Designers solve problems and bring beauty to the world. At TEDNYC Design Lab, a night of talks at TED HQ in New York City hosted by design curator Chee Pearlman with content producer Cloe Shasha, six speakers pulled back the curtain to reveal the hard work and creative process behind great design. Speakers covered a range of topics, including the numbing monotony of modern cities (and how to break it), the power of a single image to tell a story and the challenge of building a sacred space in a secular age.

First up was Pulitzer-winning music and architecture critic Justin Davidson.

The touchable city. Shiny buildings are an invasive species, says Pulitzer-winning architecture critic Justin Davidson. In recent years, cities have become smooth, bright and reflective, as new downtowns sprout clusters of tall buildings that are almost always made of steel and glass. While glass can be beautiful (and easily transported, installed and replaced), the rejection of wood, sandstone, terra cotta, copper and marble as building materials has led to the simplification and impoverishment of the architecture in cities — as if we wanted to reduce all of the world’s cuisines to the blandness of airline food. “The need for shelter is bound up with the human desire for beauty,” Davidson says. “A city’s surfaces affect the way we live in it.” Buildings create the spaces around them; ravishing public places such as the Plaza Mayor in Salamanca, Spain, and the 17th-century Place des Vosges in Paris draw people in and make life look like an opera set, while glass towers push people away. Davidson warns of the dangers of this global trend: “When a city defaults to glass as it grows, it becomes a hall of mirrors: uneasy, disquiet and cold.” By offering a series of contemporary examples, Davidson call for “an urban architecture that honors the full range of urban experience.”

“The main thing we need right now is a good cartoon,” says Françoise Mouly. (Photo: Ryan Lash / TED)

The power of an image to capture a moment. The first cover of The New Yorker depicted a dandy looking at a butterfly through a monocle. Now referred to as “Eustace Tilley,” this iconic image was a tongue-in-cheek response to the stuffy aristocrats of the Jazz Age. When Françoise Mouly joined the magazine as art editor in 1993, she sought to restore the same spirit of humor to a magazine that had grown staid. In doing so, Mouly looked back into how The New Yorker covers reflected moments in history, finding that covers from the Great Depression revealed what made people laugh in times of hardship. For every anniversary edition of The New Yorker, a new version of the Eustace Tilley appears on the cover. This year, we see Vladimir Putin as the monocled Eustace Tilley peering at his butterfly, Donald Trump. For Mouly, “Free press is essential to our democracy. Artists can capture what is going on — with just ink and watercolor, they can capture and enter into a cultural dialogue, putting artists at the center of culture.”

Sinéad Burke shared insights into a world that many designers don’t see, challenging the idea that design is only a tool to create function and beauty. “Design can inflict vulnerability on a group whose needs aren’t considered,” she says. (Photo: Ryan Lash / TED)

What is accessible design? “Design inhibits my independence and autonomy,” says educator and fashion blogger Sinéad Burke, who was born with achondroplasia (which translates as “without cartilage formation”) the most common form of dwarfism. At 105 centimeters (or 3 feet 5 inches) tall, Burke is acutely aware of details that are practically invisible to the rest of us — like the height of the lock in a bathroom stall or the range of available shoe sizes. So-called “accessible spaces” like bathrooms for people in wheelchairs are barely any better. In a stellar talk, Burke offers us a new perspective on the physical world we live in and asks us to consider the limits and biases of accessible design.

The beat of the Book Tree. Sofi Tukker brought the audience to their feet with hits “Hey Lion” and “Awoo,” featuring Betta Lemme. For the New York City–based duo, physical performance is a crucial element of their onstage presence, demonstrated through the use of a unique standing instrument they designed call “Book Tree,” made from actual books attached to a sampler — with each percussion comes a beat. Their debut album, Soft Animals, was released in July 2016, and their single “Drinkee” was nominated for Best Dance Recording at the 2017 Grammys.

Finding ourselves in data. Giorgia Lupi was 13 when Silvio Berlusconi shocked many in Italy by becoming prime minister in 1994. Why was that election result so surprising, she wondered? And as she learned, it’s because of incomplete data that had been gathered during the campaign. The available data was simply too limited and imprecise, too skewed to give any real picture of what was going on. In the aftermath of America’s 2016 election, where most data analysts predicted the wrong outcome, Lupi, the co-founder of data firm Accurat, suggests that such events highlight larger problems behind data’s representation. When we focus on creating powerful headlines and simple messages, we often lose the point completely, forgetting that data alone cannot represent reality; that beneath these numbers, human stories transform the abstract and the uncountable into something that can be seen, felt and directly reconnected to our lives and to our behaviors. What we need, she says, is data humanism. “To make data [sets] faithfully representative of our human nature, and to make sure they won’t mislead us anymore, we need to start designing new ways to include empathy, imperfection and human qualities in how we collect, process, analyze and display them.”

Siamak Hariri describes his project, the Bahá’í Temple of South America in Santiago: “A prayer answered, open in all directions, capturing the blue light of dawn, the tent-like white light of day, the gold light of the afternoon, and at night, the reversal … catching the light in all kinds of mysterious ways.” (Photo: Ryan Lash / TED)

Can you design a sacred experience? Starting in 2006, architect Siamak Hariri attempted to do just that when he began his work on the Bahá’í Temple of South America in Santiago, Chile. He describes how he designed for a feeling that is at once essential and ineffable by focusing on illumination and creating a structure that captures the movement of light across the day. Hariri journeys from the quarries of Portugal, where his team found the precious stone to line the inside of the building like the silk of a jacket, to the temple’s splendid opening ceremony for an architectural experience unlike any other.

In the final talk of the night, Michael Bierut told a story of consequences, both intended and unintended. (Photo: Ryan Lash / TED)

Unintended consequences are often the best consequences. A few years ago, designer Michael Bierut was tapped by the Robin Hood Foundation to design a logo for a project to improve libraries in New York City public schools. Beruit is a legendary designer and critic — recent projects include rebranding the MIT Media Lab, reimagining the Saks Fifth Avenue logo and creating the logo for Hillary Clinton’s presidential campaign. So after some iterating, he came upon a simple idea: replacing the “i” in “library” with an exclamation point: L!BRARY, or The L!BRARY Initiative. His work on the project wasn’t over. One of the architects working on the libraries came to Bierut with a problem: the space between the library shelves, which had to be low to be accessible for kids, and the ceilings, which are often very high in the older school buildings, were calling out for design attention. After tapping his wife, a photographer, to fill in this space with a mural of beautiful portraits of schoolchildren, other schools took notice and wanted art of their own. Bierut brought in other illustrators, painters and artists to fill in the spaces with one-of-a-kind murals and art installations. As the new libraries opened, Bierut had a chance to visit them and the librarians who worked there, where he discovered the unintended consequences of his work. Far from designing only a logo, Bierut’s involvement in this project snowballed into a quest to bring energy, learning, art and graphics into these school libraries, where librarians dedicate themselves to excite new generations of readers and thinkers.

The concept of strategy originates in war, where the objective is to destroy the enemy. In business, if the enemy is your competitor, then the objective of strategy must be to crush the competition. Michael Porter gave academic standing to this way of thinking when he made popular the idea of “competitive advantage” with his best-selling textbook, Competitive Strategy, published in 1980. A decade and a half later, Microsoft gave corporate life to the “crush your competition” version of strategy when CEO Bill Gates very publicly went after Netscape as the dot-com era was just heating up.

Today, we see military metaphors used everywhere in business: price “wars,” market share “battles,” marketing “campaigns,” promotional “blitzes,” and even “bullet” points. Books on war are often cited as sources of great wisdom for business strategy. Even Tony Soprano, the TV mob boss, got into the act when he argued that Sun Tzu, who wrote The Art of War, was a better strategist than Machiavelli.

But war is mostly a zero-sum game, and business is mostly not. Companies are disproportionately rewarded when they create new value for customers and grow the market for everyone. None benefited more than Pan Am from its early adoption of the jet airliner, but that move also expanded the market for all airlines. The iPhone didn’t just make Apple a leader in smartphones; it also greatly expanded the market for mobile voice and data telephony. Sierra Nevada’s Pale Ale made it the first national—even global—brewer of craft beer while simultaneously growing the market for premium beer. Thanks in large part to novelties such as the Frappucino, Starbucks became a global icon in less than 20 years; but it also created millions of new customers for a whole slew of premium coffee purveyors. And George Mitchell—the “father of fracking”—who injected new life into the U.S. oil and gas industry, not only benefited hundreds of companies but also his own entrepreneurial efforts. In each case, the new value created for customers expanded the pie for everyone while giving the company a bigger slice of the pie. Business never has to be a zero-sum game, particularly beyond the very short term, because there’s no limit to creating new customer value.

On the other hand, when leaders think of business as a war with their competitors—and many continue to do just that—they inevitably seek to beat their rivals in ways that don’t meaningfully enhance customer-perceived benefits—such as with product-feature frenzy or predatory pricing. Such moves rarely grow the total market and almost always produce lower margins and losing products. This is what happened when GM and Ford went to war with the Japanese in the late 1970s and ’80s and, as I wrote here, when the mainstream airlines took a costly wrong turn because they tried to beat JetBlue and Southwest Airlines with their own discount airlines. When strategy is about competitors, leaders lose focus on the unlimited opportunities to grow customer value. Even the revered Steve Jobs made a big mistake when he declared “thermonuclear war” on Google, pledged to destroy the Android operating system, and subsequently introduced Apple’s own version of Google Maps, a clearly inferior product whose only real purpose was to inflict harm on the competition. His customers revolted, his successor was forced to apologize, and Apple’s halo became a bit dimmer.

Whereas making strategy about competitors can be highly destructive, making it about the customer encourages leaders to find ways to win without having to pay the price for their victories. Does this mean that competitors can be safely ignored when it comes to strategy? No. Understanding competitors’ value propositions is one effective way to generate new thinking on how to improve your own value propositions. For example, JetBlue systematically studied traditional airline offerings and what customers liked, disliked, and didn’t care about them. This led to a strategy of “focus on what really matters.” Out went free meals and first-class seating. In came media consoles for every passenger; comfortable leather upholstery with more legroom for every seat; and multiple healthy or indulgent food options for purchase. The idea was to give a “premium travel experience at a discount price.” Fliers love the value proposition and have helped JetBlue penetrate a highly competitive market with formidable incumbents that have decades more operating experience.

As an inherently competitive species, we are greatly tempted to think of business as war or sport where one’s gains can only come at the expense of our rivals—where winning means the other guy is losing. (Or as Genghis Khan is often quoted: “It is not enough that I succeed. Everyone else must fail.”) Indeed, there are strong motivational benefits to rallying around “beat Coke” if you are Pepsi, “buy Detroit” if you are Chrysler, or a “holy war with Google” if you are Apple. But such “strategies” will only be successful if they spur their organizations to bring better products and total value propositions to their target customers.

Business is not war or sport. Strategy in business is different than strategy in war and sport. It’s not about competitors. It’s about the customer, your value proposition, and the capabilities you need to deliver it better than anyone else. It’s that simple—and that difficult.

Contributed to Branding Strategy Insider by Ken Favaro, Act2. © 2014 PwC. All rights reserved. PwC refers to the PwC network and/or one or more of its member firms, each of which is a separate legal entity. Please see here for further details. No reproduction is permitted in whole or part without written permission of PwC. “strategy+business” is a trademark of PwC.

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Looking for great CX quotes?  Quotes on storytelling?  Quotes on competition?  Quotes on grit?  The Qualtrics Insight Summit 2017 was full of soundbites from thought-leaders and celebrities including Clay Christensen, Angela Duckworth, Joe Pine, Omar Johnson (former CEO of BEATS by Dr. Dre), and Qualtrics’s very own CEO Ryan Smith.  Check out these great CX quotes and more:

The post great CX quotes and more from qualtrics insights summit appeared first on Denise Lee Yohn.

We’ve said goodbye to the silence of pages, flipcharts, point-of-sale materials and most products. Savvy marketers realize those have been replaced by the audio-enabled world of mobile videos, apps, YouTube, and digital signage. And now, the Internet of Things, connecting the cloud to everything from refrigerators to projectors to vehicles to industrial products.

What impression will your product’s sound convey when a device successfully receives incoming information, encounters an error, is running out of power? And how will those sounds relate to your brand’s sales video, app opening sound, your call center on-hold music?

Brands had better be ready. If you’re not creating an audio universe (and managing it) with the same care you do your visual identity, you’re dangerously late.

How many companies operate in an auditorily chaotic environment? Katie Perry’s “Roar” for meetings, Brian Eno for on-hold music, oldies-but-goodies for commercials, and perhaps a synthesized “whoosh” for app-opening sounds. Diagnosis: multiple brand personality disorder.

But a cure exists. Audio Branding. A discipline that has been used in multilingual Europe for more than 20 years.

In the same way a brand has graphics guidelines and a logo to help differentiate from its competitors, it must also develop a sound identity. And it must manage that identity with the same balance of rigor and flexibility that goes into managing a visual brand.

This requires a system of sounds based on a proprietary audio DNA that expresses your brand’s values and personality–and it becomes an identifier across all your touchpoints. It requires a consistent feel, from your advertising, to call-waiting messages, to showrooms, to websites’ training videos, to YouTube to products.

What’s more, music is a globally understood language that can define what you stand for and underscore what differentiates you from competitors.

Social media–on which time spent continues to grow across PC and mobile devices–makes everything transparent. If your corporate videos and your ringtones speak in different vocabularies, everyone will know.

A Brand’s Most Important Asset Is Trust

And the best way to earn trust is to behave in a consistent manner.

In music, that requires a well-designed audio DNA that centers the brand’s sound and infuses the execution of music at the brand’s touchpoints. A focused approach to your own sound can bring congruity to brand experiences and that supports trust-building–more so than does the use of licensed music. Though licensed songs can add impact or aid memory, they can also detract from the brand, especial if they don’t express its values. And impact without meaning adds to confusion and clutter.

How To Design Your Brand’s Earprint

So how do you go about bringing meaning to the audio dimension of your brand?

Before anything, you and your audio design agency (not your ad agency, though they are key partners in the process) will examine your brand’s values and aspirations. Do you wish to express who you are today or what you’re evolving to? In the course of recent activities, has a particular value taken precedence over others? Any tensions? For instance, between reliability and innovation? Delicacy and efficacy?

You may also explore the historical audio cues your company has used and contrast your sound landscape with those of competitors. Together with your audio branding experts, you’ll work to find the unique and differentiating dimensions your audio identity must express. In short, you’ll build the brief for the audio brand strategy.

As an example, the La Roche-Posay audio DNA captures the purity and sensitivity of the products, while the Atlanta Convention & Tourism bureau audio DNA conveys the sound of dynamism, warmth and eclecticism.

A Defined Process

After you and your team determine the brand’s core values, music strategists will explore and curate different musical approaches to communicate those traits. These will be translated to musical “mood boards.” These selections are brought to a workshop that includes the marketing team, the most trusted agency (or agencies) and the audio branding experts where they’re OK’d, rejected, discussed until a general agreement has emerged.

Once the musical ingredients have been defined in the mood board exercise, it’s time to create the music. Sound designers will compose a unique and tailored audio DNA that becomes woven into your brand’s many touchpoints. Is there a sound when a mobile coupon is redeemed? What ringtones might your sales force use? What will get people’s blood coursing as you rise to the podium at the global meeting? What will make people feel welcome at an expo booth?

I’m not talking about mindless repetition here.

Each point of contact presents an opportunity to deepen the brand relationship. Customer experience needs to be considered, and the sound needs to be adjusted according to the touchpoint (commercials, telephone on-hold messages, retail spaces, Internet, events). Think of it as an audio media plan.

The time is now for brand’s to harness music’s power. This will help you lead in the age of the Internet of Things…and help you prepare for its more abstract cousin, the Internet of Everything.

Contributed to Branding Strategy Insider by Colleen Fahey, Sixième Son

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Should brands get political? Plenty of brands make comments on societal issues, but how and when are those appropriate fodder for brand messaging?

Nearly infinite channels and touchpoints have created unlimited possibilities for brands to interact with their customers. With so much opportunity, it’s hard to imagine the effectiveness of advertising is in decline. Yet it is. Of course, it is not wrong to say consumers have lower attention spans or they are deluged with messages they ignore, but that is only a partial answer. The fault also lies with brands.

Consider the lineage of modern advertising. To one side are the brand builders whose iconic campaigns are etched in memory. Brilliant strategies paired with brilliant creative that audiences embraced, related to, and loved. These brands were the leaders. But on the other side are the direct response pioneers. These lines of business depended on more targeted and measurable interactions with consumers and different strategies evolved to create and drive actions.

Digital advertising has much more direct response in its DNA than brand building. And it is beginning to hurt brands. New advancements in advertising and marketing technologies are offering more opportunities to target consumers and respond faster. This increase in speed can often lead brands to produce an explosion of tactics which easily stray from the brand’s strategy, under the rationalization that the brand is practicing ‘agile’, ‘quick to fail’ or ‘test and learn’ plans.

At this week’s ISBA conference, Richard Huntington, chairman of Saatchi & Saatchi, said, “The people who build ad tech think direct response is the only thing you’d ever want to do as an advertiser or brand owner.” Further, direct response makes it easy to satisfy a fanatical obsession with the immediate ability to demonstrate tactical-level ROI it has put pressure on marketers to pursue short-term impact over the ‘big idea’.

At last year’s Cannes, the IPA released a report called Selling Creativity Short. The IPA compared levels of effectiveness of creatively awarded campaigns with those of non-awarded ones. Before 2010, they saw creatively awarded campaigns drove 12 times more market share growth per year than non-awarded ones. But between 2006 and 2014, the number of campaigns in the IPA Databank with a short-term goal grew from 7% to 33%. And the number of creatively awarded short-term campaigns surged to 45%, with judges apparently rewarding short-termism. This is despite short-term creatively awarded campaigns being less effective as their crucial fame effects take time to build and exploit.

In fact, two years ago, BBH co-founder Sir John Hagerty said, “Advertising seems to be pursuing a strategy of making a product worse to be more effective, which I find very confusing. I’m not sure what business book people in advertising have read that says we should make the worst product and therefore we’ll be successful. I think the industry has lost faith in TV. I think it has lost faith in the big, bold idea. I think it has lost its courage and I’m deeply upset by that.”

Ultimately, if advertising is less effective because it is less creative, then advertisers will no longer be able to attract top creative talent, and the creative will continue to weaken. (There’s a great podcast from Bob Hoffman around this idea.). Here are some tips for brands:

1. Fall in love with ‘a big idea’ again – Get back to basics and make sure everyone is on board with what the brand idea is. Be sure not to confuse your big idea with a tactic.

2. Be experimental – Once you know your big idea, give yourself permission to play with many ways that idea can come to life. Think big, and ask yourself “why not?”

3. Analog is cool too – Beating the algorithms just to land in a social media echo chamber may get you lots of clicks, but what have they done for the brand. Better yet, think how on and offline can play together to create a seamless experience.

4. Less business, more art – As Geoff Colon believes, MFAs might be better marketers than MBAs. It’s not enough to understand the research and the strategy. Disruptive marketers need to know how to bring strategy to life, and do it in a way that inspires and excites.

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The speaker lineup for the TED2017 conference features more than 70 thinkers and doers from around the world — including a dozen or so whose unfiltered TED Talks will be broadcast live to movie theater audiences across the U.S. and Canada.

Presented with our partner BY Experience, our TED Cinema Experience event series offers three opportunities for audiences to join together and experience the TED2017 Conference, and its first two evenings feature live TED Talks. Below: find out who’s part of the live cinema broadcast here (as with any live event, the speaker lineup is subject to change, of course!).

The listing below reflects U.S. and Canadian times; international audiences in 18 countries will experience TED captured live and time-shifted. Check locations and show times, and purchase tickets here >>

Opening Night Event: Monday, April 24, 2017
US: 8pm ET/ 7pm CT/ 6pm MT/ time-shifted to 8pm PT
Experience the electric opening night of TED, with half a dozen TED Talks and performances from:
Designer Anab Jain
Cyberspace analyst Laura Galante
Artist Titus Kaphar
Grandmaster and analyst Garry Kasparov
Author Tim Ferriss
The band OK Go
Rabbi Lord Jonathan Sacks

TED Prize Event: Tuesday, April 25, 2017
US: 8pm ET/ 7pm CT/ 6pm MT/ time-shifted to 8pm PT
On the second night of TED2017, the TED Prize screening offers a lineup of awe-inspiring speakers with big ideas for our future, including:
Champion Serena Williams
Physician and writer Atul Gawande
Data genius Anna Rosling Rönnlund
Movement artists Jon Boogz + Lil Buck
TED Prize winner Raj Panjabi, who will reveal for the first time plans to use his $1 million TED Prize to fund a creative, bold wish to spark global change.

Branding is a serious business, but does that mean brands themselves must always be so serious. Is there room for more personality?

In market after market, CMOs are under pressure to deliver more outputs and bigger numbers. So, perhaps it’s not surprising that brands themselves have become so serious. Who wouldn’t be earnest given what is now expected?

And yet, sometimes, it is the brands that can see past the commercial intensity and project themselves with humor and humanity that consumers are connecting with best. As Alex Altman observed, “it’s fascinating to see brands turn self-deprecation into an earnest form of self-promotion … The strategy has helped some brands atone for mistakes, others address the frustrations of consumers, and others show empathy over the triteness of their industry’s advertising … It shows that they are prone to the same mistakes and vulnerabilities as humans, which in a weird sort of way, makes them more likable to a lot of people.”

It’s ironical isn’t it that in some ways the distance between brands and people has never been closer (in terms of degrees of separation) and yet many brands still feel cut-off from consumers? They try to hard to be cool or credible or hip, or they talk about themselves in ways that people have no time for. So many brands have bought into the authority myth – the belief that in order for customers to prioritize them, they must not just gain their attention, they must also corner their respect. Social media and content marketing haven’t helped. They’ve encouraged brands to believe that they must always have something important to say, and that doing so is a formula for success. But no amount of talking or posting counts for anything if no-one is interested.

The fact is you can’t be the best brand for every consumer all the time. Instead of trying to hide that, brands have an opportunity to make light of those moments when they fall short or where they are simply not as *something* as their competitors. (Like the Progressive Insurance example pictured above.) But to do that confidently, brands need to be super-clear about their comparative market positioning. For many, such an approach feels too out-there, too risky, too easily-misunderstood. They revert instead to what they know: singing their own praises; increasing their projected sense of authority.

Oscar Wilde once observed that “Life is far too important a thing ever to talk seriously about.” The same is true of marketing. It may be a serious business, but much more importantly it’s a human business, and the deftness of that touch is easily lost to cleverness, arrogance or showmanship. If we want the brands we work for to be more effective, then we need to make them more visibly acceptable. And in some cases, that’s about deliberately and counter-intuitively choosing to be less intrusive, less brash, less of a ‘champion’ and more of a friendly face in the crowd of messages. It’s about choosing to defy the market formulae.

Speaking of formulae, take a look at this wonderfully wicked appraisal of brand videos from a company that makes its living off selling footage. It’s also a reminder of just how much brands have vanilla-ized values and personality. The obvious, dressed up to look profound. And all of it utterly forgettable to consumers who peer right through all this terribly serious strategy, and its predictable expression, because it holds nothing of interest to them in their days.

As people, we’re drawn to those who are humble and clear, fun, whimsical and who are genuinely interested and interesting. Somehow, faced with the opportunity to write that large, most brands back off being that raw. They plumb for authority. And when they do so, they lose people.

So here’s a simple challenge the next time you’re looking for a cut-through brand idea. Try making someone smile, with a very human expression of how your brand really is. In real life.

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The Blake Project Can Help: The Strategic Brand Storytelling Workshop

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https://www.thestreet.com/story/14036395/1/the-solid-jobs-report-could-mean-one-thing-a-lost-generation-may-finally-spend-on-luxuries.html