The wealth of ideas

Design ideation is often seen as the endeavour of an individual, as reflected in words like inventor and innovator, design awards, or intellectual property rights. But when human kind is faced with global and serious challenges, from air and water pollution to food production and population growth, there's a case to be made for ideas to be generated and developed through collaboration and partnership rather than competition and single ownership. An approach to innovation whereby ideas are shared more widely freed from constraints of copyright - a  commonwealth of ideas. Or, as voiced by the scientist Stephen Hawking: 'We will need to adapt, rethink, refocus and change some of our fundamental assumptions about what we mean by wealth, by possessions, by mine and yours. Just like children, we will have to learn to share'.

Pokémonisation

The current craze for Pokémon Go, the augmented reality smartphone game, exemplifies how computer code becomes a piece of conceptual art, and the app akin to a piece of installation art, where the idea or concept is the most important aspect of the work. Moreover, based on the smartphone's geolocation system (GPS), the game is a social interactive experience where the players chase virtual pocket monsters in nearby real world locations through the smartphone's camera lens. Also, through player interaction, the cartoony graphic art on the smartphone's screen becomes performance art. Or, to paraphrase Sol Le Witt's definition of conceptual art, Pokémon Go (the idea) becomes a smartphone app (a machine) that makes the art. In other words, Pokémon Go is a superimposed idea on the real world (object or landscape) which, through the lens of the smartphone, creates augmented reality. But does Pokémon Go enhance users' "ways of seeing", or is it just art installation made fun representing another global game scenario where players are mere consumers?

Mission: Ideation

Designing is a social and purposeful activity geared towards improving human conditions and situations, material and immaterial. Often this is seen as problem solving. But ideation goes beyond the mere utilitarian or functional. Ideation involves speculation and risk taking too, and has a sense of vision as well as mission to help solve many of the challenges of everyday life, small and large, locally and globally. In this pursuit, ideators are driven by a desire to create new products, systems or services, or to improve existing ones. But ideas must be communicated effectively to reach their fruition. Ideas, like seeds, aren't enough - they have to be nurtured. Hence the need for ideators to become confident in the way they communicate ideas, in which skills in the use of ideation tools play a part..

Ideation space, problem space and solution space

Ideation space, problem space and solution space are all abstract elements. However, the idea, the problem and the solution themselves can be actual or perceived, or tangible or intangible. The ideation space can be seen as the sphere in which ideas are generated, the problem space the field in which the problem is framed and the solution space the area in which the solution is found. The rational for making the separation between these spaces is to help better understand the role of intuition, the chain of thoughts and logical reasoning in the design process at cognitive levels. Moreover, idea communication resides in the ideation space, idea management occupies the problem space, and idea realisation inhabits the solution space. Furthermore, these spaces, or elements, may be represented in a Venn diagram where the three elements comprising of circles overlap showing their interrelationship.

Creative Imagination

Imagination is a unique part of being human. But although imagination, in a philosophical perspective, can be difficult to describe posing taxonomic challenges, for example, to imagine isn't the same as desiring or anticipating that which is imagined, designers are acutely aware of imagination as a power for visualising and shaping the future of things not yet in existence, of things to come, in what has been called 'creative imagination', as in combining ideas in unexpected and unconventional ways *. Fed by imagination, designers generate ideas as part of everyday creativity, ideas which are propositional and purposeful in that designers want to see their ideas realised. In order to achieve this, the ideation process typically starts with visual imagery, a mental picture to be developed and communicated using images but also words and physical objects, that is, ideas communicated through language-like representations, picture-like formats and objects that have spatial locations. * Currie, G., and I. Ravenscroft, 2002, Recreative Minds: Imagination in Philosophy and Psychology, Oxford: Oxford University Press.

Narrative design

Language is integral to design, and it is hard to find a design solution which cannot be described in words. But although designers are trained in problem solving using both words and images, a designer usually starts by getting the client to describe their needs and desires, and often arrives at a solution as much through that interaction as through anything the designer can read from a brief or, say observe from a site visit. Narrative design, then, suggests that clients can achieve a desired outcome only when they can tell the story of their wants and needs, often in the context of a more extensive narrative. In the client-designer interaction, language helps to chart the design process, even when images (such as sketches and computer renderings) can represent its current state. A picture, then, is not always worth a thousand words -sometimes, it is the words that identify the problem. The client-designer interaction, then, is part of the design solution, and is why the narrative can have such a huge impact on the design outcome.

Art before technology

The tag "paper architect" was sometimes applied to Zaha Hadid (1950-2016) in her early career due to her lack of built work, but the term might be appropriate for an architect who painted, scribbled or drew her ideas before they were rendered by computer.  Her drawings and paintings may have affinity with, for example, Le Corbusier, Scharoun or El Lissitzky in terms of colour and fluidity. Yet, according to Hadid, 'the paintings were always part of the building - but they were never done as pure art’. Instead she used her art to test spatial ideas that she couldn’t yet make concrete without the aid of computer algorithms. Paradoxically, then, it might be said that it was technology that had to catch up with Hadid- not the other way round.