THESIS HYPOTHESIS RON ZISMAN DIRECTED RESEARCH PROF. TOM KLINKOWSTEIN SUMMER 2011
Creativity is radical discontinuityin a pattern of thought. — David Bohm
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’.
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.
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.
CREATIVE REFERENCE ITIBOR 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.”
CREATIVE REFERENCE IILUKE 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.
CREATIVE REFERENCE IIIPABLO PICASSO 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.
OUTLINE Overview • Disruption Understanding the problem • Divergent Thinking • Convergent Thinking Idea Generation • Idea Finding • Evaluation & Selection Implementation • Planning • Acceptance Conclusion
CONTENT SOURCES Luke Williams, Frog Design designmind.frogdesign.com David Kelley, IDEO disrupt.com Robert McKim, Stanford d-School designthinking.com Edward DeBono, Consultant POPTECH.com Clayton Christensen, Harvard B-School TED.com Wlater Diethelm, Designer creativethinking.net Alan Fletcher, Designer theawakenedeye.com fastcodesign.com designobserver.com kerzweil.net futurelab.com bx.businessweek.com/design-thinking/
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.
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.
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.
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?