding visitors not to touch the art.
The staff came together and brainstormed solutions and came up with a concept to prototype: they installed framed mirrors in the galleries, accompanied by signage encouraging visitors to touch the mirrors. The wall text asked visitors to notice the oils left behind by visitors’ fingers on the mirrors. In the first three months after the mirrors were installed, the number of guard interventions with visitors trying to touch the art went down to one.
But better than that, the staff started noticing visitors posting selfies of themselves with the mirrors. Not only did the mirrors help reduce the number of attempted art-touches, they offered opportunities for visitors to interact with the art and the Museum in a new way.
The Grand Rapids Art Museum is fortunate to be located in a region with a rich history of design and innovation, but I believe the steps they took to apply human-centered design to their organization can be applied in other small to midsized institutions. These include:
Committing to human-centered design at the leadership level, and developing actionable plans for improving visitor experience
Training staff in human-centered design methods and tools
Partnering with the community for expertise, training, and support
Being willing to try small experiments
As Carfagno quotes the core pillars of the Museum’s strategy, these steps have allowed GRAM to “activate the museum experience, advance civic and cultural leadership, integrate innovation skills, expand the impact of art, and build institutional strength.”
All images provided courtesy of Grand Rapids Art Museum.
For this post, I interviewed Karen Cross, a Design Manager at Atlassian, about the internal design thinking program the company has been building up over the past year. Atlassian makes tools for software development, collaboration, and project management, and several museums and nonprofits use their products such as Confluence, Jira, and HipChat.
Readers may be wondering why I’m featuring an interview with someone from a software company, and the answer is simple: I’ve always looked outside the museum sector for models of new ways of working, thinking, and collaborating.
I was first introduced to Agile software development by web developers when I was working on the San Francisco Museum of Modern Art website, and to design thinking through an executive education program at the Stanford d.school, and brought both of these approaches back to my work at SFMOMA. I believe museums can look to the private sector for new models of working, and adapt these processes to make museums smarter, more efficient, and more awesome.
What struck me in my conversation with Karen was how purposeful Atlassian has been about spreading design thinking throughout the organization. The three key components of Atlassian’s internal design thinking program are:
Trainings and workshops for staff
Digital resources available to all staff
Intentionally designed spaces to foster new ways of working
Q: Karen, can you tell me about your role at Atlassian?
A: I came on board as part of the user experience team. One of my roles is to spread more design thinking throughout the company.
For example, I run an introductory design thinking workshop for all new hires every quarter. (It’s based on the virtual crash course created by the Stanford d.school). Anyone can take the training. This is about establishing a design thinking practice, regardless of people’s individual roles. We think that anyone can find value in applying user-centered design, and we encourage all staff to participate.
Q: What other resources have you developed for staff in addition to trainings?
A: We’ve developed what we call the Atlassian Playbook. With the Playbook, we’re using a football analogy.
In football, it’s not like you do the same thing every time. You pull from the playbook the appropriate tool, technique, or practice, depending on the problem you want to solve. The playbook is available to all staff via the intranet, and in it we cover such things as:
The Playbook describes what these are, the supplies you’ll need, and why you might want to use these tools. We also cover things like how much time to anticipate, how many collaborators you’ll need, and how difficult or easy it will be.
Q: Can you give me an example of another tool or method you share with staff via the online Playbook?
A: One of the tools we cover is a design wall. (Design walls are large, vertical surfaces on which ideas, data, and work in progress can be displayed, rearranged, and extended. Read more about design walls here.)
We believe very strongly in the notion of design walls. This is about making work visible. Design walls are our new desks. We want staff to collaborate with their peers as much as possible.
Q: Can you talk about how you are using dedicated spaces in your office to promote design thinking?
A: We have both a dedicated area in the San Francisco office, along with more casual drop-in spaces.
We’ve thought a lot about closed spaces (dedicated conference rooms) vs. open spaces (drop-in spaces for stand-up meetings or design walls) and we’ve learned that closed spaces enable heads-down work time, while open spaces are best for impromptu discussions and foster a sense of community and sharing with non-designers.
Ideally, spaces should be a mix of closed spaces, open spaces, and design walls. It’s a small thing, but having loads of markers, post-its, blue tape (for putting stuff up on the walls) and other materials available in the room is a time-saver, and encourages people to create rather than just talk.
We also use furniture to evoke a “this is where work gets done” vibe. This includes separate moveable tables of different heights (rather than one big conference table), stools, and free wall space to draw on and stick stuff on.
Q: Why train staff in design thinking?
A: Well, we see projects as having three phases:
And we know we’re really good in the Make It phase. But we’re not so good in the Envision phase. We want to encourage staff to spend more time up-front so that we’re not just jumping into building stuff. We also want to encourage staff to spend more time in the Improve It phase so that we can answer the questions, “How did we do?” and “Should we pivot?”
In the end, this is about the ability to scale great experiences. Everyone should be empowered to ask, “Is this the right thing for our users? Are we solving the right problem here? Are we sure this makes sense?”
I launched this blog, Design Thinking for Museums, exactly one year ago at the 2013 Museums and the Web conference in Portland. It was an experiment that UX designer and Stanford d.school Fellow Molly Wilson and I built in a day at the San Francisco Museum of Modern Art cafe, armed with coffee and WordPress.
The blog was developed as a resource for the field and accompanied a paper documenting a partnership between SFMOMA and the Stanford d.school. When the site launched, I wasn’t sure how long we would keep it up, if we’d get any readers, and what kind of response we’d receive from the museum community.
I’m happy to report that now, one year later, there are small but significant signs of enthusiasm for and adoption of design thinking in the museum sector. I’ve just returned from the 2014 Museums and the Web conference, where I presented a paper with co-authors from the Getty and the Queensland Museum about how those institutions are using design thinking and prototyping to tackle challenges ranging from designing new digital publications to re-envisioning organizational structures.
In our session, participants put down their digital devices and enthusiastically dove into a collaborative, hands-on design challenge to redesign the Museums and the Web conference badge. I was floored by the enthusiasm and energy in the room, and the brilliantly inventive prototypes the participants developed (see some of the photographs attendees took in the Twitter timeline below). I was also heartened that the types of questions we got were around the mechanics of implementation, not around why one would want to work this way in the first place (i.e., starting from user needs, testing rough prototypes in the galleries with museum visitors, and adopting an optimistic bias towards doing and making).
In the year since this site has launched, I’ve heard from museum and nonprofit professionals from Brazil to Beijing who are trying to change the ways they work inside their organizations using human-centered design strategies. Institutions are starting to appreciate the value and benefits of starting projects from the needs of the user/visitor, as opposed to the institution/building, and I’ve been incredibly fortunate to consult with museums across the country around implementing design thinking into new initiatives.
My design thinking heart melts when colleagues tell me they have been inspired by the blog or a workshop to try new ways of working and collaborating, and I’m incredibly impressed with the brave and innovative work being done at the J. Paul Getty Trust and Museum, which was documented in our Museums and the Web paper and in this blog post by Jack Ludden of the Getty. At the Museums and the Web conference this year, colleagues reported back to me some of the strategies and practices they have experimented with inside their institutions over the past year, including:
Keeping prototyping supplies available in common areas
Posting photos of museum visitors on office walls and windows
Bringing prototypes to meetings
Scheduling regular times to interview visitors in the galleries
Trying some of the other strategies I’ve written about, such as developing empathy towards one’s colleagues
The road ahead
These are the early adopters, and without the support and encouragement of a handful of peers and colleagues, I probably would have taken down this blog and called it a day by now. I’ve written about kicking off the process and encountering internal resistance to design thinking, and hope this blog can support early adopters who are struggling to make changes in their own institutions.
Despite the growing movement in the museum sector to kick off new projects and initiatives with the needs of the user/visitor front and center, I still encounter pockets of resistance, and sometimes outright hostility, in my workshops and talks. The overarching theme of the resistance boils down to a misperception of design thinking in a museum setting as an all-or-nothing process that hits an institution like lightning and supersedes all existing processes, research, institutional values, and curatorial expertise.
Design thinking is not an end-all, be-all process that should be implemented in a vacuum; rather, it is a toolbox of mindsets, skills, and methodologies that can be adopted and adapted to inform and enhance a museum’s existing knowledge and ways of working. It is not a replacement for market research or visitor evaluation, nor is it a proposition to turn the museum’s programming over to visitors’ every whim and request. It’s also not the right process for every project, program, or organization, and there are organizations that are happy with their tried-and-true ways of doing things. But for the organizations that are thirsty for new ways of approaching and defining problems, collaborating, and innovating their programs, exhibitions, and visitor offerings, it’s a powerful framework worth a try.
What have you tried?
Are you trying new strategies or ways of working within your museum or organization? I would love to hear your stories, and am always looking for writers for guest posts to share their first-hand experiences. Please contact me, or leave a reply below!
This guest post is from Jack Ludden, Head of the Web Group and New Media Development at the J. Paul Getty Trust.
When looking to find organizational buy-in for design thinking, there are six guidelines that should be considered. Tackling each of these with some forethought and clear intention will help you implement design thinking in your museum or institution.
At the J. Paul Getty Trust and Museum in Los Angeles, CA, we improved our online visitor experience using design thinking tools and strategies. As a result, senior leadership was able to clearly see its benefits. The process was challenging, but the end results have been exciting and rewarding.
One: It starts with you
The person trying to initiate design thinking needs to believe in its basic principles. I don’t mean you simply like the idea of iterating and being innovative. I mean you have to fully believe in and embrace the iterative process (including efficient, open-mined collaboration).
Having been involved with technology and the arts for as long as I have, iteration and prototyping are core to me. In fact, some may say that I have innate fondness for the “perpetual beta.” My MFA from the School of the Art Institute of Chicago and my years of code hacking and pixel pushing have prepared me. This means I’m inherently comfortable with such practices as rapid prototyping. Having been at the Getty for almost 10 years, I am fortunate to have a development team that supports this kind of thinking.
Now, this does not mean that you need to be the same way. All you need is a commitment to this type of thinking. With that said, you should consider if there is a person you work with that may be able to help you champion design thinking. As you formulate your design thinking implementation plan, try to find like-minded supporters who can help you build momentum.
Two: Show don’t tell
In today’s world, buzzwords seem to constantly come and go. Be careful about introducing the term “design thinking” before people have a chance to actually understand the key components of the process. If you start off calling your approach “design thinking,” colleagues may concentrate more on the terminology than on the process itself. Instead, my recommendation is to introduce specific practices such as prototyping, rapid development, and audience feedback. In other words, start your initial conversations by using concepts that are already generally understood by your management team.
As we rebuilt a section of the getty.edu website, I took this approach and it worked really well. As I talked with colleagues and executives across the Getty, there was immediate attention given to my project. The best part of it all, I was not exaggerating or over-selling. Design thinking really did improve efficiencies, solidify cross-department buy-in, help define job roles and responsibilities, support rapid development, and highlight our audience needs.
Three: Find the right time
Once you have introduced the key components of design thinking and then introduced the term itself, you need to find the right time to implement it. For example, at the Getty, I have often found success introducing new methodologies at the end of the fiscal year. While that time of year is very busy with additional efforts like end-of-the-year reviews and year-end budgeting, I found that people appreciated the change of pace.
I was fortunate enough to be able to organize a design thinking workshop for my team last spring (2013), just a month or so before the end of the fiscal year. This not only prepared my team for the shift in production models but it also prepared them to become ambassadors who could introduce the concept to others at the Getty.
Four: Find the right project
Arguably, the most important thing you can do is to find the right project to be the inaugural design thinking project at your organization. You need a project that has measurable and substantial impact on your audience. In addition, you want this same project to be of interest to staff across the organization. Ideally, that means the project has perceived value to different people in different departments. It should incorporate different types of experts – technologists, curators, designers, etc. Finally, it should be a project that you know will be noticed by executive leadership. Of course, it is asking a lot to find a project that fulfills all these things. At the Getty, I was fortunate enough to work on the redesign of the Visit section of the Getty website. This project fulfilled all the criteria mentioned above.
Five: If a picture is worth a 1,000 words, then a good prototype is priceless
Once you have talked about design thinking with your organization, one of the most important things you can do is show everyone your findings. A rough, workable prototype with a ¾ of page (no more) set of bullet points that highlight the major take-a-ways will have a very positive impact. This will allow you to walk into any meeting with senior leadership and say that the project team has built a consensus and they are putting together an aggressive production timeline.
For a project team, prototypes are also incredibly invaluable. They enable all the various experts (Educators, Designers, Technologists, etc.) to better inform themselves about what opportunities and/or challenges may exist when they transform the prototype into a final product.
Six: Demonstrate results
One of the best ways to get executive buy-in is to simply highlight your design thinking project once it’s complete. Generally speaking, project outcomes can help you demonstrate design thinking’s success. At the Getty, using design thinking has helped us:
Become more efficient. With early consensus-building conversations and prototyping, production timelines were reduced by weeks.
Become more communicative and collaborative. I saw more information shared more consistently throughout production.
Better define roles and responsibilities. In particular, I saw the role of Project Manager become more effective and better understood across the development team.
To successfully get buy-in from senior management, you need to show them that:
You are promoting innovation
You are defining and solving challenges
You are making the organization more nimble, responsive, and efficient
Design thinking can help an organization see change not as a revolution, but as a constant evolution. We don’t want organizational change to occur just once. We want it to happen all the time.
Jack Ludden is Head of the Web Group and New Media Development at the J. Paul Getty Trust. Jack is the past Chair of the American Alliance of Museums Media and Technology Professional Network, and currently the Vice Chair of all 22 American Alliance of Museums Professional Networks.
A few weeks ago, I took a voice and public speaking workshop at the Berkeley Rep School of Theater, and the first thing the instructor told us was that she was not there to teach us anything new. Rather, she was there to help us un-learn some ingrained life-long habits we all bring with us when we go on stage.
The same can be said of practicing design thinking, a human-centered process for innovation. Some of the key mindsets of design thinking rely on un-learning old ways of working. To successfully integrate design thinking into your museum—whether it’s for a small, one-off project or an institution-wide initiative—you must hack your old habits.
Retraining oneself around old ways of working is one small way to seed design thinking into daily operations, and the two practices I’ve listed below provide a jumpstart.
Resist the urge to jump to solutions.
In the design thinking process, you don’t even start thinking about solutions (i.e. platforms, devices, programming languages, operating systems, user interfaces, visual designs) until you are literally half-way through the process. This is probably the hardest part of the design thinking process for new practitioners to master, and it takes ongoing practice and discipline to retrain oneself.
This temptation to immediately jump to solutions is something I see in every museum I work with. Museum digital/web/technology staff members have been hired based on their expertise and experience, and their colleagues come to them with pressing and real problems. It is only natural, then, that when kicking-off a new project—from redesigning a member publication to developing a mobile site for families—the first instinct of most team members is to jump to the implementation details. You want to solve that problem, now!
But instead of pushing through problems by jumping to solutions, try stepping back and starting with the user needs, and then move through the design thinking process to reframe the problem. The insights that emerge during this process often lead to a redefinition of the original problem, which means that what you invest your time and resources in prototyping, testing, and implementing is often quite different from what you set out to do.
Stop before it’s perfect.
In the design thinking process, we build rough, scrappy, messy prototypes and test them. The prototypes are not supposed to be good, “right” or perfect. Yet our instincts in the museum sector as visual professionals with extensive academic training is to work on stuff until it’s really damn good.
I was working with a museum that wanted to re-think its traditional wall labels, and we were prototyping new approaches to and conceptualizations of labels. The team was building a rough prototype for testing, and got completely stuck on the contents of the placeholder content. I had to remind them that it was really, truly OK if the contents of the prototyped label were not vetted and curatorially approved for 15-minute tests with visitors in a busy gallery.
Once I reminded them of this, it was as if a weight had been lifted. They were “freed” from their constraint and quickly created a prototype that yielded incredibly rich feedback despite its lack of perfection. Not a single visitor complained that the text was not perfect and publication-worthy.
As anyone who has tried to effect change inside an organization knows, it’s easy to fall back on old habits when faced with pressing challenges. Retraining how you approach problems requires an ongoing commitment.
A great resource is Design Thinking Action Pact from the Stanford d.school. It contains assignments that were created for Stanford Executive Education students to complete after an on-site workshop, but anyone can download and complete the assignments independently. Each assignments targets a different “design thinking muscle,” so this is an excellent resource for further learning—and unlearning.
As I work with museums on how to integrate design thinking into their ongoing processes, I find myself spending a lot of time talking with my peers about the resistance—and sometimes outright hostility—they face inside their organizations around this new way of working.
Understanding the mechanics of design thinking is critical to introducing it into the ongoing practices of your institution. But just as critical—and probably even more challenging—is facing organizational resistance to change.
Museums are generally not on the forefront of change around internal practice and process. Staff turnover is low compared to the for-profit sector, and ways of working get ossified. For many institutions, the design thinking process can feel downright radical, and getting internal buy-in for it is not for the faint of heart.
To be an internal change-agent in your institution, you must embrace the resistance you’re likely to face. Below are some tips and strategies around integrating this human-centered process for innovation into your institution.
1. Build empathy for your colleagues
When you start introducing design thinking mindsets and practices into your institution, you may hear something like this from a colleague:
This will never work here.
We don’t work this way in XYZ Museum/Institution.
Now is not the time to change our process/try something new.
When faced with internal resistance like this, it’s helpful to approach your colleagues as users. Try to put yourself in their shoes, and conduct empathy interviews. In having an open-ended conversation in which you ask “why?” a lot, you may challenge your own assumptions and discover some insights you can act upon.
For example, when introducing design thinking on a project, I found myself encountering frustration from a particular staff member. I thought her resistance was about the design thinking process in general, but when we sat down and had a one-on-one conversation, it turned out that it was about something more specific.
This staff member was tired of attending working sessions with another co-worker who always dominated the conversation and didn’t allow for multiple voices or divergent viewpoints. So we implemented (and enforced) the Rules for Brainstorming, and this addressed the concerns of the original staff member.
2. Start with a minimal time commitment
One of the biggest challenges I encountered when introducing design thinking at SFMOMA was around time. I kicked it off with a 2.5 hour workshop for a large cross section of staff. Aside from the challenge of finding a meeting space, it was nearly impossible to find that much time in everyone’s calendar, and my colleagues were (rightfully so!) frustrated.
So I iterated on my plan. I started offering mini-workshops on different aspects of design thinking for individual departments. For example, instead of a full workshop on all five phases of the process, I offered a short training session on how to conduct empathy interviews with visitors for the marketing department.
3. Change your space
Seasoned design thinkers are very tuned into space and how the design of a space affects a team’s attitudes, behaviors, and performance. Entire books have been written on the topic, and there are subtle things you can do to your space to fuel collaboration and innovation, and signify to your colleagues that you’re doing something new and different.
One technique is referred to as “saturate your space.” You can fill your work area with images of your users and your notes from interviews and observations. Not only does it give you a constant physical reminder of your users, it often invites infectious curiosity from colleagues.
You can also set up an informal, low-impact prototyping station. This can range from an informal desk where you leave out prototyping supplies to a dedicated conference room.
Neutral touch-down work spaces dedicated to projects are also powerful signifiers of the collaborative nature of design thinking. Instead of spaces that are dedicated to individuals, you can establish shared project spaces that are open to anyone working on a particular project.
Make your design thinking sessions the most engaging meetings in your organization. Start off with icebreakers or improv warm-ups, serve treats, conduct the meeting with everyone standing instead of sitting—do anything to change it up.
6. Build a team
Finally, and most importantly, you need to build a team. This is what John Kotter calls “creating the guiding coalition.” No matter how determined and competent you are, you can’t do it alone. In an ideal world, support for introducing design thinking would come from all levels of the organization (including the top). But in reality, this isn’t always how change happens in museums. Therefore, it helps to have a handful of colleagues who can support each other.
Remember that you and your colleagues are the designers for this process as it fits within your institution. Because design thinking is inherently iterative and adaptive, your colleagues can have a voice in the process and you can shape it together.
When trying this “at home,” apply design thinking’s mindsets of curiosity, optimism, and collaboration. Understand your users, try out multiple solutions, prototype, test, and iterate.