design studio case study

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Design Studios: The Good, the Bad, and the Science

Much has been written about the design studio methodology within the design community. In order to really understand how and why design studios work, though, designers must look beyond design—in particular, to social psychology and behavioral economics.

Design problems are tackled ad hoc far too often. Teams stumble into a design problem and chase the first idea they come up with. If the idea dead-ends, they may start over on a different solution.

In contrast, the design studio methodology offers a more structured approach. While variations have been proposed – from Ungar and White’s initial 2008 case study on the methodology to Will Evans’ more sophisticated variation described earlier this year – they all share the same basic flow.

At Case Commons , we use print-outs and post-its to share and critique ideas in our design studios.

Someone frames a design problem; they then assemble a team of designers, developers, and product managers; and, in turn, each team member individually brainstorms ideas. Members then share their ideas with their peers, who offer criticism and feedback. After additional rounds of brainstorming and group discussion, a smaller team takes the resulting ideas and produces a final design.

Why is this so much better than traditional approaches? Two things:

• Design studio brings together a group with (theoretically) diverse and balanced skill sets (such as design, product management, and development).
• Design studio prescribes an iterative, creative process (explanation, feedback, voting). Only surviving ideas are synthesized.

The Kennedy administration’s 1961 Bay of Pigs fiasco was one of many US foreign policy blunders attributed to “groupthink” and failure to develop alternatives.

Developing alternatives

In the typical ad hoc design approach, described above, a team starts with a single idea and begins to vet it. As it does so, the likelihood grows that the team will fail to discover flaws in the proposed solution, or discover better alternatives. If the team hits a dead-end, they may explore alternatives, but otherwise, confirmation bias pushes a team down it’s initial, possibly sub-optimal path. The risk, obviously, is that the team is ignoring other, better solutions that may be out there.

Design studio mitigates confirmation bias in two ways. First, it starts with an explicit brainstorming period, which gets lots of ideas out on the table, before people get wedded to any one idea. (One improvement on the design studio methodology would be to encourage and reward the most extreme ideas possible. Because of the fact that ideas begin to converge after the initial brainstorm, it is important to cast as wide an initial net as possible.) Second, design studio turns confirmation bias against itself. Confirmation causes individuals to fall in love with their initial ideas developed during brainstorming. This inoculates individuals against groupthink by giving them time to develop and fall in love with their own ideas before becoming exposed to other people’s ideas.

Design thinking has its own language for what is going on here: divergence (the creation of new alternatives) and convergence (the cross-pollination and merging of disparate ideas). For most groups, convergence occurs naturally; people are polite and avoid conflict, so compromise and consolidation of ideas happens easily. Divergence is, for many teams, less natural, and design studio are a great way of enforcing this crucial step.

Groups vs. individuals

What about the fact that design studios encourage a large group to tackle the design problem? We hear all the time that “two heads are better than one” and that diverse groups are better than uniform groups. Scientists in the 1960s developed a complementary task model that theorized that groups outperform individuals because they combine individuals with complementary talents and resources. This idea still informs our common sense today.

Research since the 1960s, however, has shown that it’s not that simple. Over the last century, social science has taught us that groups are subject to a whole range of dysfunctions such as conformity, groupthink, self-censorship, free-riding, and so forth. We’ve all experienced ineffective groups. The design community is particularly hostile to groups doing “design by committee.” Given all the problems with groups, when, if ever, groups are able to outperform individuals? Instead of using design studios, should we just have individuals do design?

Group vs. individual performance

In 1982, Hill published the most-cited paper (PDF) on group versus individual performance. Hill found that whether groups or individuals perform better depended on the type of task:

• Brainstorming problems: When brainstorming, research shows that the best results come from having individuals brainstorm on their own and then pooling their ideas. The reasons groups perform worse at brainstorming include: production blocking (when one person talks, the others in the group are inhibited from being productive), social loafing (individuals don’t try as hard when they are judged as a group) and groupthink (individuals are less likely to pursue riskier, idiosyncratic leads in a group). In one experiment, researchers asked subjects to shout and clap as loudly as possible; they found that people clapped a remarkable 20-30% less loudly in a group than individually.
• Creativity problems: When performing a creative task, groups outperform individuals—if all individuals are of similar skill level. However, the research shows that weak and even average members drag down group performance, and that this effect is stronger when the task is more challenging. For difficult creative problems, if a group contains both high- and low-performing individuals, any one of the high-performing individuals would probably out-perform the group on his or her own. For most creative problems, though, it’s safe to assume a group will generally perform as well or better than an individual.
• Complex problems: Sometimes a group cannot even agree on what the problem is, or it may multiple overlapping sub-problems. For complex problems such as these, groups are about as good as their second-best member. Why? Complex problems usually don’t have intuitively obvious answers, so group members will have to convince one another. Whichever individual best understands the problem, then, will have to convince his peers. The group, then, will only be as good as the next-best individual, and whether he can grasp the solution put forth by the best individual. Since it’s usually hard to predict who would be the strongest individual for a given task, using a group makes sense.

These findings support the design studio methodology:

• Identifying and framing a design problem is often a complex problem. This is outside the scope of design studio and done before setting it up. Research suggests it’s best done in a group setting.
• The sketching phase of a design studio is a brainstorming problem, which research agrees should be performed individually.
• The group sharing/feedback/discussion phase of a design studio is a creative problem: critiquing ideas, using proposed ideas to better understand the problem, searching for novel combinations of ideas, etc. Research agrees that it’s usually good to do this as a group. For harder problems or teams with widely varying skill levels, though, it may actually be better to have a single, highly skilled individual take the group’s ideas and design independently.

In fact, not only do social scientists support the design studio—social scientists essentially invented the design studio 50 years ago, except they called it Nominal Group Technique (NGT) . NGT, though, only calls for one round of brainstorming and discussion, so technically the design studio is more akin to iterative-NGT.

What to Make of the Research

The overall morale of this story is that the design studio methodology is research-backed and theoretically sound. Compared to the usual ad hoc way designs often come together, teams would do well to incorporate design studios into their process. That said, there a few lessons to keep in mind as you apply it in your organizations:

The Kumar Model theorizes that design thinking involves a mix of research, analysis, synthesis and delivery. The design studio is a tool of the synthesis phase.

• Design studio doesn’t prescribe how to analyze the domain or frame the design problem. Much design theory makes a distinction between analysis and synthesis. In that frame of reference, design studio is mostly about synthesis, and presupposes that the team has already done analysis (domain research, user research, etc) before the studio. This is not a fault of design studio, but it is worth noting as a constraint. Do your homework before the studio.
• The research on group vs. individual performance gives two cautions about the group sharing/feedback/discussion phase of design studios. One, be careful who you invite: low-performing individuals drag down groups. Two, groups under-perform individuals for the toughest design problems; sometimes it’s best to go with a single high-performing individual.
• NGT, upon which design studio is based, was originally a one-pass process. Research has noted over the years at how much this limits the cross-fertilization of ideas, to generate novel combinations of ideas. Design studio is at least two pass (design-discuss-design), but this still results in very little cross-fertilization. The more iterating in design studio, the better.

Hopefully this has shed some light on why design studios can work. What have your experiences been, though? Have you led or participated in them, and have you found them to be effective? I’d love to hear your real-life stories!

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Inside Design

Designing case studies that attract more clients

  •   may 23, 2016.

W hether you’re looking for a studio job or you want to get some new freelance clients , you need a good portfolio. I’m talking more than just a series of curated images with a short description of the project. I know you can do better than that.

• It can serve as the final presentation of your project when it comes time to send off your final work to the client
• More content on the page means your portfolio piece ranks higher in search results
• By showcasing your process, you’re giving clients a better idea of how you work, which lays down their expectations for future projects
• It gives you the opportunity to prove your worth and show that you can satisfy your customers’ needs
• It can help lead the user to contact you for a new project with a tailored call to action

In this article, I’ll go over the key elements that make a good case study and the steps you need to take to get more clients from your design portfolio .

Read more from Dina Rodriguez: The art of hand lettering .

Document your process.

The easiest way to create your case study: document your process along the way. This includes taking screenshots and photographs of your process while keeping detailed notes that explain your design decisions.

“The easiest way to create a case study: document your process along the way.”

So at every stage of the project when you make an internal revision, document it and explain why you made it. By explaining your process in this way, you’re able to keep yourself in check to ensure that you’re making the right decisions based on your client’s goals and not your personal aesthetic or gut feeling.

To keep your notes and images organized you can use Behance’s WIP (Work In Progress) feature that allows you to show your work in its early stages, and get feedback on it from your followers that can help guide the artistic direction.

This has been especially helpful for me because it simplifies the process of putting my ideas together while making connections with other creative professionals online. Check out the example above where you can see my process of creating my 26 Letters piece for my new homepage.

Your case study doubles as your final presentation

Another added benefit to creating case studies is that they also serve as an excellent final presentation to give to your client once production is complete. For me, this always wows my clients because it proves that my project perfectly aligns with their expectations and goals. And that makes it really hard for them to ask for revisions later on.

“Case studies also serve as an excellent final presentation for clients.”

Then, once the client approves my artwork and pays the final installment, I can easily reuse my presentation to post a detailed case study in my portfolio. Double win!

Here’s a sample of a recent logo design case study I created for Paper Tiger Mentoring that showcases the steps I took to complete the design. Notice how much more engaging this is and how my revisions have reasons behind them. It’s hard to argue with a final result when everything you made reflects what’s most appropriate to attract my client’s demographic.

So rather than just sending your client the final static image of your project, why not create a case study that serves as the final presentation instead? Think of how much better of an impression it would make to send your client the beautiful final result in addition to showing the steps you took to get there.

The 6 key principles to the perfect case study

Now that you understand the importance of case studies, let’s break down the key elements that will get your portfolio noticed and keep the project inquiries rolling in.

1. Provide a meaningful overview for the non-readers

The project overview is the first piece of content on the page that allows your visitors to get some additional information about the project and understand what was accomplished. Keep this short and to the point so that the skimmers and browsers can get a quick look at what your project is all about without having to read the full case study.

Here’s an example of how I introduced my hand-lettered logo design project for Say Something Marketing . Notice that I provide some key information before I start to talk about my process like industry, creation date, project duties, and objective. You can either break down the info like how I have here, or provide just a few lines for your overview. Just be sure to include the problems that your client is trying to solve so that you can talk about your process with their goals in mind.

Along with this introduction, it’s important to show the final result upfront before going into the beginning stages of your process. You don’t want to make the user scroll down to the bottom of the page in order to see the final result of your beautiful work.

2. Show pictures—lots and lots of pictures

People love seeing the evolution of a project and how it came to life. Watching a project form step-by-step is not only engaging, it also makes you more relatable when you show the mistakes you made along the way.

So don’t worry if one of your process shots isn’t perfect or camera-ready. It’s a work in progress—it’s not supposed to be perfect on the first try. Check out my process for creating my Stop Staring Poster . It has imperfections, but that’s what makes the final result so much more interesting.

3. Describe the reason behind your decisions

This is why you have an in-depth onboarding process before starting production so you can get a detailed and clear view of what your client wants. In order to land your ideal clients, you need a questionnaire that sets the tone of the project moving forward and gives you everything you need to determine if it’s the right project for you. This way you can over deliver on a project because it’s custom-made to attract their audience.

4. Top it off with a client testimonial

“A good testimonial creates trust.”

Most of us ask for testimonials, and if we follow up and pester our customers enough, we get testimonials. But without asking the right questions to probe our clients, our testimonials usually end up looking something like this:

Dina did a great job on this project. I’m very happy and plan to work with her again.

Now that isn’t a bad review, but it doesn’t sell my services or tell a good story of how I am to work with. This is because most clients don’t know how to give testimonials, so as professionals we need to guide them to provide testimonials that will inspire potential clients to hire us.

Here are the 3 basic questions you should ask in order to get a powerful testimonial:

• Discuss your experience working with me.
• What did you like most about your final project?
• Would you hire me again? If so, why?

By asking these questions, I’m able to get a testimonial that tells a vivid story. Check out one of my previous client testimonials for a logo design project I created for BrandScape :

Dina invested hours learning about my brand personality, mission, and style. She was completely transparent about her process and always kept me involved. It was up to Dina to really translate everything we’d discussed to a logo, and the end result blew me away. The script is playful but clean, and the colors pop beautifully. The logo is visually distinct and professional, and I’m excited to display it every chance I get! I’m so grateful to have had the opportunity to work with Dina for such a unique product, and I plan to work with her again.

Now that’s a testimonial that sells! About 3 days after posting this project and testimonial, I received 5 new inquiries. And they just keep rolling on in—all from one excellent case study.

5. Don’t forget the call to action

Just like any other page on your site, you need a call to action (CTA) to help guide the user to contact you. For me, 82% of the people who look at 3 or more of my projects in my portfolio submit a project request. So having a CTA on your portfolio page is one of the most important pieces of content that will help you get new clients.

“Your portfolio page has to have a call to action.”

If you’ve followed the above steps in your case study, you should have enticed your user enough to contact you. Now all you need is to serve up a custom pitch of your services on the bottom of the page with a link to your questionnaire.

There are several ways to make your call to actions stand out , but with each project you should have a custom-written call to action that speaks directly to your user. For example, if a client is looking at my portfolio and is checking out one of my hand-lettered logo designs, they’re most likely interested in hiring me for a similar project.

Rather than having a nonspecific CTA such as “Like what you see? Contact me today for a free quote,” try presenting a more personalized message like “Interested in a hand-lettered logo design that’s custom made to attract your audience? Contact me today for a free quote.”

See the difference? If you were a potential client looking for a logo design , which one would you click on?

6. SEO is important, too

SEO is an often overlooked step when adding new projects to your portfolio. It’s a necessary part of web design that can help you get more organic traffic to your portfolio site.

Your portfolio is filled with work that other clients in those industries want. So a good starting point is to use descriptive long-tail keywords like “logo design for app” or “web design for restaurants.” You already have the content and images to reel them in, and now all you need are some keywords to get their attention on Google.

You can test out search terms by using tools such as Wordtracker and the Google Adwords Keyword Tool . I won’t go into the nuts and bolts of search engine optimization here. (For a crash course in SEO that won’t overwhelm you, check out this article .

Blast your newest project across the internet

After you’ve posted your case study online, the work is only about 90% complete. That extra 10% is going to get new eyes on your portfolio and help you get your work noticed. This means posting your work everywhere your designs are welcomed.

So get active on Facebook, Twitter, and Google+; post your portfolio pieces to Behance , Dribbble , and deviantART . Get creative and film your process and put the video on YouTube or livestream it using Periscope . You could even create a slideshow of your artwork and share it on Slideshare or put together a PDF presentation and upload it to Scribd . The more you link out your newest portfolio piece, the more people you can get looking at your work.

The great thing about marketing yourself isn’t just getting more clients—it’s building a following of other like-minded designers. Tons of designers and art directors are always on the lookout for people to pass design work onto. Once you start forming a good network, you’ll find that more projects will automatically start coming to you, rather than you frantically searching and begging for work.

This was originally published on Letter Shoppe .

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How To Write A Case Study For Your Design Portfolio

Case studies are an important part of any designer’s portfolio. Read this article to learn everything you need to know to start writing the perfect case study.

When you’re putting together your online design portfolio , design case studies are a great way to showcase your experience and skills. They also give potential clients a window into how you work.

By showing off what you can do and your design process, case studies can help you land more clients and freelance design jobs —so it can be smart to dedicate an entire section of your online portfolio website to case studies.

Getting Started

So—what is a design case study and how do they fit in your portfolio.

Let’s get some definitions out of the way first, shall we? A design case study is an example of a successful project you’ve completed. The exact case study format can vary greatly depending on your style and preferences, but typically it should outline the problem or assignment, show off your solution, and explain your approach.

One of the best ways to do that is to use a case study design that’s similar to a magazine article or long-form web article with lots of images throughout. When building your case study portfolio, create a new page for each case study. Then create a listing of all your case studies with an image and link to each of them. Now, let’s get into the nitty-gritty of creating these case studies.

Choose Your Best Projects

To make your online portfolio the best it can be , it’s good to be picky when choosing projects for case studies. Since your portfolio will often act as your first impression with potential clients, you only want it to showcase your best work.

If you have a large collection of completed projects, you may have an urge to do a ton of case studies. There’s an argument to be made in favor of that, since it’s a way to show off your extensive experience. In addition, by including a wide variety of case studies, it’s more likely that potential clients will be able to find one that closely relates to their business or upcoming project.

But don’t let your desire to have many case studies on your portfolio lead you to include projects you’re not as proud of. Keep in mind that your potential clients are probably busy people, so you shouldn’t expect them to wade through a massive list of case studies. If you include too many, you can never be sure which ones potential clients will take a look at. As a result, they may miss out on seeing some of your best work.

There’s no hard-and-fast rule for how many case studies to include. It’ll depend on the amount of experience you have, and how many of your completed projects you consider to be among your best work.

Use Your Design Expertise

When creating the case study section of your portfolio, use your designer’s eye to make everything attractive and easily digestible. One important guideline is to choose a layout that will enable you to include copy and image captions throughout.

Don’t have your portfolio up and running yet and not sure which portfolio platform is best for you? Try one that offers a free trial and a variety of cool templates that you can play around with to best showcase your design case studies.

If you don’t provide context for every image you include, it can end up looking like just a (somewhat confusing) image gallery. Case studies are more than that—they should explain everything that went into what you see in the images.

Check Out Other Case Study Examples for Inspiration

Looking at case study examples from successful designers is a great way to get ideas for making your case study portfolio more effective. Pay special attention to the case study design elements, including the layout, the number of images, and amount of copy. This will give you a better idea of how the designer keeps visitors interested in the story behind their projects.

To see some great case study examples, check out these UX designer portfolios .

Try a Case Study Template

There are plenty of resources online that offer free case study templates . These templates can be helpful, as they include questions that’ll help you ensure you’ve included all the important information.

However, most of them are not tailored to designers. These general case study templates don’t have the formatting you’ll want (i.e. the ability to include lots of images). Even the ones that are aimed at designers aren’t as effective as creating your own design. That’s why case study templates are best used as a starting point to get you thinking, or as a checklist to ensure you’ve included everything.

How to Write Case Studies

Maintain your usual tone.

You should write your case studies in the same personal, authentic (yet still professional!) tone of voice as you would when creating the About Me section of your portfolio . Don’t get bogged down in too much technical detail and jargon—that will make your case studies harder to read.

Since your case studies are part of your online portfolio, changing your usual tone can be jarring to the reader.

Instead, everything on your portfolio should have a consistent style. This will help you with creating brand identity . The result will be potential clients will be more connected to your writing and get the feeling that they’re learning what makes you unique.

Provide Some Context

Case studies are more effective when you include some information at the beginning to set the stage. This can include things like the date of the project, name of the client, and what the client does. Providing some context will make the case study more relatable to potential clients.

Also, by including the date of the project, you can highlight how your work has progressed over time. However, you don’t want to bog down this part of the case study with too much information. So it only really needs to be a sentence or two.

Explain the Client’s Expectations

Another important piece of information to include near the beginning of your case study is what the client wanted to accomplish with the project. Consider the guidelines the client provided, and what they would consider a successful outcome.

Did this project involve unique requirements? Did you tailor the design to suit the client’s brand or target audience? Did you have to balance some conflicting requirements?

Establishing the client’s expectations early on in the case study will help you later when you want to explain how you made the project a success.

Document Your Design Process

As you write your case study, you should take a look at your process from an outsider’s point of view. You already know why you made the decisions you did, so it may feel like you’re explaining the obvious. But by explaining your thought process, the case study will highlight all the consideration you put into the design project.

This can include everything from your initial plan to your inspiration, and the changes you made along the way. Basically, you should think about why you took the approach you did, and then explain it.

At this point, consider mentioning any tricks you use to make your design process more efficient . That can include how you managed your time, how you communicated with clients, and how you kept things on track.

Don’t Be Afraid to Mention Challenges

When writing a case study, it can be tempting to only explain the parts that went flawlessly. But you should consider mentioning any challenges that popped up along the way.

Was this project assigned with an extremely tight deadline? Did you have to ask the client to clarify their desired outcome? Were there revisions requested?

If you have any early drafts or drawings from the project saved, it can be a good idea to include them in the case study as well—even if they show that you initially had a very different design in mind than you ended up with. This can show your flexibility and willingness to go in new directions in order to achieve the best results.

Mentioning these challenges is another opportunity to highlight your value as a designer to potential clients. It will give you a chance to explain how you overcame those challenges and made the project a success.

Show How the Project’s Success Was Measured

Case studies are most engaging when they’re written like stories. If you followed the guidelines in this article, you started by explaining the assignment. Next, you described the process you went through when working on it. Now, conclude by going over how you know the project was a success.

This can include mentioning that all of the client’s guidelines were met, and explaining how the design ended up being used.

Check if you still have any emails or communications with the client about their satisfaction with the completed project. This can help put you in the right mindset for hyping up the results. You may even want to include a quote from the client praising your work.

Start Writing Your Case Studies ASAP

Since case studies involve explaining your process, it’s best to do them while the project is still fresh in your mind. That may sound like a pain; once you put a project to bed, you’re probably not looking forward to doing more work on it. But if you get started on your case study right away, it’s easier to remember everything that went into the design project, and why you made the choices you did.

If you’re just starting writing your case studies for projects you’ve completed in the past, don’t worry. It will just require a couple more steps, as you may need to refresh your memory a bit.

Start by taking a look at any emails or assignment documents that show what the client requested. Reviewing those guidelines will make it easier to know what to include in your case study about how you met all of the client’s expectations.

Another helpful resource is preliminary drafts, drawings, or notes you may have saved. Next, go through the completed project and remind yourself of all the work that went into achieving that final design.

Draw Potential Clients to See Your Case Studies

Having a great portfolio is the key to getting hired . By adding some case studies to your design portfolio, you’ll give potential clients insight into how you work, and the value you can offer them.

But it won’t do you any good if they don’t visit your portfolio in the first place! Luckily, there are many ways you can increase your chances. One way is to add a blog to your portfolio , as that will improve your site’s SEO and draw in visitors from search results. Another is to promote your design business using social media . If you’re looking to extend your reach further, consider investing in a Facebook ad campaign , as its likely easier and less expensive than you think.

Once clients lay eyes on all your well-written, beautifully designed case studies, the work will come roaring in!

Want to learn more about creating the perfect design portfolio? 5 Designers Reveal How to Get Clients With Your Portfolio 20 Design Portfolios You Need to See for Inspiration Study: How Does the Quality of Your Portfolio Site Influence Getting Hired?

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Steel Frames: Design Studio Case Studies

The Design Studio Case Studies are presented so that the student may learn by analyzing precedent buildings that employ structural steel aesthetics and creative applications. The three buildings presented in this module have won AISC IDEAS Awards. They represent a wide variety of scales, materials, and tectonic expressions. The projects presented include a 7,500 S.F. house in Houston, TX; a 37,000 S.F. river park comlpex along the Mississippi River; and a 30,000 S.F. complex at Iowa State University that includes a conservatory and butterfly house. (2006) Download Steel Frames CR (137 MB) Steel Frames TR (72 MB) Steel Frames RG (118 MB) Steel Frames LC (75 MB)

5 Key Parts of a Great Design Case Study

Here are five of the most important areas that go beyond the basics of case study writing and get into the more challenging parts that can provide a far greater reward.

When done right, case studies are seriously complex and represent hundreds of hours of design work. At their start, they can feel like a disorganized, overwhelming mess.

Step by step, they transform into a piece of work a designer can truly be proud of because it tells the story of their growth over the project. Being able to effectively communicate and illustrate that unique story is key to a designer’s success in the interview process, and a way for them to stand out from competitors.

I’ve lost track of how many case studies I’ve reviewed in my time at Designation — it’s probably somewhere close to 1,000 by now — and in all that time, I’ve seen many important parts of case study writing come into focus.

Below are five of the most important areas that go beyond the basics of case study writing and get into the more challenging parts that can provide a far greater reward. Together, they can turn good designers into great design storytellers—and set them up for greater success later on as professionals.

Show your process assets purposefully.

Assets are your opportunity to show rather than tell—explain a big chunk of the process in a visual form. Assets can take many forms, and the more diversity in them, the more engaging for readers.

They include photographs, which can backup descriptions of on-site research, interviews, and teamwork; screenshots of in-progress work and art boards; sketches showing rough ideas that were fleshed out later; Post-it notes and affinity diagrams; wireframes, sometimes with color added for extra clarity for the reader; animated gifs showing microinteractions and user flows through the product; charts and tables; and so many others.

When focusing on a design or visual case study image like this shows a surprising amount of information and process—how creatively messy it can be to sketch, sorting to find ideas worthy of development, fleshing the strong ones out, and applying design elements and patterns to them.

A case study without showing assets is incomplete, but one that shows assets without explaining them is almost worse, because a designer always needs to explain their importance to the process.

The best way to do that is to use  captions  for each asset. But captions must always be a part of the overall story; they shouldn’t only repeat information that the asset already shows. They must provide a unique insight, and further the story for the reader. By doing this, it activates the caption and justifies its existence and the work it takes to write them by the designer.

This designer used two forms of captions to illustrate their screens: Annotations that point out specific areas of concern from testers who looked at them, and a caption below that collected and synthesized them for easier comprehension.

Provide a  competitive benchmark for the study.

Designers often like to downplay the research and analysis of competitors that happens near the beginning of a project because it doesn’t directly focus on the work they created. This is an unfortunate mistake because it’s a huge part of the story and it often leads directly to designers making research or design decisions later in the process.

Furthermore, designers should show off that they have a deep understanding of the competition whenever they work on a product; that they know what’s happening in the landscape and how their product fits in. Showing logos or only mentioning names of competitors isn’t anywhere near enough; designers need to discuss in detail what competitors do well, and analyze the areas in which they need improvement. Designers can provide screenshots of competitors’ products, but they need to go further and  annotate or comment on them, to show a more detailed analysis.

They can’t ignore out-of-category competitors too, because that research often leads to innovative ideas that can catapult their product over in-category competitors’.

This designer looked at three competitors and called out unique areas of strength and weakness from each one, especially as they led the designer to make design decisions later in the process.

Finally, all that analysis requires synthesis, which means explaining the opportunities the designer saw for their own product after looking at the competition. This helps the designer more formally describe the end of the competitive research phase of a project and how that helped them refocus on their own product.

The designer analyzed competitors’ images in the center of this screen, but the text at the bottom presents what they did with that analysis: They derived an important design principle from it, which heavily impacted the next phase of their work.

Be team-centered in user experience design.

Almost every project done at Designation is done as part of a team because almost every project done as a professional designer is done as part of a team. It’s crucial for designers to reflect that in their case studies. Designers must write  “we”  when talking about group actions, and  “I”  when talking about personal design decisions or insights. In other words, we encourage designers to use “I” when they talk about where they led their team, and “we” when they supported another team member leading their team.

This is a great example of team-centered writing, where the designer discusses how the team worked together to generate concepts. She then switches to individual writing to indicate which concept she took charge of. Both extremes of this spectrum are bad in a case study—ones that only say “we” look like the designer didn’t think for themselves, and ones that only say “I” look like the designer isn’t a team player. So that balance has to always be found. Employers look for teamwork skills as much as they look for hard design skills, and a case study can be an excellent place to find records of them.

Don’t designsplain.

This is a big one. A lot of designers fall into the trap of explaining a basic element of the design process or design deliverables to the reader. You might be asking yourself: Why is this problematic? It’s because the intended readership of a designer’s case study is a hiring manager, design director, or someone else looking for evidence the designer will make a good fit for their team.

That means the designer needs to make an educated assumption that the reader is already familiar with design—and write their case study with that in mind. Unless it’s a part of their design process that was extremely unusual or the designer came up with it themselves, a designer has to assume the reader’s already familiar with it. If they don’t, they risk looking like the case study condescends to the reader, and that’s not purposeful writing.

One easy way to avoid this is for a designer to always  avoid second-person writing —using “you” and “your”—which is a little too conversational for a case study anyway. They keep the focus on themselves and their work, and tell a stronger story in doing so.

Get the details right.

It might be cheating a little to clump a bunch of little steps together like this, but it’s important at the end of the case study writing process to  micro-edit and make sure every detail is taken care of.

That’s why designers utilize tools like Figma to to tell their story in a professional way.

That’s making sure every word is spelled right, every publication title is italicized, and every piece of software is properly capitalized. But it’s also doing tasks like using contractions as often as possible throughout the text, removing extra spaces from between words or in front of paragraphs, knowing when to use a semicolon or an em dash, and making sure all dumb quotes are taken care of. And using writing tools like Hemingway, Grammarly, and GradeProof are a huge gift to anyone who needs a little help to take care of tricky grammar and get rid of run-on sentences.

Though tedious and time-consuming, the best way to take care of these details is to go through the complete draft and look to make one editing change at a time. Trying to edit for multiple needs causes the designer’s attention to be split in many directions—and makes them much less effective as self-editors.

Digital Designer Case Studies Conclusion

Writing effective, powerful case studies is a craft, and like all crafts, it rarely comes naturally to people. It takes skill and work, and staying in practice. The tools, resources, feedback, and processes we give every designer at Designation are able to be used for years and decades to come, so a designer can turn any work they produce into a case study anytime during their long career.

Remember:  Hiring managers don’t look for designers with superpowers; they look for designers who are committed to designing better and better for as long as they practice design. And case studies are the absolute best metric for a designer to see how far they’ve come and how much they’ve learned, from tool to tool, project to project, and job to job.

Disclaimer: The information in this blog is current as of February 26, 2020. Current policies, offerings, procedures, and programs may differ.

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Privacy Overview

• Research article
• Open access
• Published: 03 August 2022

Generation gap, learning from the experience of compulsory remote architectural design studio

• Aminreza Iranmanesh   ORCID: orcid.org/0000-0001-9438-9261 1 &
• Zeynep Onur 2  

International Journal of Educational Technology in Higher Education volume  19 , Article number:  40 ( 2022 ) Cite this article

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Physical design studio has been the mainstream method of architectural pedagogy for more than a century. Although the past two decades have brought forth emerging possibilities via advancements in digital communication, Virtual Design Studio (VDS) remained an experimental novelty until 2020. The interruption of face-to-face educational activities saw architecture schools facing a rapid paradigm shift because their studio-centred pedagogy retains intrinsic spatial qualities that are often attributed as critical dimensions of the learning process. This article explores the transition to the virtual design studio in a department of architecture after distance education became mainstream due to the global pandemic. The paper provides a comparison between students’ and lecturers’ points of view regarding different aspects of the virtual design studio. This addresses a potential generational gap concerning digital communication in a case study. A survey was administered to a group of architecture students who travelled back home and continued their education online and to the teachers of design studios who instructed VDS after the pandemic outbreak. The findings show the significant influence of effective communication, access to proper resources, maintenance of peer connections, and group works on the positive outcomes of the architectural design studio.

Introduction

The repercussions of the COVID-19 pandemic affected all higher education disciplines—some more than others. Disciplines with lab work and hands-on pedagogical approaches faced significant challenges. In these disciplines, distance learning required calibration of the curriculum and etiquette of programs that were not originally designed to accommodate virtual classrooms (Neuwirth et al., 2020 ). Moreover, the abrupt move to virtual space during the global pandemic created a transition period for which many students and lecturers were not prepared.

In schools of architecture, almost universally, design studio stands at the heart of the learning process (McClean, 2009 ; Salama & Wilkinson, 2007 ). At first glance, it might seem that the transition to virtual space could be done easily for architectural studios; after all, the drawing and modelling can be done—and have been done for a while—via digital software. However, the design studio presents opportunities such as peer learning that might be difficult to reproduce in a virtual environment (Fleischmann, 2019 ; Kvan, 2001 ).

The conventional form of design studio has been influenced by the seminal work of Schön ( 1983 ) and is based on the transfer of knowledge from the master practitioner to the novices during the continuous process of ‘reflection in action’. This ‘learning by doing’ process takes place in the studio space while students observe and interact with the teacher and with one another. For Schön and Wiggins ( 1992 ), the material medium (pen, paper, and models) through which the reflective interaction takes place is a critical aspect of the architectural design studio. In this light, gestures, body language, collaborative work on physical models, layered drawings, and the socio-cultural atmosphere of design studio, are among the qualities that need to be considered when shifting to virtual space (Senyapili & Karakaya, 2009 ). A conundrum presents itself here. While today, the students of architecture learn and become fluent in the ways of digital fabrication, computer-aided design, and digital interaction, the teachers might not possess the same skillset to be an effective part of virtual space (Brown, 2006 ; Doyle & Senske, 2016 ). Thus, students seem to be more flexible in adapting to virtual studios, whereas the teachers might not find these emerging approaches effective or suitable for the design studio (Bayhan & Karaca, 2020 ). In such scenarios, the student might find only verbal recommendations that are not necessarily objective and even might be misleading if the teacher does not understand or is unable to communicate with the virtually presented material (Brown, 2006 ). This can have hidden strengths and weaknesses. It might empower self-dependent students that feel comfortable having fewer interventions and allow them to experience new approaches; however, it might limit the potential of extroverted students who thrive on interactions or those who require more objective tutoring (Offir et al., 2007 ; Park, 2020 ).

It became evident early on that transferring all design studios into virtual space is a challenging task compared to the transfer of the theory-based courses (Ibrahim et al., 2021 ). In the context of this study, most academic staff had very little experience with conducting a virtual design studio prior to the pandemic. Although all faculties, departments, and staff were equipped to shift to online educational platforms, the majority had never dealt with this type of teaching. This sudden transition brought the education of the architect, which was already being questioned, into urgent discourse. Arising questions included: What is the nature of distance education regarding architectural studios? What are suitable tools and mediums? What should the learning outcomes be, and how do these compare with the physical design studio?

Moreover, the attitudes toward remote education and VDS seem to be different when comparing students and teachers (Nespoli et al., 2021 ). Generation Z students, who are in school now, are children of the information age; They know the language of social media as a native tongue (Bayhan & Karaca, 2020 ; Seemiller & Grace, 2016 ), and it is part of how they perceive and interact with the world (Green & Hannon, 2007 ). The experimental study of Chen and You ( 2010 ) indicated students’ willingness to adapt and their positive attitude toward internet-assisted design studios. The teachers, on the other hand, represent the status quo; they are a conservative force that might be more reluctant to change (Mercader & Gairín, 2020 ). This gap shows itself more prominently in self-learning and the utilisation of new digital tools in the studio workflow. Today, students might often have more extensive knowledge of digital tools than their teachers might. These differences, in turn, pose a problem for the bi-directional communication and collaboration that are fundamental to the very definition of design studio (Emam et al., 2019 ). The interactive processes that are intrinsic to design studio pedagogy require flexibility and versatility in the mediums of presentation (Schön & Wiggins, 1992 ). The advent of digital communication in all stages of the design process calls for exploring new theoretical frameworks that can potentially complement the traditional pedagogical logic of the design studio (Oxman, 2008 ). When over-the-table interaction using material mediums is no longer viable, the successful conduct of interactive virtual studio becomes a skill that educators need to learn.

The gap in literature seems to be related to the speed of adoption of digital tools and media into the workflow of architectural studios without having concrete pedagogical frameworks designed to support their incorporation. The educators of design studios today, for the most part, might come from a traditional system that was built on interactions with physical materials (Oxman, 2008 ). Accordingly, more studies are needed to explore the pedagogical frameworks that can accommodate virtual space. The flexibility to adopt new interactive mediums seems to be critical when imagining what might become mainstream in the forthcoming decades. In 2020, the global pandemic highlighted these shortcomings—exposing the gap between educators’ and students’ approaches to architectural design studio courses.

This article discusses the transition to VDS in a higher education institution during the global pandemic. The study compares students’ and lecturers’ points of view regarding different aspects of VDS. It aims to provide insights into the basic and irreconcilable inconsistencies in the overall structure of education, which, to date, has not been resolved. The paper is organised into three sections. First, the study briefly examines the existing literature of architectural pedagogy and VDS. Second, it explores different aspects of the design studio in a case study to provide a comparison between teachers’ and students’ experiences in transitioning to the virtual studio. The case study also examines self-evaluation of the design outcomes of the studio from the perspectives of students and faculty members. For this part, the survey tried to identify the critical differences between physical and virtual design studios. Third, the study discusses the strengths and weaknesses of VDS in fostering studio culture and its potential future applications.

Architectural design studio and emerging virtuality

For some time, the effectiveness of some of the traditional education methods and philosophies has been questioned in the literature (Dewey, 1986 ). Rancière ( 1991 ) challenged the pedagogical norms of education in the nineties. In Rancière’s book, The Ignorant Schoolmaster , the questions related to what teaching means—who can be taught, who needs to be taught, and what an individual, a group, or ultimately society should learn—were among the first challenges to the notion of effective education. The experiences and statements of Robinson and Aronica ( 2016 ) and Sugata et al. ( 2005 ) evoked captious questions, signalling that something was going wrong in education. The pandemic conditions made it urgent to address these issues in architectural pedagogy, especially since its goal is to foster creativity and innovation.

The architectural design studio is the core of architectural pedagogy (McClean, 2009 ). Contemporary architectural pedagogy still follows a scheme similar to that established by Beaux-Arts and Bauhaus (Salama & Wilkinson, 2007 ). Although the mediums of communication and workflow have changed significantly over time, the approach toward the conventional design studio has remained stationary for decades without addressing the emerging educational contexts (Hettithanthri & Hansen, 2021 ). This seems counterintuitive for a practice that prides itself on adaptability, creativity, and dealing with emerging concepts (Smith, 2011 ). Grover et al. ( 2020 ) argued that deep learning requires moving beyond the design studio’s critique sessions and exploring parallel methods. It seems that the main challenge of architectural pedagogy is retaining the intrinsic qualities of a well-established traditional structure while trying to improve it for the future (Wilkin, 2005 ). Reforming architectural pedagogy has been a central discussion point for the past two decades, especially in light of advancements in digital technology (Salama, 2016 ). The advent of digital tools and communication mediums has changed the terrain of the design studio. Fjeld ( 2005 ) argued that the survival of the studio model depends on defining new frameworks that take into account these changes. These changes must enable students to cope with the emerging circumstances of professional practice (Nicol & Pilling, 2005 ). With the accelerated development of emerging tools and methods, it seems that training students to benefit from these nuances by conducting independent research and self-learning could be an ideal complement to the design studio pedagogy (Saghafi et al., 2012 ).

The first implementation of VDS dates back to 1993, and ever since, VDS has been part of the discussions regarding architectural pedagogy (Schnabel & Kvan, 2001 , 2001 ). The screen-sharing and simultaneous 3-dimensional collaborations in the virtual space are as old as Web2.0 (Maher & Simmoff, 1999 ). Even among the earliest attempts, it has shown consistently to have the potential for implementing a successful design studio, especially in expanding teamwork and community development (Bucinell et al., 1997 ; Saghafi et al., 2012 ; Wojtowicz, 1995 ).

Going back to Rancière’s ( 1991 , p. 130) argument, 'learning without a master explicator' means empowering students by encouraging self-learning processes. Reading into the pathology of the design studio, it often happens that students focus more on satisfying the teacher by trying to fit their design narrative into the teacher’s, or the jury’s, framework (Aderonmu et al., 2017 ). Attoe and Mugerauer ( 1991 ) described the excellent teacher as a caring person—a parent figure who does not act as an all-knowing character who cannot be challenged, but rather, as someone who interacts and participates in the design process by asking questions and instigating dialectical discussions. Proactive teachers can make a difference even when the environmental factors are hostile toward learning (Lapeniene & Dumciene, 2014 ). It has been argued that practising architecture is not an adequate qualification for teaching it; the pedagogical skills for teaching a design studio cannot necessarily be obtained via professional practice (Goldschmidt et al., 2010 ; Rhowbotham, 1995 ). One of the problems in this regard, as indicated by Nicol ( 2000 ), is that the knowledge of architectural design teaching remains tacit and bound to the continuously interactive processes that are confined to the studio space.

Furthermore, the very notion of competition, with peers or self, as a long-lasting tradition of the design studio is meant to showcase the extent of creative possibilities and to look at ideas that might be considered radical even though the most creative outcomes might not always emerge victorious (Ellsworth, 2005 , p. 9). A design studio, in its idealistic essence, would be set up to do the same—elicit the impossible. The jury-based evaluation system of design studio, however, often encourages students to stay on the safe side and to work for the jury instead of trying extraordinary design ideas (Webster, 2007 ).

Peer learning and architectural studio

The learning outcomes of an architectural design studio are not merely the design product. Outcomes consist of a complex set of social, cultural, and spatial experiences that are intrinsic qualities of the studio environment. Dutton ( 1987 ) called this a hidden curriculum, which is the sum of students’ experiences and interactions in the design studio. Architectural design, at its core, is a social process; it requires communication and people skills. Design studio is the platform through which these skills are developed and tested (Vowles, 2005 ). Learning in the design studio happens via two interwoven processes: the formal feedback (critique) with the teacher (s) and the informal dialect among peers (McClean & Hourigan, 2013 ). The informal social structure of the studio facilitates peer learning, which is one of its strongest assets; this informal process facilitates internalisation of the studio social structure while retaining one’s individual character as a designer (Gray, 2013 ). Despite the fact that peer learning is not a predefined intentional process embedded in the curriculum, it can be argued that it is the most memorable and influential aspect of the design studio (Koch et al., 2002 ).

For Schön ( 1987 ), design studio provided a platform in which the learner could exercise learning by doing while interacting with others and experiencing reflection in action . This experience is sometimes referred to as the studio culture, and it is associated with productivity and deep learning processes (Vowles et al., 2012 ). The teacher must be aware and supportive of this peer-learning process and its potentials (McClean & Hourigan, 2013 ). It can be argued that the medium of communication among the students of today is significantly different from 20 years ago. Mobile digital communication and social media have created a new continuous stream of virtual interactions superimposed on the space. Moreover, most students that are in the studio were born into this technology and do not know a world without it (Pektaş, 2015 ). They are native speakers of this hybrid semi-digital presence. It can be argued that they might be better at utilising the opportunities the digital world has to offer as opposed to lecturers who previously only knew the physical design studio and virtual education remains a temporary necessity for them.

Having said that, VDS can generate its own culture for all generations; this culture is an identity that is in the process of becoming (Al-Qawasmi, 2005 ). From the standpoint of possibility, the advancements in communication mediums are blurring the boundaries between virtual and physical; children of the internet era are now the students of the design studio. They have been exposed to these emerging communication mediums for as long as they can remember. They speak the language of the internet fluently, perhaps better than their instructors do. Hence, they have the potential to invent a new studio culture.

Design studios during the COVID-19 pandemic

It became evident in the literature covering COVID-19 and education that transition to virtual learning is a complex and challenging task that might render both positive and negative outcomes (Ahmad, Erqou, et al., 2020 ; Ahmad, Sosa, et al., 2020 ; Iranmanesh & Onur, 2021 ; Powell & McGuigan, 2021 ). Ceylan, Şahin, Seçmen, Somer, and Süher ( 2021 ) showed that the most prominent improvement in design studios during the pandemic appeared in the utilisation and learning of digital tools. Iranmanesh and Onur ( 2021 ) indicated that the development of independent self-learning processes is the major highlight of VDS. The need for integrating digital tools into the flow of design studio pedagogy seems to be a necessity that requires supportive training and adjustments. A study by Alawamleh, Al-Twait Lana, and Al-Saht Gharam ( 2020 ) showed that the most significant consequence of the VDS is the way it affects communication and interaction. This does not merely affect student–teacher interactions but also the informal student–student interactions that are a significant part of the architectural pedagogy (McClean & Hourigan, 2013 ).

VDS can potentially have a wider reach for both audience and participation (L. Ahmad, Erqou, et al., 2020 ; Ahmad, Sosa, et al., 2020 ); this can bring more people into the studio workflow despite their proximal unavailability. The trials of K. Ahmad et al. ( 2020 ), Ahmad, Sosa, et al. ( 2020 )) showed that simulation of design studio space via Virtual Reality (VR) can have a positive impact on providing some qualities that the physical spaces offer. Nevertheless, this remains limited to schools that can provide such equipment and to teachers who are well versed in modelling and coding virtual realities. The question of access to proper infrastructure and tools becomes more prominent in VDS. For instance, Peimani and Kamalipour ( 2021 ) argued that the degree of access to suitable hardware/software might create inequity among students.

Pries et al. ( 2020 ) asserted that separating students from each other is toxic for creativity. Furthermore, space, which is the core medium of architecture, can become lost in a virtual classroom, leaving very little room for casual peer interactions. The interactions among students create moments of learning-through-teaching in which students assume the role of the teaching figure by providing critiques on their peers’ projects. This is an effective pedagogical tool and can be utilised even in non-studio-based courses (Wagner & Gansemer-Topf, 2005 ). The concerns regarding communication and peer-learning processes are not new topics. McLuckie and Topping ( 2004 ) argued that the mere act of providing a platform is not sufficient; the pedagogical principles of peer learning must be facilitated and explored when conducting remote education. Iranmanesh and Onur ( 2021 ) showed that during the COVID-19 period, the decline in peer learning was the most significant upset of VDS (also see Fleischmann, 2020 ). Cabral, Freeman, Sachs, Schmidt, and Gamez ( 2020 ) called the practice of maintaining and reforming the concept of community in the sudden transition to VDS one of the most important learning opportunities for emerging pedagogical approaches.

The case study

The study was conducted in the Faculty of Architecture in one of the universities located in Cyprus. As the magnitude of the COVID-19 impacts unfolded, all educational activities were suspended on March 11, 2020. It was initially perceived as a short-term, temporary precaution that would soon resolve; yet, the day of resolution did not come quickly. The educational activities were resumed via the university’s remote learning platform in the following week.

In this case, different studios experimented with mutual communication via many different media, such as Facebook groups, Google Classrooms, WhatsApp groups, and Skype. Soon thereafter, all classes were unified using Google Meet and integrated with the remote learning platform of the school. The application provided easy screen sharing and automated recording tools.

The screen sharing method was used as the main method of communication while conducting virtual classes in the school. To understand the difficulties of conducting a design studio via a screen, the effective methods of the physical studio must be revisited. From interactive work with physical models and drawing tools to the simplest tasks with body language like pointing at something, the physical space provides an effective and versatile setting for effective design tutorship. The virtual space, on the other hand, did not offer many of those flexibilities at first glance. At the same time, the students tended to use a variety of digital tools to present and showcase their design development in the virtual studio. For instance, in the graduation project critique sessions, the study found the usage of AutoCAD, Revit, 3DS Max, SketchUp, Rhinoceros 3D, ArchiCAD, Lumion, Twinmotion, Photoshop, and in one case 3D Blender (Fig.  1 ). Many of these tools were used before for design and display in the physical studio, but the critiques were typically given using gestures and supplementary drawing on paper. In this case, the screen sharing was one-directional, meaning that one contributor was always limited to verbal commands. This made it inevitable for the lecturer to also open the files and interact with the digital tools in order to provide feedback. One of the main problems with VDS presents itself here: many tutors might not be able to operate all of these tools.

Variety of tools and methods reported in a single design studio

Another problem was the bi-directional nature of communication in the absence of a physical setting. The critique sessions, in this case, were being held mainly between the teacher and the student with others being mere observers (Fig.  2 ). The cacophony caused by multiple participants having their microphone on without being able to read the body language cues of others made it impractical to have engaging group discussions for the majority of each session. Communication seems to be among the critical variables in exploring the nature of VDS. Nevertheless, the virtual studio was not without its advantages, among which, the self-learning processes were observed in various aspects, such as research, digital communication, and time management. The availability of studio recording is another asset of virtual space. In this case, all recordings were made available to the students immediately after the class session concluded. The view count of these recording suggests that many students revisited their critique sessions. Accordingly, a systematic comparative study was conducted to explore the outcomes of VDS from the perspectives of students and lecturers.

The general layout of the physical and virtual design studios in the case study

Data collection and filtration process

A survey was designed to address the parameters of the virtual studio in comparison to the physical studio. The survey consisted of 19 items in three sections:

The survey explored the studio experience and self-evaluation of the design outcomes compared to the pre-pandemic physical studio (2 items: see Fig.  3 ).

It addressed the main features of the design studio as it transitioned to virtual space. These items evaluate the efficiency of the critique sessions, teacher-student communications, peer learning, group activities, self-learning processes, integration of digital tools, and effectiveness of jury evaluation as a learning tool (15 items: see Figs.  4 , 5 and 6 and Tables 1 and 2 ).

It addressed the potential application of VDS in the future and the possibility of hybrid models from the perspectives of students and teachers (2 items: see Fig.  7 ).

Left, overall evaluation of VDS experience; right, evaluation of final design outcomes. The reported numbers are actual percentages (rounded up) and include missing answers, if any

Left, the effectiveness of the 3D working model in VDS compared to PDS; right, students’ ability to express their ideas in VDS compared to PDS

Left, background peer learning; right, conducting group work

Effectiveness of virtual juries compared with physical juries

Left, the preference for face-to-face table critiques; right, the propensity for combining PDS and VDS

The survey passed through the monitoring and approval process with the ethics committee of the host institution. The survey items are annotated in the following figures and headings as they appeared on the survey.

The Faculty of Architecture, in this case, offers three programs (architecture, interior architecture, and landscape design) in two languages (Turkish and English). At the end of the academic year of 2019–20 (summer), 715 active students were enrolled in design studios. These students consisted of 494 males (69%) and 221 females (31%) with the majority of them in the age range of 19 to 24 (mean = 20.73, Std. Deviation = 2.54). The Faculty of Architecture (English) consists of a majority of international and non-local students. In order to keep the contexts of the respondents uniform for this study, those who travelled back home and continued their education via the distance learning platform were selected as the target group (n = 367). This decision was motivated by the fact that many of those who stayed on the island were in contact with each other; therefore, their responses to the questions regarding peer learning might not have been purely representative of VDS. Students in their first year of the program were not included in the sample since they had had very limited prior experience with physical design studios (PDS). The sample was kept uniform considering students’ active semester. Accordingly, 185 active students voluntarily participated in the study after the semester was over. This number accounts for 25.8% of the total number of students and 51% of all students who travelled back to their home countries to continue with remote education (the sample meets the 95% confidence level). All of these students had a design studio course in the spring of 2020. In addition, 18 full-time staff members who were instructing design studio courses in the same period participated in the study (7 male and 11 female lecturers between the ages of 34 and 63, mean = 47.0, Std. Deviation = 8.89). The scale of measurement is a Likert scale of five. Most of the responses are comparative from 1 being ‘Much worse than PDS’ to 5 being ‘Much better than PDS’.

Results and analysis

The majority in both groups (students and teachers) evaluated VDS as a positive experience (Fig.  3 ). This, however, might have been influenced by the amount of free time gained by not having to commute to work/education and the overall lower cost of VDS compared to PDS. In fact, this is the only item in the survey that teachers have evaluated higher than physical design studio (Fig.  3 , left). The final design outcome is considered by the majority to be the same or better than PDS (teachers: 68.4%, students: 78.4%).

It must be noted that not all students had equitable experiences and their opinions might have been affected by their access to the resources required for VDS. Accordingly, the study controlled for external variables, such as internet speed, access to CAD software, and access to adequate computer hardware as evaluated on the 5-point Likert scale by the students. This step was taken to explore the potential effect of such intervening factors, especially for those who reported having negative experiences. Accordingly, a set of Spearman rank correlations were conducted to explore the association between the collected non-parametric ordinal variables (Glasser & Winter, 1961 ). The results show a slight positive (significant) association between the available computer-related resources and the overall experience; the correlation is relatively lower for the evaluation of the final design product regarding access to CAD software and internet quality. Thus, some of the negative experiences of VDS might have been influenced by these variables (Table 1 ).

VDS is intrinsically different from PDS in terms of communication medium. Virtual communication poses emerging problems for both students and teachers. The two-sided communication happens in the physical studio over a table or a board; even a very simple working model is a precise and interactive medium and can convey ideas and comments quickly and intuitively. Transforming these interactive communication mediums into VDS was a challenging endeavour. Accordingly, the survey aimed to evaluate students’ abilities to express their ideas in VDS (Fig.  4 : right). The responses, here, were different from students’ perspectives. Students found VDS to be similar to PDS (mean = 3.09), whereas teachers reported it to be inferior to PDS (mean = 2.56). A similar trend was observed for working with a digital model instead of a physical model for expressing design ideas (Fig.  4 : left; students, mean = 3.40; teachers, mean = 3.06).

The survey asked for the evaluation of tools that students used for drawing, drafting, and visual communication in VDS during the semester. The most common tools were evaluated from ‘1. Not effective at all’ to ‘5. Extremely effective’. The scanning of hand drawings and photography of physical models were also included as an item because it was a common practice among students and lecturers. The mean values are shown in Table 2 . It seems that the tools with simple intuitive interfaces (SketchUp) and those known by the majority (AutoCAD and Photoshop) are most effective according to the target group. Coefficient of Variation (CV) is used here to explore the relative dispersion of responses between groups with different sample sizes (Shechtman, 2013 ). In the case of more complicated tools like Revit, the high CV in responses indicates that those who know the program very well, find it extremely effective whereas others who could not use it effectively found it ineffective. On the contrary, AutoCAD and Photoshop, which are being taught as a part of the curriculum and are the basic go-to applications, show the lowest CV in both groups. Nevertheless, it is difficult to draw a conclusive argument regarding ‘the effectiveness of digital presentation tools in the studio’ due to the high dispersion in the data sets demonstrated by CV (see Shechtman, 2001 ). However, this dispersion indicates the diversity of preferences for digital presentation tools in the architectural studio.

As suggested by the existing literature, peer learning is one of the fundamental pedagogical attributes of the architectural studio. The survey addressed this issue in two items: informal peer learning (background learning) and the student’s ability to conduct successful group work in VDS compared to PDS. The evaluation of background learning, as reported by the students, was ‘same as PDS’ (mean = 3.06), and teachers evaluated it as inferior to PDS (mean = 2.56). In the open-ended inquiry attached to this question, some students indicated that they learned more from the discussions of their friends’ projects than what they used to learn in PDS (Fig.  5 ). Two general explanations were given by the students in this regard. First, they could keep working on their projects while listening to the ongoing critique session. Second, the availability of the recording for further revisiting made it possible to pay attention more when the discussion was going on. The class recording also made it possible to revisit the critique session, which many students reported doing. Similarly, students found working on group assignments in VDS to be similar to doing so in PDS (mean = 2.92), whereas teachers evaluated it as worse than in PDS (mean = 2.29). It must be noted that among all measured variables, group work in VDS was ranked lowest by the students when they compared it with group work in PDS.

Based on the initial analysis, the study further explored potential associations between variables affecting the studio (see Fig.  3 : experience and outcomes) and the variables that were evaluated by one or both groups as influential (see Figs.  4 and 5 : working with 3D digital tools, effective communication, peer learning, and group works). Table 3 shows the side-by-side association (Spearman) between the aforementioned variables for both groups. The results show differences not only between teachers and students but also between the experience and outcome of the studio. The most influential variable associated with the design outcome for both students and teachers is ‘effective communication’. For teachers, maintaining peer connection and group work seems to be the only statistically significant correlation regarding the studio experience, whereas, for students, it remains ‘effective communication’.

The study also explored the effectiveness of virtual juries as a learning tool in comparison with the PDS juries. Design studio juries are not merely assessment tools, they are an extension of the dialectical feedback on the project and carry a pedagogical role (El-Latif et al., 2020 ). The ability to present a project to peers and external visiting jurors is a part of architectural professional practice that is learned within the framework of jury evaluation (Lewis, 2013 ). Virtual space, in this regard, offers a different experience when compared to PDS. In PDS, all projects are on display; furthermore, from students’ points of view, all their documents are seen at once. Whereas in the virtual space, the focus is often on one item of a singular project (Iranmanesh & Onur, 2021 ). In this case, the virtual jury seems to empower students to focus on the strengths of their project by giving them more control over what is being presented on the screen. The collected data suggests a similar trend to the aforementioned criteria; students seem to evaluate the online jury higher than the teachers do. The gap shows itself clearly, where 40.8% of students evaluate the virtual jury to be better than the physical jury compared to only 5.6% of teachers evaluating it that way (Fig.  6 ).

It must be noted that this gap might have been influenced by other variables. For instance, the cost of preparing for the physical jury was higher for the students in this case compared to cost of preparation for the online presentation. A significant but weak association was identified between the cost of preparations for the jury and students’ evaluations of the virtual jury (ρ = 0.33). The pedagogical effectiveness for architectural juries has been criticised in the literature (Anthony, 1987 ; Ward, 1990 ), but it remains the mainstream practice for the evaluation of design studio outcomes, to date. Perhaps the appeal of the virtual jury to the student reflects a need for the jury to become a more student-centred event.

Despite the positive attitudes toward VDS, both students and teachers expressed a high level of affinity for face-to-face critique sessions and PDS (Fig.  7 ). More than 77% of teachers and 69% of students reported that they prefer a face-to-face critique session. When asked if they would prefer to have a combination of both methods in the future, the majority agreed that a hybrid method would realize the best of both worlds—creating a studio experience that would supersede either one alone. A similar finding was reported by Rodriguez et al. ( 2018 ).

The current study explored the self-evaluation of the design studio experience and its outcomes from the perspectives of students and teachers. Moreover, various aspects of virtual design studio were analysed, including peer learning, group works, effective communication methods, the integration of the digital tools into the studio workflow, and jury evaluation. The results show that the most critical items associated with both experiences and outcomes of the studio are communications between teacher(s) and student(s) and maintaining peer connections. The communication skills blend into the discussion of students’ fluency with the digital tools that were used for the studio environment.

Identifying the significant differences between students' and teachers' attitudes toward the unplanned VDS is one of the key findings of this study. In general, students evaluated most dimensions of VDS to be similar or better than PDS, whereas the teachers found VDS to be inferior to PDS for most variables. These findings indicate the existence of a generation gap that is embodied in the advent of digitalized communication in the lives of younger generations. The Generation Z students of the faculty have grown up with the internet and have developed the ability to conduct independent self-learning processes. Thus, these students seem to be more flexible in adapting to VDS, whereas the teachers might not find these emerging approaches effective or suitable for what they know as conventional design studio.

The lack of a robust framework might have created some issues for the students and the faculty since the transition to VDS was a sudden change with no prior plan in mind. Nevertheless, the design studio courses moved on, and students accepted and adapted to the conditions of VDS faster than their instructors did. There are lessons to be learned from this experience. The role of the teacher in this process, as suggested by Rancière ( 1991 ), could be to motivate students and provide a platform for exploration and self-learning processes. Of course, architecture, as a multi-disciplinary major, requires technical tutoring, but as the results suggest, many of those processes can be learned by providing the right resources and just showing the way. The design studio plays an important role in this regard since it is the nexus of all learning outcomes in the architecture curriculum.

The results of this study indicate a strong association between successful communication and the outcomes of the design studio. The face-to-face critique sessions allow for more casual interactions. An inherent quality of physical space is that it can create dynamic and interactive opportunities (see Fig.  2 ). However, for the most part, virtual space is limited to bi-directional communication that renders other participants mere observers. The findings indicate that both students and teachers associated successful communication with the successful outcomes of the virtual studio.

Moreover, peer learning is one of the core concepts of architectural pedagogy, and it might come into question regarding VDS. Our findings suggest that students who could maintain their peer communications during distance education were more successful with their design projects. This brings to light the critical importance of digital communication in virtual space. Mere access to good hardware and/or software is shown to be a significant contributor to the experience and outcomes of the studio. Furthermore, the possibility of the teacher’s interaction with the project seems to be a significant variable. In this case, universally known software like AutoCAD and Photoshop, and free, intuitive tools like SketchUp that can be learned quickly were the most successful tools in conducting VDS. The utilisation of these tools might make student–teacher communications easier by narrowing the skill gap between the learners and teachers. Also, it must be noted that VDS might be disadvantageous for some students who are naturally good at sketching and hand drawing.

The design studio evaluation process via jury also requires more attention considering information that arose during the pandemic. The traditional jury often struggled with negativity and stress. The power hierarchy of the jury can potentially make it a stage for teachers’ opinions when it is inherently supposed to be a student-centred event. The preference of students for the online jury highlights some of these issues. Further studies are required to explore how the lessons learned from VDS can elevate the jury evaluation for the betterment of architectural studio pedagogy.

The results of the final items in the survey indicate students’ affinity for the face-to-face critique sessions even though students evaluated their experiences of VDS as similar to or better than PDS. For the most part, students and teachers agree that VDS offers some qualities that are superior to PDS and can highly complement the traditional studio system. This shows the necessity of re-evaluating the models and theoretical frameworks around the design studio pedagogy. As the findings of this study indicate, design studio is a dynamic and resilient entity that survived—and thrived in some aspects—even when its very spatial core was disturbed, As such, the transformation of its traditional approaches does not seem to neglect its core values. It is essential for the pedagogical models of design studio learning to evolve with context, time, innovation, and technology.

A successful educational process in design does not intend to teach every single step leading to an outcome; rather, it is an enabler of discovery and exploration of a student’s capacity. This is what Rancière ( 1991 ), Robinson and Aronica ( 2016 ), and Sugata et al. ( 2005 ) explored for educating the new generation driven by students’ own experiences. Selecting personal approaches and becoming self-aware can affect students’ academic achievements in a very positive way. In the context of design studios, it is necessary to ask questions that will make students curious and have mentors direct them when necessary.

It must be noted that this study was limited by the sample size and special circumstances of the case study. The results that were presented here are promising. Nevertheless, different contextual characteristics, resources, and pedagogical approaches might render different outcomes. In the end, the possibility of using the potentials of virtual space in the future of architectural design studio pedagogy must be acknowledged. Further studies are required to explore the possibility of blended methods for post-COVID architectural education. In this case, the virtual studio was a positive experience for some students and an obstacle for others. This might be the case for the physical studio as well. Thus, redesigning the workflow of architectural design studio in the post-pandemic world might create a more equitable and resilient environment that benefits all students and can cope better with similar future events. Future studies might consider aiming for creating multi-variate statistical models that can address the intrinsic complexities of VDS from different perspectives, such as gender, detailed age ranges, cultural backgrounds, or personality traits.

Availability of data and materials

The datasets generated during and/or analysed during the current study are available from the corresponding author upon reasonable request.

Abbreviations

Virtual Design Studio

Physical Design Studio

3 Dimensional

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Iranmanesh, A., Onur, Z. Generation gap, learning from the experience of compulsory remote architectural design studio. Int J Educ Technol High Educ 19 , 40 (2022). https://doi.org/10.1186/s41239-022-00345-7

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A Space for Creative Growth

6 Web Design Case Studies We Can Learn From

Convey your thought processes and skills - and show future clients who you are as a designer

Illustration: Maddie Fischer

• Apr 11, 2019

We all know the importance of having a good online design portfolio. It’s your opportunity to show off your masterpieces to the world, while having full control over all aspects, from the layout, to animations, navigation and more. This way, you can have an impact on the way your work is perceived and experienced by potential clients or employers.

That’s all very well, but when it comes to web design projects, why not simply add a link to the website itself and let your visitors browse freely over there? Sure – you should link to any websites you’ve designed, but there are many ways to effectively showcase your web design projects on your portfolio.

Creating a case study that explains your work process and final results can elevate your projects to a whole other level. It can help your site visitors gain a better understanding of who you are, the way you work, your decision-making processes and more. Just like any other design project, a case study should tell a story. It should take your site visitors on a journey through your process, from color palette choices, to icons created specifically for the project, ‘before and after’ pics and more.

We’ve gathered six designers who have chosen diverse ways to expertly showcase their web design projects on their Wix portfolios. Dive in for some inspiration:

1. Brown Owl Creative for Creative House Group

> Showcasing custom-made icons and full-length screenshots

Multidisciplinary design company, Brown Owl Creative, chose to place a fullscreen gif on the top fold of this project page, instantly setting the tone. Directly beneath, a brief sentence introduces the client they were working with, plus the discipline involved and a link to the final result: the website itself. A generous use of white space helps put the focus on the text.

Scrolling down, you’ll find full-length screenshots of their website design, with a simple non-obtrusive gray border. They’ve also chosen to display a section of the client’s website on a laptop, offering an alternative perspective. Another nice touch is the emphasis they’ve put on three animated icons that are featured on the final site. And let’s not forget some basic UX principles they’ve taken care of: a ‘Back to top’ button and a ‘Next project’ button to ensure fluid navigation.

2. Miki Twersky for Nosta Fragrances

> Merging video screenshots with atmospheric photos

There are many subtle additions to NYC-based designer Miki Twersky’s portfolio that make it such a success. The comic footer, delightfully honest ‘ About ’ page and spacious layout make for a browsing experience that is both smooth and entertaining.

It comes as no surprise that her inner project pages are crafted with just as much care and attention to detail. This web design case study starts with a mood-setting image, followed by a brief explanation of the brand and some additional basic details, such as the date, her roles within the project and any other contributors. A slider invites you to scroll through to view the various stages involved in the logo design process.

Further down, Miki has seamlessly integrated video screenshots of the website, enabling her to choose which aspects of her design to put a spotlight on. The page ends with a few product photos that help strengthen the look-and-feel and tie everything together, while presenting more of her branding work.

3. Adelaide Wang for Humm.ly

> Thorough case study incorporating texts, images and videos

San Francisco-based product designer, Adelaide Wang, definitely knows the ins and outs of creating an intriguing and comprehensive case study. Having worked on many aspects of this project for Humm.ly , a music healthcare platform and app, she was able to share her and her team’s full work process.

The long-scrolling page takes you on a journey through some of the major stages of any design project. It starts by presenting their search for a defined visual identity. It then moves on to the details of the app’s various screens and navigation, putting an emphasis on the accessibility of the website’s design . Lastly, Adelaide presents the website itself on various devices, including a video screenshot of the website on mobile.

A consistent layout is used throughout the page, with titles, subtitles and paragraph text all retaining the same style. Two alternating shades of gray make up the website’s background, creating a clear, but subtle, separation between folds, and ultimately contributing to a successful user experience.

Learn more about how to nail your website’s UX design with these professional examples.

4. Studio&more for Din7

> Presenting color choices, logo design and more

Here’s another example of a detailed web design case study, by graphic design studio, Studio&more. In this project for industrial design company, Din7, they worked on both branding and UX. As a result, they had the material necessary to cover everything from color palette and typography choices, to the development of the company’s logo design, illustration style, website and various applications of the visual identity.

Each section of the case study is numbered and presented with a succinct selection of images. They’ve also used the visual language they came up with for the brand in the background, creating a strong and clearly defined tone of voice. Lastly, the studio has picked out a few of their website design’s screens to showcase separately, drawing attention to them.

5. Ariel Sun for her wedding website

> Telling a story through text and images

NYC-based artist and designer, Ariel Sun, created this web design case study for her own wedding website. There are many ways to write copy for your design portfolio – and here, Ariel’s gone for a friendly and personal tone of voice to provide site visitors with an inviting summary of the project. She also clearly explained what she and her partner’s different roles were in the process, giving everyone the credit they deserve.

Two simple, static screenshots of the website design follow, presenting the most prominent pages of the site. These are accompanied by an illustration of the couple and an image of the wedding invitation, helping us get a feel for the vibe they were going for. All of this is presented in a highly aesthetic way, using a clean grid, plus a fixed menu at the top for comfortable navigation.

6. Liron Ashkenazi for The-Artery

> Including mobile and tablet view, process, and more

Multidisciplinary design director, Liron Ashkenazi, worked with a team of 3D artists, designers and developers to come up with the award-winning design for The-Artery ’s website. Liron’s case study of the project is made up of a selection of beautifully designed screenshot videos, short explanatory titles, the 3D model design process and accompanying text. The layout is concise, while including all the relevant details.

A thin column on the left provides us with background information on the client, The-Artery, as well as a breakdown of the various roles and the people involved. It also includes a list of links where the website has been featured.

Scrolling down the page, you see the development of the 3D animated models that appear on the final website. There’s also an image that showcases the website on three different devices. Incorporating elements from the design outside of the screenshots, makes for an intriguing visual representation of the overall project. The text above and on each image clarifies which page you’re looking at and who’s responsible for which elements, while not distracting from the design itself. Finally, Liron has included the design for a 404 page – a welcome addition, especially when it looks this good.

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Courtyard House / Abin Design Studio

• Curated by ArchDaily
• Architects: Abin Design Studio
• Area Area of this architecture project Area:  5400 ft²
• Year Completion year of this architecture project Year:  2015
• Photographs Photographs: Tina Nandi , Ravi Kanade

Text description provided by the architects. We first met our client, Mr. TG Sathyanarayanan, when he lived in Thailand. He had been abroad for many years and he came across as a person updated on a modern lifestyle. When he decided to move back to India, we proposed a concept for his villa - one that was ‘rooted’ and connected to the soil. His appreciation for the same revealed to us his very Indian ethos. His needs and wants put forward an interesting mix of tradition in a modern setting. Since then, there was no looking back. His requirements were modest, and his trust in us – unlimited, giving us freedom in design. Vaastu compliance was an important factor for him, and this was taken into consideration from the very beginning.

The site is part of a developed housing community in the outskirts of Bangalore. The city has very pleasant weather, almost round-the-year, which we tried to bring into the home through natural light and ventilation. Its surroundings being rather unremarkable, the USP of the house needed to, thus, come from the house itself. Massing of the building was important and simplicity essential.

A courtyard was planned as the focal point of the house and we built all other spaces around it. A taller mass was planned south of the courtyard to ensure a shaded and accessible open space. The Northern side of the courtyard had a slightly shorter mass with an elongated slab exposed by virtue of balconies and terraces. This balance of the two masses created a simple, modern, interesting form – in line with our philosophy for the home. The two masses on either side of the court are connected with just a narrow passage. This sky lit passage is completely glazed on one side and has a wall of vertical fins on the other. It boasts views on either side providing uninterrupted continuity of the greens and water bodies through this passage into the house, interweaving the indoor spaces with the landscape continuously.  

“A building is complete only when people start living in it”, but the movement of light and shade through the house had begun to breathe life and warmth into the home welcoming its users in.

A free-flow of spaces into one another and in-and-out of nature is the highlight of the house. Inside, the living spaces look across the water court to the large volume of the dining area and further to catch a glimpse of the master bedroom on the first floor. Indoor and outdoor spaces are seamlessly connected across greens and blues, through stone and glass and across different levels. One is always part of the house in its entirety as the edges of disparate spaces are subtly blurred. Amidst the lush green outdoors, this transparency among spaces, the multiple balconies and courtyards help one enjoy the beautiful Bangalore weather.

Landscape has been designed to look organic and inherent to the site. As the trees grow and the building ages, built-and un-built will become more and more indistinguishable and graceful. Soft mounds, grassy lawns and trees in a variety of scales, colours and scents, make the outdoors inviting in every climate. Additionally, the water bodies with their lilies and fish are imagined to be abuzz with understated movement. The small water cascade at the north-western corner provides the freshness of the sound of water coming subtly from a distance. The elusive textures in the various perceivable dimensions create an exquisite recluse for the family.

The design of the staircase evolved from the concept of connecting to the soil. The staircase springs from a solid granite base with steps carved into it while the rest of the flight complements it by virtue of its minimalistic design – a unique combination of solid and sleek – giving way to a truly contemporary stairway. This is set against a screen of slender vertical fins that continue to form the skylight above. The modern design and traditional stone, the rooted base and lofty flight make it quite a vivid combination. A bold red handrail and expressive sculptures add drama to the staircase. To the outsider, the view across the water body is enigmatic as the fins reveal ‘hit-and-miss’ glimpses of the inside, making one look twice!

We were thrilled to employ locally available Sadarahalli granite and have tried to use it in various finishes and combinations across the home.

The entrance foyer was intended to merge seamlessly with the living room demarcated only through a translucent screen. But when we came across a beautiful antique door, we knew just the right spot for it. It was wonderfully symbolic at the foyer and gave the right balance of tradition that we were looking for to reflect our client’s inherent philosophy of life. The door paired beautifully with an antique bell that hung right next to the very contemporary crafted wooden door.

Along with the antique door we have also used a delicately carved wooden pillar with fascinating proportions. It was fixed onto a carved granite base in an off-centre alignment in the dining room along the corridor. Along with the solid wood dining table and bench it lent warmth and character to the space while the modernity of transparent acrylic chairs and a larger than life wire-frame chandelier complemented traditional gestures.

The interiors and furniture pieces were planned to be simple and fuss-free, looking effortless in its place. Black seamless mirrored units are combined with hand-carved wooden tables, sleek console tables with folk-inspired rugs, minimalistic sofas with graphic art printed cushions... The combination of these elements was designed especially for our client, given his background and lifestyle, to encompass an ideal balance of modernity and tradition.

Printed MDF panels were used in many locations. Starting from the large print of the grandfather tree to the smaller Ikat inspired patterns, we used a variety of these panels to enliven simple pieces of furniture.

The elegance of the design of this home lies in its simplicity. The freedom we had while designing was liberating. We thought of it, as always, like idealists (it’s as if we never learn!). As architects we are often disheartened by practicality and have learnt to fight for our way around it. But the brilliant structural consultant on the project has made a whole lot of dreams extremely real! The entire process in designing and building this humble home has re-instilled in us an unabashed design philosophy.

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50+ Design Thinking Case Study Examples

Design Thinking Case Studies demonstrate the value of the Design Thinking methodology. They show how this Design Thinking methodology helps creatively solve problems and improve the success rate of innovation and increase collaboration in corporations, education, social impact work and the public sector by focusing on the needs of humans.

There are many Design Thinking Case Study examples on the web, but few meet the criteria for a robust case study: a clear description of the methodology, steps undertaken, experimentation through rapid prototypes and testing with people and finally documented results from the process. In this section, we have been selective about the design thinking case study examples that we highlight. We look for Design Thinking Case Studies that demonstrate how a problem was tackled and wherever possible the results or effect that the project produced. Our goal in curating this section of Design Thinking Case Study examples is quality over quantity.

Browse this page to view all Design Thinking Case Study examples, or if you are looking for Design Thinking Case Studies in a specific industry or marketing vertical, then rather start with the Design Thinking Case Studies Index .

If you have an interesting application of Design Thinking that you have a case study for, we would be happy to publish it.

Submit your Design Thinking Case Study for publication here.

Design Thinking Case Study Index

Welcome to the Design Thinking Case Study Index. There are many Design Thinking Case Studies on the internet. Many are retrofitted descriptions of what occurred, rather than evidence of the Design Thinking process in action. In order to bring a higher standard to the practice of Design Thinking, we require stronger evidence and rigor. Only members can post and must provide strong evidence in the Design Thinking Case Study that the Design Thinking process was used to create the original idea for the product or service solution. The criteria that needs to be proved to make your project a Design Thinking Case Study are:

The Guardian: Benefits of Design Thinking

Design thinking helped The Guardian newspaper and publishing group change their funding model, boost revenue and adapt their culture and engage on an emotional level with their readers. In this case study, Alex Breuer, Executive Creative Director and Tara Herman, Executive Editor, Design explain how design thinking was able to achieve these goals for The Guardian.

Read more...

Tackling the Opioid Crisis at the Human and Systems Levels

How the Lummi Tribal clinic used design to address opioid overdoses

Applying Design Thinking Internally

Applying Design Thinking internally, within a group, community or to ourselves. This is a new application of the Design Thinking Methodology.

An internal application in this sense can have two meanings. First, the internal application of design thinking tactics within a group, organization or community, and second, the internal application of design thinking to one’s own self and life.

Can Design Thinking help you solve your own problems?

The Use of Design Thinking in MNCH Programs, Ghana

Responding to growing interest among designers, global health practitioners, and funders in understanding the potential benefits of applying design thinking methods and tools to solving complex social problems, the Innovations for Maternal, Newborn, and Child Health (MNCH) Initiative (Innovations) developed and piloted innovative interventions to address common barriers to improving the effectiveness of basic MNCH health services in low-resource settings.

Société Générale's Time Tracking Nightmare Solved

In 2017, employees, managers, and partners of Société Générale Global Solution Centre agreed that invoices based on time tracking and project allocation were a chronic and painful challenge.

At SG-GSC, customers were billed for the time each assigned employee worked. The process of collecting the time worked by those employees (HCC) was a complicated and difficult ordeal. It consumed 21 days per month for senior employees. These employees had to navigate different systems, many types of contracts, high staff mobility, and a variety of processes between business lines.

How to Stimulate Innovation in Your Organization With Design Thinking

In this use case the cities of Aalborg and Rotterdam share their findings obtained from design thinking initiatives. This is based on empirical research as part of an evaluation. The use case is written for other professionals in the field of design in public organizations.

One of the main targets of the Interreg NSR project Like! is to create a digital innovative culture in which citizens are engaged, and more inclusive services are build. To reach this the municipalities started several initiatives with design thinking. In these initiatives one of the objectives was to find out how design thinking can help us to develop innovative and inclusive services. To research what design thinking contributed, we evaluated the pilots with participants.

The Impact of Design Thinking on Innovation: A Case Study at Scania IT

Organizational culture represents a crucial factor for the introduction of innovation throughout the organization via Design Thinking and agile way of working. Thus, the organization must establish a culture that encompasses a shared vision with values that create a commitment to learn, experiment and accept failure.

Oral B - Putting the User At the Center of Innovation

Oral B wanted to integrate digital technology into their electric toothbrush. The Brands first thoughts were to help users to track how well they were brushing their teeth. Future Facility, a product design firm in the UK suggested a different approach. Focus on the pain points of electric toothbrush users.

This case study discusses the importance of placing the user at the center of your innovation activities.

Design Thinking at Innogy

eCarSharing:   Energy Solutions for the New Generation

In 2015, Itai Ben-Jacob pitched his own ideas for a viable business model and developed the idea for innogy’s eCarSharing project in a design thinking workshop. His goal was to explore one of innogy’s innovation focus areas, ‘urban mobility.’

Together with fellow innovation hub members he organized a series of design thinking workshops to wade through the expansive topic of urban concepts – one of them focusing on mobility: “ We wanted to understand urban mobility – what does it actually entail? What type of business should we start? “

Building Cape Town’s Resilience Qualities Through Design Thinking.

This case study focuses on a Design Thinking Workshop for primary school learners. The aim of the workshops was to provide learners with a new set of skills which they can employ when problem solving for real world challenges.

Building resilience is essential for cities that face increasing uncertainty and new challenges that threaten the well-being of its citizens. This is especially important when looking at the diversity and complexity of potential shocks and stresses. 

Cape Town’s efforts to build skills in design thinking supports the creation of locally-relevant and innovative solutions that contribute to building resilient individuals and communities in Cape Town.

Designing Waste Out of the Food System

The average American  wastes  enough food each month to feed another person for 19 days. Through a number of projects with The Rockefeller Foundation and other organizations, IDEO designers from across the U.S. devised novel ways to tackle food waste.

B2B Design Thinking: Product Innovation when the User is a Network

When B2B companies talk about user experience, they are really considering the aggregated needs of multiple people and roles in a large ecosystem. But what happens when those objectives are vastly different for every individual?

“Humans don’t stop being humans just because they entered an office building.”

Self-Checkout: Improving Scan Accuracy Through Design

In this unique applied research study, academics and designers partnered with four of ECR’s Retailer members to immerse themselves in the self-checkout experience, understanding from the perspectives of the shopper and self-checkout supervisors, their journey from entry to exit, and their design challenges and frustrations.

Co-designing OTP Bank’s Strategic Plan for Growth

This is an example of accelerating a transformation through co-design. Eighty-two professionals gathered, representing OTP’s whole organization. Together, they were able to achieve months of work in just three days.

OTP Bank Romania (OTP) was at a key turning point in late 2018. The organization was undergoing changes in its leadership team. This new team helped them develop an ambitious goal:

OTP Bank will double its market share in 5 years.

They gathered for two Discovery sessions in December 2018. In these sessions, a carefully selected senior team chose three market segments to focus on. Then they built these segments into Personas.

IDEO: Journey to Mastery

While this is not a case study as such, it sits in our case study section as it is an important piece of information from a consultancy that played a large part in popularizing Design Thinking. In their Journey to Mastery section, IDEO discuss and shine a light on the shortcomings of the design thinking term and how it has been applied. I.e that it is not designing and that just knowing and using the practice does not in itself produce amazing solutions to problems.

It is worth a read to understand some of the nuance that is important to successful design thinking work.

Singapore Government: Building Service Platforms Around Moments in Life

In 2017, the product development team at Singapore’s Government Technology Agency (GovTech) was tasked to develop a tool to consolidate citizen-facing services previously delivered by different government agencies onto a single platform. The initiative, Moments of Life, sought to make it easier for citizens to discover and access relevant services during important changes in their lives by reducing fragmentation and being more anticipatory in the delivery of those services.

Organizing the delivery of services around a citizen’s journey, rather than fitting their delivery to existing processes, required extensive interagency collaboration beyond functional silos.

Mayo Clinic: Design Thinking in Health Care – Case Study

In the early 2000s, Mayo Clinic physician Nicholas LaRusso asked himself a question: if we can test new drugs in clinical trials, can we in a similarly rigorous way test new kinds of doctor-patient interactions?  

Consequently, the Mayo Clinic set up a skunkworks outpatient lab called SPARC. Within 6 years it had grown to an enterprise wide department called the Center for Innovation a dedicated research and design-oriented institute that studies the processes of health care provision, from the initial phone call, to the clinic visit, to the diagnosis and treatment of the problem, to follow-up and preventive care.

Design Thinking and Participation in Switzerland: Lessons Learned from Three Government Case Studies

Olivier Glassey, Jean-Henry Morin, Patrick Genoud, Giorgio Pauletto

This paper examines how design thinking and serious game approaches can be used to support participation.

In these case studies the authors discovered the following results.

Perceived usefulness. Based on informal discussions and debriefing sessions following all workshops, it is clear that the vast majority of workshop participants explicitly stated that both the actual outcome of the workshop and the methods used would significantly contribute to enhancing their performance in their work. Some workshops have actually led to follow up workshops or concrete actions based on the outcome.

Asili: Addressing an Entire Ecosystem of Need in a Rural Community

Design Thinking in HR at Deutche Telekom

Reza Moussavian, a senior HR and IT executive at Deutsch Telekom explains the company's journey and how important Design Thinking is as a business strategy for HR. Reza Moussavian's presentation provides great examples of issues tackled in HR and the results achieved. The presenter claims that there is not a singe issue that Deutche Telekom tackles in HR now that does not start with a Design Thinking methodology.

"Design Thinking solves 5% of our problems." says Reza Moussavian, "What we found out was that the magic was really in the implementation phase. We had to learn how to keep the momentum, the spirit and the fire from the co-creation workshops alive through the long implementation phase. Success is really about technology, transformation and leadership skills."

Design Thinking in Education: Perspectives, Opportunities and Challenges

This very informative article discusses design thinking as a process and mindset for collaboratively finding solutions for wicked problems in a variety of educational settings. Through a systematic literature review the article organizes case studies, reports, theoretical reflections, and other scholarly work to enhance our understanding of the purposes, contexts, benefits, limitations, affordances, constraints, effects and outcomes of design thinking in education.

Specifically, the review pursues four questions:

Design Thinking in the Classroom: What can we do about Bullying?

As children move from kindergarten, through middle school, and to high school, instruction shifts from stories to facts, from speculation to specifics, and imagination fades from focus. Design Thinking provides an alternative model to traditional ways of learning academic content by challenging students to find answers to complex, nuanced problems with multiple solutions and by fostering students’ ability to act as change agents.

Design Thinking is all about building creative confidence — a sense that “I can change the world.” In the Bullies & Bystanders Design Challenge, the students discovered that changing themselves might be even more important.

Following One School District's Approach to Innovation for the 21st Century

In her doctoral paper Loraine Rossi de Campos explores the use of Design Thinking in a school district for a 4-5 grade school.

India: Using ‘Design Thinking’ to Enhance Urban Redevelopment.

The discourse on urban planning and development has evolved over the last century with top-down methods of planning urban spaces giving way to bottom-up approaches that involve residents and other stakeholders in the design process. While the notion of participation and user involvement is considered critical to the design of appropriate and acceptable urban forms, there is no clear consensus in the literature on the methodology to be used to involve users and stakeholders in the design process. In this paper, we propose that the use of ‘Design-Thinking’ – a methodology for Human-Centred Design that is often used in product design and related industries – may be an effective methodology for engaging stakeholders in the urban design domain.

E*Trade: From Idea to Investment in 5 Minutes

Why the Financial Services Sector Should Embrace Design Thinking. Financial institutions need to evolve rapidly or risk disruption at the hands of nimble Fintech start-up companies.

In this article Kunal Vaed, The Street, describes how E*Trade used design thinking to enable the company to help investors get smarter by going from the idea of investing to an investment in 5 minutes.

E*Trade's Adaptive Portfolio service offering provides a good example of the work and results that E*Trade achieved with Design Thinking.

Fidelity Labs: Optimizing near-term savings goals

Thanks to providers like Fidelity, people can rely on easy, convenient systems to stay on track with their retirement savings. But when it comes to saving for important near-term goals (think: vacation, house, or wedding), people tend to be less organized. 

Fidelity Labs tackled this problem and defined the challenge as: "How might we improve the experience of saving for near-term goals? How might we make it easier, faster, and better?"

Design for Action: MassMutual and Intercorp Group

How to use design thinking to make great things actually happen by Tim Brown and Roger L. Martin. In this great HBR article, the authors look at design thinking in Finance with two case studies, one from MassMutual and the other from Intercorp. Group of Peru.

In this article highlighting the development of the acceptance of Design Thinking, they discuss how Design Thinking helps to create the artifact that creates the new solution as well as the intervention/s that brings the artifact to life.

How to Use Design Thinking to Make Great Things Actually Happen

Ever since it became clear that smart design led to the success of many products, companies have been employing it in other areas, from customer experiences, to strategy, to business ecosystems. But as design is used in increasingly complex contexts, a new hurdle has emerged: gaining acceptance (for the new solutions).

4 Design Thinking Case Studies in Healthcare: Nursing

The 4 case studies by Penn Nursing illustrate how nurses can be really powerful collaborators and generators of solutions within Healthcare. The videos describe the main attributes that nurses bring to the problem solving table

Philips: Improving the Patient Experience

Philips Ambient Experience service offers hospitals a way to radically improve the patient experience and results that they can achieve from their CT scanning suites. The best way to understand what it is is to watch this video  and this video  discussing the latest addition to the service. The white paper from Philips is also a good source of information on the Ambient Experience Service.

IBM: Design Thinking Adaptation and Adoption at Scale

How IBM made sense of ‘generic design thinking’ for tens of thousands of people. 

Generic design thinking often faces heavy resistance from influential skeptics, gets misunderstood or not understood at all, or less dire, it gets picked up with an unreflected euphoria and is applied as a “silver bullet” to all kinds of problems and projects (the famous “methodology misfit” we also see with Scrum for example). The big hangover often comes after the first experimentation budgets are expended and at worst a blame game starts.

Design Thinking in Public Engagement: Two Case Studies

Dave Robertson presents two case studies with the British Columbia Government (Canada). One with the Ministry of Transportation discussing their (public servant centered website), the other solving the problem of finding a solution to where to place a power substation.

Dave shows how he was stuck working in the public sector as a consultant and how creativity expressed through the Design Thinking methodology helped him to see a different, more effective way of creating solutions.

Bank of America Helps Customers Keep the Change

How do you encourage new customers to open bank accounts? In 2004, Bank of America used the Design Thinking methodology to look at the problem from a human centered perspective when they assigned design agency IDEO to boost their enrollment numbers: a problem that at the time, lacked any user perspective on why it was so hard for customers to save.

Redesigning The Employment Pass Application in Singapore

The Ministry of Manpower’s Work Pass Division (WPD) used design thinking as a tool to develop better ways to support foreigners who choose Singapore as a destination to live, work and set up businesses. The case reveals: Design thinking can potentially transform the perception and meaning of public service.

The team found out that the service redesign process required a better understanding of the decision points of both users and non-users. This involved taking a closer look at the opportunities and difficulties facing users, including those who had succeeded and failed within it, or had encountered problems or avoided it.

The US Tax Forms Simplification Project

This case concerns one of the earliest attempts by design thinkers at designing a large, complex system. It shows that design approaches in the public sector can look back at a long history. And it reveals how design thinking within the organization must include members of the whole organization in the design process.

Design has a long tradition and a rich history in the public sector. Nearly 40 years ago, when the US Congress passed the Paperwork Reduction Act into law, the Internal Revenue Service (IRS) turned to designers in an effort to implement the new policy and to improve its relationship with taxpayers. 

A Tough Crowd: Using Design Thinking to Help Traditional German Butchers

Between 2004 and 2014, more than 4000 butcher shops were forced to shut down in Germany. When last was the butcher shop redesigned? The process started in the 1990s, as supermarkets became the favored spot for meat-shopping. As if a dramatic loss of market share was not enough, the industry as a whole started suffering from a serious image crisis. It was time to apply design Thinking to the traditional German Butcher Shop.

The initial problem statement read “Create the meat shop 2.0, an up-to-date version of the classic butcher business”. 

IDEO: Using Design Thinking to Create a Better Car

The challenge.

Remove roadblocks that can compromise the in-car experience for the Lincoln car company.

The final product, the Lincoln MKC luxury crossover, is credited with helping the Lincoln brand outpace growth in the luxury segment by more than two-to-one over competitors.

THE OUTCOME

A pop-up studio where IDEO designers helped departments communicate and collaborate more effectively.

Transforming Constructivist Learning into Action: Design Thinking in Education

In an ever changing society of the 21st century, there is a demand to equip students with meta competences going beyond cognitive knowledge. Education, therefore, needs a transition from transferring knowledge to developing individual potentials with the help of constructivist learning. A Scheer, C Noweski,  C Meinel , University of Potsdam, Germany.

Design Thinking is the most effective method of teaching constructivist learning.

Scaling Design Thinking in the Enterprise, a 5 Year Study

During Julie Baher's five years at  Citrix  between 2010 to 2015, she was fortunate to gain first-hand experience leading a transformation in product strategy to a customer-centered approach. It began when several senior executives attended the  design thinking boot camp  at Stanford’s d-school, returning with a new vision for the product development processes. Julie goes into detail about how they scaled up the customer centric methodology across the organizations 8,000 employees.

Developing Environmental Sustainability Strategies

Developing environmental sustainability strategies, the Double Diamond method of LCA and design thinking: a case study from aged care. Journal of Cleaner Production, 85, 67-82. Stephen J. Clune*, Simon Lockrey.

Developing an App for Type II Diabetes

Development and testing of a mobile application to support diabetes self-management for people with newly diagnosed type 2 diabetes: a design thinking case study. Numerous mobile applications have been developed to support diabetes-self-management. However, the majority of these applications lack a theoretical foundation and the involvement of people with diabetes during development. The aim of this study was to develop and test a mobile application (app) supporting diabetes self-management among people with newly diagnosed type 2 diabetes using design thinking. The article was written by Mira Petersen and Nana F. Hempler.

Improving UX in Public Transportation

In this case study the project leaders goal was to  improve the experience of bus users  on Madrid's EMT system by offering a technological solution to  increase the users’ satisfaction with regard to accessibility  during the bus trip as well as when waiting for the bus to arrive.

Transforming Life Insurance through Design Thinking

To some fintechs, non-insurance incumbents, and venture capitalists, the industry’s challenges suggest opportunity. The life insurance value chain is increasingly losing share to these players, who are chipping away at the profit pool. 

How might incumbent life insurers keep pace in today’s fast-moving competitive environment and meet customers’ changing needs?

Deploying the Design Thinking methodology in the insurance sector could be the key to helping save insurance from itself. Here's what McKinsey has to say about design thinking in insurance in their article "Transforming Life Insurance through Design Thinking".

"Better addressing the evolving needs of consumers can help incumbents win their loyalty—and protect against new competitors. 

Bringing Design Thinking to the Insurance World

Pancentric helped  Jelf kick-off a several-year digital transformation journey by getting to know not just their customers better, but their own staff, too. Jelf has dozens of offices around the UK, all with specialties in insuring different kinds of commercial businesses. For our project team trying to determine a roadmap of new developments, there was no easy overview of how each office operated or what the entire customer experience looked like.

The Features of Design Thinking in Fast Moving Consumer Goods Brand Development

This paper investigates what features of design thinking are employed in FMCG brand development via stakeholder interviews in three domains: agencies, companies, and retailers. This paper concludes with suggestions of how design thinking can be embraced in FMCG brand development.

A Chain of Innovation The Creation of Swiffer

This is a great case study that underlines the complexity of bringing game changing products to market. It helps to provide an understanding of just how much more is needed that a simple five step process of idea generation.

Read more from Continuum , the Design Firm responsible for the Swiffer

The Guardian: Using Design to Reaffirm Values

The Guardian's redesign, which launched in January 2018, illustrated the business impact when design is valued. The Guardian has a strong culture of design and increasingly, how design thinking can contribute to organizational change and development.

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Transition from physical design studio to emergency virtual design studio. available teaching and learning methods and tools—a case study.

1. Introduction: Theoretical Framework

1.1. what is a design studio, 1.2. a transition from pds to vds, 1.3. blended ds as middle ground, 1.4. significant statement and purpose of the study, 2. materials and methods, 2.1. context, sample and data sources, 2.2. data analysis, 2.3. case study: pds versus emergency vds at wroclaw university of science and technology, 4. discussion, 4.1. design process, 4.2. implementation process, 4.3. limitations and further research, 5. implications, 6. conclusions, author contributions, institutional review board statement, informed consent statement, data availability statement, conflicts of interest.

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Komarzyńska-Świeściak, E.; Adams, B.; Thomas, L. Transition from Physical Design Studio to Emergency Virtual Design Studio. Available Teaching and Learning Methods and Tools—A Case Study. Buildings 2021 , 11 , 312. https://doi.org/10.3390/buildings11070312

Komarzyńska-Świeściak E, Adams B, Thomas L. Transition from Physical Design Studio to Emergency Virtual Design Studio. Available Teaching and Learning Methods and Tools—A Case Study. Buildings . 2021; 11(7):312. https://doi.org/10.3390/buildings11070312

Komarzyńska-Świeściak, Elżbieta, Britt Adams, and Laura Thomas. 2021. "Transition from Physical Design Studio to Emergency Virtual Design Studio. Available Teaching and Learning Methods and Tools—A Case Study" Buildings 11, no. 7: 312. https://doi.org/10.3390/buildings11070312

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Relationships, Feedback, and Student Growth in the Design Studio: A Case Study

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• Jason K. McDonald 10  

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An essential component of the design studio is instructors giving, and students receiving, feedback through the process of critique. While critiques vary by studio, their importance and influence on the student experience is worthy of inquiry, particularly regarding how they can influence student development of attributes other than learning the content knowledge of a discipline. This phenomenological case study explores one undergraduate student’s views on being critiqued in a studio-style entrepreneurship course. Data was collected through interviews and observation and analyzed through an iterative coding process. Major themes from the interviews suggested that the student learned to value direct and specific feedback within trusting instructor-student relationships. Implications for instructors include the suggestion that they make intentional efforts to build trust with students as they develop skills and dispositions in preparation for the professional world.

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Michela, E., McDonald, J.K. (2020). Relationships, Feedback, and Student Growth in the Design Studio: A Case Study. In: Hokanson, B., Clinton, G., Tawfik, A.A., Grincewicz, A., Schmidt, M. (eds) Educational Technology Beyond Content. Educational Communications and Technology: Issues and Innovations. Springer, Cham. https://doi.org/10.1007/978-3-030-37254-5_16

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10 Successful Design Thinking Case Study

Dive into the realm of Successful Design Thinking Case Studies to explore the power of this innovative problem-solving approach. Begin by understanding What is Design Thinking? and then embark on a journey through real-world success stories. Discover valuable lessons learned from these case studies and gain insights into how Design Thinking can transform your approach.

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Design Thinking has emerged as a powerful problem-solving approach that places empathy, creativity, and innovation at the forefront. However, if you are not aware of the power that this approach holds, a Design Thinking Case Study is often used to help people address the complex challenges of this approach with a human-centred perspective. It allows organisations to unlock new opportunities and drive meaningful change. Read this blog on Design Thinking Case Study to learn how it enhances organisation’s growth and gain valuable insights on creative problem-solving.

Table of Contents   

1) What is Design Thinking?

2) Design Thinking process   

3) Successful Design Thinking Case Studies

      a) Airbnb

      b) Apple

      c) Netflix

      d) UberEats

      e) IBM

       f) OralB’s electric toothbrush

      g) IDEO

      h) Tesla

       i) GE Healthcare

       j) Nike

3) Lessons learned from Design Thinking Case Studies

4) Conclusion    

What is Design Thinking ?

Before jumping on Design Thinking Case Study, let’s first understand what it is. Design Thinking is a methodology for problem-solving that prioritises the understanding and addressing of individuals' unique needs.

This human-centric approach is creative and iterative, aiming to find innovative solutions to complex challenges. At its core, Design Thinking fosters empathy, encourages collaboration, and embraces experimentation.

This process revolves around comprehending the world from the user's perspective, identifying problems through this lens, and then generating and refining solutions that cater to these specific needs. Design Thinking places great importance on creativity and out-of-the-box thinking, seeking to break away from conventional problem-solving methods.

It is not confined to the realm of design but can be applied to various domains, from business and technology to healthcare and education. By putting the user or customer at the centre of the problem-solving journey, Design Thinking helps create products, services, and experiences that are more effective, user-friendly, and aligned with the genuine needs of the people they serve.  

Design Thinking process

Design Thinking is a problem-solving and innovation framework that helps individuals and teams create user-centred solutions. This process consists of five key phases that are as follows:  

To initiate the Design Thinking process, the first step is to practice empathy. In order to create products and services that are appealing, it is essential to comprehend the users and their requirements. What are their anticipations regarding the product you are designing? What issues and difficulties are they encountering within this particular context?

During the empathise phase, you spend time observing and engaging with real users. This might involve conducting interviews and seeing how they interact with an existing product. You should pay attention to facial expressions and body language. During the empathise phase in the Design Thinking Process , it's crucial to set aside assumptions and gain first-hand insights to design with real users in mind. That's the essence of Design Thinking.

During the second stage of the Design Thinking process, the goal is to identify the user’s problem. To accomplish this, collect all your observations from the empathise phase and begin to connect the dots.

Ask yourself: What consistent patterns or themes did you notice? What recurring user needs or challenges were identified? After synthesising your findings, you must create a problem statement, also known as a Point Of View (POV) statement, which outlines the issue or challenge you aim to address. By the end of the define stage, you will be able to craft a clear problem statement that will guide you throughout the design process, forming the basis of your ideas and potential solutions.

After completing the first two stages of the Design Thinking process, which involve defining the target users and identifying the problem statement, it is now time to move on to the third stage - ideation. This stage is all about brainstorming and coming up with various ideas and solutions to solve the problem statement. Through ideation, the team can explore different perspectives and possibilities and select the best ideas to move forward with.

During the ideation phase, it is important to create an environment where everyone feels comfortable sharing their ideas without fear of judgment. This phase is all about generating a large quantity of ideas, regardless of feasibility. This is done by encouraging the team to think outside the box and explore new angles. To maximise creativity, ideation sessions are often held in unconventional locations.

It’s time to transform the ideas from stage three into physical or digital prototypes. A prototype is a miniature model of a product or feature, which can be as simple as a paper model or as complex as an interactive digital representation.

During the Prototyping Stage , the primary objective is to transform your ideas into a tangible product that can be tested by actual users. This is crucial in maintaining a user-centric approach, as it enables you to obtain feedback before proceeding to develop the entire product. By doing so, you can ensure that the final design adequately addresses the user's problem and delivers an enjoyable user experience.

During the Design Thinking process, the fifth step involves testing your prototypes by exposing them to real users and evaluating their performance. Throughout this testing phase, you can observe how your target or prospective users engage with your prototype. Additionally, you can gather valuable feedback from your users about their experiences throughout the process.

Based on the feedback received during user testing, you can go back and make improvements to the design. It is important to remember that the Design Thinking process is iterative and non-linear. After the testing phase, it may be necessary to revisit the empathise stage or conduct additional ideation sessions before creating a successful prototype.

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Successful Design Thinking Case Studies  

Now that you have a foundational understanding of Design Thinking, let's explore how some of the world's most successful companies have leveraged this methodology to drive innovation and success:

Case Study 1: Airbnb  

Airbnb’s one of the popular Design Thinking Case Studies that you can aspire from. Airbnb disrupted the traditional hotel industry by applying Design Thinking principles to create a platform that connects travellers with unique accommodations worldwide. The founders of Airbnb, Brian Chesky, Joe Gebbia, and Nathan Blecharczyk, started by identifying a problem: the cost and lack of personalisation in traditional lodging.

They conducted in-depth user research by staying in their own listings and collecting feedback from both hosts and guests. This empathetic approach allowed them to design a platform that not only met the needs of travellers but also empowered hosts to provide personalised experiences. 

Airbnb's intuitive website and mobile app interface, along with its robust review and rating system, instil trust and transparency, making users feel comfortable choosing from a vast array of properties. Furthermore, the "Experiences" feature reflects Airbnb's commitment to immersive travel, allowing users to book unique activities hosted by locals. 

Case Study 2.  Apple    

Apple Inc. has consistently been a pioneer in  Design Thinking, which is evident in its products, such as the iPhone. One of the best Design Thinking Examples from Apple is the development of the iPhone's User Interface (UI). The team at Apple identified the need for a more intuitive and user-friendly smartphone experience. They conducted extensive research and usability testing to understand user behaviours, pain points, and desires.   

The result? A revolutionary touch interface that forever changed the smartphone industry. Apple's relentless focus on the user experience, combined with iterative prototyping and user feedback, exemplifies the power of  Design Thinking in creating groundbreaking products.    

Apple invests heavily in user research to  anticipate what customers want before they even realise it themselves. This empathetic approach to design has led to groundbreaking innovations like the iPhone, iPad, and MacBook, which have redefined the entire industry.  

Case Study 3. Netflix  

Netflix, the global streaming giant, has revolutionised the way people consume entertainment content. A major part of their success can be attributed to their effective use of Design Thinking principles.

What sets Netflix apart is its commitment to understanding its audience on a profound level. Netflix recognised that its success hinged on offering a personalised, enjoyable viewing experience. Through meticulous user research, data analysis, and a culture of innovation, Netflix constantly evolves its platform. Moreover, by gathering insights on viewing habits, content preferences, and even UI, the company tailors its recommendations, search algorithms, and original content to captivate viewers worldwide.

Furthermore, Netflix's iterative approach to Design Thinking allows it to adapt quickly to shifting market dynamics. This agility proved crucial when transitioning from a DVD rental service to a streaming platform. Netflix didn't just lead this revolution; it shaped it by keeping users' desires and behaviours front and centre. Netflix's commitment to Design Thinking has resulted in a highly user-centric platform that keeps subscribers engaged and satisfied, ultimately contributing to its global success.  

Case Study 4. Uber Eats     

Uber Eats, a subsidiary of Uber, has disrupted the food delivery industry by applying Design Thinking principles to enhance user experiences and create a seamless platform for food lovers and restaurants alike.  

One of  UberEats' key innovations lies in its user-centric approach. By conducting in-depth research and understanding the pain points of both consumers and restaurant partners, they crafted a solution that addresses real-world challenges. The user-friendly app offers a wide variety of cuisines, personalised recommendations, and real-time tracking, catering to the diverse preferences of customers.  

Moreover,  UberEats leverages technology and data-driven insights to optimise delivery routes and times, ensuring that hot and fresh food reaches customers promptly. The platform also empowers restaurant owners with tools to efficiently manage orders, track performance, and expand their customer base. 

Case Study  5 . IBM    

IBM is a prime example of a large corporation successfully adopting Design Thinking to drive innovation and transform its business. Historically known for its hardware and software innovations, IBM recognised the need to evolve its approach to remain competitive in the fast-paced technology landscape.   

IBM's Design Thinking journey began with a mission to reinvent its enterprise software solutions. The company transitioned from a product-centric focus to a user-centric one. Instead of solely relying on technical specifications, IBM started by empathising with its customers. They started to understand customer’s pain points, and envisioning solutions that genuinely addressed their needs. 

One of the key elements of IBM's Design Thinking success is its multidisciplinary teams. The company brought together designers, engineers, marketers, and end-users to collaborate throughout the product development cycle. This cross-functional approach encouraged diverse perspectives, fostering creativity and innovation. 

IBM's commitment to Design Thinking is evident in its flagship projects such as Watson, a cognitive computing system, and IBM Design Studios, where Design Thinking principles are deeply embedded into the company's culture. 

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Case Study 6. Oral-B’s electric toothbrush

Oral-B, a prominent brand under the Procter & Gamble umbrella, stands out as a remarkable example of how Design Thinking can be executed in a seemingly everyday product—Electric toothbrushes. By applying the Design Thinking approach, Oral-B has transformed the world of oral hygiene with its electric toothbrushes.  

Oral-B's journey with Design Thinking began by placing the user firmly at the centre of their Product Development process. Through extensive research and user feedback, the company gained invaluable insights into oral care habits, preferences, and pain points. This user-centric approach guided Oral-B in designing electric toothbrushes that not only cleaned teeth more effectively but also made the entire oral care routine more engaging and enjoyable.  

Another of Oral-B's crucial innovations is the integration of innovative technology into their toothbrushes. These devices now come equipped with features like real-time feedback, brushing timers, and even Bluetooth connectivity to sync with mobile apps. By embracing technology and user-centric design, Oral-B effectively transformed the act of brushing teeth into an interactive and informative experience. This has helped users maintain better oral hygiene.  

Oral-B's success story showcases how Design Thinking, combined with a deep understanding of user needs, can lead to significant advancements, ultimately improving both the product and user satisfaction.

Case Study 7. IDEO  

IDEO, a Global Design Consultancy, has been at the forefront of Design Thinking for decades. They have worked on diverse projects, from creating innovative medical devices to redesigning public services.

One of their most notable Design Thinking examples is the development of the "DeepDive" shopping cart for a major retailer. IDEO's team spent weeks observing shoppers, talking to store employees, and prototyping various cart designs. The result was a cart that not only improved the shopping experience but also increased sales. IDEO's human-centred approach, emphasis on empathy, and rapid prototyping techniques demonstrate how Design Thinking can drive innovation and solve real-world problems.   

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Case Study  8 .  Tesla  

Tesla, led by Elon Musk, has redefined the automotive industry by applying Design Thinking to Electric Vehicles (EVs). Musk and his team identified the need for EVs to be not just eco-friendly but also desirable. They focused on designing EVs that are stylish, high-performing, and technologically advanced. Tesla's iterative approach, rapid prototyping, and constant refinement have resulted in groundbreaking EVs like the Model S, Model 3, and Model X.    

From the minimalist interior of their Model S to the autopilot self-driving system, every aspect is meticulously crafted with the end user in mind. The company actively seeks feedback from its user community, often implementing software updates based on customer suggestions. This iterative approach ensures that Tesla vehicles continually evolve to meet and exceed customer expectations .   

Moreover, Tesla's bold vision extends to sustainable energy solutions, exemplified by products like the Powerwall and solar roof tiles. These innovations  showcase Tesla's holistic approach to Design Thinking, addressing not only the automotive industry's challenges but also contributing to a greener, more sustainable future.   

Case Study 9. GE Healthcare 

GE Healthcare is a prominent player in the Healthcare industry, renowned for its relentless commitment to innovation and design excellence. Leveraging Design Thinking principles, GE Healthcare has consistently pushed the boundaries of medical technology, making a significant impact on patient care worldwide.  

One of the key areas where GE Healthcare has excelled is in the development of cutting-edge medical devices and diagnostic solutions. Their dedication to user-centred design has resulted in devices that are not only highly functional but also incredibly intuitive for healthcare professionals to operate. For example, their advanced Medical Imaging equipment, such as MRI and CT scanners, are designed with a focus on patient comfort, safety, and accurate diagnostics. This device reflects the company's dedication to improving healthcare outcomes.  

Moreover, GE Healthcare's commitment to design extends beyond the physical product. They have also ventured into software solutions that facilitate data analysis and Patient Management. Their user-friendly software interfaces and data visualisation tools have empowered healthcare providers to make more informed decisions, enhancing overall patient care and treatment planning.

Case Study 10. Nike 

Nike is a global powerhouse in the athletic apparel and Footwear industry. Nike's journey began with a simple running shoe, but its design-thinking approach transformed it into an iconic brand.

Nike's Design Thinking journey started with a deep understanding of athletes' needs and desires. They engaged in extensive user research, often collaborating with top athletes to gain insights that inform their product innovations. This customer-centric approach allowed Nike to develop ground breaking technologies, such as Nike Air and Flyknit, setting new standards in comfort, performance, and style.

Beyond product innovation, Nike's brand identity itself is a testament to Design Thinking. The iconic Swoosh logo, created by Graphic Designer Carolyn Davidson, epitomises simplicity and timelessness, reflecting the brand's ethos.  

Nike also excels in creating immersive retail experiences, using Design Thinking to craft spaces that engage and inspire customers. Their flagship stores around the world are showcases of innovative design, enhancing the overall brand perception.

Lessons learned from Design Thinking Case Studies

The Design Thinking process, as exemplified by the success stories of IBM, Netflix, Apple, and Nike, offers valuable takeaways for businesses of all sizes and industries. Here are three key lessons to learn from these Case Studies:  

1)   Consider the b ig p icture   

Design Thinking encourages organisations to zoom out and view the big picture. It's not just about solving a specific problem but understanding how that problem fits into the broader context of user needs and market dynamics. By taking a holistic approach, you can identify opportunities for innovation that extend beyond immediate challenges. IBM's example, for instance, involved a comprehensive evaluation of their clients' journeys, leading to more impactful solutions.  

2)  Think t hrough a lternative s olutions   

One of the basic principles of Design Thinking is ideation, which emphasises generating a wide range of creative solutions. Netflix's success in content recommendation, for instance, came from exploring multiple strategies to enhance user experience. When brainstorming ideas and solutions, don't limit yourself to the obvious choices. Encourage diverse perspectives and consider unconventional approaches that may lead to breakthrough innovations.  

3)  Research e ach c ompany’s c ompetitors   

Lastly, researching competitors is essential for staying competitive. Analyse what other companies in your industry are doing, both inside and outside the realm of Design Thinking. Learn from their successes and failures. GE Healthcare, for example, leveraged Design Thinking to improve medical equipment usability, giving them a competitive edge. By researching competitors, you can gain insights that inform your own Design Thinking initiatives and help you stand out in the market.  

Incorporating these takeaways into your approach to Design Thinking can enhance your problem-solving capabilities, foster innovation, and ultimately lead to more successful results.  

Conclusion    

Design Thinking is not limited to a specific industry or problem domain; it is a versatile approach that promotes innovation and problem-solving in various contexts. In this blog, we've examined successful Design Thinking Case Studies from industry giants like IBM, Netflix, Apple, Airbnb, Uber Eats, and Nike. These companies have demonstrated that Design Thinking is a powerful methodology that can drive innovation, enhance user experiences, and lead to exceptional business success.   

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Frequently Asked Questions

Design Thinking Case Studies align with current market demands and user expectations by showcasing practical applications of user-centric problem-solving. These Studies highlight the success of empathetic approaches in meeting evolving customer needs.

By analysing various real-world examples, businesses can derive vital insights into dynamic market trends, creating innovative solutions, and enhancing user experiences. Design Thinking's emphasis on iterative prototyping and collaboration resonates with the contemporary demand for agility and adaptability.

Real-world examples of successful Design Thinking implementations can be found in various sources. For instance, you can explore several Case Study repositories on Design Thinking platforms like IDEO and Design Thinking Institute. Furthermore, you can also look for business publications, such as the Harvard Business Review as well as Fast Company, which often feature articles on successful Design Thinking applications.

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Our Leadership Training blogs covers a range of topics related to Design Thinking, offering valuable resources, best practices, and industry insights. Whether you are a beginner or looking to advance your Design Thinking skills, The Knowledge Academy's diverse courses and informative blogs have you covered.

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9 Case Study Examples, Plus a Useful Case Study Template

Writing a case study can help you pitch your services to prospective clients. Learn how to write one by studying successful examples and using a free template.

If you can write a résumé, you can write a case study. Just as a résumé shows potential employers how your experience can benefit their team, a case study highlights an existing client’s success story to demonstrate your business or product’s value to prospective clients.

A compelling case study includes relevant data without overwhelming your reader, considers the customer’s perspective, and demonstrates how you handled a specific challenge.

The best way to learn how to write one is by reading a stellar business case study example.

What is a case study?

A case study is a document business-to-business (B2B) companies use to illustrate how their product or service helped a client achieve their goals. A winning case study introduces the featured client, gives a brief description of their challenge or goal, and showcases the results they achieved with your help.

Businesses that provide software, tools, or consulting services often provide case studies to potential customers trying to choose between several options.

A company’s marketing team is typically responsible for writing case studies, but if you have a small business without a dedicated marketing team, don’t worry. Anyone can write a case study, and it’s a straightforward process if you use a template.

Why should you create a case study?

A case study brings your product or service to life for future customers with real-world examples. These success stories offer tangible results. Case studies are, thus, a form of social proof , but their power goes beyond a mere testimonial or review.

Since B2B services often are expensive and require approval from multiple decision-makers, typical forms of social proof often aren't enough to convince potential customers. Business customers want to be able to share compelling data with their teams, and that’s where the case study is beneficial.

How to write a case study

• Choose a template
• Interview your client or customer
• Describe the situation
• Identify the solution
• Present the results

1. Choose a template

You don’t necessarily need a template to write a case study, but it can make the process easier—especially if you haven’t written one before or need to write several at once.

You’ll notice that most business case studies take the same general format; after inputting the basics into the template, you can add your own personal flair. (That is, your branding and voice.)

2. Interview your client or customer

The client or customer interview is the heart of the case study. Identify several current or past clients willing to chat with you about their experiences. Look for repeat customers and those who reached out independently to tell you how much they enjoyed your product or service.

A phone interview is the best way to get conversational quotes, but you can correspond via email if your subject is short on time. Not sure what to ask? When social advertising agency Biddyco interviewed the VP of Marketing at Fellow , they asked him the following questions , according to their case study:

• What were the obstacles that would have prevented you from choosing/hiring Biddyco?
• What have you found as a result of hiring Biddyco?
• What specific feature or thing do you like most about Biddyco’s services?
• Would you recommend Biddyco and why?

The goal of the interview is to better understand your client’s experience with your product or service and grab a soundbite you can use as a testimonial in your case study. If you didn’t work directly with the client, you may also want to interview someone on your team who did to get more context.

3. Describe the situation

Give context to your case study with a brief description of the client’s business and the desired outcome that led them to seek your product or service. You can follow this general formula:

[Client’s name] is a [type of business] with [unique feature]. [Client’s name] came to [your business] seeking [client’s desired outcome] while [requirement].

Here’s an example of a one-sentence situation summary in the case study for Sharma Brands ’ client Feastables:

“Feastables, a better-for-you snacks company, came to us in need of a team to take the DTC setup off their plate.”

Advertising company Adgile, which created moving billboards for the non-alcoholic aperitif brand Ghia , has a longer description in its case study that provides background on the marketplace, but the heart of it is this:

“Ghia was seeking creative ways to break through the clutter of a crowded—and big-budgeted—adult beverage market, all while managing customer acquisition cost (CAC).”

4. Identify the solution

This section can vary depending on your field. Also described as “the action,” “the work,” or “the strategy,” the solution describes the strategic insights your company brought to your client’s problem or how your customer used your product to achieve their goals.

The basic formula: [Client’s name] partnered with [your business] to [service received].

Here’s an example from email marketing software Klaviyo’s case study featuring olive oil brand Graza:

“Graza uses Klaviyo’s granular segmentation tools to send automated flows and promotional campaigns to small, targeted groups of customers based on purchase frequency.”

This section describes exactly which of Klaviyo’s features Graza used (granular segmentation) and how they used it (to send automated flows to small, targeted groups), without getting into any outcomes or results yet.

5. Present the results

This section is where you’ll win over prospective customers and build trust. The basic formula is:

[Client’s name] used [service received] to [desired outcome].

Share how your product or service positively affected the client’s business, whether that’s cost savings, more clients, or improved company culture. According to a case study from community platform TYB, the results it delivered for skin care company Dieux were as follows:

“Dieux was able to create thousands of authentic, personalized referrals ahead of its new product launch plus live out its brand promise of transparency.”

Depending on your product or service, your results may include quantifiable outcomes (like thousands of referrals), intangibles (like living out your brand promise), or both, as in the case of TYB.

Real-world examples of case studies

Sharma brands for feastables, adgile media group for ghia, meta for lulus, tyb for dieux, biddyco for fellow, outline for heyday canning, klaviyo for graza, culture amp for bombas, kustomer for thirdlove.

A great way to write a case study is to look at a sample case study—or better yet, many. You’ll notice that wildly different businesses have case studies that follow roughly the same structure, which is why we recommend using one of our free case study templates to write yours. Learn from this mix of business, design, and marketing case study examples:

Sharma Brands is a branding agency founded by Nik Sharma , “The DTC Guy.” Sharma Brands keeps its case study featuring snack company Feastables short and sweet, breaking it down into three chronological sections: the situation, the work, and the outcome.

The Sharma Brands case study is a good example of how to incorporate meaningful results without sharing actual numbers (which the client may not wish to make public) or getting into an in-depth analysis.

Instead of metrics, Sharma Brands lists the tasks it executed: 

• “Successfully launched their DTC site.” 
• “Simultaneously launched on GoPuff with no downtime.”

It also lists some general achievements: 

• “Broke Shopify records in the first 24 hours of launch.” 
• “All revenue and engagement metrics were highly exceeded.”

Adgile Media Group creates outdoor advertising by providing brands with mobile billboards. Unlike traditional outdoor advertising, Adgile also tracks the digital impact of its IRL campaigns.

Adgile’s case study featuring the non-alcoholic beverage brand Ghia is the perfect place to show off the metrics it collects, like:

• 78% homepage visit lift
• 91% conversion lift
• 82% lift on its Find Us page
• Increase in brand awareness and recall, more than 75% over the competition

Meta, the social media and digital advertising platform, does something in its case studies that every company can replicate. Instead of saving the numbers for the results section, Meta provides a brief overview near the top. This breaks up the text visually, provides a quick snapshot for anyone who doesn’t want to read the full case study, and intrigues those curious to know how they achieved those numbers.

Meta’s case study for the clothing company Lulus starts by teasing its most impressive stat:

“The women’s fashion ecommerce company compared the performance of a Meta Advantage+ shopping campaign with Advantage+ catalog ads versus its usual ad campaign setup and saw a 47% increase in return on ad spend using the Advantage+ products.”

It then presents three key figures in a visually appealing design, drawing clear attention to the impact it had on this customer.

TYB is a community platform that rewards fans for creating user-generated content . TYB’s case study for Dieux details how the skincare brand used its platform to involve customers in product testing.

It also does something small worth noting: Instead of sticking the call to action at the bottom of the case study, TYB places a “request demo” button at the top of the page. That way, anyone compelled by the results of the case study can take the next step immediately.

Advertising agency Biddyco took a unique approach to its case study for the coffee- and tea-gear company Fellow . Unlike other business case study examples that use the typical situation-solution-results format, Biddyco structured its case study as an extended testimonial, with a series of questions like, “What specific feature or thing do you like most about Biddyco’s services?”

In addition to client feedback, Biddyco also highlights a few key accomplishments under the heading “All You Really Need to Know.”

A branding studio like Outline won’t approach case studies in the same way an advertising platform like Meta would. What matters here isn’t cost per impression or ROAS, it’s how everything looks.

That’s why Outline’s case study for ​​ Heyday Canning is relatively light on words and heavy on imagery. If your work is more visual than numerical, your case study is a great place to show your behind-the-scenes process.

For example, Outline shows the label design alongside images of the cans on the shelf and provides a brief description of the design inspiration. This example shows how you can have a design-focused case study that still tells a compelling story.

Klaviyo , an email marketing software company, puts numbers front and center in its case study for the olive oil company Graza . If your product or service involves tracking metrics like email open rates, revenue, and click rates, highlight those stats in a larger font size, as Klaviyo did.

Klaviyo’s case study for Graza also shows you don’t necessarily need to fix a problem to create a great case study; you can also simply help your client achieve their goals. According to Klaviyo’s case study, Graza’s challenge was to create strong customer relationships.

How do you write a compelling case study if your service doesn’t involve tangible metrics or flashy design? For the performance management software company Culture Amp , it’s highlighting key statistics about the subject of its case study , sock company Bombas .

Like Meta and Klaviyo, Culture Amp highlights three numbers in large font. But these numbers are stats about their client Bombas, not Culture Amp’s services: “120+ employees,” “25M+ items donated,” and “$100M+ in revenue for 2018.”

Instead of showing off the results it achieved for Bombas, these numbers let prospective clients know that Culture Amp works with big, important companies on their performance management process.

Choosing a customer relationships management ( CRM ) platform is a big decision. Switching platforms—as bra company ThirdLove did in this case study from customer support platform Kustomer—can involve lengthy data migration, customization, and employee onboarding.

That’s why it makes sense that Kustomer’s case study for ThirdLove is a four-page-long PDF and not a blog post. If your case study involves a long, detailed analysis, follow Kustomer’s example and make two versions of your case study.

The first page is an executive summary, with about a paragraph each describing the challenge and results. If after reading the first page, you want to learn more, you can dive into the rest of the case study, but you don’t have to read the entire thing to get a sense of how Kustomer collaborated with ThirdLove.

Case study examples FAQ

How do you write a simple case study.

To simplify the case-study writing process, download a template. Shopify’s fill-in-the-blanks case study template can help you share your customers’ success stories in an easily digestible, well-designed format.

Why are case studies important for businesses?

For the business reading a case study, the contents can help them decide between different products or services. For the business writing the case study, it’s a chance to connect more deeply with potential customers.

What is an example of a case study?

An example of a case study is a mobile billboard company’s overview of the services it provided to a client. The case study might include an overview of the client's goals and how the advertiser addressed them, plus a list of outcomes—increased website visits, decreased costs per visit, and a rise in brand awareness.

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Walkthrough of helping users transform their intentions into habits — a UX Design Case Study.

A habit cultivation ios application..

Shraddha Hudale

Overview & context

As a portfolio project for the UX certification , we were asked to design an iOS mobile application . The goal of this exercise was to better understand the design process, implement Human Interface Guidelines and incorporate the elements of visual design .

I came up with the idea of a ‘habit cultivation app’ while talking to my dad. He has always been telling me the importance of building a consistent routine and how routine is formed by accumulating small healthy habits and it is what sets one apart.

My initial step involved outlining the process. The subsequent steps illustrate my approach throughout this entire project.

1. Defining the problem.

In today’s fast-paced and constantly evolving world, individuals often find it challenging to establish and maintain positive habits that contribute to their well-being and personal growth .

The lack of effective tools and support systems makes it difficult for people to break free from detrimental habits and cultivate positive ones. Traditional methods of habit formation often lack the engagement and personalized guidance needed to ensure long-term success.

There is a clear need for a user-friendly, innovative habit-cultivating app that leverages technology to provide individuals with a comprehensive solution for setting, tracking, and achieving their goals, fostering positive behavior change, and promoting a healthier and more fulfilling lifestyle.

2. Researching the topic.

Since the day I heard ‘your research is your guide’, I have started from the ground up when it comes to conducting any research.

I began from the very basics, understanding what habits are really and what goes on in our brains when we are performing one. Which gave me quite interesting insights at the end.

What are habits?

Habits are actions that are triggered automatically in response to contextual cues that have been associated with their performance. About 40% of our routine is said to be as not conscious decisions i.e. habits.

How are habits formed?

In the 1990’s, MIT researchers discovered a neurological loop , which is said to be at the core of every habit. A simple, 3 step loop, which is hardwired into our brains.

Research shows that mere repetition of a certain simple action upon exposure to a consistent context leads to associative learning .

For e.g. — Checking the emails (action) , in the morning as soon as you reach the work desk (contextual cue) , kicks off the workday, making you feel productive (reward) .

Once the initiation of the action is transferred to external cues , dependence on the conscious attention and motivation processes is reduced. Thus, even when motivation is off or the interest dissipates, habits are likely to persist .

Habits are our brain’s way of increasing efficiency . Actions repeated daily come to us automatically without much thought put in hence freeing up brainpower for other, newer and more important challenges.

How to cultivate a habit? (yes, intentionally).

Habits, both good and bad, are a large chunk of our daily routine. In order to break a bad habit or to cultivate a new one, we should closely look at the neurological loop discussed above.

In addition to this, sustainable behavioral change occurs when habit formation advice is paired with small changes . Instead of re-doing the entire routine, introducing a few actionable additions is useful in the long run.

Besides, a habit continues, when we have a strong reasoning behind it, when we are able to define the ‘why’.

Research shows that a habit to automate takes on an average of 66 days , and in case of missing days, simply picking up right where one left off, rather than getting frustrated, shows an increase in self acceptance thus fostering wanting to do something for the long term.

Research also shows that, when we are held accountable for performing a certain task on a daily basis by a peer or a group, habits are more likely to persist.

Furthermore, getting to see an overview of the progress we have made is one of the biggest motivators in building a habit. At the end of the day looking and reflecting on how far we have come makes us want to see what is ahead.

3. Drawing findings from the research.

Below is the extract of the research conducted, that lets us draw actionable steps ahead, which will further help in developing app’s features.

4. Conducting interviews

I interviewed a few people to understand how they approach habit building and the challenges involved. Listed below are the topics I covered with them.

Identifying patterns

I saw patterns in the interviewees response, and through affinity mapping, I was able to find clarity, in issues they faced and their inclinations, helping me prioritize these elements.

5. Reviewing similar platforms.

I looked into similar apps and platforms to better understand what the market offers and what I should do differently for the users. Here are the findings based on the competitive audit.

6. Bridging the gap

After conducting interviews with people who have tried habit building in the past and reviewing platforms who offer it, I realized there is a gap in the market, in what the users need and what is available in the market.

The insights from the research, interviews and competitive audit helped me translate this to actionable practical steps. They are summarized below in the form of this app’s features.

7. Defining a clear goal

The goal is to offer a personalized and engaging platform that supports users in setting, tracking, and achieving their goals, fostering lasting habits through insightful guidance, community support, and innovative features .

By leveraging technology to understand individual preferences and challenges , this app aims to empower individuals on the journey to building a sustainable and fulfilling lifestyle.

8. Ideation

I began with I.A. as it helps with planning out the overall structure of the data. Further, I sketched out wireframes with all the necessary features and attributes highlighted above.

Information Architecture

The I.A. is designed for effortless navigation and intuitiveness, ensuring that the users can easily reach their desired destinations.

Wireframing

The paper wireframes facilitated the generation of various alternatives and allowed me to note down the ‘whys’ of the final choice. They also facilitated a smooth flow of ideas and quick iterations.

9. Integrating visual design elements

The app maintains a visually inviting and minimal design to prevent users from experiencing cognitive overload.

A Gamification character named ‘Ivy’ is introduced to make the app more interactive. Ivy accompanies users seamlessly across various sections of the app.

Typeface & color palette

Creating a library helped me achieve consistency throughout the app and saved time while producing the hi fi-prototype.

10. Prototyping

Creating the hi-fi prototype; simulation of the final product, was one of the most challenging aspects of the entire project. It took a few iterations to get where it is now. Major features like ‘setting up a new habit’ and ‘measuring and tracking progress’ are discussed in detail below —

Setting up a new habit

Establishing a habit is streamlined and involves only a few steps. Initially, general habits are categorized as either to be developed; i.e. build or discontinued, i.e. break. Users are guided through the process with a progress bar, prompting them to input fundamental information about their habit.

Check out the flow

Measuring & tracking progress

As observed in the research, reviewing the progress one has made is a catalyst in habit development.

Challenges and learnings

The goal was to create an intuitive and user-friendly interface that aligns with iOS design principles. As a beginner, I faced multiple challenges working throughout this project. Following areas were the most challenging for me and here’s what I learnt from them -

1. Timeline

• Challenge: With just 4 weeks in hand to finish the project, I was struggling with time management.
• Learning: Developing effective time management skills to meet project’s deadlines and handle multiple tasks simultaneously. Along with creating and following an outline.

2. Platform Guidelines

• Challenge: Adhering to Apple’s Human Interface Guidelines (HIG) while maintaining creativity.
• Learning: Familiarizing myself with Apple’s Human Interface Guidelines, and leveraging them for a seamless user experience.

3. Large data

• Challenge: Representation of large data of user’s analytics and patterns.
• Learning: Researching on how large data is conveyed in a digestible and visual way helped me arrive at the design solution of cards & bar charts etc.

Thankyou for your time. The final prototype can be accessed here .

Check out the website design case study.

Transforming the online presence— a case study of website redesign for Heatherwick studio.

This case study delves into the process of redesigning the website for an architecture firm; heatherwick studio..

Written by Shraddha Hudale

I design and write stuff (sometimes)

Text to speech

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50% of flights

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