Inspiration and Fixation – Unconscious Design Emerges

What is the reason for spontaneous fixation and innovation combustion? Unconscious Design 

The reality of design thinking can be identified and focused onto a multitude of factors but one which is consistently ignored is the function of spontaneous fixation. In Inspiration and fixation: Questions, Methods, Findings, and Challenges we see the mechanisms and possibilities to allow the unconscious models of design effect the tools that designers use and more importantly the possibility of breakthroughs happening. 

                              

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iGNITIATE_Gregory_Polletta_Accountability and Design – Tools that Force Design

The fluidity of design can be limited by computers and the constraints devastating. What if there were another way. There is. 

In Accountability and Design we see the underpinnings of the mechanism for not being limited by computer and computational intensive toolsets thus limiting the creative process. Alternatives are discussed, tools are discussed and process reviewed. The implications are directly related to how designers in the future will be working together. 

                              

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Collaborative Design Within Augmented Spaces – It’s coming so get ready.

Designers and engineers are constantly forced into situations where tools to create collaborative environments stop the flow of working due to complexity and clutter. How can this be addressed: Augmented spaces. 

In The Adaptability of Collaborative Design Within an Augmented Space we see the underpinnings of the mechanisms to alleviate clutter and distraction from the design element in order to focus more clearly on the details necessary to formally manufacture and produce high quality and specialized design products. Further mechanisms for implementing design specific techniques show the validity of Augmented design capabilities to further push design and manufacturing boundaries forward at a rapid pace. 

                              

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Have Digital Tools Made the Revolution in architectural Forms - The answer is a paradox.

Using digital tool in design according to the original concept leads to more complex, unexpected and unusual forms. But is it helpful? 

The digital architectural form is a new creative product of mind and digital potentials in shaping ? It makes the revolution in architecture free. In Approches nouvelles des applications des technologies avancées en architecture, génie civil et génie urbain : lecture critique d'un économiste et d'un sociologue.

J. PERRIN, J. RUFFIER we see how digital tools enable designers to be free in creating digital architectural concepts with highest creative capability in generating forms. However there is a paradox here.  Some architects classify these radical architectures as a piece of art that can’t repeat. It is against the traditional elements and typologies of “natural” architecture in form, operation, purpose and aesthetic. 

What is the need of our complex society now? Globalized, fluidity, fold and customization in architecture? Or traditional stability, differentiation and standardization? The answer is both and at the whim of clients who are risk takers who push the boundries of design every day. The purpose of design is to push forward and in the evolution of form and function to create demand for objects and services that enhance our lives

                              

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Why is Human Vision So Important In Design - Here is why.

Designers get tremendous amounts of visual information while our brain processes them in a very complex and statically unknown way. Designers have been using specific tools to aid in modeling via vision friendly products augmented to existing hardware and software. 

One of these technologies is Visual DHM (Digital Human Modelling) which combines a cost effective visual tool system to analyze visual information on both a qualitative and quantitative scale. DHM technology simulative human interaction with the product virtually allowing designers to solve ergonomics issues in the early design process via manufacturing workstations and rapid prototyping systems. Improving this new technology with gestural interfaces makes the future very exciting for designers in particular as related to the AR and VR revolution that is now dawning in the design and manufacturing world.

                               

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When do Creatives Need an Innovation Policy - As soon as they want to make designs real. Here’s How

When do Creatives Need an Innovation Policy? As soon as they want to make designs real. Here’s How. 

  In Creative Industries & Innovation Policy we see the entire model for the dessimination of design and innovation through the lens of simple internal policies that can push what is creative and breakthrough into the hands of users who may or may not know of their needs, desires or outcomes of the efforts of the parent firm. In this model, we see the delight and therefore unknown and sometimes pre-validated success. What ever company wants and what every user desires: design and innovation success.

                               

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The Approach of Scientific Research & Design Breakthroughs – Get it out Fast.

What’s the key to getting scientific research and design breakthroughs into the hands of users. Put it into the hands of users. Fast. 

  In Approaches to Marketing Scientific Research Services we see the fastest models and material examples of the key factors to bringing design breakthroughs to the market: fast models. Backed by validated scientific factors and user experiences, the models become as simple as fail fast and fail often – and written in 1998. 

                               

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The Creative Sector Inside Innovation ? Yes, But How?

How can Design define Target vs Cultural and still Innovate? Here’s how. 

  In Placing the Creative Sector in Innovation we see the key differences between Target Product & Profile and Cultural Product & Process to ferret out the most difficult of new product development capabilities. In this we see the clear path: utilizing them both fills the entire process and edges. Design is not either or but often and, therefore more than can be achieved holistically than the sum of it’s parts. 

                               

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Emotions, Design & Entrepreneurship

What makes a good designer and good entrepreneur succeed? 2 types of emotional controls that you’d never guess. 

In Emotions and Entrepreneurial Opportunity the clear link is made between “trait emotions and state emotions influence evaluations in parallel ways towards appraisal tendencies linked with emotions determine choices that entrepreneurs & designers make in stressful situations that ultimately lead to success. 

                               

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