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287 pages

English

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Fast Company, the world's leading business media brand, offers a comprehensive and vibrant look at the way design has permeated all areas of life and work Design has become a critical part of doing business in today's economy. Some of the most innovative companies in tech-Apple, Airbnb, Google, Tesla, and many more-have made human-centered design a hallmark of their brands. From fashion to architecture to office plans, and from digital processes to artisanal craftsmanship, design is having a moment in business. Or maybe business is finally having its design moment.Fast Company Innovation by Design highlights the people, companies, and trends that have steadily advanced design to the forefront of the business conversation. Drawing from Fast Company's vast library of stories that chronicle innovation in technology, leadership, world-changing ideas, and creativity, this lively book is urgent reading for any anyone seeking to understand the ways that design is fundamentally changing and enhancing business and daily life. A focus on "green" and socially conscious design draws attention to creative solutions to the most pressing concerns we face today.

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Sciences et techniques

Industrial

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Publié par	ABRAMS BOOKS
Date de parution	21 septembre 2021
Nombre de lectures	0
EAN13	9781647004712
Langue	English
Poids de l'ouvrage	9 Mo

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An orb filled with liquid melanin by MIT s Mediated Matter Group
More Rules for Modern Life , an exhibit of ECAL student work at the 2017 Milan Salone del Mobile

FAST COMPANY
Stephanie Mehta, editor in chief
Suzanne LaBarre, senior editor
Jeanne Graves, photography director
Mike Schnaidt, creative director
April Mokwa, managing editor
ABRAMS
Michael Sand, editor
Lisa Silverman, managing editor
Kathleen Gaffney, production manager
Eli Mock, design manager
Book and cover design by Triboro
Library of Congress Control Number: 2021932494
ISBN: 978-1-4197-4991-9
eISBN: 978-1-64700-471-2
Text copyright 2021 Fast Company
Photography credits on this page
Cover 2021 Abrams
Published in 2021 by Abrams, an imprint of ABRAMS.
All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying, recording, or otherwise, without written permission from the publisher.
Abrams books are available at special discounts when purchased in quantity for premiums and promotions as well as fundraising or educational use. Special editions can also be created to specification. For details, contact specialsales@abramsbooks.com or the address below.
Abrams is a registered trademark of Harry N. Abrams, Inc.
ABRAMS The Art of Books 195 Broadway, New York, NY 10007 abramsbooks.com
The National Museum of African American History and Culture in Washington, D.C.
The GO wheelchair by Layer
contents
Foreword by Debbie Millman
Introduction by Stephanie Mehta
1 SILICON VALLEY EMBRACES DESIGN
2 DESIGN AT HOME
3 BRANDING MATTERS
4 DESIGN AND THE CITY
5 REINVENTING RETAIL
6 DESIGN FOR GOOD
Acknowledgments
About the Authors
Photography Credits
Index of Searchable Terms
Foreword
By Debbie Millman
We should not underestimate the crucial importance of leadership and design joining forces. Our global future depends on it. We will either design our way through the deadly challenges of this century, or we won t make it. For our institutions-in truth, for our civilization-to survive and prosper, we must solve extremely complex problems and cope with many bewildering dilemmas. We cannot assume that, following our present path, we will simply evolve toward a better world .
But we can design that better world. That is why designers need to become leaders, and why leaders need to become designers .
-Richard Farson, Management by Design, 2000
The year was 1997. Looking back now, it seems like prehistoric times: pre-YouTube, pre-Facebook, 10 years before Apple s launch of the iPhone. It was there-in a conference room of one of my corporate clients-that I first saw a publication titled Fast Company . That particular issue featured clever cover art mimicking the iconic Tide laundry detergent. As I inched over, I saw that the headline The Brand Called You took the place of the classic P G nomenclature. I was intrigued.
I riffled through to Tom Peters s cover story and read his declaration that a new construction of our corporate selves was required in the modern marketplace. As sexy as it seemed at the time, I m not sure anyone understood the gravity of Peters s proclamation. In hindsight, this became the entry point to living our lives publicly punctuated with a constant barrage of personal pixels. And Fast Company had the scoop.
By then the magazine was nearly two years old. I was newly minted in the branding business, and the first sentence of Peters s article- It s a new brand world -became my mantra. I adopted Fast Company as my business bible, as it identified and revealed the cultural concepts that have continued to define the zeitgeist. My growing knowledge was further influenced by another early Fast Company writer, Roger Martin, then dean of the Rotman School of Management at the University of Toronto. His pronouncement, Business people don t just need to understand designers better-they need to become designers, became my rallying cry.
It s hard to imagine that Martin knew the extent to which business would ultimately embrace design, but 25 years later our entire culture is now immersed in a universe fueled by creativity. Behemoth corporations including P G, Kraft, and Coca-Cola have shown us that scale alone is not nearly enough to thrive in a world where markets are rapidly globalizing and have proven that incremental improvement on its own can t deliver a robust return on investment. Companies such as Apple, Nike, and Target have proven that to succeed, prosper, and make a meaningful difference in today s world the most valuable contribution comes from using the designer s foremost competitive weapon: innovation.

Ceramics made of toxic waste by students at the Royal College of Art in London

We are living in a time where business skills and design skills have now converged in ways even Roger Martin couldn t have anticipated. And the stock market agrees: A Design Management Institute study showed that companies that put design at the core of their business strategy outperformed the market by a significant margin. Fifteen rigorously selected companies institutionally using design as a strategic tool beat the S P by 228% from 2004 to 2014. And in 2018, McKinsey Company reported that companies using design increased their revenues and total returns to shareholders substantially faster than industry counterparts that did not.
Now, if you are developing a marketing strategy, or streamlining a manufacturing operation, or building a new system for distribution-if you work almost anywhere in the world of business today-you must be engaged in the discipline of design. This bilingual ability has resulted in companies creating superior and elegantly refined products that not only taste different, feel different, and look different; these products are also attempting to make a difference in people s lives. The biggest, boldest, most innovative products being created today come from companies that respond to compelling needs to redesign, improve, and change the way we live-how we travel, eat, enjoy music, or support causes we believe in.
In addition, for the first time in our history as a modern civilization, design has become democratized. Motivated citizens are designing their own messages and creating brands to signify their beliefs. The Black Lives Matter movement, the Pussyhat Project, and the Extinction Rebellion are non-consumer-based initiatives to redesign society to reflect the type of world like-minded individuals want to live in. The condition of branding is beginning to reflect the condition of our culture.
But it is still not enough. Democratized movements and superior products are beneficial but can only do so much. In order to survive and, more importantly, to thrive, the global economy must transform itself radically. Our institutions, organizations, and communities are facing complex challenges while coping with a global pandemic, climate crisis, blatant racism, financial volatility and inequality, and political unrest. We are facing a water shortage of epic proportions and unprecedented weather disruptions. Design and business must become inextricably linked to the way in which society, culture, the environment, and politics interact. The very fate of humanity is at stake.
We can no longer assume that if we follow our present path, the world will simply evolve into a better place. The way toward that better place must be carefully considered and navigated by business leaders and designers alike. We must redesign the way we think, collaborate, and innovate. We must redesign the way we live and what we value.

Google designer Leslie Greene and VP, Design for Hardware Products Ivy Ross
Introduction
By Stephanie Mehta
The word design appears just four times in a 1993 business plan for Fast Company and only in the context of the look and feel of the proposed publication. But cofounders Bill Taylor and Alan Webber wanted their magazine to highlight companies and people creatively reimagining business processes, products, technologies, and even corporate structures. In other words, they were keen to highlight design thinking even though they didn t use that terminology. Design was baked into the founding DNA of the magazine, but we really meant design in the broadest possible sense, Taylor says.
Fast Company was a reflection both of the digital age as well as Taylor and Webber s frustrations with the constraints of traditional business journalism. They were excited, not threatened, by the tumult and change that technology would bring to business and the workplace, and sought to be the definitive diarists of this new economy. Yet neither editor thought he could tell these stories inside outlets such as Harvard Business Review (where they both had held senior roles) or Fortune , Businessweek , or Forbes . To compete with Fast Company an existing magazine would have to do enormous violence to its identity and existing business model, they wrote in a 1995 editorial mission statement. Like many of the next-gen entrepreneurs they would cover, Taylor and Webber took an innovative approach to building their fledgling operation. We wanted to be a fast company ourselves, says Taylor. So whether it was the design of our office or the way we handled decision making in our organization, we wanted to deliver on those principles.
Fast Company hit newsstands in November 1995 as the business world was undergoing a cultural shift. The top-down, shareholder-driven approach embraced by the world s biggest companies was starting to give way to a more holistic view of capitalism, one that celebrated big ideas, fulfilled employees, and a healthy understanding of the role of the corporation in society. Webber and Taylor announced these New Rules of Business on the cover of the inaugural issue: Work Is Personal. Computing Is Social. Knowledge Is Power. Break the Rules. That first magazine, assembled by