Kimmie Lockett Enviromental Branding Through Design Thinking Process Book

``````````````
Enviro
mental
branding through
Design thinking
a process book
environmental branding
through design thinking
r e s e a r c h e d a n d p r e pa r e d b y K i m m i e l o c k e t t
Design Thinking takes a human-centered approach

to the design process, paving the path for more
significant design decisions. Design Management is the
orchestration and execution of problem solving methods
to create meaningful and informed solutions. I believe
Design Managers dilate the application of design in our
everyday experiences; redefining design as a form, and
instituting it as a method. Design Managers create the
conditions to innovate, collaborate, and solve through a
business and design lovefest.
F i n a l P r o j e c t s u b m i t t e d t o t h e fa c u lt y o f t h e D e s i g n M a n a g e m e n t P r o g r a m at t h e S ava n n a h C o l l e g e o f A r t a n d D e s i g n
o n N o v e m b e r 1 9 , 2 0 1 5 i n pa r t i a l f u l f i l l m e n t o f t h e r e q u i r e m e n t s f o r t h e d e g r e e o f M a s t e r o f A r t s i n D e s i g n M a n a g e m e n t.
introduction
The field of Design Management is a modality for value creation, through which
problems are distended in the process of creative problem solving. This study was
conducted to address the circulatory process of communication between a brand and
their consumer by way of environmental design. The objective of this study is to create
methods for approaching this communication, business, and design challenge. By
understanding where indirect communication occurs -- i.e. through color theory, way
finding, symbolism and association -- brand representatives in decision-making roles
are able to build environments that speak to their audience. By acknowledging the
relationship between matter and meaning, a brand message is more effectively diffused
and identified through the calculated curation of ambient, visual, and layout design.
You are the artist

t h e b r a n d i s y o u r m ed i u m
your environment is your canvas
paint me a picture
dedication
This work is dedicated to my mother, whose strength and creativity
inspires and challenges me every day.
acknowledgements
I would like to acknowledge Bill Lee, chair of Design Managament, for
always putting students success and wellbeing at the top of his agenda.
I would like to thank Regina Rowland, who facilitated this project, challenged
us, and made us better designers. I would also like to thank Sara Johnson,
who taught me the process of design research and cultivated my capacity
for analysis. Lastly, I would also like to recognize my peers, who have
created a culture of collaboration, support, and all-around good vibes.
table of contents
project framing
13
subject of study
14
problem statement
14
research methodology
38
Target audience
15
research question matrix
40
purpose of project
15
research protocols
42
scope of project
16
Research activities
43
sigificance of study
18
data processing and analysis
44
interviews at a glance
46
Survey results overview
47
project positioning 21
research activities and synthesis
Case studies 48
opportunity statement
22
competitors analysis 23
zag steps 25
value proposition
34
onliness statement
34
research space findings

research insights
56
37
design opportunities
& criteria. reframing
Opportunities for design
61
conclusions & Recs
97
Conclusions 98
62
Recommendations 99
design criteria 66
reframing 69
references
Prototype development 71
& Testing
preliminary concepts
72
concept design 75
concept testing findings
& prototypes
76
Chosen concept & validation 83
100
academic references
100
Buzz-review sources
102
Figures
103
apendices
105
Appendix A: Timeline
106
Appendix b: signed
108
consent forms
Final design to market
85
Appendix C: Survey
110
Results
Appendix D: Interview
an environmental design
toolkit
86
Business model canvas
94
Appendix E: Working wall
implementation plan
95
in progress
112
Questions & transcipts

114
project
framing
Subject of Study
In this study, the Design Thinking approach was applied to branding by unearthing
design opportunities for achieving brand resonance within a service environment.
Problem statement
When a physical space is the primary connection between a business and its
customer, it is unavoidable that the consumer will be influenced by the businesss
environmental design (Bitner, 1992). The service industrys business-to-consumer
markets primary interaction with their consumers takes place in a physical
environment. The physical user experience has affects on consumers perceptions,
associations, and behaviors towards a brand. If business owners and their team
do not consider how the service environment (also known as the servicescape) is a
reflection of the brand, brand identity and brand association are misplaced. Wellknown brands are businesses that brand across all user touchpoints, including
designing the experiences and the environments where the service is conducted.
Small to mid-size businesses, comparatively, have issues building brand resonance.
For these businesses, there is the possibility for value creation in the conscious effort
to communicate the intended brand through the settings and visual discourse in their
environmental design.
14
Project framing
target audience
The target audience for this project are the creative directors (or a comparable
position), store designers, and graphic designers of small to medium-sized businesses
within the service industry.
purpose of project
The focus of this project was to present opportunities for communication and branding in
servicescapes by understanding the effects of environmental design on user perception.
Project framing
15
Figure 1
Whole Foods in Savannah. Georgia
scope
of project
The context of this project is set in a service businesss environmental
landscape, involving the staging and arrangement of visual matter
including layout, signage and graphics, ambient details, and interior
design elements.
Servicescape is the staging and arrangement of a businesss

environment; a business that works within the Service Industry. It
includes layout, signage and graphics, ambiance, and interior design.
For research purposes, the Service Industry is defined as: businesses
that earn revenue by selling services and/or products.
This project is focused on Business-to-Consumer (B2C) markets
in the service industry, when the businesss primary contact with a
consumer takes place in a physical space.
contents and subject matter
Communication Design
Design Management
Design Thinking in Business
Servicescape Typology
Environmental Psychology for Design
Visual Communications
Branding
Semiotics
timeline: 9.5 weeks
Location: Savanah, Ga.
significance of study
The application of Design Thinking to Environmental Branding will create positive effects
for business and branding practices. The inclusion of communication theories in this study
exposes indirect communication affecting the user experience. This study presents an
opportunity for businesses and their users to connect on an emotional and physiological
level using the symbolic and communicative nature of aesthetics.
This project was created for scaling service businesses to explore and subsume methods of
Design Thinking communication design within their servicescape, in the efforts to mediate
between the brand intention, created by the business, and brand association, created by the
user. It is important to understand how an environment is being perceived by the user. The
biggest mistake in communication is assuming it has occurred, (Erwin, 2014). If a business
adopts new organizational processes to improve their communication processes, they will find
that customers have more positive associations and a better understanding of that business.
Fortifying my roles as a Design Strategist and a Communication Designer, conducting
this study is an opportunity for me to illustrate the positive effects communication design
strategies have on growing businesses.
18
Project framing
BUSINESS WORLD
Trend analysis & forecast
Market evaluation
CONSUMER WORLD
Subconscious desires
Emotional aspirations
Design stimuli
Scientific surveys
Audits
Gut instinct
Brand evaluation
Sensory explorations
Brand validation
Life transforming ideas
Brand strategy
LOGIC
EMOTION
Figure 2
Brandjamming
Adaptation of model by Mac Gobe (Emotional Branding, LLC) on the
Brandjam method to humanize brands (Lockwood, 2009).
Project framing
19
Project
positioning
BRAN
opportunity statement
Service businesses can use their physical spaces to influence positive customer
behavior (Kopec, 2006). There is an opportunity to subsume a more communicative and
affectatious environmental design.
There are strategic design opportunities for creating brand resonance through
environmental cues which require the application of communication theories and practices.
This study was concerned with two stages in communication between a brand and
its users: when the business is subjecting a message (intentionally or unintentionally)
through their aesthetic, environmental design, and when the consumer is experiencing the
environment and creating opinions and associations about the brand or its service. The
Design Thinking quality of this work is used to build communicative elements by adopting a
human-centered approach. There is an opportunity to design an experience or an emotion
through visual communication practices and environmental design choices (Sanders, 2008).
22
Project positioning
NDING STRATEGY
CONCENTRATION ON AESTHETIC DESIGN
competitors analysis
Environmental
Branding
Brand Identity
Design
@ Whitney
Architects
@ Fresh Consulting
Current branding strategies practiced by brand management firms
Environmental
Branding
User Interaction &
User Experience
Design
@ Gensler
are compared on two dimensions: whether they are based on the

Environmental
Branding
Retail / Brand
Environments
Graphic Design
physical or digital user experience and whether they are a marketing
@ Kahler Slater
@ Lippincott
DIGITAL USER EXPERIENCE
Brand Activation
Communication
Strategies
PHYSICAL USER EXPERIENCE
@ Lippincott
qualities of experiential and aesthetic communication. Today, most
@ Lippincott
Transforming
Customer
Experiences
branding strategies are created through a marketing framework. This
@ Prophet
Environmental
Branding
Building Relevant
Brands
Branding &
Positioning
@ Prophet
Consumer
Experience
Strategy
strategy or an aesthetic design. Branding is rooted in the associative
diagram represents a branding opportunity set in the physical user
@ Nice Branding
agency
@ Kelton
experience and with aesthetic value.
@ Kelton
Branding strategies in the bottom left quadrant are far removed

from the intention of this project and were displaced from this
analysis. The upper right quadrant is the opportunity space, offering
CONCENTRATION ON MARKETING STRATEGY
brand value through the physical and aesthetic user experience.

Four competitor-collaborators were identified in this space. Each
Environmental Branding strategy has its own unique approach,
Figure 3
Competitors Analysis
identified on the following page.

>>
The blue stroke identifies the current pattern of branding strategies, which value
a marketing approach to branding and prioritize the digital user experience. In the
service industry, the physical user experience is a prime concern.
Project positioning
23
Whitney Architects approach to Environmental Branding is to physically

represent a companys culture for improved brand positioning and
communication. They use a combination of architure, interior design, and
signage and graphics to create greater brand awareness.
CONCENTRATION ON AESTHETIC DESIGN
Genslers approach to Environmental Branding is through experiential

design. This design agency finds opportunities for engagement by finding
the mutual territory between user behavior and brand intention.
Environmental
Branding
Brand Identity
Design
@ Whitney
Architects
@ Fresh Consulting
Environmental
Branding
@ Gensler
Environmental
Branding
Retail / Brand
Environments
Graphic Design
Kalher Slater understands that physical environments are a key

touchpoint in branding, and that marketing alone is insufficient in
creating brand perceptions. Their approach is to create a storytelling
experience in a physical space.
Nice is a branding agency which takes a marketing perspective to
branding ambient and visual settings. They comine architecture, interior
design, landscape design, graphic design, and ambient design to create
a brand experience.
@ Kahler Slater
@ Lippincott
Brand Activation
Communication
Strategies
PHYSICAL USER EXPERIENCE
@ Lippincott
@ Lippincott
Transforming
Customer
Experiences
@ Prophet
Environmental
Branding
Building Relevant
Brands
Branding &
Positioning
@ Prophet
Consumer
Experience
Strategy
@ Kelton
24
Project positioning
@ Nice Branding
agency
@ Kelton
Figure 3
zag
steps
Who are you ?

A communication design strategy
Where do you have the most territory?
In servicescapes
Where do you have the most experience?
In Design Management
Where does your passion lie?
In applying design thinking and strategy to optimize consumer experiences for
organizational development-- applying change management and creative problem
solving for cultural and economic growth.
Marty Neumeier designed 17
Write your future obituary

There was once constant misperception and missed branding opportunities in the
service industry. Small to medium-sized businesses struggled to reverberate their
brand across all user touchpoints. Knowing that consumer behavior is affected by
user perception, one approach presented businesses with the opportunity to adopt
a communication design strategy so that users have more positive associations
and a better understanding of that business. These businesses found that by being
comprehensive in their branding strategy, they were able to affect user perception and
improve their financial performance. We are grateful for this criteria and may its spirit
live on as the branding strategy that did not forget about the branding power in the
physical business-to-consumer experience.
steps for positioning a brand

to experience and exhibit
radical differentiation in
competitive markets (2007).
What do you do?

Create brand resonance
What business are you in?
Strategic design
Decide what your purpose is, beyond selling a product or service, and state your
purpose in 12 words or less.
Improving communication and branding processes by Design Thinking Processes
25
26
zag, continued
Whats your vision?

To create more pleasant environments and more pleasant
experiences which result in improved financial performance
What do you want to accomplish in 5, 10, or 20 years?
To contribute to design-centered businesses with original,
strategic material
What wave are you riding?

The wave which diffuses Design Thinking in business
What trend is powering your business?
The trend to foster Design Thinking
How powerful is it?
It is becoming increasingly more necessary
How can you make this vision palpable and exciting?

By applying processes to increase positive organizational behavior
Paint a vivid picture of your brand
To make strategic, aesthetic design choices for packaging a business
through its environmental design in a way that attracts and engages
the user
Make a list of the trends that will power your success

1. Creating design-thinking-centered business practices
2. Designing opportunities for community engagement in
third place environments
3. When consumers are overstimulated by advertising, environmental
branding is an opportunity to connect with the user by priming
spaces based on user psychology and human-centered design
27
zag, continued
Who shares the brandscape?

Consultation services
Who else competes in your category?

Consultants and consulting businesses in branding, design,
and strategy
Who comes first, second, and third in customers minds?

> brand strategy consulting companies
> then independent consultants
> and then independent design strategists
Find out how your brand ranks with customers and then
design a strategy to become number one or two / or, become
the first mover in a new category

a
a
What makes you the only?

Focusing on the in-person, business-to-consumer experience
and shining light on indirect communication practices which
affect the user experience by taking a user-centered approach to
designing and branding environments
Whats the one thing that makes your brand both different and
compelling?
Surfacing indirect communication and design practices to find
opportunities for environmental modification and design
Complete a simple onliness statement

Our brand is the only branding strategy that designs experiences
and associations based on communication theories and Design
Thinking processes
diverse, multidisciplinary, research
add details by answering what, how, who, where, when and why
demonstrating creative agility (in conceptualization,
what
how
who
where
when
why

design, and strategy)
a
a
integrative decision making

effective presentation of ideas to clients
environmental branding
communication and design management strategies
the service industry
serviescapes- physical spaces
when starting or scaling your business
creating brand resonance results in more positive
brand associations
28
zag, continued
What should you add or subtract

There is the opportunity to add how to brand both physical and
virtual environments
By understanding a brand not as an organization, but as an identity,

Environmental Branding shapes and curates a setting where a brand
is visible and experiential
What existing brand elements are undermining your onliness?

Environmental Branding strategies currently being practiced
Make a list of all current and planned offerings and brand elements
The ambient and visual matter which contribute to the brand image,
understanding how matter affects meaning
What new brand elements could strengthen your onliness?

Using the theory of semiotics in conjunction with environmental
psychology offers a more informed perspective on
communicating to the user
Decide which offerings to keep, sacrifice or add

Because there is a lot of clutter and competition in branding virtual
environments, Environmental Branding will foremost specialize in the
physical user experience to mitigate confusion in a cluttered market
How do the remaining elements align with your vision?
Who love you?

The service industry, especially sales-motivated businesses
Diagram your brands ecosystem

seen in Figure 5, page 39
How can you manage the gives and gets so everyones happy?
By understanding that Environmental Branding does not mean
investing in a complete design overhaul; branding your environment
could mean adding, subtracting, or modifying matter so that it is
more appropriately reflective of the intended brand
Decide how each participant will both contribute and benefit

Communication is the instrument; Design Thinking is the mode; and
Servicescapes are the condition in which this branding strategy exists
29
zag, continued
Whos your enemy?

Promotional marketing and advertising design work
Which competitor can you paint as the bad guy?

Brand management agencies that see marketing sciences as
the prime contribution to branding strategies
10
What do they call you?

Environmental Branding through Design Thinking
Is your name helping or hurting your brand?

Environmental Branding is an overused term and could hurt the
brand, but Design Thinking is in demand and will attract users
Tell your customers what youre not, in no uncertain terms.

We are not a marketing or even an advertising strategy. Instead,
we are a design strategy. Environmental Branding promotes
the product or service by making it so that the brand resonates
with its user, and in turn the user understands, accepts, and
engages with the business.
Is it suitable for brandplay? does it have creative legs?

No; It could be more creative
Choose a name thats different, brief, and appropriate. Make sure

its easy to spell and pronounce
Enviro-Mental, playing off of the word environment and its
abbreviation, enviro with an emphasis on the driving forces:
Design Thinking and Environmental Psychology.
Find out if the name can be used as a URL
Enviro-Mental is available as a URL
Determine how easy or difficult it will be to legally defend
There are a lot of different branding terminologies, each with a
different niche; therefore, this one should be easy to defend as it
has its unique intention and personality.
30
zag, continued
11
How do you explain yourself?

As a means of branding by understanding where nonverbal and
indirect communication occurs in a physical environment
Whats the one true statement you can make about your brand?
It focuses on what affects the human perception and the
user experience
12
How do you spread the word?

By publishing work or case studies that work by example
How can you unpack your name, trueline, and tagline?

By being consistent across all touchpoints
How can you enroll brand advocates through messaging?

Craft a trueline that tells why your brand is compelling (avoid
any commas or ands).
Environmental Branding through Design Thinking is a design
strategy for curating a communicative and affectatious physical
space so that users can visualize and interpret a brand and its
business.
Turn your trueline into a tagline to use with customers

Environmental Branding through Design Thinking: designing the
intended brand experience
By exposing this or similar types of work by virtually posting

and promoting this work
How can you align all your communications with your ZAG?
Through business-to-business (B2B) communication and
transactions
31
zag, continued
13
How do people engage with you?

Following new offerings through a subscription service
14
What do they experience?

Improved brand resonance
What are you selling and how are you selling it?
Selling a method for designing environments for diffusing a brand
message
How will your customer learn about you?

Through business-to-business conversation, various published work, and through
collaboration and networking
Which touchpoint will let you compete in a white space?
How can you enroll them in your brand?
Indirect communication practices based in symbolism and user

perception
By participating in collaborative projects in which to infuse Environmental

Branding in combination with Design Thinking
Map your value proposition against those of your competitors. See which
competitive areas you can entirely avoid.
Who will be your competition at each touchpoint?

Other brand management strategies practicing Environmental Branding
I can, at first, avoid virtual environments.

Where should you put your marketing resources?
Discover customer touchpoints where youll be unopposed.
Creating a community presence
Creating the conditions for Design Thinking in environmental

design choices
Map the customer journey from non-awareness to full enrollment. Bet your
resources on the experiences of ZAG.
The customer becomes aware of the role and effects of Design Thinking in
environmental branding by reading about case scenarios when a company has
integrated this branding strategy into their work and experienced improved
brand performance. Full enrollment is accepting this strategy as a standard
business practice.
32
zag, continued
15
How do you earn their loyalty?

Creating a personalized environmental branding agenda,
specific to addressing the challenges of that business (for
which this work can contribute to). Or, creating work that is
flexible and can adapt to a variety of projects.
How can you help your customers build barriers to

competition?
By contributing to brand management processes with a
strategic, Design Thinking, focus
How can you avoid creating a disloyalty program? Start by

being loyal to your customers. Dont make new customers
feel punished or excluded. Give loyal customers the tools to
introduce new customers.
The same way as earning their loyalty; creating personalized or
flexible work for their design intentions and resources
16
How do you extend your success?

Moving into media and virtual environments
How do you keep growing the brand year after year?
By extending research and expertise, our offering is extended
into other user experiences and aesthetic work.
Choose between a house of brands and a branded house.

A branded house
Add extensions that reinforce the brands meaning. Avoid

extenstions that unfocus the brands meaning. Avoid extensions
that bring you into competition with leaders
Environmental
Environmental
Environmental
Environmental
Branding
Branding
Branding
Branding
for
for
for
for
Servicescapes
Virtual Environments
Offices
Media and Advertising
33
zag, continued
17
How do you protect your portfolio?

By staying consistent (but not stagnant) in my approach
How can the whole be worth more than the parts?
By staying focused on the meaning and intentions behind environmental branding, even if the concept is
dissected for relevant information. Environmental branding is expansive and comprehensive, but it can be
sliced into pieces for relevant understanding and implementation. Design Thinking methods contribute to the
environmental design process by helping decision-makers identify relevant and necessary ways to brand
their environments.
How can you stay focused under short-term profit pressure? Avoid C-sickness, contagion, confusion,
contradiction, and complexity, and understand the long-term effects of brand extension.
As previously noted, this work can be broken down or repackaged in a way that continues to be relevant and
helpful; in pieces or as a whole, environmental branding grows from the same roots, identifying symbolism and
association in aesthetics as a form of communication.
value proposition
For business owners and their design team (including but not limited to, graphic
designers, store designers, and creative directors) who want to subject their brand
message through their environmental design.
This is a method for demonstrating brand values through strategic environmental
design choices. We do this by presenting communicative touch-points in a service
businesss physical landscape (servicescape), and by identifying and working with
indicators affecting user perception.
Unlike most Environmental Branding strategies, this takes a Design Thinking
approach to communicating the intended brand to the consumer. By acknowledging
communicative environmental cues that affect how a brand message resonates with
the user, a business can design a user experience that influences brand associations
and consumer behavior.
onliness statement
Our brand is the only brand management strategy that uses Design Thinking to
design the intended consumer experience.
34
Project positioning
Figure 4
Branding (Neumeier, 2007)
Project positioning
35
Research
activities
& synthesis
Figure 5
Starbucks in Ballard, Washington
starbucksmelody.com
research methodology
In addition to significant secondary research, qualitative
contextual research, with an ethnographic lens, as it is
practiced in the design field will be conducted with the goal
of discovering unmet or unexpected needs, opportunities,
and challenges. Through case studies, surveys, and
interviews, this study targets nonverbal communication
in servicescapes-- how leading companies in the service
industry create brand resonance through their environments,
and what design strategies are used to mediate user
perceptions and brand associations.
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Servicescape
The arrangement of a physical
environment where a service takes
place, (Booms and Bitner, 1981).
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Com
m
u
nic
(Reimer, 2005)
(Wimelius, 2004)
(Tombs, 2003)
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How the Built environment is

experienced and how this affects
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(Eco, 1976).
semiotics
Figure 6
Research Space showing the scope
of secondary research
Research Question Matrix
Main Research Question

How can we take a Design Management approach to the Servicescape
typology and design branding criteria for creating communicative and
affectatious environmental designs?
What is the servicescape

typology?
How
are they
designed for
the user
What are the characteristics of

a servicescape?
What is the
servicescape
criteria
What is the impact of these
Design
Management
methods and
intentions
approaches?
What is the
value
How can Design Management

contribute to communication
and branding processes?
Roles and
practices
in business
environments
What is environmental
design?
What goes
into an
environmental
design
What makes an environmental How users

interpret
design affectatious?
their service
environments
To identify the
effects of a
servicescape
design on
business
What is the
theory of
semiotics?
How is Semiotics
underpinning communication
theories?
How semiotics
are used in
communication
practices
How might these theories

be applied in environmental
design?
What are
the symbolic
elements in an
environment
How is a set of criteria

valuable to communication
processes?
What criterion
exists in the
market
How will this criteria be used

in servicescapes?
How have
other methods
applied to
servicescapes
How does this criteria affect

the business-to-consumer
experience?
?
ing
iss
m
be
ht
ig
tm
ha
da
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th
is
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W
Secondary
research
findings
Secondary
research,
Interviews
Secondary
Research
findings, and
Interview
insights
and/or
surveys
Secondary
research
findings,
results of
interviews
and surveys
To know
how service
businesses
can better
prepare their
servicescapes
Research on
environmental
psychology
and its
application in
design
Secondary
research
findings
To identify
where
semiotics
exist in
environmental
design and
how to use it
strategically
Previous
research
findings
For project
positioning
Branding
stratgeies
week
4
How a
servicescapes
design
influences
consumer
behavior
I could lack
sufficient
research
relating to
environmental
psychology
week
4
The Design
Management
approach to
designing
affectatious
environments
I could lack
sufficient
research
SME in
Service
Design
SME
insights
To identify
where there
are Design
Management
opportunities
to optimize
communication
methods
Secondary
research
Secondary
research, and
Interviews
and/or
surveys
Secondary
research
Academic
research
platforms,
SME expert
in Design
Management
Academic
research
platforms
week
4
Textual analysis
Previous case
studies
environments
Figure 7
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yp
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ed
ne
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tt
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W
Previous
research
findings
What is the user experience in Qualities of

affectatious
an affectatious environment?
What is Semiotics
wh
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his
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kn hy d
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Scope of
typology
What effects does a

servicescape have on
consumer behavior?
What are Design

Management approaches?
fo
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W
sub
Research
Questions
What is missing
in the B2C
experience
Communication
Strategies
Design
Management
strategies
Secondary
research
findings
Secondary
research
findings,
results of
interviews
and surveys
Secondary
research
Secondary
research, and
Interviews
and/or
surveys
Where
there are
evironmental
and
communication
design
opportunities
to positively
effect
consumer
behavior.
Book store
week
4
How semiotics
are used as a
communication
tool in
environmental
design choices
Secondary
research
week
4
How to
approach the
service industry
with strategic
infomation on
opportunities for
communication
within their
physical spaces
Subject
Matter
Expets
(SME)
Qualitative
data leaves
room for
error or bias
My challenge
will be
specifying
the theory
of semiotics
for research
purposes
Could be
missing
information
vital to
designing
criteria
Research protocols
consent forms
Completed consent forms are located in Appendix B
Figure 8
Research Protocols
42
Research activities & Synthesis
Interview Questions
survey
Case studies
Applying findings from secondary research and previous
case studies, a content analysis of visual matter, and its
Research Activities
associated significance or symbolism, was conducted

through observational and photo research to complete three
case studies of leading service companies in different service
conditions.
Case Study process:
1. Background research- including previous case studies,
Interviews
Open-ended interviews were conducted with subject matter
experts in the fields of Design Management, Service Design,
and Business. Subject matter expertise in Communication,
Branding, Environmental Psychology for Design, and Design
Thinking was found through secondary research.
buzz reviews, and company profiles. Background research

is used to identify the businesss values, strategic intent,
and brand message.
2. Content analysis- through photo research, by dissecting
symbolic, communicative visual elements to compare
their environmental design choices to the results of
background research.
3. Observational research- at a local location, taking note
survey in design Management

A survey in Design Management reflected multiple
perspectives on the field of Design Management, its
approach, and how it is used in a business setting.
The survey was presented on the Design Management
Facebook Group page for a closed-door approach to
recruiting relevant participants.
of the ambient and real-time effects of their environmental

design choices.
secondary research
4. Creating a POEMS model- to record and present the
Significant secondary research was conducted and used
observational research. POEMS stands for people,
in preparation for primary research and again during the
objects, environments, messages, and services.
affinitization process.
43
data processing and analysis

Secondary research contributed to discovering
Case studies of diverse service businesses creating
environmental branding strategies by recording:
brand resonance will serve as contextual design research
1. How Design Thinking is used in business and in

branding practices
2. How environmental psychology contributes
to servicescapes
3. How environmental matter is symbolic and
contributes to branding and communication
for the purposes of exposing current design practices.

Criteria for case studies includes:
1. Background research on the businesses through
company profiles, buzz reviews, and previous case
study findings.
2. A Content analysis of visual matter through photo
research, including photos taken during observational
Interviews with subject matter experts in the fields of

Design Management, Service Design, and Business
were conducted and transcribed. In addition, students
of Design Management were surveyed. Interviews
and surveys were conducted to extract an educated
perspective on various touch points affecting the
consumer experience and how Design Thinking can
contribute to creating brand resonance.
44
research
3. Observational research synthesized through a
POEMS model.
Figure 9
Content analysis diagram
Content
Analysis
Visual
Patterns
45
interviews at a glance
Open interviews were conducted with subject matter experts in the fields of
Design Management, Service Design, and Business.
DMGT
In a business setting, Design Management approaches a challenge holistically
DESIGN MANAGEMENT
and strategically, looking at the problem in context and with a strong
ALWAYS LOOKS AT DESIGN
user-focus. For a communicative challenge, Design Management enables

clarity, creating strategy for effective communication processes.
SERV
WITH A STRATEGIC
PERSPECTIVE
Service design creates new forms of augmenting the potential act of people,
A SERVICESCAPE WOULD BE
giving you a way to do what you otherwise cannot do. Service design is used
THE ARTIFICIAL SELECTION OF
to pinpoint elements of the social landscape; this pinpointing process or
A LARGER LANDSCAPE
sequencing of these elements defines a servicescape.
BUS
Particularly in the service industry, a key business strategy is user experience.
USER EXPERIENCE I THINK
From a marketing perspective a brand should approach their user across
SHOULD BE IN EVERY ELEMENT
all touchpoints and in a consistent fashion so that it is supporting the brand
OF THE MARKETING MIX IN AN
personal and equity.
The first column consists of paraphrases with the intention to summarize

interview with experts in the respective disciplines. In blue are direct quotes.
46
Transcripts are located in Appendix E
INTEGRATED FASHION
survey results overview

Results of the Design Management surevy contributed to shaping the Design
Thinking scope of this project. Seen here are an example of each answer
What is design management?
A discipline that promotes the strategic facilitation and management of the design
thinking process for the development of innovative business practices
and offerings.
In what ways is design management used in business?
Design Management us most useful in business when applied toward planning and
strategies. The lateral thinking approach, when properly applied leveraged, can give
organizations a differentiating competitive edge that has the potential of positioning
them (or keeping them) in their industrys lead.
What is the design management approach?
Using Design Thinking methods to initiate a creative process that can

lead to business solutions and strategies.
Complete survey results located in Appendix C
47
case studies introduction

The purpose of case studies is to analyze real situations to discover and then demonstrate
insights that lead to new hypothesis and understandings. For this project, case studies
were used to study the environmental design behaviors of leading brands in diverse service
industries. The goal of this research was to learn how businesses who achieve brand
resonance signify their brand through their environmental design.
48
case study
lululemon
key learnings
activity
This brand of activewear advocates for a balanced and outgoing lifestyle.
Their manifesto is about sweating every day, breathing deeply, drinking
water, and getting outdoors. Their brand values are represented through
their equipment, their graphics, their packaging, and their employees.
Maple
Maple is used to represent body movement. For example, activity calendars
are framed by maple. Maple is often symbolic of balance and generosity.
Community
Lululemon creates a relationship with their community. There are resources
for local yoga classes and running groups. Sometimes, Lululemon stores will
host their own yoga classes. New third-place spaces are being integrated in
Lululemon stores. This creates a sense of community and generates brand
engagement.
49
case study
findings
scenarios
T h e D e ta i l s
Lululemon designed a store which incorporates a

third place space. Third places are community spaces
used for relaxing, socializing, working, an activity, or in
general, engaging in something outside the home
or workplace. Service businesses are incorporating
these spaces to encourage brand engagement beyond
the product or service. For Lululemon, creating a
third-place within their retail space means keeping
a store active and the users engaged, which drives
traffic, sales, and helps their brand identity.
integrating opportunities to use the

space as a third-place facility
Their new community space features

live-edge Western Maple tables with
convenient plug-ins at the center of
the tables. Maple frames, or is the
platform for, community resounces
and in-store activities. The space is
designed for an array of activities
and opportunities for engagement;
furniture is flexible and can be shifted
around the room based on the activity
and the lighting is considerate of
the calm, but social or productive,
atmosphere. Ambient and functional
details, including small flower
arrangements and wifi make it an
approachable setting.
Complete case study findings Figure 14
Figure 10
Lululemon store in Alberta, Canada.
retail-insider.com
source was used in Case Study research
50
Figure 11
Semantic Differential Map
servicescape
criteria
LULULEMON
STARBUCKS
LOW ENERGY
ambiance
HIGH ENERGY
QUIET
LOUD
MILDY SCENTED
PUNGENT
DARK
BRIGHT
ABSTRACT
signage
+ g r a p h i c s & pa c k a g i n g
GEOMETRIC
NEUTRAL TONES
COLORFUL
D I S P O S A B L E PA C K A G I N G
R E U S A B L E PA C K A G I N G
SIMPLISTIC SIGNAGEA
I L L U S T R AT U V E S I G N A G E
REPRESENTING
B R O A D E R C U LT U R E
REPRESENTING LOCAL
C U LT U R E
DESIGNED AS A
THIRD-PLACE
DESIGNED FOR BUYING
l ay o u t
Showing the semantic differences

within the servicescape criteria
WHOLE FOODS
C O M PA R T M E N TA L I Z E D
L AY O U T
O P E N L AY O U T
COMPLEX
E A S Y T O N AV I G AT E
>>
The three service environments were measured within the service criteria:
ambiance, signage, and layout. The degree of each brands environmental
variables within the servicescape criteria contributed to analysis and
drawing connections between environmental qualities and brand messages
51
case study
Starbucks
key learnings
Focus
Starbucks focus is on offering customized, quality coffee. They believe
that a comfortable and visually appealing environment promotes their
product and elicits brand engagement. Their brand values recognize the
role of employees in their brand culture and the importance of sustainable
practices. Starbucks is continually modifying their environments to stay
relative and innovative, while staying consistent in their core values.
work
The layout and ambiance are designed for the behavior setting. Behavior
settings are designed through enablers which create a relationship between
user behavior and environmental settings. Starbucks open layout works
with their use as a third-place space. After purchasing food or beverages,
users will relax, socialize, or most likely work independently.
warmth
At Starbucks, imagery mocks product. There is a sense of storytelling in the
design, and sequence, of visuals. Their visuals are abstract, illustrative, and
in warmer tones. The use of warm tones mocks the color of coffee beans
and creates a warm and casual atmosphere.
52
case study
findings
scenarios
T h e D e ta i l s
The Starbucks experience was once homogeneous;
wherever you were in the world, Starbucks
would offer you that comfortable and recognized
experience. Now Starbucks is mass-producing
diverse coffee shops, giving each location its
own unique, culture-specific experience. Because
todays consumer values relationships and
authenticity, there is a consumer attraction towards
localized experiences. Custom-beverage fans favor
the local coffee shop experience. To compete in
this new consumer market, Starbucks wants every
consumer to feel a distinct experience at their local
Starbucks.and create a my Starbucks dialogue.
Coffee plant artwork and actual coffee

plants at the front are used as a tribute
to the neighborhood: the Flower
District in Amsterdam. To maintain
the brand image, green marble and
wood are used throughout the space.
In addition, vintage light fixures and
furniture are used to offer an authentic,
European experience.
Efforts in mass-produced
customization
Figure 12
Starbucks in the Flower District, Amsterdam
retaildesignblog.net
53
case study
Whole Foods
key learnings
Quality
Whole foods prides itself on quality and visually aligns their product to a quality of life. Visual
signage is used to reflect consumer aspirations. In turn, there an emotional bond is created
between the brand and the consumer. Consumers look for brands who share their values.
Whole foods displays images of individuals or families in a state of satisfaction and
wellbeing. At Whole Fools, valuing a higher quality of life translates to a deluxe grocery
shopping experience. Not your typical grocery store, Whole Foods offers a near-dining-out
experience, including wine and cheese, and creates a complimentary ambiance which primes
users to linger, or sit and stay a while.
culture
Whole foods mimics the cultural vim in their store designs. They seek out visuals and
imagery that represents local culture. One way Whole Foods achieves this is to incorporate
locally sourced materials and repurposing culturally relevant equiment. For example, in a
biking-centric city, Whole foods repurposes bike parts as part of their interior design.
home
Flowers are offer a sense of invitation and comfort. Whole Foods uses flowers to prime
their user. The floral section welcomes the you into the store. Floral focal points are
strategically scattered throughout the store. At Whole Foods in Savannah, a floral
arrangement is positioned under a sign that read, Whats cooking, Savannah? The
inclusion of floral details creates a sense of home and the associative qualities of
contentment, peace, and luxury.
54
case study
findings
scenarios
T h e D e ta i l s
Whole Foods wants to offer a sense of authenticity

to their user. Untreated wooden crates and
cardboard boxes bearing produce and flowers are
used to offer a right-from-the-farm sensation. The
mixture of wood hues on walls and fixures, a staple
across most store locations, represents a natural
experience. Human psychology suggests that users
are attracted to experiences that draw them closer
to nature. Also, Whole Foods primes the user by
positioning their floral inventory at the front of the
store, impressing a sense of freshness.
Materials reflect core missions
The Parlor, a subsection of Whole

Foods, houses a lounge space, and
its is where this grocery offers wine,
cheese, and beer services, including
tastings. Whole foods works to offer
a sense of luxury with a sense of
authenticity. The Parlors design
represents this. The use of a filigree
design in the illustration of their
logo offers a sense of artistry and
authenticity. Whole foods uses mixed
wood on their walls and natural,
untreated wood for their fixtures and
their furniture. The application of
white, florals, and reflective material
creates a sense of opulence.
Figure 13
The Parlor, in Whole Foods
55
D
OO
W
CASE STUDY
FINDINGS
RT
S SU PP O
T
G VI SU AL
PL EA SI N IC E AN D PR O DU C
TH E SE RV
Figure 14
Mind map of Case Study Findings
56
THE AMBIENT AND LAYOUT

DESIGN SEQUENCE GUIDES THE
USER JOURNEY
N
IO
G IT
IN PIT ON
L
E TI
L
TE H R RA
RY UG ST
O
U
ST RO ILL
TH ND
A
OF E
SE AC S
N
L
T
SE -P N
A RD ME
I
N
G
N TH RO
TI
I
EA E IN NV
E
CR AC
L
P
STARBUCKS
WITH A STRONG
FOCUS, USERS
FOCUS IN
ED
FR TO
AM R
E
BO E A PR
DY CT ESE
M IVIT NT
OV Y
O
EM AN R
EN D
T
PL
US
EM
TE
IBU CE
TR
ON BIAN
C
M
S
EE TO A
OY
WHOLE FOODS
LULULEMON
PACKAGING REFLECTS
VALUES
THE CREATIVE USE OF GEOMETRY

GIVES A SENSE OF BALANCE
LY H E
UE T
IQ CT
UN LE
IS EF
R
RE O
O T M
ST ED VI
L
H
C IGN RA
EA ES TU
L
D U
C
D Y
SE IT
U S
E ER
AR DIV
S
R E Y
O R IT
H O T
C ST EN
AN RE ID
AL HE ND
SU O RA
VI O C B
T OR
F
RA
TO TING
U
TH SE T OPP
IRD HE OR
T
-P
L A S PA U N I T
CE CE
IE
FA A S S
CIL A
ITY
LY
VE EP
TI E D
C K E
N O G
TI T GA
IS S N
D E E
S AC U
SE SP YO
U
O D
H NE
IG
ES
,
LD
BO ER
E US
AR E
S TH
TIC TO
HE E
ST TIV
AE ELA
R
T
EG
LOCALLY CUSTOMIZED
VISUALS
BU
INT
MATERIALS USED REFLECT

THE CORE MISSION TO BE
SUSTAINABLE
Case study findings
AN YS
RIB ES CO MP
VIS UA LL DE SC LO CA LLY AN D
AY
ST
TO
S
AL
AB LE
GO
AL LY SU STAIN
EN VIR ON ME NT
E
M FF
C AS OR
U S TS
ST -P
O RO IN
M
IZ DU
AT C
IO ED
N
Design Thinking
paves the way
to approaching
new problems by
studying perceptions,
expectations, and
capabilities
research space findings

Design creates a
lovefest between the
brand and the user
A strong brand
creates appropriate
brand meaning
through associations
Visual and
ambient matter
is non-verbal
communication
through
association
Design Management
mitigates risk with
informed, contextual
decisions
DESIGN
MANAGEMENT
Design gives branding
the language to speak to
its audience
COMMUNICATION
DESIGN
Servicescapes
package the service
through ambiance,
layout, and signage
Design Thinking
and Environmental
Psychology is
driven by
human-centered
design methods
Objects, colors,
and materials have
communicative value
through semiotics
The layout of a
space communicates
the intended
user journey
SERVICESCAPE
Figure 15
Research Findings at a Glance Map
view of secondary research in combination
with primary research findings
Environmental
Psychology is
used to predict,
and design for,
an affective user
experience
Environmental
design for branding
works to attract and
engage the user
Third-place
spaces, used in
servicescapes, are
functional spaces
outside the home
or office
57
research insights
with supporting secondary research or research findings
What contributes to the user experience

contributes to the brand message
Employees contribute to the ambiance and

the user experience
The use of color combinations, scent, slogans, and imagery

are ways in which businesses can create brand identity,
(Kopec, 2007).
A atmosphere cannot be supported by design alone; it

also requires the inclusion of people who support the image
and occupy the environment stimulating the experience,
(Kopec, 2006)
Servicescapes are making room for

third-place spaces
A brand must be continually modifying to

stay relevant
The integration of third-place spaces is to provoke brand

engagement. One of the strongest affirmations of brand
loyalty is when consumers actively engage with the brand
(Keller, 2001).
It is important to consistently update environments to retain

the consumers attention and maintain cultural relevancy.
Signage and graphics should represent the

brand values that mirror users goals
Opportunity to design the intended user

experience through layout and focal points
Consumption has become meaningful, and brands are
Designers need to consider how buildings affect the people

using them by understanding both how design influences
people and how we can modify the design to facilitate the
function for which the setting is intended, (Kopec, 2006).
often used as a building blocks for the construction and

maintenance of our personal identity, (Lockwood,2009).
58
A brand message is strengthened when

consistently visualized across all user
touch points
Brand desire and meaning emerge in the consumers mind
through the accumulation of experiences across all the
brands touch points, (Lockwood, 2009).
Colors and materials are subliminally

symbolic and will affect brand identity
Color is used depict a brands personality, in contribution to
designing behavioral settings, or to have an affect on user
psychology.
Visual sequencing is used to tell a story

The arrangament of visual material has an effect on the way
the the environment is perceived, beyong the indivisual
elements, because in an arrangement relationships and
connectors are formed. The arrangement, as a whole tells a
story in one visual swoop.
Pleasing visuals promote the service or product
Brand Resonance starts with a clear

brand identity and works towards brand
engagement
All objects, such as interior design

elements, contribute to brand identity
through visual perceptions
Maintain brand equity by continually engaging in brandbuilding activities (Keller, 2001).
Materials that are not explicitly meant to communicate a

message, contain information that are interpreted by users.
Signs, symbols, and artefacts are communication signals
which affect the overall impression of users (Blomkvist, 2014).
When we are satisfied and comfortable with an environment, we

will be less critical of the services delivered, (Kopec, 2006).
59
Design
Opportunities
& Criteria,
Reframing
Opportunities for design
insight
how might we
All objects, such as interior design

elements, contribute to brand identity
through visual perceptions
How might we approach choosing fixtures and

furniture that are emblematic of the brand
Colors and materials are subliminally

symbolic and will affect brand identity
How might we apply color theory and semiotics

to support brand identity
What contributes to the user experience

contributes to the brand message
How might we create a positive user

experience to elicit positive brand associations
Visual sequencing is used to tell a story
How might we design a visual narrative using

graphics and images
Figure 16
Opportunities for Design Matrix
opportunities for Design

There is an opportunity to visually express
the intended brand by understanding how
matter affects meaning.
A brand is not the organization. Instead, a brand is
only defined by the associations users have with that
brand (Neimeier, 2007).
There is an opportunity to use artwork

for branding by eliciting moods and
sensations as part of the user experience.
Pleasing visuals promote the service

and product
62
How might we use art and graphics to create a

pleasant experience
Your visuals are the tour guide of your brand and informs the
user as to what to expect from the service. Visuals are an
emotive experience and should arouse sensations.
Opportunities for design, continued
insight
Servicescapes are making room for
third-place spaces
how might we
How might we design spaces for users to
engage with the brand outside the product
or service
A brand must be continually modifying

to stay relevant
How might we retain the users attention
Employees contribute to the ambiance

and the user experience
How might we integrate employees into the

cultural brand experience

There is an opportunity to design spaces where users
engage with the brand outside the product or service.
A brand should not fall out of touch with modern consumer needs. To
maintain relevancy, a brand must be continually updating or redesigning
their environment to integrate new ways of engaging with their user.
There is an opportunity to have employees

be a visual demonstration of brand values.
At Lululemon, yoga-clad employees publicly post their goals and their
plans for achieving those goals. For a brand that promotes balance,
activity, and productivity, this is an affective way of integrating
employees into ambient design.
63
Opportunities for design, continued
insight
Opportunity to design the intended user

experience through layout and focal
points
how might we
How might we use layout design, including

placement of visual pillars, to produce the
intended user experience
A brand message is strengthened when

consistently visualized across all user
touch points
How might we retain the users attention
Brand Resonance starts with a clear

brand identity and works towards brand
engagement
How might we better identify ourselves in a

way that will attract and engage the user
Signage and graphics should represent

the brand values that mirror users goals
64
How might we visually relate to the target

audience

There is an opportunity to design a reoccurring effect,
rather than using a brand motif.
Human information processing is how users will process an environment
based on sensory information. It is less to do with a consistent color or
design ad more about producing the same emotional and physiological
reactions. The translates to layout and ambient design. For example, Whole
Foods sets their floral market and their food market at the front of the store
so that the scents extract a reaction and influence a consumer behavior.
There is an opportunity to visualize the brand intentions

with emotional value to visually engage the user
With a strong focus, users will focus in. Brands with too diverse or
too broad of an identity will have difficulty resonating with consumers.
Consumers look for the parallel between a value and an offering.
There is an
opportunity to
visualize the brand
intentions with
emotional value to
visually engage
the user
How might we
approach choosing
fixtures and
furniture that are
emblematic
of the brand
How might we
better identify
ourselves in a way
that will attract and
engage the user
Brand Resonance
starts with a clear
brand identity and
works towards
brand engagement
How might we
visually relate to the
target audience
All objects,
such as interior
design elements,
contribute to brand
identity through
visual perceptions
How might we
apply color theory
and semiotics to
support brand
identity
Colors and
materials are
subliminally
symbolic and will
affect brand
identity
Signage and
graphics should
represent the brand
values that mirror
users goals
How might
we use layout
design, including
placement of visual
pillars, to produce
the intended user
experience
There is an
opportunity to
visually express
the intended brand
by understanding
how matter affects
meaning.
How might we
create a positive
user experience to
elicit positive brand
associations
What contributes
to the user
experience
contributes to the
brand message
Employees
contribute to the
ambiance and the
user experience
Opportunity to
design the intended
user experience
through layout and
focal points
How might
we integrate
employees into
the cultural brand
experience
There is an
opportunity to
have employees
be a visual
demonstration of
brand values
HOW MIGHT WE
INIGHTS
There is an
opportunity to design
a reoccurring effect,
rather than using a
brand motif.
How might
we maintain a
consistent image
with different
mediums or
materials
A brand message
is strengthened
when consistently
visualized across
all user
touch points
OPPORTUNITIES FOR DESIGN
Pleasing visuals
promote the service
and product
Servicescapes are
making room for
third-place spaces
How might we
design spaces for
users to engage
with the brand
outside the product
or service
A brand must
be continually
modifying to stay
relevant
How might we use

art and graphics to
create a pleasant
experience
Visual sequencing
is used to tell a
story
How might we
design a visual
narrative using
graphics and
images
How might we
retain the users
attention
There is an
opportunity to
use artwork for
branding by
eliciting moods
and sensations as
part of the user
experience
There is an
opportunity to
design spaces
where users
engage with the
brand outside
the product
or service.
Figure 17
Opportunities for Design map
65
design criteria
meaningful
Contextual
Delightful
We can create meaningful brand experiences
Todays consumer values relationships.
Pleasant environments promote the
by combining values and offerings. Brands
A brand that exhibits the local cultural
service or product offered. Users have
should project these values throughout the
vim creates a path for brand resonance.
more positive brand associations to
user experience. It is important to consider
Staying relative to the user also means
aesthetically pleasant environments.
symbolic, affective qualities which
designing or modifying environments to
Delightful environments can be designed
communicate values through visual and
mirror modern consumer expectations.
by understanding user psychology.
experiential environmental cues.
Modes of design
composing your aesthetic text
using materials to mock values
making space for third place amenities
integrate and inspire your users
66
design opportunities and criteria, reframing
composing your aesthetic text
using materials to mock values
As observed in the research findings, your aesthetics
Brand resonance is created when users understand,
promote your product. In a sales-motivated service
accept, and build a relationship to the brand. Visual
business, your environmental image is one of your sales
stimuli, textures, and ambient settings add to brand
reps. Communication through aesthetics happens through
identity, symbolically relaying a message. Color and
denotative and connotative communication. With a design
material, for example, have cognitive and emotional
opportunity to visually express the intended brand by
value. Ambient settings are designed to prime the
understanding how matter affects meaning, composing your
user and influence their consumer behavior. Materials
aesthetic text is a way of communicating the brand message
including artwork, furnishings, and decor have symbolic
through visual matter. The study of aesthetics in design in
meaning with aesthetic impression (Bitner, 1992).
an attempt to identify, understand, and create environmental

features that lead to positive responses, (Kopec, 2006).
Figure 18
Image of case study analysis
67
making space for third place amenities

Whether it is a couch nearby a dressing room or a community
space serving as a de-facto office, servicescapes are adopting
third-place spaces to attract and engage users. Creating a
lounge area nearby a fitting room, for example, is designing an
opportunity to retain the consumers attention, while their guest
engage with the brand in a different way. A reserved thid-place
space creates brand engagement outside the product or service.
Third place spaces are inexpensive places outside the home or
integrate and inspire your users
office where users can choose to relax, socialize, or engage in

an activity.
To create brand resonance, it is important to visualize, through

graphics and signage that the user can interpret, the brand values
that reflect user goals or desires. For example, at Whole Foods,
they associate quality of food with quality of life, supported by
active and healthy imagery. There is a design opportunity to
subject the brand intentions with emotional value to engage the
user. Imagery is used to sensationalize the user experience.
Figure 19
Affinitization of Research Insights image
68
reframing
Instead of designing criteria for affective environmental branding, there is an
opportunity to design an engaging modality for arriving at the criteria for design.
The application of Design Thinking processes is an opportunity to design methods
to facilitate the creation of meaningful, contextual, and delightful environments.
criteria for design
Designing Criteria
Designing a Modality
a
a
a
Interactive and engages the user

Creates conditions for Design Thinking
A tool for communication and collaboration
Figure 20
Reframe and Criteria
69
Prototype
Development
& testing
preliminary concepts
A Reference guide
for environmental design choices
Reference guides are designed as a resource for consulting, rather than a reading or a
work with a storyline. Content will consist of environmental design elements and ways of
managing it. In this given example, illumination is an environmental matter and there are
ways of managing illumination so that it works with your space, and its purpose or activity.
concept development logic
Environmental branding is expansive and comprehensive, but it can be broken down into
appropriate slices of information, relative to the business and its project. For this reason, a
reference guide is an approachable way of presenting this information, so that the user can
pick up, put down, or be inspired by the environmental branding opportunities for design.
Figure 21
Preliminary Concept 1
72
prototype development & Testing
More illumination is
needed to highlight color or texture.
A service selling textile, such as retail
or carpet store, might require brighter
lighting. Brighter lighting is used to activate
a setting, giving the effect of energy.
This effect affects the way consumers
behave in the space and what that
says about the brand.
spatial orbit of environmental branding

touchpoints: a Design directive
There are multiple ways to communicate to your consumer through your environmental
design to illustrate a brand message. These eight touch points track design
opportunities for environmental branding. By moving through a rhetorical space, we can
visualize where and how these opportunities exist.
This concept is a demonstration of how environmental branding is designed. For the
decision maker, this is a practical and approachable checklist of visual, ambient, and
experiential design opportunities for the purposes of environmental branding. An orbit
is designed to demonstrate a holistic experience by discovering, and then exploring,
phases of environmental design.
For example:
The exterior facade and entrances are
an opportunity to prime your consumers.
Scent, music, or focal points are used here
to create an expectation for the intended
user experience.
Figure 22
prototype development & testing
73
environmental design manual

Most corporate businesses have a design manual to provide their staff with visual
standards around their brand identity. These manuals set the ground rules to base
aesthetic decision making off of. A staff graphic designer, for example, would need
to reference this manual for any project. This manual would be a universal version
of brand-specific design manuals, used by decision makers to help guide them
through the process of defining their brand message to defining their aesthetic and
implementing visual standards.

This concept was developed for those who do not yet have visual directives. This
manual would be organized similar to existing design manuals, starting with the
brand intention and leading with the types of materials and aesthetic (colors, fonts)
appropriate for for achieving the intended brand associations. This manual walks the
reader through the steps of preparing and organizing an environmental design. It will
start by prompting the reader to define their target user and why this is important to
environmental design. Then, this manual will walk the decision maker through the
process of defining their aesthetic, based on brand identity, business values, and local
culture, for example.
Figure 23
74
concept design
Purpose behind these concepts is to create meaningful, contextual, delightful environmental designs.
To be meaningful, an environment is emotive and saturated with communicative, symbolic matter. A
contextual environment enables relationships between the brand and its user, staying relevant and
reflective of the market, their locality, and consumer culture. A delightful environment is one where
users want to spent time, having aesthetic value and creating a positive user experience. With a
Design Management approach to branding service environments, three concepts are presented as
a contribution to environmental branding processes, helping businesses achieve brand resonance.
75
A good jumpstart
- several participants
A Reference guide
Figure 24
Prototype Concept 1
76
Figure 25
Concept Testing Concept 1
Urban Outfitters, Savannah, GA
good thing to
reference back to
as a good starting
point, this works in the
preparation stages
works during the

stages of planning and
modification
from a design
thinking perspective,
this is missing the
conditions for doing
versus processing
and reacting to
information
77
this covers a lot of what we go through

- Store Designer
Urban Outfitters, Savannah, Georgia.

78
Figure 26
Prototype Concept 2
Figure 26
Ann Taylor Loft, Savannah, GA
suggestions to
see this digitally,
feeling that it will
give it the flexibility to
be adapted to suit a
particular task.
works to hold
people accountable
for maintaining brand
identity, challenging their
ability to take notice,
pay attention.
most integrable
with current materials,
such as established
visual brand directives
From a Design
Thinking perspective,
this works as a whole
or it can be carved into
relevant steps
works by
connecting individual
store plans to corporate
store plans
79
manuals work because they are

brand-specific
- Manager in chage of visuals
Ann Taylor LOFT, Savannah, Georgia.
environmental design manual

Figure 28
Prototype Concept 3
80
Figure 29
Ann Taylor Loft, Savannah, GA
this is a good
activity for new staff
members to participate in
to absorb and reflect on
the brand culture.
this is too vague;

these manuals only
really work when they are
brand-specific
this is a good
exercise to make sure
everyones on the same
page, maintaining brand
identity from the
top down
from a design
thinking perspective,
there is no growth
potential in this idea,
it is static in that
it could become
irrelevant
81

chosen concept & validation

The purpose of this offering is to support the curation of meaningful, contextual, and
delightful environmental branding designs. For an environmental design to serve as a
branding medium it must be symbolic and emotive (meaningful), relative (contextual),
and offering a pleasant experience with aesthetic qualities (delightful). The Spatial
Orbit offers decision-makers the opportunity to reflect on this criteria in the process of
designing or modifying a service environment.
The final concept was chosen because it meets the servicescape criteria addressing
ambient conditions, signage, and layout and it was the most integrable. In addition,
it serves as a tool to be built on. From a Design Management perspective, the other
concepts were inactive and lacked the variables necessary for adaption or growth. This
approach is a template for user-centered, strategic design creating value and inducing
more positive experiences.
The Spatial Orbit is an environmental design tool for affective design, considering how
the user will experience and understand a brand based on their spatial journey
82
what was added

a
An eight-layer color wheel with the psychological effects

of each color group. This model was adapted from the
Psychological Effects of Color table (Kopec, 2006).
A user journey map. This is for mapping the expected user

journey and the identification of focal points .
Behavior settings worksheet and a user-busiess empathy

map for understanding and designing for the intented
user-business engagement.
Figure 30
Refined Concept 2
83
Final design
to Market
a n e n v i r o n m e n ta l
design toolkit
e n v i r o n m e n ta l d e s i g n c a n va s
u s e r - b u s i n e s s e m pat h y m a p
b e h av i o r s e t t n g s w o r k s h e e t
p s y c h o l o g i c a l e ff e c t s o f
color: a color wheel
s pat i a l o r b i t o f e n v i r o n m e n ta l
design touchpoints
user journey map
f l o o r s e t / l ay o u t m a p
Figure 31
Final Concept Map
ENVIRO
MENTAL
A TOOLKIT FOR
DESIGN THINKING & COMMUNICATION

IN S ER VIC ES C A PES
BRANDING
THROUGH DESIGN THINKING
PURPOSE
WHATS INSIDE
T O U S E A S A R E S O U R C E F O R D E S I G N I N G A N D B R A N D I N G A S E R V I C E E N V I R O N M E N T. T H E
C O M B I N AT I O N O F M AT E R I A L S S E R V E S A S A D E S I G N T H I N K I N G T O O L K I T I N A D D I T I O N T O C U R R E N T
FLOORSET DIRECTIVES, STYLE GUIDES, AND BRAND MANUALS. THESE TOOLS ARE USED IN THE
E N V I R O N M E N TA L D E S I G N M A N A G E M E N T C A N VA S
PSYCHOLOGICAL EFFECTS OF COLOR: A COLOR WHEEL
S PAT I A L O R B I T O F E N V I R O N M E N TA L D E S I G N T O U C H P O I N T S : A D E S I G N D I R E C T I V E
USER JOURNEY MAP
I N S E R T Y O U R L AY O U T O R F L O O R S E T M A P H E R E
P R O C E S S O F P R E PA R AT I O N , M O D I F I C AT I O N , A N D R E F L E C T I O N . C O N T E N T S A R E A L S O E F F E C T I V E A S
A C O M M U N I C AT I O N T O O L F O R D E C O D I N G I N F O R M AT I O N A N D D E S I G N S T R AT E G Y W I T H A T E A M .
Figure 32
Introduction to Final Concept
S pat i a l O r b i t o f e n v i r o n m e n ta l
design touchpoints
Figure 33
Spatial Orbit of Environmental Design Touchpoints
touchpoints
Figure 34
The elements of the Spatial Orbit of Environmental Design Touchpoints
in context
colors
Figure 35
The elements of the Psychological effects of Color: a Color Wheel
in context
p s y c h o l o g i c a l e ff e c t s o f c o l o r :
A color wheel
Figure 36
User Journe Map
user journey map
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EMPATHY MAP
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FROM THE PERSPECTIVE OF THE USER & THE BUSINESS
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',)+#")5*"()"91"(&",/"4)!"#$%&'()*"++&,-*)$..'0)8'()+#")2"*&-,"2)
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+#"&()!($,2)&,+",+&',*)$("6)0#$+)5*"()3'+&%$+&',*)2(&%")!5*&,"**6)$,2)#'0)
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+#$+)&*)/'335,&/$+"2)+#('5-#)+#"&()*"++&,-*4))
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Figure 37
User-Business Empathy Map
/#$..",-"=)$)("*+$5($,+)0'5.2).&>")+')"91$,2)+#"&()!5*&,"**)$,2)1'*&+&',)
+#"3*".%"*6)0&+#&,)+#").'/$.)3$(>"+6)$*)$)2"*+&,$+&',)8'()*1"/&$.)'//$*&',*4)
2"*&-,)'11'(+5,&+7=)#'0)3&-#+)$)("*+$5($,+)!")2"*&-,"2)+')8"".).&>")$
*1"/&$.:'//$**&',)+71")'8)1.$/"?)
Figure 39
Behavior Settings Worksheet
Figure 38
Environmental Design Canvas
The Business Model Canvas

Add
Text
Here
Key Partners
Key Activities
Value Propositions
Ongoing research &

development of new
tools
Design Research
Sponsors
Add
Text
Here
workshops &
consulting
Design Publications
www.businessmodelgeneration.com
Design &
publishing
Customer Relationships
Design Thinking
Brand resonance
Engaging in
collaborative
opportunities &
partnerships
Key Resources
application of usercentered design to

affect consumer
behavior in favor of
the business
Scaling businesses
offering new tools

and methods to
maintain relevancy
and productivity
^
being a
subscription
resource
Channels
Websites, publications, and

other platforms for
publishing and
communicating offerings
Store designers
knowledge and
resources to scale
and improve business
Other Design
Strategists
Customer Segments
Visual Merchandisers
Website,
partner sites
+
publications
enhancing
communication
Business owners
Cost Structure
Research
Revenue Streams
Design +
Production
Print + distribution
Consulting
Workshops
cost of some tools

on website
Figure 40
Business Model Canvas for Environmental
Branding through Design Thinking
94
final design to market
TO USE THIS
TEMPLATE:
Visit and click
'Use this template'
https://docs.
google.
com/a/weboo.
biz/previewtempla
te?
id=102mOZQmM
xs0CslmNsPZ5K
CNQwAIh9rh4ba
YgT0VWNAA&mo
de=public
'
Implementation plan
goals & objectives

Research
Design & production
Print & distribution
Create website
This website will be used as a
resource for Design Thinking tools
and information relating to practice
of Branding Service Environments.
Applying the practice: consultation

and design work
Creating partnerships to build tools,
resources, methods, and workshop
strategic activities
Research
Design & production
Print & distribution
build, adapt, expand

The toolkit will be revised to
adapt to new conditions and new
research. Therefore, new versions
of the toolkit will be offeredthrough the website or a partnering
platform. The website will will also
expand, offering new tools and
resources.
Applying the practice: consultation

and design work
Fostering collaboration and
partnerships to build tools, resources,
and methods
Download or order
The toolkit is offered on the
site: it can be ordered or it can
be downloaded and
printed independently.
engage Visitors
Store designers, Visual
Merchandisers, and Business
Owners will visit this site in the
search for material to think through
their project. Maybe they know
about the value of Design Thinking
and searched for tools to adopt
Design Thinking into their design
process. Or, maybe they are
looking for project planning material
to use with their design team.
Collaborate
By collaborating with other
industry professionals in diverse
specialties, there is an opportunity
to acquire new knowledge and
expand the brand and its work.
Those whom are collaborated with
in turn become advocates of the
brand--a valuable contribution to
the diffusion of this work.
subscription resource
Customer relationships are made
when users subscribe to be
updated on new Environmental
Branding research and Design
Thinking tools and offerings. This
works to diffuse the adoption of
Design Thinking habits within
this market.
Workshop
Building projects and facilitating
the Design Thinking process
using the methods my brand has
supported will work to promote
and diffuse the work. Workshops
can calso be conducted as
collaborative projects.
Figure 41
Implementation Plan Matrix
final design to market
95
conclusions
& Recs
conclusions
the intention
The intention for this study was to present Environmental Branding through the lens of Design Thinking. The
human-centered scope of this work exists in user psychology, how users interpret their environements, and
what effects that has on brand identity. The Design Managament project intention was to to design for the
effects of indirect communication existing in environmental design choices.
the Research
Research was conducted on ways to brand environments, focusing on the associative qualities of an
environment that inform the consumer about the brand. The theory of semiotics, environmental psychology,
communication design, and the servicescape typology all contributed to shaping opportunities for
communicating a brand to its audience. To follow was the intention to infuse the practice of Environmental
Branding with Design Thinking. Interviews and Surveys in Design Management with secondary research in
Design Thinking lead to inights on how Design Thinking can enhance this method of branding. There was an
opportunity to impress the Design Thinking process by creating a system for facilitating the process.
the design
The offering creates the conditions for Design Thinking in the process of Environmental Branding. The offering,
a design toolkit, is intended to be used in addition to current brand-specific design (i.e., layout, floorset, visual)
directives. By activating Design Thinking practices into current environmental design processes, users will
dilate possibilities and opportunities for design.
98
c o n c l u s i o n s & r e c o m m e n d at i o n s
recommendations
play with it
The process of Design Thinking involves exploration, experimentation, and discovery. This
toolkit is flexible and can be manipulated to fit the needs of a project. Individual elements
can be sequenced and scaled to suit the project. For example, the canvas can be scaled
ad posted on a working wall for visual or collaborative intentions. If the user downloads
the toolkit, they can digitally write the content on pages, such as the behavior settings
worksheet, or print it out to fill in as a team. Play with it: the toolkit was designed to
explore ideas and challenges, and asses opportunities.
Communicate with it
This toolkit can be used to cohere a vision with a plan of execution. For leaders and
decision-makers, the toolkit can be used to demonstrate plans and expectations
for environmental design. In a visual an organized manner leaders can, for example,
communicate layout and wayfinding strategies, and visual and ambient standards.
Collaborate with it
In a teamwork setting, the toolkit is a platform for collaboration. Teams can use this as a
method for recording and synthesizing ideas. A team may apply this to their methods in
the phase of brainstorming, planning or designing.
c o n c l u s i o n s & r e c o m m e n d at i o n s
99
references
acamdemic references
Bitner, M. (1992). Servicescapes: The Impact of Physical Surroundings on Customers

and Employees. Journal of Marketing, 57-71.
In this work, Bitner focuses on how servicescapes impact the relationship between
the business and those who use the businesss environment- the consumers and the
workers. Bitner emphasizes the importance of considering a servicescape to design an
experience.
Blomkvist, J. (2014). Conceptualising Prototypes in Service Design. 1-149. Retrieved

May 2015, from http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-67069
The primary theme in this reading is about prototyping for Service Design. However,
much of the reading addresses the importance of design and its role in shaping our
experiences. This research is constructive to my project by informing where design
takes place in service environments and how design principles are being used to
improve the way a user experiences a service.
Booms, B. H., & M. J. Bitner (1981). Marketing Strategies and Organisation Structures

for Service Firms. Marketing of Services.
In this work, Booms and Bitner introduced the concept of Servicescape. This concept,
first introduced as a marketing strategy, is the context in which this research lies.
Eco, U. (1976). A theory of semiotics. Bloomington: Indiana University Press.

In this book, Eco presents the collective studies of semiotics and how this theoretical
framework is used in communication. This work was used to support the examination
of symbolic material in servicescapes to acknowledge the communicative nature of
Environmental Branding.
Erwin, K. (2014). Communicating the new: Methods to shape and accelerate innovation.

Hoboken, New Jersey: John Wiley & Sons,.
This book will offer my research ways to integrate communication into business
practices. This book is important to Communication Design and Design Management
strategies.
Keller, K. (2001). Building customer-based brand equity : A blueprint for creating strong

brands. Marketing Science Institute, 01(107), 1-31.
Strong brand create brand resonance through brand equity, which is the value given to
a brand based on the associations to the brand. This study identify ways of mediating
associations with a brand so that the intended brand associations resonate with the
user. The approach to mediating brand associations is a central theme to my project,
additionally, this study synthesizes key branding terminology necessary for this study.
Kopec, D. (2006). Environmental Psychology for Design (2nd ed.). New York: Fairchild.
This book is a thorough presentation of how carefully an environmental is designed
based on intended experiences, sensations, and associations. This book covers topics
such as: how the organization of environmental elements affect user behavior; where
symbolism takes place in environmental designs.
Lester, P. (1995). Section 1. In Visual communication: Images with messages

(pp. 14-146). Belmont, Calif.: Wadsworth Pub.
In Section One of this book, Lester approaches Visual Communication by dissecting
the relationship between visual matter and meanings. He offers analysis of the effects
of design in creating associations and experiences through physical and nonphysical
(ambient) visual elements.
Lockwood, T. (2009). Section 2: Value: Building Brands, by Design. In Design thinking:

Integrating innovation, customer experience and brand value (pp. 99-145).

New York, NY: Allworth Press.
Lockwood presents how innovative thinking increases brand value, and how integrative
thinking is used to improve the customer experience. My research is projected at
businesses and brands who could benefit from acknowledging how their visual
branding practices affect the user experience.
Reimer, A., & Kuehn, R. (2005). The impact of servicescape on quality perception.

European Journal of Marketing, 785-808. Retrieved April 1, 2015, from

http://www.emeraldinsight.com/doi/abs/10.1108/03090560510601761
This research presents the importance, and the effects, of a servicescape on consumer
perception. This journal supports my projects intention to prove how considering your
servicescape is productive to business performance, as the associations made with
that business.
Martin, R. (2009). The Design of Business: Why design thinking is the next competitive

advantage. Boston, Mass.: Harvard Business Press.
I am using this source to support the integration of design and design thinking as a
strategy for improving business performance.
Sanders, E., & Stappers, P. (2008). Co-creation and the new landscapes of design,

CoDesign. CoDesign:International Journal of CoCreation in Design and the
Neumeier, M. (2007). Zag: The number-one strategy of high performance brands : A

whiteboard overview. Berkeley, Calif.: AIGA :.
Neumeier offers strategies for innovation in branding and marketing. The concept of
zagging emphasizes the effects of radical differentiation on brand performance. My
research on the importance of integrating design thinking into business strategy will
benefit from the insights from this book.
Orth, U., Heinrich, F., & Malkewitz, K. (2012). Servicescape interior design and

consumers personality impressions. Journal of Services Marketing, 194-203.

Retrieved April 1, 2015, from http://www.emeraldinsight.com/
This research offers insights on the elements that make up a servicescape and how
associations are made with these elements. This is one of several sources I have added
to my research to specify servicescape in context with my project.

Arts, 5-18. Retrieved September 8,2015, from

http://www.tandfonline.com/loi/ncdn20.
This study is about how co-design and co-creation are new design strategies for usercentered design problems, which have become too vast and too knowledge-intensive
to approach without collective creativity. This study works for my project because of
the information about service design and user-centered design.
Tombs, A., & Mccoll-Kennedy, J. (2003). Social-Servicescape Conceptual Model.

Marketing Theory, 447-475. Retrieved May 1, 2015, from

http://mtq.sagepub.com/
This research, rooted in user psychology, emphasizes the need to consider
servicescape as a medium for creating associations. The way consumer interprets and
associates with the environment affects their perceptions, behavior, and experience.
buzz review sources
for case studies background research

Store Design. (n.d.). Retrieved September 1, 2015, from

Lindstrom, M. (2011, September 15). How Whole Foods Primes You To

Shop. Retrieved September 1, 2015, from http://www.fastcompany
com/1779611/how-whole-foods primes-you-shop
http://www.starbucks.com/coffeehouse/store-design
Lululemons Innovative New Store Design. (2014, December 10). Retrieved September 1, 2015,
Five Design Tricks Starbucks Uses to Seduce You. (2015, May 14). Retrieved

September 1, 2015, from http://www.bloomberg.com/news/videos/b
cb795501-522d-4914-af55-13e6defb78dd
Can Starbucks Make 23,000 Coffee Shops Feel Unique? (2014, August 18).

Marati, J. (2012, September 28). Behind the Label: The Ideologies Behind The

Lululemon Manifesto. Retrieved September 1, 2015, from
http://www.huffingtonpost.com/jessica-marati/behind-the-label-the-
Retrieved September 1, 2015, from http://www.fastcodesign.com/3034441
starbucks-secrets-to-make-every-store-feel-unique
McAndrew, B. (2015, April 14). LULULEMON GOES BEYOND THE IN-STORE EXPERIENCE.

Case Study: The Starbucks Come Back story: Losing their focus, only to regain it.

(2014, September 14). Retrieved September 1, 2015,
from http://beloved-brands.com/2014/09/17/case-study-starbucks/
Core Values. (n.d.). Retrieved September 1, 2015, from

from http://www.retail-insider.com/retail-insider/2014/12/lululemon
Retrieved September 1, 2015, from http://www.alumind.com/article/lululemon-goes-
beyond-store-experience/
Park, M. (2014, October 30). How to Buy Food: The Psychology of the Supermarket - Bon

Apptit. Retrieved September 1, 2015, from http://www.bonappetit.com/test-kitchen
how-to/article/supermarket-psychology
http://www.wholefoodsmarket.com/mission-values/core-values
Sports Retail Design Blog. (2013, July 7). Retrieved September 1, 2015, from http://
Groeber, J. (2013, August 12). Whole Detroit. Retrieved September 1, 2015, from
http://www. designretailonline.com/displayanddesignideas/magazine/Whole
brothers-dressler-toronto/
Detroit-10039.shtml
retaildesignblog.net/2013/07/07/lululemon-yorkdale-store-by-quadrangle-architects-
The lululemon manifesto. (n.d.). Retrieved September 1, 2015, from

Hanna, J. (2014, August 25). Starbucks, Reinvented: A Seven-Year Study On Schultz,
http://www.lululemon.com/about/manifesto
Strategy And Reinventing A Brilliant Brand. Retrieved September 1, 2015,
from http://www.forbes.com/sites/hbsworkingknowledge/2014/08/25
Whole Foods Designer As Sick of Barn Wood as You Are. (2015, May 8). Retrieved September 1,
starbucks-reinvented/ideo_b_1922768.html
2015, from http://curbed.com/archives/2015/05/08/whole-foods-store-designer-as-
sick-of-barn-wood-as-you-are.php
list of figures
Figure 1
Whole Foods in Savannah. Georgia
p. 16
Figure 2
Brandjamming
Adaptation of model by Mac Gobe (Emotional
Branding, LLC) on the Brandjam method to
humanize brands (Lockwood, 2009).
p. 19
Figure 3
Figure 4
Branding (Neumeier, 2007)
Figure 5
Starbucks in Ballard, Washington
starbucksmelody.com
Figure 6
Research Space showing the scope
of secondary research
Figure 7
Figure 8
Research Protocols

Figure 9
Content analysis diagram
Figure 10
Lululemon store in Alberta, Canada.
retail-insider.com
Figure 11
Semantic Differential Map
Showing the semantic differences
p. 45
Figure 18
Image of case study analysis
p. 67
p. 50
Figure 19
Affinitization of Research
Insights image
p. 68
Figure 20
Reframe and Criteria
p. 69
Figure 21
p. 72
Figure 22
p. 73
Figure 23
p. 74
Figure 24
Prototype Concept 1
p. 76
Figure 25
p. 77
Figure 26
Prototype Concept 2
p. 78
Figure 27
p. 79
p. 51
p. 23, 24
p. 35
Figure 12
Starbucks in the Flower District, Amsterdam
retaildesignblog.net
p. 53
Figure 13
The Parlor, in Whole Foods
p. 55
p. 38
Figure 14
Mind map of Case Study Findings
p. 39
p. 41
p. 42
Figure 15
Research Findings at a Glance Map
Figure 16
Opportunities for Design Matrix
Figure 17
Opportunities for Design map
p. 56
p. 57
p. 62
p. 65
list of figures, continued
Figure 28
Prototype Concept 3
Figure 29
Figure 30
Refined concept 2
Figure 31
Final Concept Map
Figure 32
Introduction to Final Concept
Figure 33
Spatial Orbit of Environmental
Design Touchpoints
Figure 34
The elements of the Spatial Orbit of
Environmental Design Touchpoints
p. 80
p. 81
p. 83
p. 86
p. 87
p. 88
p. 89
Figure 35
The elements of the Psychological
effects of Color: a Color Wheel
p. 90
Figure 36

User Journey Map
p. 92
Figure 37
User-Business Empathy Map
p. 93
Figure 38
Environmental Design Canvas
p. 93
Figure 39
Behavior Settings Worksheet
p. 93
Figure 40
Business Model Canvas for Environmental
Branding through Design Thinking
p. 94
Figure 41
Implementation Plan Matrix
p. 95
appendices
Appendix A: Timeline
Appendix b: Signed Consent Forms
Appendix c: Interview Questions and/or Survey Questions
Appendix d: Transcriptions
Appendix e: Working Wall in Progress (week by week)
APPENDIX A
REFRAMING
PROJECT POSITIONING
PRIMARY RESEARCH
PROJECT PLANNING
WEEK 1
WEEK 2
DESIGN CRITERIA
& OPPORTUNITIES
RESEARCH SYNTHESIS
SECONDARY RESEARCH
WEEK 3
WEEK 4
WEEK 5
Timeline
PROTOTYPE DEVELOPMENT & TESTING
WEEK 6
WEEK 7
FINAL DESIGN
TO MARKET
WEEK 8
RECOMMENDATIONS
WEEK 9
WEEK 10
APPENDIX B
signed consent forms
APPENDIX C
What is Design Management?
>> Weaving creativity & business into the perfect combination of
skillsets that lead to a cohesive and holistic approach to
complex problem solving
>> Design Management is the combination of design and business
to create an ntersectional innovation space
>> Design Management is the application and practice of design
thinking processes, with the goal of uncovering opportunities
for solving user needs and fostering the successful
diffusion of innovations.
>> A discipline that promotes the strategic facilitation and
management of the design thinking process for the
development of innovative business practices and offerings.
>> The application of human-centered design solutions derived
from design methods and analytical processe
survey questions
& results
What is the Design Management approach?

>> Using design thinking methods to initiate a creative process that can lead to
business solutions and strategies
>> DMGT is the application and practice of design thinking processes, with
the goal of uncovering opportunities for solving user needs and fostering the
successful diffusion of innovations
In what ways is Design Management used in business?

>> Though cross functional team collaboration, coming up with strategies that lead
to business success
>> DMGTers are creative leaders who apply design thinking methodology to
facilitate continuous design driven innovation
>> Designing for creativity and innovation in the workplace
>> Human-centered & holistic
>> An iterative design process in which workers / teammates are encouraged to

think creatively, laterally, critically, and incorporate user-centered design
research for the development and delivery of innovative offerings
>> Design Management is used at all levels of business, even if they are not aware
of it. If small teams, upper level management, and the executive suite between
departments for collaboration between departments for innovation and
incorporate the design process & thinking, they are design managing.
>> There is no specific design, but tools that can be utilized for specific situations.
The over-arching concept would have to be human-centered design.
>>To integrate various disciplines and areas of business in one

>> Innovate solutions for what Doblin describes as the 10 methods to
business innovation
>> To create innovative approaches to problem solving
>> Design Management us most useful in business when applied toward planning
and strategies. The lateral thinking approach, when properly applied leveraged,
can give organizations a differentiating competitive edge that has the potential
of positioning them (or keeping them) in their industrys lead
>> The Design Management approach can be summed up into two main pillars:
1. Human-centered approach: there are two ways to build strategy- via
numbers, figures and statements, through which youd have to find a way to
convince people to conform to the strategy; or, via people and their needs
first. In this way, the people will naturally fit into the plan, and because they
have wallets, the numbers will take care of themselves.
2. Innovation thinking approach: this approach, which works in tandem with
the HCD approach, is the belief that innovation will not happen by repeating the
reliable results from the past, be it internally or with competitors. In this
approach, the design manager takes great care to balance the reliable
backbone that will make a strategy possible to implement with the valid
assumptions (insights) that have yet to be attempted, but make sense when the
landscape is looked at through a holistic lens.
APPENDIX D
interview Questions
& transcriptions
click images of documents to see full transcript
SERV
Mauricio Manhaes
Professor of
Service Design
DMGT
Tom Hardy
Professor of
design management
BUS
Michael Goodman
professor of
business design
APPENDIX E
working wall in progress
ORIGINAL MODELS
POEMS MODEL
SEMANTIC DIFFERENTION MAP
RESEARCH INSIGHTS
BUSINESS MODEL CANVAS

CASE STUDY FINDINGS MIND MAP

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Design Thinking takes a human-centered approach

You are the artist

research question matrix

data processing and analysis

Survey results overview

research activities and synthesis

research space findings

conclusions & Recs

Chosen concept & validation 83

Final design to market

Business model canvas

Appendix E: Working wall

Questions & transcipts

Servicescape is the staging and arrangement of a businesss

contents and subject matter

timeline: 9.5 weeks

Location: Savanah, Ga.

Trend analysis & forecast

Current branding strategies practiced by brand management firms

are compared on two dimensions: whether they are based on the

physical or digital user experience and whether they are a marketing

DIGITAL USER EXPERIENCE

PHYSICAL USER EXPERIENCE

qualities of experiential and aesthetic communication. Today, most

branding strategies are created through a marketing framework. This

strategy or an aesthetic design. Branding is rooted in the associative

diagram represents a branding opportunity set in the physical user

experience and with aesthetic value.

Branding strategies in the bottom left quadrant are far removed

CONCENTRATION ON MARKETING STRATEGY

brand value through the physical and aesthetic user experience.

identified on the following page.

Whitney Architects approach to Environmental Branding is to physically

Genslers approach to Environmental Branding is through experiential

Kalher Slater understands that physical environments are a key

PHYSICAL USER EXPERIENCE

Who are you ?

Marty Neumeier designed 17

Write your future obituary

steps for positioning a brand

What do you do?

Whats your vision?

What wave are you riding?

How can you make this vision palpable and exciting?

Make a list of the trends that will power your success

Who shares the brandscape?

Who else competes in your category?

Who comes first, second, and third in customers minds?

What makes you the only?

Complete a simple onliness statement

diverse, multidisciplinary, research

demonstrating creative agility (in conceptualization,

design, and strategy)

integrative decision making

What should you add or subtract

By understanding a brand not as an organization, but as an identity,

What existing brand elements are undermining your onliness?

What new brand elements could strengthen your onliness?

Decide which offerings to keep, sacrifice or add

How do the remaining elements align with your vision?

Who love you?

Diagram your brands ecosystem

Decide how each participant will both contribute and benefit

Whos your enemy?

Which competitor can you paint as the bad guy?