Extended Abstract:
Among designers and design researchers there exists a common belief that there is a relationship between storytelling and the design process. For example, Strickfaden (2001, p. 1) asserts that ‘The Design Process is a journey, towards the development of an artefact that has a traceable narrative that can be retold like any other story’.
This paper aims to explore the relationship between storytelling and design process by providing a literature review on storytelling; firstly, in the general context of modern day society; secondly, with specific reference to how designers and design researchers discuss storytelling in relation to a design process; and finally, in relation to organisational strategy. Analysis will aim to provide relevancies of viewing the design process from a storytelling perspective, and help uncover gaps in the current knowledge surrounding the relationship between the design process and storytelling.
Transformative Learning and Film Theory are two areas of literature which address storytelling in the general context of modern day society. Storytelling is discussed as an overarching theme, rationalising Transformative Learning. For example, Bleyl (2007, p. 47) proclaims that stories act as ‘vehicles for critical reflection, personal growth and increased understanding – i.e. transformative learning’. It has been suggested by film theorists that a ‘film is a world which organises itself in terms of a story’ (Lapsley, 1988, p. 76). More importantly, fundamental ideas that underpin film theory include its use as a ‘strategic instrument for projecting national imaginarie’ (Stam, 2002, p. 19). Drawing on these literatures, it is evident that stories have the power to have significant impacts on society.
In relation to the design process, storytelling is commonly discussed with regards to the visualisation and communication that occurs throughout the process of designing. With respect to visualisation in particular, Brown (2009, p. 134) states that, ‘time-based narrative techniques have entered into every field of design’. Design research has also examined artefacts produced during the design process such as sketches, renderings and models and argues that stories are embedded within them. Cross (2006, p. 10) suggests that ‘Metaphoric appreciation is an apt name for what it is that designers are particularly skilled in, in reading the world of goods’. With respect to communication, design researchers have examined discourse storytelling as a critical success factor in the design process’s client-consultant relationship, where designers collaborate with organisations. It has been discovered ‘that stories are used most beneficially to build trust, achieve shared understanding, simplify what is complex, and offer examples and models’ (DeLarge, 2004, p. 77).
Primarily, research undertaken relating storytelling to organisational strategy focuses on management/leadership strategy, and marketing/branding strategy (Christensen, 2001; Herskovitz, 2010). With respect to management/leadership strategy in particular, Denning (2007, p. 96) attempts to establish an approach for accelerating organisational change based on the remit that people will ‘change their minds in three ways – by experience, by observation and by symbolic learning’. Across all areas of literature addressing storytelling and its various purposes, environments and forms, there is an agreement that the stronger the emotional connection established with the audience, the more successful it will be (Brown, 2009; DeLarge, 2004; Denning, 2007; Herskovitz, 2010; Strickfaden, 2001). In justification of the application of a storytelling perspective to marketing/branding strategy, Herskovitz (2010, p. 25) asserts that ‘underlying rationale has been in place for many years, and each year seems to bring more evidence to support this connection’. Internally facing and externally facing company branding has helped to establish organisational culture and build strong brands with loyal consumers through successful storytelling (Christensen, 2001; Herskovitz, 2010; Ohara, 2010).
In conclusion, it can be seen that the underlying principles for adopting a storytelling perspective when approaching organisational strategy and a design process coexist. This is apparent when paralleling these literatures to the more general context of storytelling in modern day society. For example, the belief that an emotional connection is important and can be built through the use of a hero-protagonist characterisation is proposed by film theorists, designers and researchers discussing visualisation and communication in design process, and both internally and externally facing organisational strategists (Lapsley, 1988; Strickfaden, 2010; Denning, 2007; Herskovitz, 2010). Consequently, a design story that manifests itself in a non-design organisation will uncontrovertibly have the potential to impact that company’s culture. Brown (2009, p.165) professes that a challenge facing most organisations today is ‘how to incorporate designers’ creative problem-solving skills into their larger strategic initiatives and how to engage a far greater percentage of their workforce in design thinking’. Drawing on the similarities and differences in organisational and design approaches to storytelling and examining collaborations between designers and organisations from the perspective of storytelling could lead to a deeper understanding of the cultural impact design can have on a non-design community.
References:
Bleyl, M. F. (2007) ‘Becoming Wiser Through Proverb and Story: Transformative Learning Across Centuries and Cultures’, Transformative Learning Conference: Issues of Difference and Diversity. Albuquerque, New Mexico, pp. 47-52.
Brown, T. (2009) Change by Design, London, Harper Collins.
Christensen, J. H. (2001) Company Branding and Company Storytelling - Corporate
Branding, Storytelling and Image Recruitment in a Relflexive Network Society.
[Online]. Available (Accessed July 2011).
Cross, N. (2006) Designerly Ways of Knowing. London: Springer.
DeLarge, C. (2004) ‘Storytelling as a Critical Success Factor in Design Processes and Outcomes’, Design Management Review, 15 (3), pp. 76-81.
Denning, S. (2007) The Springboard, How Storytelling Ignites Action in Knowledge-Era Organizations. USA: Butterworth-Heinemann.
Herskovitz, S. & Crystal, M. (2010) ‘The essential brand persona: storytelling and branding’, Journal of Business Strategy, 31 (3), pp. 21-28.
Lapsley, R. & Westlake, M. (1988) Film theory : an introduction. Manchester: Manchester University Press.
Ohara, S. C. & Cherniss, M. (2010) ‘Storytelling at Juniper Networks Connects a Global Organization to the Values and Behaviours of Success’, Global Business and Organizational Excellence [Online].
Stam, R. (2002) Film Theory An Introduction. Oxford: Blackwell.
Strickfaden, M. & Rodgers, P. A. (2001) ‘‘Scripting’ DESIGNED ARTEFACTS, NARRATIVE, metaphor and FILM’, Design Pedagogy: basic and academic experiences, 1.
http://www.designresearchsociety.org/joomla/events/biennial-conf/drs-conference-2012-bangkok.html
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