Service Design An Emerging Field
Service Design An Emerging Field
An Emerging Field
part one
Service Design as an Emerging Field
Birgit Mager
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28 writer
an emerging field
Until the early 1970s the focus of societies and the economy had
been industrial production. I t was there where investments in
research, development, design and marketing were unquestioned. I t
is quite interesting to look at an etymological dictionary – the Latin
word “producere” originally meant “move forward” – so the idea of
progress is already implemented in products and production. The
word “service” on the other hand finds its origin in the meaning
of subalternity or dependency, being the “runner” – and it is not
surprising that until the early years of the 20th century in many con-
texts the economic dimension of services had been totally ignored or
– as Adam Smith put it in 1793 in the “The Wealth of Nations”: “The
labor of some of the most respectable orders ... churchmen, lawyers,
physicians ... is unproductive of any value.“
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innovate their service offerings. But still we find that many
an emerging field
companies have not yet moved on and seem to rely on service quality
and service innovation as something that will evolve unattended by
itself. Moreover, it seems that many companies have an amazing
misconception regarding customer satisfaction: while 80% of all
companies believe that their service is good, only 8% of the custom-
ers think so (Bain & Company 2005).
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grew. A holistic design education that placed emphasis on analytical,
conceptual and social competencies and that integrated the urgent
issues of a service economy, ecological responsibility or even gender-
related issues into education instead of teaching technical skills
alone was at the time the answer to the changes in the world.
Service design was thus established as a part of a holistic and
innovative design education, and even if it was irritating at the
beginning it now has credibility in teaching, research, and practise
all over the world. Throughout these almost fifteen years of research,
experimentation and collaboration with industries a quite amazing
body of knowledge has been developed and service design expertise
has proven its value in numerous projects in the industrial, public
and private sectors.
success stories
Virgin Atlantic, for one, has its own department for service design.
The Volkswagen research department is integrating a service design
approach into their research. McDonald’s has set up a customer
experience innovation centre using the service design approach as
a major facilitator for innovation. Numerous service companies,
including telecommunication providers, insurance companies,
banks, hospitals, transportation and hospitality industries are
integrating service design on an organisational or on a project basis.
Universities are changing. At the end of the last millennium, as
mentioned, it was the Köln I nternational School of Design that had
initiated an academic service design programme in 1992, and the
Polytecnico di Milano, Carnegie Mellon University and Linköping
University established service design as topics within an academic
field. Now we find universities all over the world focusing on Service
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interfaces, parallels have emerged in theoretical and methodological
development, in the search for factors to be noted and influenced
when designing an experience, even though experience cannot really
be designed, only the conditions that lead to experience.
Service design also connects to expertise that has been
developed throughout the last decades in marketing. And it goes
beyond these design- and marketing-related foundations by focusing
on service-specific challenges. It has created design-rooted processes
and methods that meet these challenges. Service designers take
a deep dive into the ecologies of services, into the world
of needs and experiences of users and providers. They
visualise, formulate, and choreograph solutions to problems
that do not necessarily exist today; they observe and interpret
requirements and behavioural patterns, and they transform them
into possible future services. I n doing so they bridge business,
technology and design perspectives.
4. See the big picture. The service experience might start long
before the customer gets in contact with the provider, and the
experience does not end with the “Goodbye”. Services are embedded
in larger systems of relationships and interactions. And they need
to take into consideration the changes users go through throughout
the duration of the relationship.
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7. Go for a standing ovation. I n many service encounters
success depends on people. The service performance needs to be
supported by a designed setting that serves the needs of the “actors”.
This might require a fundamental reflection upon the recruiting,
development, empowerment and appraisal of people.
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the result is not about minor decorative improvements in service
systems that “hurt” nobody but that the opportunity is taken to think
and to invent, to rethink and reinvent.
The work with the service design approach can and should be
truly inspiring. The above-mentioned principles, a holistic
view, interdisciplinarity, co-creative work, visual thinking
and a radical approach, create a special spirit that sets
energy free and gives motivation for change. And this is
absolutely necessary because often a lot of change is needed: not
change of machines, production processes or materials but change
of structures, processes, culture and people. And in order to make
this kind of change successful it needs a lot of inspiration, energy
and motivation.
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material. What, then, are the corresponding dimensions of a service
design language? And how could categories like style or genre influ-
ence this?
The performing arts are one field being explored by current
service design research projects to tap into their potential for concept
transfer and provide inspiration for innovative forms of organisa-
tion, notation, and communication. Perceptions and procedures
derived from the performing arts have proved useful when embark-
ing on the service design process. The issues of choreography and
orchestration invite to be explored for their inspirational potential.
The metaphor of front- and backstage is already a very helpful model
for service performances, because it reveals the necessity for a com-
prehensive view of the whole system and the necessity to cast proc-
esses, locations, props, and actors from one mould. Storyboarding
provides a comprehensive system for thinking about and visualising
the procedural narrative structure from the perspective of clients.
There are certainly many more such impulses concealed within the
theatrical process, from the first ideas to the final performance, that
will be valuable and fruitful for the design of services.
Service design is in many cases dealing with human behaviour:
behaviour of employees, behaviour of customers and co-customers.
Due to co-production customer behaviour is of greatest relevance for
the success or failure of the service. So research on the way design
can influence behaviour is of major interest within the service
design field. The social and public service sector will especially need
to focus more on the opportunities of behavioural change by the use
of design and service design interventions.
A question that has been posed often throughout recent years
deals with the potential of service design in B2B relationships.
Thus far there has been no systematic research on this question,
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references
Accenture (2008),
H igh Performance in the Age
of Customer Centricity. Global
Customer Satisfaction Report
M ager, B. (2006), 10 Service
Design Basics. Köln.
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