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Disruptive strategies


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hypothesis presentation for thesis project

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Disruptive strategies

  2. 2. Creativity is radical discontinuity in a pattern of thought. — David BohmWednesday, July 20, 2011
  3. 3. PROBLEM Current design work is pragmatic, but lacks ‘wow’ factor. Find or develop a (design) methodology that encourages unexpected or untried approaches to problem solving, leading to more interesting solutions and providing insight into a personal ‘signature’ or ‘voice’.Wednesday, July 20, 2011
  4. 4. HYPOTHESIS This thesis presents the hypothesis that applying disruptive strategies to problem solving interrupts habitual thinking and creates space for fresh interpretations. People classify situations quickly, leading to predictable responses. Forcing a ‘stop’ to the process at prescribed intervals allows space for questions, analysis and new understandings. When this exploration is authentic, solutions are more interesting and reveal the creator’s point-of-view.Wednesday, July 20, 2011
  5. 5. HYPOTHESIS (cont.) The added intention—to see anew— makes the process more wakeful, informed and personal. This thesis suggests that creativity can be cultivated through systematic techniques for changing concepts/percepts and generating new ideas. The benefit to designers is a tool set to help transcend creative blockages, engage projects, and deliver original (and meaningful) solutions.Wednesday, July 20, 2011
  6. 6. CREATIVE REFERENCE I TIBOR KALMAN It is the deviated form that draws attention and produces something memorable. “By definition, when you make something no one hates, no one loves it. I’m interested in imperfections, quirkiness, insanity, unpredictability. That’s what we really pay attention to anyway. We don’t talk about planes flying; we talk about them crashing.”Wednesday, July 20, 2011
  7. 7. CREATIVE REFERENCE II LUKE WILLIAMS Disruptive hypotheses are designed to upset comfortable equilibrium and bring about an accelerated change in thinking. A disruptive hypothesis is an intentionally unreasonable statement that gets your thinking flowing in a different direction. The process hinges on three steps: Defining the situation; searching for cliches; and twisting those cliches to find new ways of seeing them. Its thinking about what is usually ignored, and paying attention to what’s not obvious.Wednesday, July 20, 2011
  8. 8. CREATIVE REFERENCE III PABLO PACISSO I used to draw like Raphael, but it has taken me a whole lifetime to learn to draw like a child. For me, creation first starts by contemplation, and I need long, idle hours of meditation. It is then that I work most. I look at flies, at flowers, at leaves and trees around me. I let my mind drift at ease, just like a boat in the current. Sooner or later, it is caught by something. It gets precise. It takes shape —my next painting motif is decided.Wednesday, July 20, 2011
  9. 9. OUTLINE Overview • Disruption Understanding the problem • Divergent Thinking • Convergent Thinking Idea Generation • Idea Finding • Evaluation & Selection Implementation • Planning • Acceptance ConclusionWednesday, July 20, 2011
  10. 10. CONTENT SOURCES Luke Williams, Frog Design David Kelley, IDEO Robert McKim, Stanford d-School Edward DeBono, Consultant Clayton Christensen, Harvard B-School Wlater Diethelm, Designer Alan Fletcher, Designer, July 20, 2011
  11. 11. VALORISED DESIGNER I The valorised designer should see design for its major potential contribution to making the quality of life richer and more sustainable. This thesis embraces the idea that by bringing rigorous attention and critical examination to the design process, outcomes will be richer and more considered.Wednesday, July 20, 2011
  12. 12. VALORISED DESIGNER II The essential, unifying factor underlying work done across the spectrum from theory to practice would be a rigorous awareness of values. Designers need to fuse the practical aspects of design with a sense of responsibility for the sociological and ecological implications of their work.Wednesday, July 20, 2011
  13. 13. VALORISED DESIGNER III A sophisticated society needs sophisticated designers who need to be informed and critical as well as practically creative. The intent of this thesis is to integrate persistent critical inquiry with the design process, and thus promote creative approaches to problem solving.Wednesday, July 20, 2011
  14. 14. ADJACENT POSSIBILITIES Fear, lack of confidence, poor self-image—we are what we think, right? How will I be creative if I don’t see myself as a particularly creative person? Can I learn to set all of this aside, lighten up, and play?Wednesday, July 20, 2011