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Comunidades vegetales de ribera

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II. ÁREA DE ESTUDIO Y MÉTODOS DE MUESTREO

II.1. D ESCRIPCIÓN DE LA ZONA DE ESTUDIO

II.1.6. Comunidades vegetales de ribera

The design literature informs us first, that companies are having “difficulties managing design” (Lorentz, 1994), (Dickson, Schneier, Lawrence and Hytry, 1995), and (Dumas and Mintzberg). In the second place we learn, that “product superiority” is very important as critical factor for excellent product performance (Cooper, 1995, 1996). In the third place we learn, that the inclusion “of emotional symbolic aspects” contributes to the value of the product (Sanders, 1992), (Beakwith, 1994), (Crazier, 1994) and (Luh, 1994).

Table 5 Design literature focusing on results

Difficulties in managing design

Companies are having difficulties integrating design, even after design has proved its commercial power since 1930. Today’s design-conscious companies have moved through several ever deeper stages of design management (Lorentz, 1994).

Dumas and Mintzberg consider the infusion of design in its organisation as the most effective way of using design in a company. As an example, they present the functioning of a fine restaurant in France. Everyone in this restaurant could be considered as ‘designer.’ The decor, the menu, the courses, the table settings are all designed. The placement of the food on the plate is not just decided in the kitchen.

The waiters carefully arrange the cheeses they have just cut. In this restaurant,

“design” is everyone’s responsibility and a matter of care and attitude that defines the quality of the restaurant. “Design is more an attitude in the company that permeates all activities” (Dumas and Mintzberg).

Dickson et al. (1995) found that 70% of general managers involved in manufacturing believe that design issues will be of increasing importance for US firm’s competitiveness, but felt that their managers had adequate training to make design decisions.

We could think of products having a ‘hard’ functional side and a ‘soft’ affective side. With growing world-wide competition, this emotional ‘soft’ side is important for product differentiation. Companies are having less problems in managing the rational hard side of products, as management is often trained in ‘hard’ skills, such as rational, verbal, and analytical skills. The management of the ‘soft’ side in the product demands visual, synthetic and psycho-socio skills that carry a lower social status (Lorentz, 1994).

A superior product is a critical success factor

In the new product development literature, Cooper (1995) defines the critical factors leading to excellent product performance. A “high quality new product process”, a “superior product” and “true cross-functional team” were found to be very important success factors. The importance of a superior product was found in Cooper’s earlier research as well. Cooper (1996) mentions “rarely are steps built in the development process that encourage the design of a superior product”.

Emotional, symbolic aspects contribute to the product’s value

In the design-oriented literature, Sanders (1992), Beakwith (1994), Crozier (1994) and Luh (1994) analyse the role of form and function in the product. Their findings concerning product aesthetics and the emotional value of the product add important information to the existing new product development literature.

Improving the emotional aspects to the product contributes to the product’s value.

CONCLUSION

We hypothesise that steps to obtain a ‘superior product’ are rarely built into the product development process because management is ‘not comfortable with design aspects’, such as the inclusion of ‘emotional aspects in the product.’

Therefore the management of the inclusion of emotional factors into the design process deserves more research attention.

Research should look at: How to manage the important, subjective, aesthetic and emotional aspects in the product? How to get the balance between functionality and emotionality in the product right? How can managers more effectively incorporate the emotional and symbolic elements into the design process? How do design-oriented companies act to incorporate these subjective aspects?

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