The field of design has broadened its scope of activity in recent years, starting with a vision focused on the design of objects for a broader perspective. New terminology is being used and concepts are stamped, often without adequate consideration of its limits. This article seeks to define conceptually two current issues in the scope of Design and Management, but are often confused: Strategic Design and Design Management and propose new thinking about these two new areas within this field of knowledge.

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In this paper, building on previous work on scenarios in theatre, design, and business, a series of 4 exercises were carried out in order to identify factors that differentiate design scenarios from scenarios in other fields. These factors include the need for a sufficient duration to accommodate the learning aspect of writing scenarios, the tendency for scenarios in design to be positive in nature, and the inclusion of visual prompts rather than just text. Further, the research proposed capturing and reusing the various kinds of information that were produced during the writing of design scenarios. In this case, this information was treated according to the principles of rich-prospect browsing, which suggest that individual items, meaningfully represented, be made available to scenario writers in design for organization and use. Several such collections were produced, some physical and some virtual, each of which contained fewer than 100 items. By combining this atomized form of overview with affordances directly associated with the information, rich-prospect browsing simultaneously preserves and makes accessible the kinds of ideas that are prevalent during the process of creating design scenarios.

In this paper, we discuss the conceptual and practical relationships of three common products of design and design research: designs, prototypes, and scenarios. In addition, we examine the related actions of designing, prototyping, and writing scenarios. We suggest that rather than accepting the common understanding of these three artifacts and processes as distinct phenomena, it is useful to consider them as three aspects of a larger construct that is characterized by features such as invention, meaning--making, reification of ideas, and mediation among interlocutors. This interpretation has consequences for our understanding of these artifacts and processes, both as potential means of knowledge production, and as attempts to define our disciplinary boundaries, suggesting that a relatively small shift in design practice could produce significant benefits for the field as a whole.

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