Small group ideation

To challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creative thought and practice. In this vein, Tyler Cowen, writing in Bloomberg Opinion suggests that "When working on any kind of problem, task or question embed yourself in a small group of peers with braodly similar concerns". This is because, Cowen continues, "The group will give you ideas, feedback and help keep you focused on the issue at hand. The personalities and framings of the other group members will make the issue seem more vivid. After all, there are few problems you are better off facing alone".  Cowen's piece of advice stems from what has been dubbed in Silicon Valley  "the small group theory". For a second near-universal piece of advice, Cowen suggests: "Get a mentor". That is, someone who has more knowledge, general or special, and experience than yourself. The advantage of a mentor,, says Cowen,is that "Aside from providing teaching and advice, the mentor, like the small group, helps make an issue or idea more vivid: A living, breathing exemplar of success stands before you. The mentor makes a discipline feel more real and the prospect of success more realistic". In short, Cowen's advice seems worth trying. After all, ideators must always be open-minded in their approach to idea generation and communication. Source: https://www.bloomberg.com/opinion/articles/2021-12-07/the-only-two-pieces-of-advice-you-ll-ever-need?utm_source=pocket-newtab-global-en-GB

Delivering design through sketching

"To sketch is a mental exercise", says Santiago Calatrava, architect, sculptor and painter as well as structural engineer.. "It's a mental exercise that goes directly fromy our mind into your hand in a very spontaneous way. And probably one of the most effcient ways to capture the idea and the vision you have in your mind. And also to analyse it, to investigate, to let it change and transform.The drawings, in the beginning may be very imprecise but with time they become more and more precise and, maybe follow much more the intuition. And then with time, they become more and more construction drawings". He continues: "I started in an art school, then went into an architecture school, and then an engineering school. For me, the work as a sculptor proceeds architecture. I was proceeding to find my own language, independent from schools, independent from tendencies, independent from any dictate, thinking that I have the right to say whatever I want to say in my own manner. I like the idea of being an artist but being an artist doesn't mean living in another world but working very hard and thinking and analysing that this what you are doing can have also a higher signification. I mean, simply doing a platform, where people will wait to get a train  can be also a beautiful place. Just that. But, finally, it is a work that you have to deliver, and work that goes over hundreds and hundreds of sketches". And so, given the proliferation of digital design tools, Calatrava proves sketching has not lost it relevance although there are anecdotal reports of a decline in freehand paper-based drawing ability among today's design students. Source: https://www.youtube.com/watch?v=h9qSRbUDWEI

Ideas incubation

Ideas may be percived as "thoughts at speed". Yet producing ideas too fast when trying to resolve a given problem might be detrimental to innovation because some of the best solutions don’t come "all at once" but after a longer incubation period. Therefore, resisting the temptation to find a solution quickly and instead keep searching for more ideas can lead to more innovative and far-reaching solutions.That is, to avoid premature ideas, better then for ideators to arrive at tentative decisions and then intentionally delay action in favor of additional incubation time. For example, the incubation phase was most important to Le Corbusier's creative process in which the elements of a given problem were let to simmer. That is to say, the architect stored the assigned task in his memory while, during the incubation period, he carried out research and documentation necessary to master the elements of the problem. Only then did the idea emerge, become precise and concrete, as evidenced in his notebooks and tracing-paper sketches. Or, in Le Corbusier's own words; a spontaneous birth (after incubation) of the whole work, all at once, and all of a sudden.

Work out ideas

Stephen Sondheim (1930-2021), the American composer and lyricist, had rather romantic views of art: "I had always thought an angel came down and sat on your shoulder and whispered in your ear 'dah-dah-dah-DUM ...  Never occurred to me that art was something worked out". This he came to realise while studying composition at college: "You think it's a talent, you think you're born with this thing. What I've found out and what I believed is that everybody is talented. It's just that some people get it developed and some don't". And so with ideation. Altough the Eureka!, or Aha! moment may be tinted with romantic views of art and creativity - that art, and creativity is somehow a talent. Yet successful ideas have to be worked out. Work out in the sense there's a problem to solve by considering the facts. (Interestingly, Sondheim regarded himself a mathematician by nature). Ideation, then, as problem solving that includes skills (deliberate practice) and ways of seeing (mental representations) that can get developed (can be learned) over time.

The world through rose-tinted glasses

The phrase ‘to see the word through rose-tinted glasses’ means to see things in an overly optimistic, often unrealistic way. But does wearing rose-tinted glasses actually make the world a better place or make people feel happier? And in the wake of COP26, the latest of the United Nations Climate Change Conferences, which serve to assess the progress in dealing with climate change, a process that began in the mid-1990s, would the world look more realistic through green-tinted glasses? If so, given the seriousness of climate change, should ideators form new ideas through seeing the world through a green rather than a rose prism? Yet social science research suggests that viewing our world a bit askew — with rose-tinted glasses — can have postive effects in that it puts us in a better mood, and therefore makes us more receptive to taking in more information, such as on climate issues. But there are risks with the rose-tinted approach, for example, toxic positivity, or delusional thinking. Moreover, seeing things through rose-tinted glasses may have a self-deceptive bias. That is, there’s a difference between perceiving the best account of things and perceiving the true account of things. However, because of this difference, "there are instances in which our beliefs can be wrong but useful", says Phil Corlett, an associate professor in psychiatry at Yale University. In the context of ideation, then, this suggests that ideators have to choose what they belive in to gain control over their ideas, and this whether seeing the world through rose-or green-tinted glasses (or any other colour).

What medium the idea?

'The medium is the message' is a statement by Marshall McLuhan, the Canadian philosopher (1911-1980) meaning that the form of a message (print, visual, musical, etc.) determines the ways in which that message will be perceived. McLuhan argued that modern electronic communications (including radio, television, films, and computers) would have far-reaching sociological, aesthetic, and philosophical consequences, to the point of actually altering the ways in which we experience the world. So, McLuhan proposed that media themselves, not the content they carry, should be the focus of study. For example, he describes the light bulb as a medium without any content stating that 'a light bulb creates an environment by its mere presence'. Now then, what about the proverbial light-bulb moment? A moment of sudden spasmodic effort that accomplishes nothing, or a moment of sudden inspiration, revelation, or recognition?

Idea ex machina

The notion of idea as an element of thought, or a way of thinking, as the result of mental activity, or conception in the mind of something to be done, such as a plan, or intention for doing something, goes back to the Age of Reason or the Age of Enlightenment (late 1600s to the end of the 1700s). This in contrast to the Romantic Era or Romanticism, a movement that started around 1770 (with its peak from 1800 to 1850) in response to the rational views of the age of enlightenment. The romantic thinkers felt that reason was overemphasised and that more focus should be put on the attributes such as aesthetic experience, human emotions and free expression. Now, Enlightenment is more closely related with natural sciences while romanticism is more associated with the arts and humanities. Ideation, then, in the context of design, from the First Machine Age, or the Industrial Revolution, to the Second Machine Age, or the Digital Revolution, interspersed by the Arts and Crafts movement and Modernism, draws inspiration both from the sciences (rational reasoning) and the arts (human subjectivity). In the wake of artificial intelligence, AI, this may suggest idea ex machina as an idea device, or generator or plotter of ideas. But while AI has established a direction and momentum of its own, the march of technology does not necessarily separate the ideologies of enlightenment and romanticism. True, Romanticism was a counter movement to the Enlightenment in its rejection of Enlightenment ideas about the primacy of reason and science. Science, however, is not an activity that goes on independently of all others. Thinking and feeling, then, are better seen as forming an indivisable continuum creating meaningful possibilities in contemporary design.

 

AI-powered ideation tool

The idea that software development (coding) would allow artificial intelligence, AI, help generate ideas seems, well a great idea. After all, with millions of design ideas out there, past and present, why start from scratch, or a blank piece of paper when most innovations are incremental, rather than truly original. That is, based on collection of data of designer knowledge, experience and perception, or through visual search engines, such as Pinterest, AI can help designer with ideas  The challenge of AI-powered ideation though is to develop AI that is context sensitive rather than producing copy-pasting ideas, or a catalogue of ideas for any given design situation (which also raises copyright issues). Moreover, AI-powered ideation might shift the role of the designer from that of a generator of ideas to a discriminator of ideas. AI Research & Development, however, is moving fast, both in terms of output quantity and quality.

Capacity for ideation

We all have ideas. In fact, ideas abound, within us and around us. If we associate ideas with change, we may also relate ideas to our capacity for coming up with new ideas. or ideation-capacity for change. What, then, we may ask, lies behind our capacity for change, or ideation? The psychologist Brian Little, whose research lies at the intersection of personality, developmental and applied psychology, suggests that when we are motivated by an important and meaningful personal goal we break free from personality constraints that may be holding us back. In this, Little highlights three forces that govern our lives: our biogenic natures (whether we are physiologically extravert, introvert or whatever), our sociogenic natures (how we are raised, the culture we live in and the company we keep), and finally, our idiogenic or “third natures”, which are comprised of our personal projects and the free traits we express in pursuit of them. Ideation, then, as a tool, or vehicle for change, and if seen as part of third natures, could be enhanced by turning first thought, or Aha! moment into a personal project thinking about its importance and meaning relevant to your values and identity pulling you forward into new possibilities. Ideation indeed!. Reference: Little, B. (2014)  Me, Myself, and US -The Science of Personality and the Art of Well-Being. Toronto: HarperCollins

Collaborative ideation

Ideation tends to emphasise individualism, both in education and practice reflecting how designers prioritise individual likes and dislikes over collective preferences. Ideas, then, may appear "selfish", metaphorically speaking, in that ideators seek to maximise their chances of getting their ideas accepted and, ultimately realised. But selfish ideas are capable of adaptation as manifested in forms of collaborative ideation. For example, Walter Gropius embraced the philosophy of working collaboratively with others when he was the director of Bauhaus in Germany and, later, when he became a member of the US architectural firm The Architects Collaborative. For TAC, then, the idea of collaboration was carried out in that an entire group of architects would have their input on a project. Paul Rudolph was inspired by this collaborative approach when he enrolled in Gropius's master class at Harvard University, as an architect student. Rudolph explains: 'Although I had studied architecture for five years, I had no sense of direction. I found in Gropius's teaching a base on which one could build, not merely a formula, as so many others have ... Gropius's strength lies in his ability to analyze and make precisely clear the broad problems of our day ... He was able to incorporate many diverse ideas and still give a sense of direction'*. Interestingly, in Rudolph's own practice he borrowed ideas liberally from the first generation of modern architects, such as Wright, Le Corbusier and Mies and was always willing to acknowledge his sources in the works of these pioneers. * Rudolph P. (1952) Paul Rudolph. Perspecta, The Yale Architectural Journal pp 18-25.

Language of ideas

While words are fundamental not just to communicating ideas but to the process of ideation itself, design ideation is also a dialogue between visualisation (non-verbal) and language (verbal), similar to what has been described as 'the language of design' (Donald Schön 1983). Yet effective idea communication suggests a further requirement, that is, openness that combines sharing, collaboration and transparency. If not, it may be difficult to fully grasp the idea presented. A historic example is Mariano Taccola, the early Renaissance artist and engineer, who struggled to explain an innovative boat design by Brunelleschi, the famous architect of the dome of the cathedral in Florence. But Brunelleschi was also known for his reluctance to share his ideas in deatail for fear of plagiarists. Flummoxed by Brunelleschi's complex boat design, and failure to explain it in each and every detail, Taccola concluded: 'Ingenuity resides in the mind and intelligence of the architect rather than in drawing and writing'.

The art of ideation

Giambologna, the Flemish sculptor of the late renaissance, had just arrived in Rome when he famously took a small wax sculpture of his own to show Michelangelo. Inspecting Giambologna's model, Michelangelo proceeded to flatten it with his fist until it became a formless lump of wax. Once he had finished, Michelangelo handed it back to Giambologna, saying: 'Now go and learn the art of modelling before you learn the art of finishing'. And so with the art of ideation. First learn how to generate ideas with the help of drawing and modelling, then proceed to the finishing, or presentation stage of communicating the idea.

Ideation and healthy insecurity

Ideas are akin to propostions, proposals or suggestions, that is, the idea is not the same as the final outcome. Yet in communicating the idea, the ideator naturally wants to present the idea in such a way as to convince the audience the idea is worth supporting and taking to the next stage in the design process. Nonetheless, a modicum of uncertainty or common sense may be appropriate when communicating the idea without necessarily lessening its true potential or impact. Or, 'to succeed one has to be slightly uncertain, not sure of oneself, slightly in fear', says Frank Gehry, the American architect and designer. 'Of course - it's a healthy insecurity', Gehry continues: 'I think that's critical. When it becomes to precious and not real, it doesn't serve you well. As soon as you become sure about what you're doing, forget about it ...' (Frank Gehry; interviewed in The Times of London, July 10, 2021).

Ideation: free will versus determinism

What we understand a design idea to be is a complex question of material and social import, and an intricate play of the tangible and intangible identities. This suggests ideation is a question of hybrid experiences that might not be strictly casual because, like consciousness, what we think of as human consciousness is non-algorithmic and a product of quantum physics effects inside our brains and generating conscious thoughts. Now, an algorithm is simply a series of predictable steps to reach an outcome, and in the study of philosophy, this idea plays a big part in questions about free will versus determinism. So, are our brains simply cranking out math-like processes, or is something wild happening that allows us true free will, meaning the ability to ideate meaningfully and make different decisions that affect our lives?

Communicating ideas

The way we communicate ideas is crucial to ideation. It is a skill, and how we use words and images for idea communication also shape how the idea is perceived by others. While "A picture is worth a thousand words", images alone are open to interpretations whereas the choice of words and phrases, at worst can trigger negative reactions to the idea. Therefore, conceive the idea presentation as an interplay of words and images where language and pictorial representation are interdependent and supportive of each other. In other words, idea communication can be construed as a word-picture conversation that facilitates the idea gaining traction and acceptance.

Computational ideation

Although AI is currently limited in its creativity, using machine learning algorithm as an ideation tool is slowly gathering traction. For example, there are open-source AI models with image-generation capabilities that use AI to design sculptures or create paintings that mimic great works of art. These capabilities aren’t just relevant to fine art, however, but have the potential to explore and test out new ideas and accelerate prototypes across design disciplines. Although new forms of algorithmically driven creativity are being developed, most of the AI field is focused on manually designing the building blocks of an intelligent machine, such as different types of neural network architectures and learning processes. But it’s unclear how these might eventually get bundled together into a general intelligence. Moreover, experts point out that teaching computers to be creative is inherently different from the way humans learn to create, although there’s still much we don’t yet know about our own creative methodology. Instead, others argue, more attention could be paid to AI that designs AI. That is, algorithms will design or evolve both the neural networks and the environments in which they learn by analogy with biological evolution.Yet, as suggested by IBM technologists, the goal is not to recreate the human mind but to develop the techniques of interacting with humans that inspire creativity in humans. That is, the augmentation of creativity, and how to get better efficiencies. So, AI can offer many benefits serving as a smart, efficient and inspirational assistant. Or, AI as an ideation tool.

Distributive ideation

Artificial Ideation, Aid, or the use of artificial intelligence to help generate ideas is in the early stages of development and dependent on further advancement in hardware and software programs, including programmable processors, open data (cloud storage, and historical data sets) and deep learning and artificial neural networks. Yet Aid is attractive in that it has the potential for offering a more efficient ideation process, and both in terms of range and speed of new ideas for innovation. But training artificial intelligence models in huge data centres, here ideas centres, might restrict or hold back Aid serving local needs or conditions (data discrimination or input bias). This suggests a decentralised model of Aid, or distributive ideation that would rely on decentralised rather than centralised computing power to facilitiate and encourage ideation at, say, smartphone level. Although distributive ideation would have less processing power than the hardware accelerators used in data centres, it would facilitate bottom-up rather than top-down ideation encouraging wider participation and collaboration in the design process. Also, distributive ideation would consume less energy and therefore have a positive impact on reducing carbon emissions. (This blog was triggered by researchers in University of Cambridge's Department of Computer Science and Technology set out to investigate more energy-efficient approaches to training AI models.)

Ideation as thinking model

Design ideation, where 'idea' is understood as a basic element of thought could be perceived as a combination of first and second order, or level thinking. That is, from first thought that springs to mind ('surface level thinking') to thinking about the consequences of the idea ('deep level thinking'). Or, to use the analogy of a two-stage explorative rocket, from initial ignition, or spark of ideas, which is fast and has immediate impact, to a sustained effort to develop and effectively communicate the idea bringing the idea into orbit, so to speak, for further discussion and decision making (third level thinking) . The second stage would typically need more than one written sentence or a single rough sketch. Accordingly, the ubiquitous 'brain storming' session would be considered first order thinking whereas desgin ideation would entail second order thinking too. Or, to use another metaphor, from ideas surfing to ideas diving.

Ideation from home

The free flow of ideas highlights how ideation realistically doesn't only happen in the studio, the office or at home, but in many 'other places'. But working remotely from home has been criticised for reducing new ideas and innovation. That is, or so the argument goes, work becomes more siloed, close team interaction diminish over time and new ideas struggle to get in whilst groupthink flourish. Accordingly, to counter remote working from home, people should be back in the office where they can see each other in person, talk to each other and connect face-to-face. Yet the trend to work from home seems strong, facilitated by technology, from video conferencing to Cloud collaboration. But the question remains; what happens to ideation in the working from home scenario. Because ideas are not just abstract but visual and concrete too which call for diverse ways of working and communicating including hands-on activities and person-to-person collaboration.

Good ideation habits

Although experiments suggest that scientists problem-solve by analysis, whereas designers problem-solve by synthesis, there's is synergy in combining the two with each discipline learning from each other's approach to problem solving. So, to find a solution to a hard problem or perform a hard task, scientists typically structure the problem or task in a way that allow success. For example, a hard task such as interpreting a complex set of data might involve a structured process of retrieving, selecting and checking background facts (in some contexts, designers’ ability to understand and interpret data is becoming increasingly important). The better the scientist knows these facts, and the more effectively they devise an efficient plan to evaluate them, the more readily they will solve the problem. As they do more problems, the facts come to mind more easily, and they follow familiar plans to evaluate each. In general, structuring hard problems get better with experience. This is one reason that practice makes scientists more efficient and successful at hard tasks, and why experts outperform novices. Finding work habits that encourage this process helps staying focused. That includes staying with the task and taking breaks. It’s not helpful to insist on trying to get everything done at once, if it just isn’t working. Taking a break, then, might allow new concepts and structures to be considered allowing time for gradual development, or incubation to help problem solving. Furthermore, interacting with others can help conceptualise a problem in new ways. Talking to people with diverse backgrounds, perspectives and viewpoints can be a powerful way to break out of a rut and make progress. Moreover, spontaneous interactions and making time for informal discussion over work can be helpful and avoid isolation. In short, problem-solving habits formed by scientists could be applied in the design field, and many designers have been inspired to adopt or develop such habits. Source: https://www.nature.com/articles/d41586-021-00606-x?utm_source=pocket-newtab-global-en-GB

How objective is ideation?

Design is primarily an objective process in its methods and techniques whereas evaluation of the design outcome contains both objective and subjective judgements, say "function" versus "feel" of the designed product or service. Design ideation, however, is, arguably rather a subjective process. It is based on socio-economic realities yet influenced by cultural values and contexts, and, at least in a western perspective preconditioned on freedom to speak, to express one’s self, and to live in societies with fairness and justice. Ideation, then, turns the early stages of the design process mainly into a subjective activity that reflects the values, tastes or opinions of the designer/ideator. The subjective approach, however, does not exclude designing with the end user in mind. That is, the designer designs with empathy too.

Open vs closed ideation

Ideators strive to come with wholly original ideas whereas in fact most ideas are combinations of pre-existing ideas. Think how the proverb "new wines in old bottles" suggests something new or innovatory added to an existing or established product or service, or how "old-wine-in-a-new-bottle" refers to an existing product or service offered as though it were a new one. Both sayings though point to innovation possibilities. That is, of adding value to existing products or services through creative combinations. Now, if ideas are sourced openly, that is, in open creative environments, and algorithmic software trawls the internet and indexes almost every ideas on it by default, then data driven ideation carries huge combinatorial potential. That is, if datas sets can be combined and recombined many times over using algorithms, then ideators could discover new untold design possibilities, and the range of products and services could be far greater and realised much faster than traditional approaches to innovation. The first approach is often referred to as "open" or "mass" innovation where ideas move freely across borders, with no, or few restrictions or border controls. On the other hand, in traditional innovation settings, or "inhouse" or "closed innovation" ideation happens in directed or staged environments. Open vs closed ideation, however, may seem a contradiction in terms as ideas are commonly perceived as "free agents". Yet big corporations, notably in the high-tech industries often expand and develop by buying smaller technology firms and then incorporate their innovations into its own products. However, it should be noted that ideas per se carry no copyright.

Ideas of the earth

Das Lied von der Erde ("The Song of the Earth"), is a musical work by Gustav Mahler (1860-1911), a composition comprised of six songs sourced from ancient Chinese poetry rendered into German. The poetic songs reflect the vision of earthly beauty and transience. Such a vision has influenced cultural practice throughout the ages and, as a philosophical concept, can be found in, for example, the Japanese aesthetic, wabi-sabi, which holds that beauty is "imperfect, impermanent, and incomplete" in nature, and where transience itself is beautiful. And so too in contemporary design where modernity and tradition come together in an interchange of cultural learning resulting in material objects and artefacts inspired and influenced by nature, craft and technology which are all aspects of the same global whole. And more so in an age demanding sustainability, healthy ecosystems and environments. Indeed ideas of the earth.

Presenting and communicating ideas

Ideation necessarily includes presenting and communicating ideas, the "what" and "how" of ideation. Or simply put, making a presentation is a way of communicating ideas to an audience where communication is the act of transferring information, here the idea from one place, person or group to another. The transferring of the idea to an audience depends on a number of factors such as the cultural context, the medium used to communicate, emotions and location. Take the available means for communicating, for instance, which include verbal, written, visual as well as non-verbal forms (the latter when presenting in person) and the range of channels, including face-to-face, video conferencing, and social media and it becomes clear that successful ideas communication depends on the complexity of the content as well as understanding the intended audience. For example, studies show that concise text paired with visuals helps comprehension of ideas more easily. Or, to convey a complex concept based on, say technical information is easier via a text document than a spoken message. On the other hand, if interaction with the audience would be more appropriate or desirable, a conversation may be more effective than delivering a presentation

On the other hand, conveying complex, technical information is easier via a printed document than a spoken message.

Read more at: https://www.skillsyouneed.com/ips/what-is-communication.htmlssage.

d more at: https://www.skillsyouneed.com/ips/what-is-communication.html

On the other hand, conveying complex, technical information is easier via a printed document than a spoken message.

Read more at: https://www.skillsyouneed.com/ips/what-is-communication.html

On the other hand, conveying complex, technical information is easier via a printed document than a spoken message.

Read more at: https://www.skillsyouneed.com/ips/what-is-communication.html

conveying complex, technical information is easier via a printed document than a spoken message.

Read more at: https://www.skillsyouneed.com/ips/what-is-communication.html

conveying complex, technical information is easier via a printed document than a spoken message.

Read more at: https://www.skillsyouneed.com/ips/what-is-communication.html

conveying complex, technical information is easier via a printed document than a spoken message

Read more at: https://www.skillsyouneed.com/ips/what-is-communication.html

conveying complex, technical information is easier via a printed document than a spoken message

Read more at: https://www.skillsyouneed.com/ips/what-is-communication.htmlMoreover, audience feedback can be crucial for the ideator, as presenter to make sure the audience has understood the idea as intended also allowing for any confusion to be corrected. However, if the idea would be best served by interaction with the audience, a conversation is probably more appropriate and effective than delivering a presentation.

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Making a presentation is a way of communicating your thoughts and ideas to an audience

Read more at: https://www.skillsyouneed.com/present/what-is-a-presentation.html

Making a presentation is a way of communicating your thoughts and ideas to an audience

Read more at: https://www.skillsyouneed.com/present/what-is-a-presentation.html

Ideation platform

While ideation is not confined to particular physical places or spaces, the shift towards working remotely, or Out of Office triggered by the global virus pandemic in early 2020 highlighted the importance of designers being able to continue sharing ideas with colleagues online. For example, to be able to sketch first thoughts and ideas, or draw schematics when discussions around, say a flip chart or white board are not available, as was typically the case before the pandemic. That is, creating an Off Studio ideation platform that enable designers to make real-time connections providing an ideas exchange irrespective of geographical location. Also, in remote mode, when the physical studio environment is supplanted by technology, artificial intelligence and cloud computing may suggest turning ideas into "big data", a format that could further enhance creativity and innovation on a collaborative basis. Yet while adaptive and flexible working is the order of the day, including video meetings and screen sharing, most designers would agree that studio culture and creativity inevitably suffer when people work entirely remotely. Remote working, then, is hardly a long-term replacement for meeting face-to-face, particularly for very personal businesses such as design. Indeed, as a general observation, the more technology, the more people want to meet in person to bounce ideas off each other, and build trust with one another.