The Eighth Annual Patient Experience: Empathy + Innovation Summit took place May 22–24, 2017, at the Cleveland Convention Center in downtown Cleveland, Ohio.
The Patient Experience Summit brought together patient experience leaders, healthcare CEOs, innovators, nursing leaders, policy makers, major stakeholders, industry experts and patients who are committed to not just the patient or caregiver experience, but also the human experience. The theme of this year’s two-day, inter-professional conference was Empathy by Design and featured expert speakers, panel discussions and workshops representing multiple healthcare professions and disciplines engaged in exploring innovative ways to create and sustain a human-centric environment. Designing programs, services, structures, spaces, processes and more with empathy in mind is key to delivering care that can truly meet the needs of everyone. Attendees heard how organizations around the world strive to deliver the best clinical, physical and emotional experience to patients and families.
"What We Didn't Expect to Learn Measuring the Design Success of the Built Environment" was the session Kolar's Mary Dietrich - EDAC, Managing Director, Creative Services, presented along with Michael Browning - AVP Design, Construction, and Space Management, Cincinnati Children's Hospital - regarding lessons learned ( both expected and unexpected ) from the close collaboration between Kolar Design and Cincinnati Children's for over two decades.
Says Dietrich, "In 2009, Cincinnati Children’s embarked on a journey to redefine its patient, family and staff experience within their built environments. In order to measure its success and drive future improvement opportunities, a quality improvement process was developed. This session will provide insights into this process, planned and unintended insights gathered and how these insights are translated into strategies for continual improvement."
Originally Published on SEGD.ORG
For years, the allegory of the team has been used by business leaders as a means of representing their inter-cultural goals and the ideal ways their businesses should run. This concept of a “TEAM” has moved beyond sports and other competitive events and permeated its way into the world of business. As a member of a company, we practice “teamwork,” how to be a “team player” and eventually how to lead our team to success. This is a relatable model and one that we have been learning since the first time we played soccer as young children. We weren’t there to become the world's next soccer stars or to win the big championship; we were there to learn those same skills we are practicing today: teamwork, being a team player, and following direction to success. The problem with this is that the definition of "achievement on the field" and "success in the field" varies and begins to render the team model inapplicable.
No matter what the sport, the “rules of the game” serve to dictate the goals and definitions of success that work within each team. One team may have a different strategy than another, but the overall structure of both the game and the team model only allow for so much derivation. Perhaps business was at one time that predictable and consistent, but today the rules change on a daily basis and companies seem to be spending less time seeking to defeat the competition and more time redefining themselves in such a way that there is no contest. The market has grown to such a scale that when we perfect our approach and define our strategy, another team has rewritten the rules and won the metaphorical "Super Bowl" while we were not looking.
But this isn’t about Super Bowls. Success has been redefined. A successful business is a successful brand... less like a team, more like a band. A band who is interdependent. Cohesive from the inside out. We've always heard there is no “I” in "TEAM," but that is not always the case. Teams have ridden on the shoulders of individuals for years and, undoubtedly, bands have as well. But members of a music group rely on each other in a different way than those on a team do. Bands are only as successful as their fan base. Teams have fans built in. The success of a team is an independent function from their fan base; one doesn’t have to look beyond Ohio to know that's true (Cleveland Browns). If a band puts out a bad album or two their fan base dissolves and, as such, they do as well. When a fan goes to a show, they are there for the sound and the experience. One person may be able to drive the experience, but it takes the whole band playing together, in time, with a smooth sound for the show to go as planned. A group seeks to break the basic top down, coach-guided team structure and works to achieve one harmonious sound. A sound fans return for over and over again.
Wilco fits as a perfect example of this structure. Jeff Tweedy has led the group as the creative engine for years and, for the casual listener, is what makes Wilco who they are. If you were to ask him, though, he would say you've got it all wrong. As it stands today, only two of the current members (one of which being Tweedy) are members of the original group that started in 1994.
“There’s a widely held belief among musicians, and maybe artists in general, that there’s some zero-sum game being played, that it’s a compromise even to think about business as being a part of what you do,” Tweedy says. “I think our approach is that there’s another way to be creative. How we run our business is another thing to think about creatively.”
- Jeff Tweedy
The music industry was not always this way - record labels acted as the coaches and used a predictable market as their cited source for a band's direction. Technology has broken that predictability as music has come to be consumed in more ways than ever imagined. Record labels, like coaches, combined knowledge of the “rules of the game” and worked offensively against the strategies of their competition. The industry worked with the same type of structure a football team does, replacing wins with record sales. When the records stopped selling, though, the structure was shattered. Labels had to adjust or risk becoming outdated and overrun. Bands like Wilco saw this trend and sought to build their structure from within rather than on the shoulders of their label. What resulted was a much stronger and cohesive group that despite conflict and personnel change, has created one of the most consistent fan bases in music today. They may not sell the most records in the industry, and their music is not played on radio stations across the country, but it only takes attending one show to see the power Jeff Tweedy’s creative vision has had.
TEAM IS NOT SO MUCH A COLLABORATION AS IT IS AN ASSIMILATION.
SO WHAT CAN BE LEARNED AND HOW DOES IT APPLY TO BUSINESS?
1. There is no such thing as the “best” member of the band. Each person plays a different instrument and has a different role. You being the best drummer doesn’t directly help me become the best bassist. Each has their moment in the spotlight, and the overall sound is the result of each person's individual talents and successes. That sound is only ever as strong as the weakest link.
2. A good band leader knows when to use their resources. The bass player may not be the best in town but you know he’s got the best tone; Knowing each person's strengths and when to use them is critical.
3. What your members do outside the band is as important as what they do in the band. What can each person bring to the table? True collaboration requires independence. If every member of the group goes home and listens to the same music, their inspirations will be limited and the resulting sound will not push the boundaries it should.
4. Fans need something relatable and revolutionary all at the same time. When a band releases new material, fans want to be reminded of what brought them to the sound in the first place, but are simultaneously searching for the unexpected next step that further deepens their connection to the band. Consumers are notorious creatures of habit, but if you keep giving them the same sound, the fan base doesn’t grow. The goal is to create something that is relatable for those with prior knowledge and acts as a stepping stone for those who have never heard you before. Don’t get stuck in the same rut - keep pushing boundaries while relying on what you know.
ZAHA HADID ARCHITECTS SHOULD FOLLOW EXAMPLE OF MCQUEEN, SAYS REM KOOLHAAS
"I think there is a model these days where fashion houses survive by working on the DNA of their founders," he said.
"It is a model that is becoming more and more current and it could work in architecture too, I think."
CINCINNATI CHILDREN’S CLINICAL SCIENCES PAVILION CASE STUDY
“An exceptional brand experience is brought to life throughout this magnificent new building and embodies our organization’s aspirations. It represents hope, the promise of discovery, and the potential to improve child health.”
-Michael Fisher, Cincinnati Children's President & CEO
When Cincinnati Children’s opened their new Clinical Sciences Pavilion it made a 14-story, 445,000 square-foot commitment to research, innovation, and collaboration. The Clinical Sciences Pavilion is located between the hospital’s main clinical care center and its companion research tower, the William Cooper Procter Pavilion. The positioning of this new facility is symbolic of its purpose which is to connect researchers and clinicians. It allows them to easily collaborate and translate innovations faster from the lab to the patient’s bedside.
Cincinnati Children’s invited Kolar, as a key partner of the multi-disciplinary design team, to envision a branded experience within the physical environment. The vision was to develop a space that inspires collaboration to drive innovation, build a sense of pride in the accomplishments of the organization, and create convenient, delightful spaces that encourage research trials participation.
Kolar began by seeking what makes Children’s research function unique. What we learned is nuances matter:
- Participants in research trials are not motivated to participate in research the same way patients are motivated to seek care.
- Pride is individualistic. To build pride, addressing the diverse value sets of the audience was imperative.
- Providing opportunities to be heard, to give back, and to ask to participate can be very powerful tools in building awareness and brand loyalty.
- Utilization of space is influenced both by the design and by an organization’s culture.
Equipped with these insights the team was able to define storytelling, brand building, wayfinding, donor recognition, positive distractions, and a comprehensive artwork program to meet the needs of the researchers, administrators, clinicians, patients, families, donors and visitors who utilize the space.
Within the research clinic, the registration and waiting space was designed to provide a functional and delightful experience for families. The spacious, open waiting area overlooks a sculpture garden within a serene outdoor setting. The focal sculpture symbolizes the transformation of ideas into reality that occur daily within this space. Child-friendly activities such as hidden “seek-n-find” animals, interactive games, and play zones provide a variety of choices for children, while plentiful charging stations near tables and banquets provide homework or work spaces for older children and adults during their visit.
The design of the staff spaces was carefully orchestrated by the architectural team to foster a culture of communication and information-sharing. In support of this, Kolar developed storytelling graphics that celebrate the history and accomplishments of the organization. Aimed to foster knowledge of the organization’s history as well as stimulate new conversations, these storytelling graphics engage staff and visitors throughout the building in static and digital approaches.
Throughout the building, Kolar curated a collection of over 600 works of art to inspire and lift those who utilize its spaces. A portion of the collection was created by engaging more than 350 students from local schools and approximately 144 patients, families, and staff. These participants were provided an opportunity to engage with professional artists/art educators in the co-creation of artwork displayed within the building. Through this approach, staff had an opportunity to have a hand in the creation of the new space; patients had an opportunity to give to others, and children within the community had an opportunity to learn about science and research.
In order for the full vision of the space to be realized, Kolar assisted Cincinnati Children’s in the development of a “welcome kit” to celebrate the opening of the new space and acclimate the occupants to the building’s unique amenities and desired culture.
Anyone who walks into the Clinical Sciences Pavilion can feel the spirit of innovation alive and thriving. When 400 researchers were asked if the new space conveys an image on par with the quality of care and research, a post-occupancy survey saw a 30% increase in the old space and the new one. As one staff member said, “I feel inspired when I walk in here every day, and I attribute this feeling of inspiration to my increased productivity and creativity in the past year.”
Within this new building, groundbreaking discoveries will be made that will change the outcome for children around the world. For the Kolar team, it will be immensely rewarding to see how the space enables the next generation of researchers to develop life-saving advancements in pediatric disease.
Check out www.kolardesign.net for more recently updated Healthcare Case Studies.
Architecture & Interior Design
Architecture- Research Clinic & Dry Lab Planning
Wet Lab Planning
Experience Consultant & Artwork Program
Artwork Selection Committee
University of Cincinnati
Art Design Consultants
Mary Ran Gallery
McElwain Fine Arts
12 Local Grade and High Schools
81 International Artists
As we propel into our year of insights and innovation, one thing has become abundantly clear to our team; progress means constant change and new challenges. Whether it be in communication, research or design, we are continually looking ahead at what’s next to provide our clients the best connection to people and place. Gaining knowledge in technology focused on the user experience strengthens our ability to create environments that communicate.
Last RALOK post, we brought you to the Digital Signage Expo through the lens of SEGD (Society for Experiential Graphic Design). Today, Kolar Design’s design team reflects on their experience at two additional conferences - the 2017 Consumer Electronics Show and the ISA International Signage Expo - both in Las Vegas.
Consumer Electronics Show
Las Vegas, Nevada
The Consumer Electronics Show (CES) is one of the largest consumer electronics shows in the world, with thousands of attendees, exhibitor personnel, and media members making the trek from around the globe. In addition to a large number of participants, there are over 50 acres of exhibit space spread throughout numerous buildings, showcasing a rich abundance of revolutionary ideas.
Overwhelming the Entirety of Technological Advances
EGD needs to not only catch up - but LEAD in this realm or others will. ( Look for a future post on EGD's effect in both the digital and physical landscape.)
Wearables that Communicate
Salesforce in San Francisco. Creating an environmental experience without adding materials to the wall. Immersive and engaging. A great example of Digital design creeping into EGD.
Las Vegas, Nevada - A Sign Conference in the City of Neon
ISA International Sign Expo is a comprehensive “review” of everything related to the sign and graphics industry — including wide format printing, digital signage, new ideas for printing, LEDs, vehicle wrapping and more. It also sponsors lectures, roundtables, and workshops in order to get up to speed on important industry issues. Learning opportunities abound at the show, with expert-led sign industry-specific educational programs focusing on topics such as graphic design, sign code legislation, business management, sales and marketing, technology and more.
A quick review of all parties ( and accompanying acronyms ) involved in our experience at the conference.
International Sign Association
They support, promote, and improve the sign industry via government advocacy, education, stakeholder outreach, and events. Membership is primarily sign fabricators and suppliers.
Sign Research Foundation.
Supplies academic research on sign strategies, systems, and codes. Facilitates interdisciplinary dialogue to "create more navigable cities, thriving businesses, and strong urban identities." Regularly issue grants and scholarships.
The Cross-Disciplinary Program, sponsored by the ISA. Professional designers and design students with varied focus areas are invited to attend.
A one-day event that combines ISA + SRF + interdisciplinary attendees.
Speakers, case studies, and breakout work sessions.
In addition to the speaker’s topics ( which ranged from 3M Visual Attention Software to the court case of Reed vs. Gilbert ) - an energized group participated in a breakout session. Each group of 9 was encouraged to brainstorm the future of sign design in 20+ years, taking into account the exponential growth of technology and changing societal norms.
- A volume knob for visuals: When following a familiar route, you can turn down the amount of signage you see; in a new place, turn it up, or change the blend of wayfinding/advertising/informational signage
- A reduced dependency on written words for universal icons
- Signs react to changes in temperature, lighting, scent, weather, etc.
- Wearables that give you subtle wayfinding cues (two vibrations = turn left, etc.)
- We need to keep improving the communication between designers and fabricators. The more designers know about specifications, the less back-and-forth in shop drawings and prototypes. The more manufacturers know about designers' intentions, the better they can help a design come to life.
- The role of signage could change dramatically as personal, and public transportation undergoes a major transformation. When cars begin driving for us, a shift from navigational to informational could occur, or signage may start disappearing in areas where it causes visual blight.
- Our cities provide the first impression of who we are and the values that we hold. They are born with a personality and an identity; the designer's task is to express it, not invent it.
- Participatory design, especially with communities, can make a project truly successful. Example: Hunt Design worked with Idaho Falls to utilize local artisans and used input from citizens at council meetings. Locals are more receptive to design when they can feel like part of the process. "Invite people to the table."
- Digital signage continues to be a complex and wide-ranging category. Clients don't always know where to use it, what products to choose, how to generate/maintain content, and how to plan for 5+ years of sign life. Designers must bridge the gap between suppliers (who wish to sell) and clients (who want the best experience).
SEGD Branded Environments at the Digital Signage Expo 2017
Las Vegas, Nevada
To fulfill our hunger for knowledge and seek out innovation, we attended the Digital Signage Expo again this year. Our team recognizes that the landscape of design (and really everything in our lives) is changing with the advancement of technology. The Digital Signage Expo (DSE) is an opportunity for us to remain on the forefront of innovation for our clients. Gaining knowledge in signage technology continues to strengthen our ability to create environments that communicate.
Our time at the DSE split between lectures, coordinated by the Society for Experiential Graphic Design’s (SEGD) Branded Environments event, and an exploration of the Las Vegas Convention Center showroom. Within both segments of the expo, we were able to experience two different tones of voice on similar subjects. SEGD inspired through lectures from an experiential designer perspective. This point of view was incredibly powerful when one such lecture enveloped project case studies into a larger social context of histories and current events to build best practice philosophies. Inversely, DSE exhibitors spoke from an informed technical proficiency which provided explicit detail.
Beyond these different tones and incredibly advanced digital screens, we realized something amazing that we already do as a team; we engage in a deep dive with our clients to uncover their personal, unique needs and deliver beyond their expectations – always keeping the end user in mind.
As soon as you enter the DSE showroom floor, it becomes clear that just about everyone has the capability to work with impactful digital signage, as it has become an industry standard. It is easy to get wrapped up in the details of the technological bells and whistles and lose sight of the end user. Harnessing big data and curating adaptable content allows a self-proclaimed digital expert to see beyond the plethora of digital screens flashing in the periphery. By integrating user research, consumer market knowledge and an overarching smart city approach, there are endless opportunities to not only create, connect and enhance but personalize and future-proof any user experience strategy by design.
“Designers don’t make the future; they compete with it. Design the behavior, not the brand.”
-Brian Collins, CCO and Co-Founder, COLLINS
Kolar Design and the entire project team are extremely honored to have the Theodore M. Berry International Friendship Park included as part of this article by Kim Cook | AP in The Washington Post. Alongside Corbin Design, C&G Partners, Ecocreative and especially the National Park Service; we spend every day focused on enhancing the user experience both indoors and out. Take a moment to find out more about the thought and design that goes into developing integrated systems for park and trail signage.
What was your last great experience out on a trail or in a park?
"A LOT OF DESIGN GOES INTO THOSE HELPFUL PARK AND TRAIL MAPS"
This article by Kim Cook | AP originally appeared in The Washington Post on April 4th, 2017.
"A hike in the woods or a stroll through a preserve or park can be enhanced by a good trail sign — one that is informative, easy to see, yet doesn't intrude on the vista."
"It's a lot to ask of a sign designer."
'"A wayfinding sign should be apparent when you need it. But when you're not looking for directional information, its aesthetics should complement the environment so that it'll feel as though it belongs there,' says Jeff Frank, lead designer at Corbin Design in Traverse City, Michigan."
Theodore M. Berry International Friendship Park
What if a park by design could teach equality and respect for all cultures, encourage people of all ages and backgrounds to meet and interact, and use art, ecology and garden to express universal ideals of peace and friendship? The design of Cincinnati's Theodore M. Berry International Friendship Park, named in honor of the city's first African-American mayor and foreign ambassador, emphasizes the things that bring people together. The park was envisioned to give life and purpose to an underutilized strip of land along the Ohio River.
A multidisciplinary team of landscape architects, architects, environmental graphic designers, and artisans collaborated throughout the design creation process. From a local perspective, the park needed to honor local river ecology, connect riverfront parks and trails, and highlight the city's international relationships. From a global perspective, the park needed to honor and celebrate cultures. The concept of the park celebrates the natural linear river setting by creating a "friendship bracelet" with charms on the bracelet as major features.
Fearing & Hagenauer
Check out www.kolardesign.net for more information
on Cincinnati's First International Friendship Park
We first learned about WBENC Certification (Women's Business Enterprise National Council) when our largest clients, Procter & Gamble and Cincinnati Children’s, encouraged us to participate. That was nearly ten years ago, and since that time we have been actively engaged on the local, regional and national level of WBENC through our regional partner organization, Ohio River Valley-WBENC.
Kolar’s certification has helped us achieve greater heights with increased revenues, an expanded workforce, inspired growth and innovative partnerships. This active group of women entrepreneurs has translated into business growth on many levels, but most importantly, it’s turned into a network we can learn from which has helped us immensely. Whether it was coaching financial decisions around IT issues, or brand building with e-learning, we have benefited during each step of the innovation growth curve with this group.
EDUCATION + ENTREPRENEURSHIP
The educational opportunities through our WBENC Certification and related conferences have helped us learn about managing our company, marketing & sales, and provided direct access to hundreds of potential corporate clients. If your organization qualifies, joining WBENC will help grow your business while helping others improve as well.
If you are new to the WBENC community, our advice is to dive in head first; be bold, bright and open. Although it’s hard to be at the top and can be lonely at times, with this network, you are supported because it is so rich in wisdom and knowledge. The people in this community provide great insights and opportunities. You always have to earn your own business independently, but the WBENC community can help you succeed in so many other ways. This organization is about creating relationships that will be your lifeline, especially when you’re in a challenging situation. For example, if you are seeking a particular supplier, please contact the WBENC network, and I am sure you will find an amazing woman entrepreneur to fill your need. The businesses here will always be your biggest fans - cheering you on to success.
SUMMIT & SALUTE
WBENC’s Summit engages participants in a two-day program focused on the future of various industries, business networking, and development opportunities. The Salute follows the Summit and is a festive evening that highlights our 2016 America’s Top Corporations for Women Business Enterprises. The Summit occurs on March 21-23, 2017 in New Orleans, LA.
We hope to see you there!
DID YOU KNOW?
Women in creative leadership roles are rare. Even though 47% of the U.S. workforce is comprised of women, in U.S. businesses, only 4% of CEOs, 8% of top earners and 14% of executive officers are female, according to research by nonprofit Catalyst titled, “Catalyst Quick Take: Women in U.S. Management and Labor
Force.” Statistically, women also dominate at design schools; however, along with the path
to creative leadership, that number of women diminishes to approximately 3%.