Mackenzie King's Portfolio

32 Joralemon St. #115DBrooklyn, NY 11205718. 404. 4588 @[email protected]

Design + MBAA portfolio of project stories

]

MACKENZIE KING

Innovating business models . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Designing processes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Building organizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Capturing insights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Facilitating co-creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Design + MBAA portfolio of project stories

MACKENZIEKING

4

The teenage design team experiences the design process hands-on, from mar-ket research and concept development to the refinement of prototypes and finally to store shelves. Companies gain direct access to insights direct from the source.]

Innovating business models.Could a company’s need for consumer insights merge with a school’s mission to educate youth?

SWEAT EQUITY ENTERPRISES

6

Innovating business models.

OPPORTUNITY: Marketing exec-utives and ‘cool hunters’ often look to urban youth to forecast market trends. While teens are fascinat-ed with products and fashion, few schools tap into these passions. Similarly, business leaders note creativity as a valuable asset, yet few educators emphasize creativ-ity in their courses. Project-based learning provides skills transfer-able to numerous career paths, yet these projects are resource-intensive.

PROCESS: SEE provides youth with real design projects with real clients. Professionals lead mod-ules that teach skills. Critiques with executives ensure market viability. Companies gain fresh creative insights and high-visibility spon-sorship. Students gain invaluable skills. In partnership with school networks and major corporations, like publisher Pearson, SEE is ex-panding.

8

MY ROLE: At SEE, I worked di-rectly with Marc Ecko, fashion en-trepreneur with sales of $1.7 bil-lion in 2007, the year I was hired. The year prior, my cold call re-sulted in an invitation to pilot his innovative program at UAMA, a NYC high school. Following the pilot, I was invited to help stream-line their operations in prepara-tion for national expansion.

I developed their first training program, hired and trained staff in four states and managed part-nerships with national school net-works. Within six months, I was promoted to Interim Executive Di-rector. The board and I restruc-tured the staffing model, allowing me to focus on strategic business development, working directly with our clients, noted to the right. During the 2009 economic crisis, I increased our operating budget exponentially, positioning the or-ganization for significant growth.


CLIENTS INCLUDED:

10

SEE fills a gap in traditional pub-lic school education by providing hands-on projects that empower youth as creative leaders with valuable insights. SEE’s ‘train-the-trainer’ model trains a network of educators to lead projects in their schools, with support from profes-sional designers and corporations. Instructional methods that feature communication, collaboration, critical thinking and creativity be-come part of teachers’ toolkits. SEE also helps schools build ca-pacity for earned income projects and dynamic partnerships.

Corporations Schools

Companies act as clients and the SEE team designs solutions to their real-world creative business chal-lenges. 100% of a company’s contribution to SEE (a 501c3) goes directly towards serving more youth; this model of philanthropy can feed a company’s bottomline. Companies may collaborate on a project, sponsor SEE’s social net-working and learning web plat-form, adopt a SEE school or host a SEE team in their company’s facili-ties, as did Marc Ecko Enterprises This option invites teen designers to work alongside professionals.


12

SOLUTIONS: Video game acces-sories for Best Buy, sneakers for Skechers, jackets for Ecko Unlim-ited, marketing campaigns for Radio Shack and cars for Nissan were designed by SEE teams.

SEE trained educators and design-ers to use resources like project-specific interactive workbooks and Adobe Creative Suite. The web platform will continue to connect teens with designers of the brands they love. Research shows that customers will switch brands on the basis of values. When Paul’s watch was featured on Macy’s store shelves, customers and the press alike saw multiple levels of value within the product and its story.

“It’s like The Apprentice meets Willy Wonka.” -Nell Daniel, SEE Co-founder, New York Times

“The watch was a life-changing experience for Paul.” -Marc Ecko, CEO, Marc Ecko Enterprises

“The raw talent in these kids blew us away.” -Bryan Thompson, Designer, Nissan Design America


PRESS INCLUDED:

14

CSI is blinded by their success and rapid global expansion. A new strategic pro-cess aims to infuse design into their cul-ture, allowing them to more effectively and creatively address major market threats.

Designing processes.How does a market leader redefine its strategic planning process?

CLOSURE SYSTEMS INTERNATIONAL

16

Designing processes.

PROBLEM: Closure System Inter-national (CSI) faces a paradox between its self-identification as a beverage cap and closure company and its broader range of strengths. Current and future market threats could redefine or even destroy the bottled water and soda market, their key seg-ments. They need a user-friendly process to identify and evaluate their capabilities and market op-portunities.

PROCESS: Issues and tensions within the market and company were examined. Ideation pro-duced a range of ideas including communication, artifacts, activities and systems solutions. Research of both traditional management models and design strategy ap-proaches informed a new set of objectives, process phases, ac-tivities, tools and roles. Scenar-io-building illustrated interactions that we aspired to achieve.

18


MY ROLE: My training as a design-er and educator proved helpful in advising my fellow team mem-bers, MBA and JD-MBA students, many of which with little work ex-perience. I played a leadership role in introducing principles of design and business model inno-vation into our project approach. I often found myself playing the role of facilitator in guiding my team through the inherently am-biguous phase of defining the key problem. I modeled design techniques and tools through the ideation and development phases that then became elements of our final solution. Examining bottled beverage substitutes proved im-portant. Surrounded by walls of whiteboards, visualization and concept mapping occurred daily.Hired by, and working alongside, the company’s Senior Vice Presi-dent of Global Strategy, we had eight months to define and solve an undefined problem.

A Process Book

prepared by:

Melissa Duffy,

MBA Candidate

Mark Freudenthal, JD/MBA Candidate

Matt Janecek, M

BA Candidate

Mackenzie King, MBA Candidate

Hui Wang, M

BA Candidate

Closure

Systems International, In

c.

Design-Infused Strategic Planning Process

Case Western

Reserve University

Weatherhead School of Management

October 2010-2011

Design in

Management

Concepts & Methods

2010/1

1

PRO

CES

S B

OO

K

A Project Report

prepared by:

Melissa Duffy, MBA Candidate


Matt Janecek, MBA Candidate


Hui Wang, MBA Candidate

Closure Systems

International, Inc.

Design-Infused Strategic Planning Process

Case Western Reserve University


April 27, 2011

Design in Management

Concepts & Methods

of Practice

2010/11

PR

OJE

CT

REP

OR

T &

PR

OC

ESS

GU

IDE

A Design Brief prepared by:

Melissa Duffy, MBA Candidate


Matt Janecek, MBA Candidate


Hui Wang, MBA Candidate

Closure Systems International, Inc.

Exploration of Identity through Design

Case Western Reserve University


December 6, 2010

Design in Management

Concepts & Methods of Practice

2010/11

DES

IGN

BR

IEF

20

Space Activities Tools

After examining studios of various design schools and firms, the team envisioned a space that would promote interaction, showcase in-spiration and track projects.

CSI’s former R&D lab housed equipment to test the functionality and durability of caps. The new lab would encourage experimen-tation and the act of collecting and generating ideas and in-sights across multiple stakeholder groups. Visualization, including concept mapping, is encouraged and continuously showcased.

We created a guide that out-lines activities meant to inspire role-sharing and collaboration. Activities ranged from group dis-cussions to work as individuals or in pairs. The team needed an ex-cuse to be casual and creative. CSI employees appreciate family time, so a collaborative workshop series was developed, that would allow the efficiency-focused engi-neers to be carefree and creative alongside their children. The ‘Open Lab’ workshops engage excutives, factory workers and other CSI community members.


PROCESS MODELOPEN LAB

KEY PRINCIPLES

ACTIVITIES = RESULTSCOMFORT+DISCOMFORT

IDEAS = INSIGHTS

FREEDOM + STRUCTURE

IDEATE - CONSTAINTS

OPEN

LAB

Via an online web platform, stakeholder groups can share or ‘star’ insights and ideas. The plat-form would serve as a gallery featuring creations from Open Lab Workshops, as well as ar-tifacts from activities. Also fea-tured, would be interviews and photographs captured by a new staff person, who would play the roles of ‘design facilitator’ and ‘roving researcher.’ Stakeholder insights and ideas could now be shared via their Smart Board dur-ing meetings or posted in their of-fices.

PROCESS PHASES

OPEN

LAB

PHASE 2: ENVISION

PHASE 3: EXPERIMENT

PHASE 1: DISCOVER

PHASE 4: DECIDE IDEATION CATEGORIESOPEN

LAB

BRANDS & SYMBOLSARTIFACTS &

PRODUCTS

ACTIVITIES &

SERVICESSYSTEMS

CLARITY OF

PROCESS AND MISSION:

Horizon Three (H3)

•HowdoesC

SIdefineinn

ovation?

•Where does CS

I see its com

pany in 5, 1

0, 50

years?

•Howdoes

CSIdifferent

iatebetweenin

novation

andcannibal

ization?

•How does

CSIrecogn

ize the ‘white s

pace’

necessaryto

createsignif

icantinnova

tions?

PRO

DU

CT IN

NO

VATI

ON

: Ef

ficie

ncy

focu

s

•W

hatwillCSIdoifsomeo

nein

ventsacap-less

bottle?

•Doe

sCS

Ipo

ssessskillstran

sferab

le to

othe

r

prod

uctc

ateg

ories?

•Cou

ldprodu

ctdiversificationbe

anan

swer?

•W

hatcanCS

Idotoens

ureitwillsurvive

gam

e

chan

ging

inno

vatio

ns?

•Bysh

iftingfocu

stowards ‘white spa

ce,’wou

ld

CSI’shigh

leve

lofeffic

ienc

yorprod

uctiv

ity

suffe

r?

SHIF

TINg

CO

NSUM

ER

PREF

EREN

CES:

Heal

thy

beve

rage

s•Do

esth

ison

lym

attertoCSI’scustomers(Pepsi

and

Coke

), or

sho

uld

CSI

also

rea

ct t

o th

is

trend

?•Isth

issim

plyapa

ssingtre

ndora

sign

ofissue

s

toco

me?

•Willcampa

ignslike

the

tap

waterproject

enco

urag

e cu

stom

ers

to

avoi

d pa

ckag

ed

beverages?

•Willhe

althy

beverages

like

milkan

djuice

replacethismarket?

•Shou

ld CSI stre

ngthen

itsprod

uctofferin

gs in

alternativesegm

ents?

ACTIO

N PLA

NS UNCL

EAR:

Flexib

le d

eadl

ines

and

mile

stone

s•H

owpresentareuncontrollablevariablesin

theR

&Dprocess?

•How

likelyisitthatprojectmanagers(and

John)canpredictobsta

cles?

•Areaccountabilitym

easurestiedtothetimely

achievem

entofm

ilesto

nes?

•Couldclearlydefinedgoalsandobjectives

creat

e a st

rong

er se

nse o

f pur

pose

and

driv

e

amongtheteams?

•Isthelackofaccountabilitylimitinginnovation

andH3innovation?

UN

DEF

INED

M

EETI

Ng

RO

UTI

NES

: St

iflin

g pr

oduc

tivity

•Are

expe

ctations

clea

rly

defin

ed

before

mee

tings

take

place?

•Doe

sCS

Iha

ve a unive

rsal ‘CS

Ibran

dbo

ok’or

‘styleshe

ets’usedtocreateaco

nsistentin

ternal

andex

ternalbrand

imag

e?

•Cou

ldco

nsistentform

ats

more

clea

rly

and

conc

iselyartic

ulateprojects?

•Cou

ld a

more

detaile

dag

enda

stifle a

nR&

D

mee

tingorm

akeitmoreprod

uctiv

e?

UN

TAPP

ED M

ARkE

T

OPP

ORT

UN

ITIE

S:

Bott

om o

f the

Pyr

amid

•Arethereun

tapp

edopp

ortunitie

sinthebo

ttled

waterm

arket?

•Co

uldad

dressing

thisnew

marketh

elpen

hance

CSI’sbran

dim

age

towardsthatofsocial

respon

sibilityan

dad

ded

value? Wou

ld this

bene

fitCSI?

•Doe

san

infrastructureexistthat can

sup

port

the

mul

ti-tie

red

supp

ly c

hain

requ

ired

for e

ntry

intoth

esemarkets?

DISCUSSION/FEEDBACk

HIERARCHY:

Tendencyforone-w

aydialo

gue

•Do

esitmo

ve slow

lybecau

seof

const

raints

or

variable

swithinthe

process

?

•Istherebuy-inforthe

process

?

•Istheprocess

usedcorrectly?

•Is

the p

rocess

designed t

oenhance

user

experience?

ISSUEOPPORTUNITY

MARkET

ORgANIZATION STRATEgY

ISSUEOPPORTUNITYMARkET

ORgANIZATION STRATEgY

ISSUEOPPORTUNITY

MARkET ORgANIZATION STRATEgY

Tools

22

Encourage the team to raise questions:

• What if caps for soda bottles were edible?

• When will reusable water bottles become the norm?

• How can user insights influence our strategic planning?

SOLUTIONS: CSI faces major market threats that are currently undiscussed. By better defining their strategic planning process, they will have a structure that pro-motes creativity, helping them ad-dress ‘wicked problems.’

Tools for use in the physical and virtual spaces aid interaction and capture insights across the 5 con-tinents of CSI’s operations. The proposed strategic planning pro-cess is composed of four itera-tive phases, noted on the previous page. Activities like ‘4 Orders Ideation,’ featured to the right as a prototype and to the left as a template for the client, can help the team imagine new ventures.


PRO

DU

CTS

& A

RTI

FACT

S

IDEATION

SERVICES &ACTIVITIES

ORg

AN

IZATION

S&

SYSTEMS

COMMUNICATION & SYMBOLS

COMMUNICATION PRODUCTS SERVICES ORgANIZATIONS

24

At Urban Assembly School of Music and Art (UAMA), a public high school in NYC, students experience a curriculum en-hanced by studio projects, interaction with creative professionals and outlets to use their arts skills to earn income.

]

Building organizations.What if a public school operated hand-in-hand with leading art, design and music agencies?

]

URBAN ASSEMBLYSCHOOL OF MUSIC AND ART

26

Building organizations.

OPPORTUNITY: Statistics show that students are disinterested in high school course material be-cause they do not see how it re-lates to their interests. Working with the Department of Education, nonprofit organization Urban As-sembly saw an opportunity to en-gage students by offering them a college preparatory learning environment that tapped into a special interest, whether it be en-vironmental law, hip hop music or entrepreneurship.

PROCESS: UAMA, UA’s first art-themed high school, shares the vision of educational philosopher Maxine Greene; “art provides a conduit to meaning-making and a way of making sense of the world.” Staff applied the creative process to the development of programs and staffing strategies. Artists and creative professionals quickly became integral members of the community.

28

MY ROLE: As member of the founding leadership team, I had a strong voice in developing the routines, programs and messaging that would quickly define the cul-ture of one of the ‘hippest,’ most innovative small schools in New York City. I managed a budget of $400,000 from the Bill and Me-linda Gates Foundation and over-saw a team of 12 teaching artists.

I developed and coordinated all college prepartory and ca-reer exposure programming. The role of Partnership Coordinator served a critical role in develop-ing mutually-beneficial and last-ing relationships with the corpo-rate, nonprofit, governmental and academic agencies that would sustain programming.

I developed relationships with Sony BMG and Tribeca Film In-stitute, a range of leading institu-tions in their industries.

PARTNERS INCLUDE:


My voice is

important for

all to hear.

To

speak about how I feel, to say

that you are important. My

voice can be loud or low, fast

or slow but always

heard. My voice speaks

of opinions or facts it tells

stories or poems. My voice is

important especially to me

because my voice

reflects who

I have becom

e

and who I

want to be ...

My voice is me.

Urban Assembly School of Music and Art

49 Flatbush Avenue Extension, Floor 8

Brooklyn, NY 11201

www.uamusicandart.org

CLass of 2009

commencement ceremony

30

SOLUTIONS: Via in-school, after school, and summer programming, students engaged in music pro-duction, Hip Hop dance, design, song-writing and photography studio instruction. Mentorships and collaborative projects com-plimented academic and studio instruction. Excited about learn-ing, the students’ attendance rates and grades rose. Students be-came motivated by the prospects of otherwise unknown careers in the creative industries.

UAMA served as an incubator for innovative arts programming that will soon be scaled as a fee-for-service model into its network of 20 schools.

Through a program called Extended Studio, students

learn how to DJ from internationally-renown Scratch

DJ Academy. They can use these skills to earn in-

come at events throughout the school network.


32

.

By examining the current customer experience, and perceptions of the brand across market segments, a research plan was devised that would collect insights and offer direction.]

Capturing insights.Should a world-class cultural institution redefine its customer experience to aquire new markets?

34

Capturing Insights.

PROBLEM: The Cleveland Or-chestra (TCO) faces a customer acquisition problem. The overall perception of TCO’s Severance Hall experience is that it is inac-cessible, dated, expensive, and formal. As a result, many growing segments of the Cleveland-area population are underrepresented at the orchestra. TCO must deter-mine whether redefining its offer-ings and formats would make it sufficiently attractive to a wider range of segments.

PROCESS: Using a ‘gestalt elici-tation technique,’ represented on the following page, perceptions of the brand were gathered from current and potential segments. Industry trends both in compara-ble orchestras and local arts/lei-sure substitutes were researched. Ethnographic research resulted in an infographic that illustrated the customer experience. It show-cased gaps in the experience.

36

sit & listen

MY ROLE: My experience with ethnographic research and in-formation visualization proved valuable throughout this 4-month project. After experiencing a range of TCO programs both personally and as an observer, I created a mood board exempli-fying the brand. I also designed an infographic that showcases the highlights and lowlights of the customer experience. This docu-ment helped frame our research.

I organized and analyzed large quantities of information gath-ered from interviews and obser-vations. The team and I used tools like SPSS to compare variables and quantify insights. Through debates and discussions, some of which included our mentor, a Harvard professor and McKinsey alum, we produced a comprehen-sive proposal. The presentation that I designed was both visually-appealing and persuasive.

Capturing Insights.

OBSERVATION RESEARCH INVENTORY CHECKLIST

SYMPTOMS DIAGNOSIS STATEMENT

RESEARCH PHASES & VARIABLES

38

SOLUTIONS: An analysis of current programs, including a detailed observational study, demonstrated tensions within the current program experience and opportunities for enhance-ment or innovation. Interviews showed that programming for-mat, convenience and brand awareness were key factors in inciting trial; customer satisfac-tion then inspires return visits.

The proposed research se-quence would further analyze TCO’s value proposition via mul-tiple variables in three phases, with particular attention to incit-ing trial with new groups and in-spiring customer loyalty.

Illustrated in an infographic, moments within Mike and

Sara’s visit ranged from positive, or ‘world-class’ (blue),

to negative, or ‘subpar’ (orange). Size represents the

impact that moment had upon their overall experience.

Capturing Insights.

APPROACHING SEVERANCE

ACCESSIBLE DURING LUNCH BREAK OR AFTER WORK.ALL PROMO MATERIALS AVAILABLE

IRON BARS, GRANITE AND LOW CEILINGS

LESS-THAN-FRIENDLY TICKET AGENT

ROMANTIC CANDLELIT DINNER

LESS-THAN-SUPERIOR FOOD

NO OTHER OPTION

PREPARING FOR A SPECIAL NIGHT

A BEAUTIFUL DRESS AND A GLASS OF WINE

BRINGING OUT THE JEWELRY

MAKE UP, LIPSTICK AND CURLING IRON

CONSUMER EXPERIENCE

ANXIETY DISCOMFORT

SUBPAR

SERENITY DELIGHT

WORLD CLASS

MEMORABLE

FORGETTABLE

EATING AT THE CASE CLUB

ENTERING THE HALL

EXPERIENCING THE MUSIC

VISITING THE RESTROOM

LEAVING SEVERANCE

DRIVING HOME

WORLD-CLASS EXPERIENCE

CLOSE YOUR EYES, SEE THE MUSIC

TRUE TALENT

SERENITY AND RELAXATION

BUY PARKING PERMIT OR FREE ON THE STREET

THE ANNOYING PARKING SPOT HUNT

THE PARALLEL PARK SQUEEZE

EXPANSE OF BLUE VELVET SEATS

MAJESTY OF ANOTHER ERA

GILDED IN GOLD

GUIDED TO OUR SEATS

LESS-THAN-FIRST-CLASS

PAPER TOWELS AND WATER DRIPPINGS

WAITING IN LINE

TYPICAL MODERN, STANDARD FIXTURES

FROM EXPANSIVE TO CONFINING

FAKE PLANTS, LOW CEILING

CHATTERING OF SATISFIED CONCERT-GOERS

DISCUSS THE MUSIC

WE DON’T GO OFTEN ENOUGH

A SPECIAL NIGHT, INCONVENIENCES THOUGH

MAJESTIC ARCHITECTURE

A CLEVELAND LANDMARK

WHERE DO WE ENTER

A FLOCK OF DRESSED-UP CONCERT-GOERS

THU 6:10PMTHU 6:05PMTHU 4:45PM

BUYING TICKETS

PARKINGTHE CAR

MON 12:15PM THU 6:15PM THU 7:45PM THU 8:00PM THU 9:10PM THU 10:15PM THU 10:30PM

DRESSING UP

APPROACHING SEVERANCE

ACCESSIBLE DURING LUNCH BREAK OR AFTER WORK.ALL PROMO MATERIALS AVAILABLE

IRON BARS, GRANITE AND LOW CEILINGS

LESS-THAN-FRIENDLY TICKET AGENT

ROMANTIC CANDLELIT DINNER

LESS-THAN-SUPERIOR FOOD

NO OTHER OPTION

PREPARING FOR A SPECIAL NIGHT

A BEAUTIFUL DRESS AND A GLASS OF WINE

BRINGING OUT THE JEWELRY

MAKE UP, LIPSTICK AND CURLING IRON

CONSUMER EXPERIENCE

ANXIETY DISCOMFORT

SUBPAR

SERENITY DELIGHT

WORLD CLASS

MEMORABLE

FORGETTABLE

EATING AT THE CASE CLUB

ENTERING THE HALL

EXPERIENCING THE MUSIC

VISITING THE RESTROOM

LEAVING SEVERANCE

DRIVING HOME

WORLD-CLASS EXPERIENCE

CLOSE YOUR EYES, SEE THE MUSIC

TRUE TALENT

SERENITY AND RELAXATION

BUY PARKING PERMIT OR FREE ON THE STREET

THE ANNOYING PARKING SPOT HUNT

THE PARALLEL PARK SQUEEZE

EXPANSE OF BLUE VELVET SEATS

MAJESTY OF ANOTHER ERA

GILDED IN GOLD

GUIDED TO OUR SEATS

LESS-THAN-FIRST-CLASS

PAPER TOWELS AND WATER DRIPPINGS

WAITING IN LINE

TYPICAL MODERN, STANDARD FIXTURES

FROM EXPANSIVE TO CONFINING

FAKE PLANTS, LOW CEILING

CHATTERING OF SATISFIED CONCERT-GOERS

DISCUSS THE MUSIC

WE DON’T GO OFTEN ENOUGH

A SPECIAL NIGHT, INCONVENIENCES THOUGH

MAJESTIC ARCHITECTURE

A CLEVELAND LANDMARK

WHERE DO WE ENTER

A FLOCK OF DRESSED-UP CONCERT-GOERS

THU 6:10PMTHU 6:05PMTHU 4:45PM

BUYING TICKETS

PARKINGTHE CAR

MON 12:15PM THU 6:15PM THU 7:45PM THU 8:00PM THU 9:10PM THU 10:15PM THU 10:30PM

DRESSING UP

CUSTOMER EXPERIENCE

40

Aside from differences in age, race, educational and socioeconomic backgrounds, a neighborhood came together to build a design center that equipped them to enhance their community.]

Facilitating co-creation.How could the urban planning process more deeply engage stakeholder groups?

42

Facilitating co-creation.

Facilitating co-creation

OPPORTUNITY: Traditional ur-ban planning featuring focus groups or charrettes is often one-sided—void of true stakeholder engagement. The Campus District, a community development cor-poration serving 500 acres near downtown Cleveland, sought out to interact in a more meaningful way. Multiple stakeholder groups were invited to spend 7 intensive weeks working as a real design team to map assets, assess needs, solve problems and propose de-signs for the neighborhoods within the District.

PROCESS: A series of activities introduced the 30 member team to the design and research pro-cess. Time was split between work in the field and in the studio. Midway through, an open studio environment allowed mini-teams to focus on areas including envi-ronment, structures, experiences and communication.

44

MY ROLE: My position coordinat-ing the operations and strategy for the center evolved out of an invitation to join an ad-hoc plan-ning meeting organized by the president of a leading community college in the region; he had a vi-sion for a collaborative venture. Our brief encounter grew into a detailed discussion of possible program structures, and soon af-ter, into a role where I would ad-vise and implement this unique co-creation initiative. My expe-rience working in interdisciplinary design studios with young people served valuable as I crafted the operational, experiential and in-structional studio experience for our diverse team.

My experience working with LaunchHouse, a Cleveland-based business incubator, proved helpful in devising new enterprises for the District and in connecting our team with the Cleveland community.


Collaborative Campus Planning Project

Curriculum, Projects & Deliverables

Week 1Week 2

Week 3Week 4

Week 5Week 6

Week 7

PlanningResearch

ConceptDesign

Implement/Test Proposal Presentation

Goal

Student

Projects/

Deliverables

What is neighbor-

hood?

What is the design

process? Who is our

design team?

What/who is the

Campus District?

Who are the

stakeholders?

What kind of

experiences do

stakeholders have in

the neighborhood?

What is a landmark?

What are the

landmarks of the

District?

What kind of

landmark would you

want in the District?

What are the assets

of the District?

What are the issues

and opportunities?

What form can design

opportunities take?

(design facets)

How do designers

conceive, organize,

model and build their

ideas?

What is a quality of life

experience? How can

we create them in the

District?

What solutions can

we propose to

address assets/opportunities/i

ssues in the District?

What best practices

exist regarding

campus-districts?

(Uni circle)

What do we want the

District to become?

(keywords, images,

inspiration)

‘What’ will we design?

What do we need to

‘do’ to design it?

Do any best practices

exist that we can

borrow from or be

inspired by?

How will we engage

stakeholders to

design/maintain/susta

in the solution?

What resources are

required to

design/build/

implement concept?

How do the proposed

concepts create a

quality of life

experience?

How long will it take

to design/ build/

implement the

solutions?

How will we represent

these ideas succinctly

and professionally?

What features need

clarification?

How will we setup the

space/gallery?

Define Neighborhood

(notes)

Getting to Know

You Game

Resume

Partner Profile Posters

aka Identity Charts

Partner Interviews

aka Partner Biography

Project

Stakeholder

Interviews Five Senses Walk

aka Observation

Exercise

Stakeholder

Storyboard of ‘Daily

Experience’

Sketchbook & Binder

(used daily throughout

project)

Asset/Conditions

Maps aka Grading/

Mapping Your

Neighborhood

Current Landmark

& Fantasy

Landmark Postcard

Field Experience

(4 groups: District

neighborhoods)

aka Walkabout

Field Experience

(Stakeholder-Kidd’s

Farm)

Define District Brand

Field Experiences

(3 groups: Best

Practices- neighbor-

hoods)

Basic Construction

Studio & Bedroom

Floorplan aka Drawing

Scale & Viewpoints &

Home Team Work

Space Project

Online research

(Design Facets)

aka Research Methods

Concept Ideation

aka Investigating a

Focus Theme &

Creating a Neighbor-

hood Resources &

Needs Booklet

Design Pitches

aka Envisioning a

Theme for Community

Development Project

Online research

(Best Practices-

companies/orgs)

Stakeholder

Interviews (Focus:

Business owners)

Field Experiences

(Best Practices- 3

groups: Uni Circle)

Field Experiences

(Stakeholder-St.

Vincent Hospital)

Mood board

aka Choosing a Focus

Theme

Action Plans

(Each design facet team

delegated tasks based

upon individual skills and

interests; Projects ranged

from T-Shirt Design to

scale models)

Online research

(Best Practices) aka

Research Methods

Models/renderings

Focus Groups /

Critiques

Questions for

Consideration

Concept Refinement

Presentation

Boards

Models/renderings

Focus Groups /

Critiques

Project Initiative

‘One Page

Pre-Proposal’aka

Community Develop-

ment Projects/

Products

View Book

aka Project Portfolio

Stakeholder

Storyboard of

‘Proposed Project

Initiative’

Presentation

Rehearsals

aka Presenting to a

Panel of Community

Experts

Project Reflections

aka Portfolio Record

Student Portfolios

aka Building Your

Portfolio Briefcase

Event Preparations

Program Evaluations

Presentation to

Campus District

Board of Directors

Discover Vision

Meet Stakeholders;

Develop Strategy

Identity Issues/Opps

Clarify Roles/Themes

Ideate

Conceptualize & Build

Scenario

Invent New Solutions

Research Best

Practices; Judge

Viability

Realize & Test

Concepts

Refine Concepts

Formalize Proposal

Deliver / Present

Concepts

CityWorks

Curriculum Project Identification R

esearch & Investigation Production Exhibition & Presentation

ObjectivesSkill Assessment &

Team-Building

Intro to Design

Examine Stakeholder

Experiences

Project Overview

Client Assets

& Liabilities

Study Best Practices

Identify Opportunity

Design Workspace

Determine Appropriate

Facets of Design

Propose Design

Solutions

Interpret/ define Themes,

Brand & Teams

Interpret/Apply Best

Practices

Implement & Test Design

Solutions

Compile Design Solutions

into Final Proposal

Tues, Aug 3

Final Presentation

Design Phases

Initial OutcomesParticipants demonstrate skills in creativity, critical think-ing and communication.

Immediate OutcomesParticipants demonstrate a posi-

tive, hopeful attitude towards their community.

Longer –Term Outcomes

Empower a community to transform the Campus District

into a vibrant neighborhood of healthful, well-educated and

sustainable-minded citizens.

Inputs

Agency and schools identify participants to serve as community consultants; participants include residents in

the District as well as students from elementary school, high schools and colleges in District.

Agency provides program coordinator (community liaison), operations coordinator (designer/educator), com-

munications coordinator (designer/educator), 2 professional urban designers, 2 professional researchers, 1

professional graphic designer, and 1 professional industrial designer for program.

Agency provides design lab equipped with supplies, computers and technology.

Activities

Over seven weeks, students and designers complete a series of activities of the design process including

‘project identification,’ ‘research and investigation,’ ‘production’ and ‘exhibition and presentation.’

Participants and designers map community assets; identify community needs and opportunities;

propose projects that build on assets and address opportunities.

Outputs# of community projects proposed in ‘proposal kit’

# of community projects implemented

# of stakeholder interviews completed

# of participants (aka community consultants)

# program hours (working in design studio or via field experiences)

Initial OutcomesParticipants gain insight into the needs and opportunities in the community.

Initial OutcomesParticipants gain knowledge about

the resources and programming of their community.

Immediate OutcomesParticipants use and recommend the health and education resources of their community more frequently.

Immediate OutcomesParticipants continue to engage in

community design programs in order to implement their project ideas.

Collaborative Campus Planning Project

Curriculum, Projects & Deliverables Week 1

Week 2Week 3

Week 4Week 5

Week 6Week 7

PlanningResearch

ConceptDesign

Implement/Test ProposalPresentation

Goal

StudentProjects/Deliverables

What is neighbor-hood?What is the design process? Who is our design team?

What/who is the Campus District? Who are the stakeholders?What kind of experiences do stakeholders have in the neighborhood?

What is a landmark? What are the landmarks of the District?What kind of landmark would you want in the District?What are the assets of the District?

What are the issues and opportunities?

What form can design opportunities take? (design facets)How do designers conceive, organize, model and build their ideas?

What is a quality of life experience? How can we create them in the District?

What solutions can we propose to address assets/opportunities/issues in the District?What best practices exist regarding campus-districts? (Uni circle)What do we want the District to become? (keywords, images, inspiration)

‘What’ will we design?What do we need to ‘do’ to design it?Do any best practices exist that we can borrow from or be inspired by?

How will we engage stakeholders to design/maintain/sustain the solution?

What resources are required to design/build/ implement concept?How do the proposed concepts create a quality of life experience?How long will it take to design/ build/ implement the solutions?

How will we represent these ideas succinctly and professionally?What features need clarification?How will we setup the space/gallery?

Define Neighborhood (notes)Getting to Know You Game

ResumePartner Profile Postersaka Identity Charts

Partner Interviewsaka Partner Biography Project

Stakeholder Interviews Five Senses Walkaka Observation Exercise

Stakeholder Storyboard of ‘Daily Experience’Sketchbook & Binder(used daily throughoutproject)

Asset/Conditions Maps aka Grading/ Mapping Your NeighborhoodCurrent Landmark & Fantasy Landmark PostcardField Experience (4 groups: District neighborhoods)aka Walkabout

Field Experience(Stakeholder-Kidd’s Farm)Define District Brand

Field Experiences (3 groups: Best Practices- neighbor-hoods)Basic ConstructionStudio & Bedroom Floorplan aka Drawing

Scale & Viewpoints & Home Team Work Space ProjectOnline research(Design Facets)aka Research MethodsConcept Ideationaka Investigating a Focus Theme & Creating a Neighbor-hood Resources & Needs Booklet

Design Pitchesaka Envisioning a Theme for Community Development ProjectOnline research(Best Practices-companies/orgs)Stakeholder Interviews (Focus: Business owners)

Field Experiences (Best Practices- 3 groups: Uni Circle) Field Experiences(Stakeholder-St. Vincent Hospital)

Mood boardaka Choosing a Focus Theme

Action Plans(Each design facet team delegated tasks based upon individual skills and interests; Projects ranged from T-Shirt Design to scale models)

Online research (Best Practices) aka Research MethodsModels/renderings

Focus Groups / Critiques

Questions forConsideration

Concept RefinementPresentation BoardsModels/renderings

Focus Groups /CritiquesProject Initiative ‘One Page Pre-Proposal’aka Community Develop-ment Projects/ Products

View Book aka Project Portfolio

Stakeholder Storyboard of ‘Proposed Project Initiative’Presentation Rehearsals aka Presenting to a Panel of Community Experts

Project Reflectionsaka Portfolio RecordStudent Portfoliosaka Building Your Portfolio BriefcaseEvent Preparations

Program EvaluationsPresentation to Campus District Board of Directors

Discover VisionMeet Stakeholders; Develop Strategy

Identity Issues/OppsClarify Roles/ThemesIdeate

Conceptualize & Build Scenario

Invent New SolutionsResearch Best Practices; Judge Viability

Realize & Test Concepts Refine ConceptsFormalize Proposal

Deliver / Present Concepts

CityWorks Curriculum Project Identification Research & Investigation Production Exhibition & Presentation

Objectives Skill Assessment & Team-BuildingIntro to DesignExamine Stakeholder ExperiencesProject Overview

Client Assets & LiabilitiesStudy Best PracticesIdentify Opportunity

Design WorkspaceDetermine Appropriate Facets of DesignPropose Design Solutions

Interpret/ define Themes, Brand & TeamsInterpret/Apply Best Practices

Implement & Test Design Solutions Compile Design Solutionsinto Final ProposalTues, Aug 3Final Presentation

Design Phases

Logic Model for Program Evaluation

46

People find their way through ex-periences via perceptions associ-ated to colors, sounds, smells and tastes. An activity was designed for pairs to enter the field and re-cord their experiences in 5 sites, through the lenses of the 5 sens-es. The professional designers modeled the habit of sketching, as well as other collection meth-ods. With an organized way of observing, they noticed features otherwise overlooked. Collages of images from observation and inspiration were hung throughout the studio.

Observe Interpret Address

The team represented diverse skills and demographics includ-ing designers (urban, industrial, graphic), researchers, students (state university, community col-lege, design school, local elemen-tary school, high school) and resi-dents (public housing project, arts district). Encouraging cultural sen-sitivity was imperative in order to create buy-in from the community and from one another. Our work together spanned the setup of the studio itself, through to the day of our presentation to the board of directors, and now via workshops.


Research demonstrated that there was little access to sever-al key services. Preliminary re-search and inital plans were as-sembled to help residents start a T-shirt screen printing operation, a newspaper, a laundromat and a concert series.

Follow-up workshops realized several ideas. The team screen printed the T-shirts they designed and now well online. A community newspaper has been published, and a billboard features the their slogan ‘Walk the Walk.’

Collaborative Campus Planning Project The following Initiatives were cooperatively designed and

developed by the Collaborative Campus Planning Project Team

with anticipation of a formal feasibility study and implementation

in the Campus District community.

August 3,2010 Submitted to the Board of Directors

Campus District, Cleveland Ohio

48

SOLUTIONS: The ambitious multi-tiered system that the team proposed took the forms of communication, environment and experience design.

A view book and set of pro-gram proposals captured in-sights and proposed designs. These designs are now being enacted as on-going programs led by the community members that designed them. The proj-ect timeline and curricula has informed a plan to advance the planning project into a con-sultancy that will take this mod-el into other communities. The area institutions are interested in re-investing in the project.

Their first plan included pedestrian walkways, green

spaces, events, beautification and urban community

gardening, economic opportunities, educational, arts,

and occupational programs, and a myriad of services.

Entrepreneurial Events


32 Joralemon St. #115DBrooklyn, NY 11205718. 404. 4588 @[email protected]

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Mackenzie King's Portfolio