Decentralizing the Creative Self – it’s others that make designers happen.

How do designers and innovators see the unseen? By removing the self and using the eyes of others and here’s how.

In Decentralizing the Creative Self: How Others Make Creativity Possible in Creative Professional Fields the basis for evaluating the boundaries of family and friends, peers and students, clients and funders, critics and gatekeepers, and the general public who shape tacitly the capability for what is accepted is clearly articulated. Via what is designed and how these influencers act as barrier guides providing the necessary feedback for designers, a map of the paths for innovations to reach the hands of users who ultimately evolve with what is designed therefore influencing the trajectory of breakthroughs is revealed.

                               

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Design Thinking: Past, Present and Possible Futures

How is the future of design evolving to cope with the evolution of “the best way to be creative and innovate”? Here’s how.

Historically the notion of “design” thinking was clearly articulated by those in the realm of envisioning and delivering with five clear discourses or ways to describe what designers do in practice. As the evolution of these models have changed, so to has the ecosystem and those that inhabit it. In Design Thinking: Past, Present and Possible Futures many specific and clear tools for evaluating the ecosystem of change: of innovation itself. A compass has been uncovered.

                               

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Can Engineering meet creativity ? Yes to create tools to design new connections

How can 46 pieces of paper break open the doors of design perception? Here’s how.

By utilizing a model called The Design to Connect designers, engineers and managers can widen the scope of six key design drivers that challenge the heuristic of design spaces and in this explore a enumerated outcomes. The result is a more articulated ideation and goal set which generated significantly higher number of ideas, exploring a larger solution space for project success.

                               

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Developing computational design creativity systems? Possible? Yes.

Can the basis for creativity be automated to determine design success? Yes & here’s how.

By modeling the key characteristics of Besemer’s creative product semantic scale for product assessment we see three dimensions & nine attributes that can be used for judgments of what designs will make it and which won’t. In Developing computational design creativity systems the basis for such a system is outlined and presented as a roadmap and just a question of delivery.

                               

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