The notion of what design is becomes hotly debated however from the perspective of doing what’s never been done before, the role is as the driver. In the landmark study “The Role of Design in Technological Innovation” we see a series of tools and mechanisms of how this can be applied to all aspects of the new product design process. A simple and detailed toolset.
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How are designers, external and internal capable of maximizing a firms chance of not only creating, manufacturing, but elevating the parent firm to market success? The way designers are organized within the firm and herded like cats. A recent breakdown of a balanced model for organizing and dealing with the challenges of designers is detailed in “External designers in product design processes of small manufacturing firms” an excellent tool in dealing with the myriad of challenges in New Product Development.
Why do some firms succeed in launching game changing products and services? How can any firm learn to do the same. In “Design as a knowledge agent How design as a knowledge process is embedded into organizations to foster innovation” we see the entire process outlined and detailed and to understand the mechanisms and details of how Italian firms have done this for centuries.
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It isn’t too hard to see how epicenters push shockwaves to lower lying areas and then reflect back along the lowest point and shortest possible route and exactly similar to the way Stanford interacts with Silicon valley design leaders. In a recent article “SRI’s Curt Carlson Wrote the Book on Innovation” we see the absolute basics and fundamentals of how SRI has moved breakthroughs to the market faster than any other Silicon Valley long view firm. Regardless of model, it’s Curt’s simple and direct mechanisms that have allowed this to create consistent output outpacing the market.
How often does a product or service make it out of the boiling water and onto the plate? Much more than one might expect when put in context of typical entrepreneurial and commercialization analysis. In a recent study called, “Implementing Innovation and Technical Change” we see that in design and new product development 31% of rojects were cancelled before completion, 3% had overrun their costs and
budgets, and only 12% of 3,682 rojects surveyed were on-time and on budget. More revealing were which of these were breakthrough and industry changing – more than expected when utilizing specific sketch to ship disruptive design and new product development techniques.
Necessity is the mother of invention? The father of innovation? The sibling of complacency? No. It’s the negative emotional state of an unsupported positive mood and a unsupportive context which when low coupled with a negative mood had the strongest positive relation with creativity and outright breakthroughs. In NEW LOOK AT CREATIVITY IN THE ENTREPRENEURIAL PROCESS the entire process of the creative approach is examined not from the standpoint of market need or individual want but from the emotional standpoint of environmental happiness and certainly not what was expected.
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When the basis of creativity is just do it, entrepreneurship is only a step away given the ability to turn creativity into demand. In “Introduction to Creativity, Imagination, and Opportunities” we see the underpinnings of how new products, design, and service creation is the basis for the entrepreneurial mindset taken over a huge sampling set of 3,454 twins, comprising of 870 pairs of monozygotic twins and 857 pairs of same sex dizygotic twins. Creativity and the ability to distinguish behavioral patterns across leaders, designers, and entrepreenurs is incredible in its accuracy.
Design is not just for the unknown or unproven, the R&D Lab or for story time, it’s the basis of creativity and the need to experience that which a person has yet to come across. Some may call this sales, some may call this future trending, regardless it creates revenue streams. In a recent article on The Consumer Appeal of Underdog Branding we see a similar value in how this effects underdog products and services – a revitalization technique. Either way, it creates a mechanism for sustained value through design, art, and storytelling with bonus points when advanced technology is implemented.
Cultural identity is not something that can be easily pinned down. Visual queues, color but hardly so simple as interaction. Braun can possibly be one of the easiest to pin down, MUJI is another possibility. But can a Swiss aesthetic be so carefully enumerated and identified.
In a recent article “20 Brilliant Examples of Swiss Design” we see some possibilities and of course ways where it all goes wrong. Examples such as this 1984 book cover design can hardly be called “Swiss” however examples such at the Swiss Army mailer can’t be denied. How far must design go before cultural intersections are necessary?
The speed of 3D design is rapidly turning the most mundane of experiences into the most exotic. Take for instance the ability of chefs to delight customers with culinary delights that before were only the domain of master chefs and world class confectioners – sculpture.
Now the capability to program and execute complex shapes and creations is just the cost of a small printer, some raw sugar, and a few hours per creation. In a recent article on confectionary 3D modeling we see the capability and future of simple programming.