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.