The Virtuous Cycle of Discovery and Creation

Why such a virtuous cycle: discovery and creation? Because there is no other way to justify value & there is nothing wrong with it. 

In The Virtuous Cycle of Discovery and Creation we see the clear indication that finding something and creating something can be as simple as sniffing and eminating although through 5 specific propositions we see alternatives for how firms are able to leverage this investigative capability for usability and therefore design success. What makes it work? Relentless trail and error: the mark of innovation.

                               

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What was Philippe Starck Thinking ? Whatever he wanted. That’s why.

Why would design 1 be considered good and another considered not. And sometimes you just have to sit back in awe and watch as it is bantered about. But there is a good reason. 

In What was Philippe Starck Thinking ? we see sometimes there is no reason even though to dig further as to why it is or is not important rather showing respect to the notion that ‘no design works unless it embodies ideas that are held in common by the people for whom the object is intended’ if they were orange juice squeezing fishermen. But then we see the key factor: artistic intent has no boundires including the very public case of the engineer who “adjusted” Starck’s Juicy Salif in the most miniscule ways to make it useable and was sued for it. So What was Phillpe Starck thinking? Does it really matter after 50,000 units? Not really. 

                               

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Five Approaches to Design from 1980 Still Ring True. But why?

How can Five Approaches to Design from 1980 still hold revelance? Simple use of Artistic Desire. 

  In the 1980’s the system approach to design was the basis for all large scale and complex systems. As time went on the categorization and expansion of the models to evaluate how design and design thinking can influence the depth of solutions for products as well as services grew exponentially. But did this influence design profoundly? It didn’t need to. In Approaches to Design we see several of the key perspectives that continue to shape and define the design world regardless of being more than 30yrs old. Now that’s good design. 

                               

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What Does Entrepreneurial Creativity Have to do with Innovation? Everything.

What does Creativity & Entrepreneurship have to do with each other? Just about everything. But now what? 

We all know that creativity for creativity sake is the same as singing in the shower. But what then does creativity and entprepeurhsip have to do with one another and how can this and how has this effected large scale multinationals? In An Exploratory Study of Entrepreneurial Creativity we see the basis of how an Intrapreneur with wide eyes to possible opportunities for self expression and idea visibility plus self-efficacy and expertise have significant direct effects on entrepreneurial creativity and significant indirect effects through increasing intrinsic motivation clarifying of the relationshipbetween the individual and resource-related factors and entrepreneurial creativity. When creativity is channeled specifically towards individual attention and output even in the face of resource constraints, success emerges. Innovation breakthroughs happen!

                                

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Design Meets Art: The Making of REUTPALA for the World Retail Congress

The intersection of design and art is a line often crossed and certainly danced upon. And here is how that dance unfolded with The Making of REUTPALA for the World Retail Congress

REUTPALA is the completely redesigned award for the World Retail Congress with it's origins in retail and the connection between the maker/giver and the receiver. 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 an award, a reward 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 obscurified by the object itself, a reminder of the worldly spirit of giving and receiving.

The design and engineering for REUTPALA took almost 300 days of R&D with more than 10 international partners and manufactures using advanced 3D Metal Printers in conjunction with 3 university laboratories in 3 countries and the team at iGNITIATE. The result is a spectacular example of advanced design, manufacturing and production techniques. The award is given to some of the world most prominent leaders in retail including a 2015 special lifetime achievement award given to Alberto Alessi for his incredible contribution to design and retail world wide.

                                

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When Design & Innovation Isn't Enough Then What? Here's What.

When Chiara Alessi released DESIGN SENZA DESIGNER (Design without the Designer)  the gauntlet was thrown down because when design & innovation isn't enough then what? Art. That's What.

The notion of design not being enough is a common understanding in the Italian mentality. In the European Mentality. In any mentality that has embraced a Renaissance. Because a Renaissance isn't a time or a place it is a way of realising that "doing" or "creating" or "innovating" or "breaking through" sometimes is only the 1st baby step and can happen in a corporation, a university, a government or a person. What comes next is what's important:  creating Art that stands above the innovation. How? Described quite well in Wired's When Innovation Isn’t Enough and certainly in When Good Design Isn’t Enough the reality is that when design and innovation isn't enough, design becomes for the propose and well articulated by Designing Products for Evolving Permanence and Enduring Meaning and this is what makes the future now.

                               

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Design Necessity - If you Don't Design It, What's the Value of It? Here's What.

What is the Value of Design? Constantly asked, a market necessity and ultimately the same reason to climb mountains. But if you don't design it, then why have value at all?

In the development of "the new" there is not only the value of the function as outlined in Beyond form and function: Why do consumers value product design? but more specifically in Identity References in Product Design: An Approach for Inter-relating Visual Product Experience and Brand Value Representation detailing further the reasons of perception over function. But is this enough? No.

Often the reality is like minded capabilities and the desire factor of why one thing over another. However this popularity contest is only a function of further philosophical needs to drive behaviour in one way or another and in that a fiefdom model of usage is created: Pepsi vs. Coke. This however is different from the usage model of electricity vs gas and as such a design value model can be codified, measured, bought and sold. What is the value of design? A necessity to climb certain mountains as defined by social and scientific progress. Not to mention of course, aesthetic investigations as tied to the above.

                               

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McKinsey says Organize for Breakthroughs? Or Hearding Cats? Here's How

McKinsey, famous for defining darkness as a standard and then inventing lighbulbs, has outlined the model for breakthroughs. Hearding cats is also possible. But how do you encourage breakthroughs? Here's how.

In a recent McKinsey Insights, The discussion turns to "Organizing for Breakthroughs" and clear steps that can create successes in a field that is beset with a very long term window: 
- everyone is aware of the products and technologies from the secretary to the scientist
- global heads cause "preferences" but diagnostics reports to X and pharma to Y
- champions determine success: global development or the head of product strategy
- pursue, pursue, pursue. at your own risk
- keep it in the family becuase "giving...a few shares..delivers the worst of both worlds"
- innovation hubs don't help solve specific problems, go where the challenges are
- de"risk" to help late stage efforts make it rather than axing them
- "10 percent more innovation [is better] than 10 percent more efficiency"
- thinking in 30yr cycles means 10-15yr goal windows and 3-5yr focus areas

With these fully valid windows for long term and difficult problems to solve, the outcome is never gauranteed. With shorter windows, we see a better possibility in the hearding cats model of Organizational linkages for new product development: Implementation of innovation projects and specific mechanisms to build cross functional

                               

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R&D&D How Great Ideas Become Game Changers

What is the capacity of innovators in 2016? What is the capability of R&D&Design influence in the future? How does this empower designers to create game changing environments? Here’s how.

In Understanding influences on engineering creativity and innovation: a biographical study of 12 outstanding engineering designers and innovators the basis of personality types, design mentalities, efficacy capabilities and more, management mentalities are explored and detailed to understand the value that design plays in the R&D mind. 

Via key factors such as environment, knowledge, attitude and insight, the associated values connected to moving from one illuminated state to another while in complete darkness are explored. What becomes apparent is how the systems to support such breakthroughs are not entirely complex, however it is the environmental queues that design innovators use via rapid series of iterations allowing interests by key users who work in tandem with R&D and Design to bring game changing possibilities to market.  

  

                    

   

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