The World Retail Congress unveils REUTPALA at the Cavalieri, Waldorf Astoria Hotel Rome

REUTPALA, produced with prototype stainless steel 3d metal printer technology by Gregory Polletta, contains the origin of retail - the connection between the maker/giver & receiver. 

Designed and produced by Gregory Polletta, it was completed over a 300+ day R&D period with 10+ international partners with prototype 3D metal printing technology connected to the ENPC PhD Engineering / MBA program in Paris, RCA's RapidFormRCA program London, and the Imperial University London's Manufacturing Futures Lab part of the Mechanical Engineering 3D printing program.

REUTPALA is the juxtaposition of utpala - “longevity or renewal”, “to burst open”, “youth” and that of the future of retail. REUTPALA is a symbol and when examined closely inside the victory of the spirit of giving and receiving with two hands is preserved. The typology of REUTPALA allows it to keep the brand identity of the World Retail Congress in a prominent position on a person’s desk yet obsecured by the object itself, a reminder of the worldly spirit of giving and receiving.


The Award was given to: 

• Alberto Alessi Lifetime Achievement Award for Design and Retail
  Accepted by Matteo Alessi
• Nitin Passi - Founder & CEO, Missguided.com
  Young Retail Entrepreneur of the Year
• MudoRetail
  Transformation & Reinvention Award
• PrimarkRetail
  Transformation & Reinvention Award
• M&S "For Every Milestone"
  Retail Advertising Campaign of the Year
• Hamleys World, Moscow by Fitch
  Store Design of the Year
• JD.com, China
  e-Commerce Retailer of the Year
• Alibaba
  Retailer of the Year
  Accepted by Jingming Li - Group VP & Head of US for Alibaba

Covered by WRA London; InStore Magazine Italy; EIMAGAZINE Rome; Twitter at #WRC2015 and #WRA2015; iGNITIATE USA; Retail Week, UK; Hunt Review UK; Fashion Mag UK; WRA UK; Drapers UK; WRC UK; WRA London; Chainstore Magazine, UK; Future Retail, UK; WN.com USA; Abomous USA; Toyworld, UK

                               

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Where are the Front and Backstages of Innovations ?

What are the key differences between public and behind the scenes uses of innovation? These are.

When a firm utilizes “innovation” the mechanism for dissemination of breakthroughs is radically different? Why? Any number of political, design, ego, financial and technical reasons. How can this be mitigated to bring breakthroughs out faster and without error. In Front And Backstages Of The Diminished Routinization Of Innovations: What Innovation Research Makes Public And Organizational Research Finds Behind The Scenes  we see how and how designers can take advantage of this to move things faster than ever before. 

                               

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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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The Gamification of Innovation

When it comes to creativity and innovation is it a game? Only when gamification is applied. Here’s why it just might effect the capability to bring true “game” changers to the users.

 

With the advent of turning creativity into a model for aggressive x vs. y team output comes the necessity to ask: is survival the model for envisioning the undefined. Memes and the scientific model require that reason and experimentation drive the creation of novel ways to solve complex end user value. In The Gamification of Innovation we see alternative models. The out come: anything but games people play rather ways to combat derailing models of distraction in getting to the meat of breakthroughs.  

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Design Leaders – how to make them

Is there a delineation between designers and managers and can there be a back and forth training? Yes and no. 

In Delineating Design Leaders we see the clear identification and breakdown of the way that design and design managers are utilized. Can there be a difference in the way that these groups operate and the way they are able to encourage each other as a mechanism for further creative output? Yes. The key is content and creation. As evidence clearly uncovers, it is design leaders, who relentlessly focus on product and operate as a profoundly design-centric function involving a ‘hands-on’ approach. These individuals provide the vision that is catalyzed by actively leading designers and broader team members to produce differentiation and rapid change in response to demanding environmental factors [ibid].

  

                    

   

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How to manage creativity? 1300 managers from 19 countries can’t be wrong

What are the key factors to managing creativity in organizations? 8 key factors and women outscored men. Why? Nurturing & the patience to birth new ideas & products. Here’s how. 

With full details and a breakdown of the way that managers respond to the consistent development of unknown areas, How is Creativity Best Managed details eight managerial competencies that elicit creativity in subordinates & ranked according to how well they predicted desirable outcomes. The most valuable of eight managerial competencies proved to be: Provides Adequate and Appropriate Resources, and specifically that women outranked men in all areas. More shocking: metrics suggest that managers lack trainable

skills that are essential for encouraging workplace creativity: they manage. 

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