Design and Innovation Does Not Shy Away from Conflict It Embraces It

Design is no stranger to conflict, it is the basis for the creative process, the force that drives the sometimes blatant necessity to be different - at the forefront of the state of the art. Art is, by it's definition the uniqueness necessary to differentiate one possible outcome for a configuration for success - or when all else fails to copy and slightly modify someone else's work. But what happens when complex groups are involved for the purpose of averaging a set of needs by customers who are not able to see the whole picture for products and services that they do not even know they need or want yet. This is where conflict for transformation change kicks in.

Skillfully defined by S.A.K. Friis and the Kolding School of Design in their analysis of Conflict As A Driver For Transformation In Creative Teamwork  we can see the full picture of the tools and mechanisms necessary to effect radical change in organizations, products, and services. This also knows no bounds for effecting innovations in R&D Labs where heavy
 investment costs can directly effect the success or failure of market changing endeavors.

  

                    

   

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Influence, Novelty And Solution Generation - Making Design Evolution Happen

New products are often thought of as functional, and artistic projects for the sake of creation but the reality is functionality thinking limits. The reality is that variety, a significant difference is seen between nonfunctional ( desires ) and hard functional requirements. Limiting desires and room to move within the artistic space for design could not have been better identified by Emily Worinkeng, Shraddha Joshi & Joshua D. Summers 

The reality of the design world, architecture and often product definition and entrepreneurship is that nonfunctional requirements, typically captured as constraints on the design space ( user desires and the designers own interpretation of what is needed ) often serve ( as a measured quantity ) to not only enablers ideation but novelty and variety and as show in a few previous discussions here and with clients, clearly leads to an understanding of the mechanisms of disruptive design coming together to create successful products.  

                                

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When it Comes to Innovation, Obscurity is not Obstacle it's Opportunity

The process of innovation is hotly debated - too many outliers, too many obtuse definitions and too many origins however definition of innovation has never changed since the day the term was coined by Joseph Schumpeter with the definition of innovation connected directly to the applications of new technology, new material, new methods and new sources of energy thus effecting the over all capability of exiting designs, engineering and production in the market. The more a product changes causing demand to increase for the producer of a design, the more "innovation" is intended by his definition. But this is not enough. 

Factors such as design fixation, functional fixedness ( a cognitive bias limiting a person to use an object only in the way it is traditionally used), narrow verb associations, assumption blindness, and analogy blindness along with in the psychological attitude of designers and business creators means a change in view and the distant association view of a designed effort, product or service can mean an immediate change in the capability of a design and therefore who uses it but more, who buys it. In "The Obscure Features Hypothesis in design innovation"  we see the exact tools that can be used to take designs from the R&D Lab or the sketch pad to manufacturing and into the real world as either mass produced products or independent efforts. Either way, these tools show the way to increased design and innovation capability. 

                                

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When Meta can Mean Multitudes, Revenue is not Far Behind

Innovation and design are not just for engineering products as when it comes to it's later counterpart in the process of breakthroughs, engineering, firms don't need to be R&D labs to create unique solutions. From lateral thinking to divergent thinking, tool cards and design drivers are mechanisms that can directly effect the creation of new breakthroughs and revenue streams in non regulated ( non pharmaceutical and non financial markets ) or areas where government intervention and state and local rules do not directly effect the outcome of getting "new" into the hands of those who are looking to make breakthroughs. 

In "Engineering meets creativity: a study on a creative tool to design new connections"  we see the capability of a system of simple creativity and problem solving that can radically alter the way innovation is executed inside small to medium sized firms as well as corporations. By utilizing Design to Connect tool cards and Design Drivers modules the raw capability to statistically have higher number of generated ideas (fluency) possibilities for innovations and a larger space of idea categories to be put into the hands of those needing to disrupt existing markets we see how multiple paths to new ROI streams for newly launched efforts can happen. Playing cards, does, in fact create value and not just at the blackjack table. 

                                

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Design Repositories Aren't Just Libraries - How MEMIC & Generative Design Means Innovating from Within

When designers and firms integrate the capabilities of a repository of innovative products and a functional design repository incredible aspects of new functionality and artistic capability can arise. Tools utilizing interactive morphological matries, today called a morphological evaluation machine and interactive conceptualizer, a "MEMIC" have the ability to to output random components for every function instead of selecting a component by hand thus "creating" components for each function based on the frequency of the components solving the function in question. 

For those familiar with generative design and AI systems for product design this exactly capability can also be utilised with non AI and heavy computational systems and something as simple as pen and paper. In "The development of a repository of innovative products for inspiration in engineering design"  we see the model and functions necessary to make such simple pen and paper based systems work and therefore increasing the capability of product innovation without high levels of investment in such systems. Creativity and innovation capabilities are not just something for science fiction 

                                

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Culture Means Consistency Means Meems in Successful Products

A chair is a chair is a chair. A computer is a computer is a computer. Yet, some products become icons and some are produced and then re-designed over and over until an inflection point occurs. Some firms see this as the capacity to easily apply marketing and consistent brand building, others see the effects of R&D and Design development to influence necessary cultural queues, meems, etc, that create an icon. When this happens a firm and a product transcend the mere function of what it is that they create. 

In Cultural Features in Modern Product Design - Cross-cultural Product Design we see the basis for how this can happen in an exact form and process and although the efforts to connect design to extended heritages and traditional values the increased sense of spiritual
essence and connection in human life is only but one aspect of the value of design. Design is not only the engineering and manufacturing production capabilities of manifesting but creates a construct of the future to be experienced. Design is not only a connection to the past but a link to the future yet to become. 

                                

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