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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When You Can’t Entre, Intra & 3M Knows How It Works.

With a multitude of vocabularies, terminologies and models, in action, it’s the pizza man model that remains: a team large enough to eat one large pizza together and be satisfied. But how can this be done easily? 

Anything more and there are too many people for the 1^st critical juncture of any innovation mindshift. In particular and very carefully articulated in Innovation at 3M Corporation we see the simplicity in relying heavily on selecting a talented core team of 4to 6 people (and even 6 is too mich) from marketing and technical departments. At 12 to 15 hours/week immersion fosters creative thought and maximum momentum with each person spending 1/2of their time on the project. The rest of the time, it’s other projects in the pipline and keeping the emersion going. 

                               

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How Can Groups Achieve Simple Team Creativity? Here’s how.

How can Groups Achieve Simple Team Creativity? Here’s how.

Surprisingly in the design game, it is just as much about psychology as it is about scientific capability for certain design models to illicit specific tangible differences that outweigh other particular models. In an interview with Paul Paulus we see in Group Creativity the possibility of alternative models for group creating cohesion and increased creative output while having group dynamics be factored into a more robust output when ferreting out alternative solutions – group creativity dynamics at work.

                               

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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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