This course combines elements that are not typically found together While there

This course combines elements that are not typically

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This course combines elements that are not typically found together. While there exist MBA courses that teach art and design approaches, and design schools that teach aspects of management, and a few that try to fuse the two, this course draws in addition on theories and practices in the social sciences, arts and humanities. Design Theory and Practice A foundation in the course is introducing students to important theories and concepts of design in particular Simon s (1996) problem solving, Rittel and Webber s (1973) wicked problems, Buchanan s (1992) design thinking, Fry s (1999, 2009) defuturing, Krippendorff s (2006) human-centred design and Hatchuel and Weil s (2009) analysis of the expansion of concepts and knowledge through design. Students will develop skills, knowledge and understanding of the practices of both design professionals, managers and artists. They will develop their own tacit and explicit
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knowledge as they engage in analysis and synthesis through iterative design processes applying design methods, techniques and tools. The curriculum will include researching experiences (for example, Bate and Robert 2007); synthesizing and interpreting data to generate design concepts (for example, Squires and Byrne 2002); visualizing, modelling and prototyping (for example, Buxton 2008); developing principles (for example, Lawson 2006), design rules and modularity (for example, Baldwin and Clark 1999); and using participatory and co-design approaches (for example, Kensing and Blomberg 1998). 170 New Educati onal Perspectives for Designers and Manag ers However this curriculum will not overly privilege the doings of designers. Students will also attend to the practices of stakeholders who co-constitute the meanings and outcomes of design as they engage with designed artefacts and learn, from cultural anthropology and other social sciences, how to research and analyse. What happens with objects once they are in homes, work places, schools, public spaces and other contexts may serve to augment or undermine the intentions of designers: designers plans become displaced through stakeholders situated, embodied practices. This way of conceiving of design moves it away from the territory just of professional designers, or professional managers, towards a situated, emergent set of practices (Schatzki 2001; Reckwitz 2002). Institutions and Markets Much design activity happens in the context of what we currently call markets, knowledge about which has until recently been dominated by the field of economics and underpinned by positivism. Accounts of management and organizational life rooted in social and cultural approaches over the past forty years have reframed how scholars see markets and organizations (cf. Astley and Van de Ven 1983). While organizations are centrally concerned with value and value creation, how one should go about assessing what value means remains an area of scholarly enquiry researching concepts such as commodities, gifts, costs and prices and the boundaries of the firm. This M(B)A course
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  • Fall '19

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