Basics product design Idea searching

Job No:01042 Title:Basics product designProof - 2 Page:GateFold Cover

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The Basics Product Designseries investigates differentmethods for generating anddeveloping ideas. Basics ProductDesign: Idea Searching involvesexamples and practices fromaround the world and includesinternationally recogniseddesigners, artists and researchers.

Basics Product Design: Idea Searching explores howdifferent experiences, contexts,references and the practices ofother disciplines are important inidentifying an idea that isappropriate for a particularindividual, target audience orculture.

Basics Product Design: IdeaSearching looks at the importanceof understanding modifications toproducts, personalisation and therelevance of the individualexperience.

Other titles in the Basics ProductDesign series include: MaterialThoughts, Drawing, VisualConversations, and Trend Seeking.

David Bramston is the subject leaderfor Product Design at the University of Lincoln. He has also worked in thedesign industry on projects forcompanies such as Motorola, Swatchand Christian Dior.

David has an MA in Industrial Designand has exhibited and presented work in Europe, the United States andthe Far East. He is an International Member of the Industrial DesignersSociety of America, a member of the Innovative Design Practice Group at the Centre for Critical DesignPractice and a member of the Centre for Creative Industry Development, at the University of Lincoln.

Current research work is focused on the development of living materialsfor industrial design applications.

Featured topicsvisualstormingbrainstormingscenariosmontagerole playmodificationsuser refinementsuser researchinspirationsubtletyimprovisationmental baggageanalogous referencingtarget mappingalternative thinkingproduct languagecharacterliteral and lateral thinkingprofilesthemesassumptionstribal languagephoto diaryproduct purposeinfo dumpsadded valuessustainabilityceremonyexperiencescommon senseempathyaestheticsbrand experienceproduct gendercultural influenceshistorical influencesinnovationexperimentationempathyvisual noiseprimary researchsecondary researchplay and fun

Featured contributorsNika ZupancGijs BakkerDale ChihulyMartino GamperMehmet ErkökStuart WalkerTadao Hoshino Stuart HaygarthMaria Kirk MikkelsenMaxim VelcovskyEric MorelJaime HayónCarl ClerkinJörg RatzlaffErwin WurmOliver SchickCarolien VliegerHein van DamSilvio BetterelliMartina GrasselliFinn Kaerulff ClausenValeria MiglioliBarnaby BarfordBjørn BlisseFolker KönigbauerReinhard ZetscheTorbjørn AnderssenAndreas EngesvikEspen VollSarit AttiasAmit Axelrod and many others

ava publishing sa [email protected]

BASICS

01product design

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BASICS

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David Bramstonproduct design

na thought or suggestion as to a possible course of action

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Job No:01042 Title:Basics product designProof - 1 Page:2

UK Edn



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BASICS

Idea Searching

David Bramston

PRODUCT DESIGN




Job No:01042 Title:Basics product designPage:2

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An AVA Book

Published by AVA Publishing SARue des Fontenailles 16Case Postale1000 Lausanne 6Switzerland Tel: +41 786 005 109Email: [email protected]

Distributed by Thames & Hudson (ex-North America)181a High HolbornLondon WC1V 7QXUnited KingdomTel: +44 20 7845 5000Fax: +44 20 7845 5055Email: [email protected]

North American Support OfficeAVA PublishingTel: +1 908 754 6196Fax: +1 908 668 1172Email: [email protected]

English Language Support OfficeAVA Publishing (UK) Ltd. Tel: +44 1903 204 455Email: [email protected]

Copyright © AVA Publishing SA 2009

All rights reserved. No part of this publication may bereproduced, stored in a retrieval system or transmittedin any form or by any means, electronic, mechanical,photocopying, recording or otherwise, withoutpermission of the copyright holder.

ISBN 2-940373-76-0 and 978-2-940373-76-510 9 8 7 6 5 4 3 2 1

Design by Malcolm Southward

Production byAVA Book Production Pte. Ltd., SingaporeTel: +65 6334 8173Fax: +65 6259 9830Email: [email protected]

All reasonable attempts have been made to trace, clear and credit the copyright holders of the imagesreproduced in this book. However, if any credits have been inadvertently omitted, the publisher willendeavour to incorporate amendments in future editions.

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Contents

Ide

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Just imagine

if it were possible 12

Observations 14

Thoughts 28

Referencing 38

Common sense

is needed 54

Empathy 56

Profiles 62

Themes 66

Character 70

Explore

and have fun! 78

Materials 80

Fun 82

Communication 86

Product language 96

Introduction 6

How to get the most out of this book 10


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Co

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Sensory issues 104

DNA 106

Added values 114

Conflicts 118

Emotions 128

Development

of an idea 130

Critical analysis 132

Ability to change 134

Idea development 136

Visual noise 142

Blue sky or reality? 144

Experiences 146

Responsibility 150

Projects 154

Conclusion 166

Glossary 168

Further resources 172

Contacts and credits 174

Acknowledgements 176



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Ide

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Searching for ideas is obviously a

continual process of forming possible

solutions and refining these, rather than

something that only takes place at the

outset of a project.

Experiences are important and these

do not need to be specific to the idea that

an individual is searching for. Visiting a

dog race or attending a ballet may well

provide the inspiration necessary for

developing a seemingly unrelated project

– an individual should always be on the

look out for a thought catalyst. Changes

in context can enable things to be seen in

a different light and perceived in a lateral

fashion, rather than a literal one.

Searching for an idea should require all of

the senses and should not be a specific

activity. The generation of an idea should

be a continual process of observing,

listening and recording. The eyes and

ears are critical tools, but it can be easy

to look and not see, and to hear and not

listen. Inspiration is everywhere and

everything can be inspirational.

There should be a need to share initial

thoughts and views with others and to

attract as many potential leads for

development as possible. In the initial

stages of idea generation, everyone is

different and everyone has a different

take on things. It is important to explore

all possible suggestions. It is often the

case that an initial proposal for an idea

can be misunderstood or taken out of

context, but in so doing can trigger

stronger ideas and scenarios. There is

a need to identify the potential in

thoughts and ideas and be prepared to

take a risk if there is belief in the

suggestion. Individuals who do not take

risks with ideas and directions will

continue to follow the pack and not lead

from the front.


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Introduction

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The identification of set criteria and

themes is an important aspect in the

formulation of thoughts and provides

direction and boundaries, which if not set

out, can lead to a situation that is both

unmanageable and without purpose. Idea

Searching has been divided up into

several stages and although these have

been presented in a logical order, the

purpose of generating ideas is always to

question convention and why something

is done the way it is. It is therefore

possible to refer to different sections of

Idea Searching and still formulate a

reasonable approach.

Idea Searching introduces the subject

by exploring areas such as why we do

things and observing target groups,

activities, and the unconscious actions of

others. The need to have empathy with

others and not to make assumptions on

directions is explored, along with the

all-important need to have fun with the

design process.

Idea Searching references the

approach strategies of many of the

leaders in the subject of

product/industrial design and the

difficulties that can often be encountered

in the generation of a ‘blue sky’ thought

through to reality.

Idea Searching has been developed to

explore different pathways for identifying

ideas and to understand what is being

observed and recorded. The process of

searching for ideas often begins with a

basic understanding of what is needed.

Too much information can be restrictive

and can also prevent random thoughts

from being given an opportunity to

surface. Idea baggage, such as a

preconceived notion, can become a

mental barrier. An open mind enables

thoughts to emerge and develop.

Searching for ideas is a process that

involves many diverse activities.

Brainstorming is often regarded as the

initial stage in idea development, but

really the process begins much earlier.

‘For me design is a question mark. That is how I start every new project.’

Gijs Bakker, 2007





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Andrea Branzi

Andrea Branzi has been a leading architect and designersince the 1960s and has beeninvolved in the development ofleading design studios, journals, movements and designschools such as the DomusAcademy. He has collaboratedwith many of the internationallyrecognised design companiesincluding Vitra, Zanotta andArtemide.

Introduction

‘It seems a very dangerous idea. It is – all great ideas are dangerous.’

Oscar Wilde, 1854–1900, De Profundis. A monologue by Oscar Wilde


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Intr

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Chapter 3

Explore and have fun!

Encourages investigation and exploration

with form, scale, texture and materials,

aiming to challenge conventional

thinking. Innovation, experimentation and

fun are essential components of idea

searching and are explored using

different approaches and techniques.

Chapter 4

Sensory issues

Subtle changes in design can have a

significant impact on the way information

is perceived. The impact of the senses

and the relationship to the design

process is introduced and considered.

Areas such as product gender, emotion

and added values are also explored using

examples and case studies.

Chapter 5

Development of an idea

Examines the importance of the

refinement of an idea and how to achieve

understanding of a product using

different critical tools. ‘Less is more’ is

contrasted with visual noise, and the

views of product designers in the

industry are reflected upon.

Chapter 6

Blue sky or reality?

The issue of the design being a valid

proposition is investigated. Areas such as

product experiences, brands, and

sustainability are explored using a variety

of visual examples. The aspect of product

logistics is addressed along with the

difficulties that still need to be overcome.

Chapter 1

Just imagine if it were possible

Observations relating to what is actually

going on around us and understanding

methods for inspiration. Different

referencing techniques, the use of

scrapbooks, info dumps, notebooks and

journals are addressed. Explores

questions such as: Why is something

done? Why is it the way it is? Why is it

needed? What if?

Chapter 2

Common sense is needed

Recognition of empathy in the design

process and applying common sense

through practical exploration. Examples

of product narratives and how design can

relate to an individual on a personal level

are considered. The importance of

boundaries, themes, criteria and

objectives are outlined.

Left:

Roppongi Hills street furniture

Streetscape street furniture inTokyo.

Design:

Andrea Branzi

Photography:

Tom Stott



014_015



How to?

Using various headings thatidentify relevant areas to a keytheme, the individuals involved in a brainstorming orvisualstorming session shouldaim to communicate all relatedthoughts using simple terms orimages.

All ideas are important at this stage.

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VisualstormingVisualstorming using simple andiconic sketches to communicatefundamental ideas.

Visualstorming

Brainstorming is a verbal process, whichinvolves the identification of key termsassociated to an initial idea and thesubsequent unleashing of creativedirections. It can also be a visual process,which involves the generation of small,thumbnail sketches that are related to, or are tangential to, an idea.

A combination of verbal and visualapproaches can often lead to theidentification of further triggers,experiences, wish lists, and ‘what ifs’. Thesharing of observations is critical in a bid togenerate as many possible scenarios anddirections to explore. An idea, which maysound absurd, may in fact be just themotivating factor needed for another’s inputinto the process. All ideas should beencouraged. A diverse group of individualswill probably bring a broad range ofexperiences and propositions to recall.Involve everyone.

In the design development process theseearly ideas are usually critical indicatorsfor future direction. A subconscious sketch,which is often captured in a visualbrainstorming session, can often be the keyfor progression. Giving an idea too muchconsideration in the initial stages can resultin the loss of such pointers. A simple sketchwill often capture the essence of what isbeing considered, whereas a labouredsketch can drive the life and soul of an ideaaway and leave no room for the imaginationto manoeuvre or fill in the gaps. Filling in thegaps and developing bridges with fragments of information provides theopportunity for creativity.

Top:Image wallThe collecting of images to inspireand create a visual environment is an important aspect of the ideasearching process.

Middle and bottom:ArtefactsObjects of interest that fascinatethe senses or provide an openingto understand target audiencebehaviour should be collectedand retained within the workenvironment.Ju

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Brainstorming

An idea can arrive at any time, but it can also be encouraged. It is often thought thatthe development of an idea is initiated with a brainstorming session: a process where a trigger term is selected and thenassociations or related analogous themesare communicated.

But such a session relies on individualshaving already encountered a diverse rangeof experiences that are related to the triggerin a direct or indirect manner. Thedevelopment of an idea usually begins muchearlier, although it may remain dormant untilthere is a suitable verbal or visual catalyst. A brainstorming session is surely, therefore,a vehicle for releasing experiences andstimulating the imagination for futuredirections or ideas.

‘If you have an apple and I have an apple and we exchangethese apples then you and I will still each have an apple. But if you have an idea and I have an idea and we exchangethese ideas, then each of us will have two ideas.’

George Bernard Shaw, 1856–1950

Observations

How to get the most out of this book

Idea

sea

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Section subheadingsEach section heading

is divided into

subheadings to provide

clear structure and ease

of navigation.

Body textSupplies an in-depth

discussion of the

topics covered.

Boxed informationProvides supplementary

content in the form

of definitions, designer

biographies and

student exercises.

Chapter navigationHighlights the current

chapter unit and lists

previous and

following units.

This book explores the role that

experiences, context, references and the

practices of other disciplines play in the

generation of effective ideas. The book

is divided into six dedicated chapters,

each containing a range of examples from

contemporary designers and artists,

which demonstrate the products that can

arise from the effective generation of

creative ideas.


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AphroditeThe Aphrodite drawer systemmanages to defy expectation,questions user experiences andcaptivates the observer by itsunquestionable elegance, graceand physical beauty.

Design:Tadao Hoshino – Edition Ligne Roset

Photography:Shuya Sato

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headstand grp*Understanding the purpose of aproduct is a fundamental aspectin achieving a successful design.The headstand grp* stooldesigned by qed* manages toinstantly capture the imaginationand demand respect through itscombined awareness of fun andcreativity.

Design:qed* – Michael Neubauer andMatthias Wieser

Product purpose

What is product purpose? The purpose of aproduct is often isolated as being a physicalfunction, but there is substantially more tothe purpose of a product than this particularaspect of function.

Appreciation of functionality needs to be understood at many different levelsand not simply the inherent use. Productsthat are able to combine a variety offunctions are capable of appealing to abroader audience. Beauty, fun and brandawareness are some of the functions thatmay be associated with a design in additionto the practical elements.

‘Drawers are, to me, sensual and mysterious. If you interpret them poetically they enwomb something, nurture and as if giving birth bring it forward.’

Tadao Hoshino, 2007

Referencing

Intr

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out

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ust i

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ine

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Section headingsEach chapter unit has a

clear heading to allow

readers to quickly locate

an area of interest.

QuotationsHelp to place the topic

being discussed into

context by conveying

the views and thoughts

of designers and artists.

CaptionsProvide contextual

information about the

products displayed.

ImagesExamples from

contemporary designers

and artists bring

principles under

discussion to life.



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The ability to observe is important.

Not to watch, but to observe. How do

individuals actually interact with their

environments and do they make

modifications to products that were

intended to be used in a certain way?

Observational triggers are often

necessary to identify a possible

direction and can occur anywhere

and at anytime. Triggers may be

subconscious observations or

deliberate choices. No observation,

no stimulation, no imagination.

The question to ask is, why?

Observing, questioning, listening and

interpreting. Images and artefacts that

are collected are invaluable as a source

of inspiration and can prompt further

discussion and direction.

droog

Gijs Bakker co-founded droog with Renny Ramakers in 1993. The design work of droog has challengedconventional approaches todesign and has resulted in many innovative products.

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Left:

Tokyo Day-tripper

Streetscape street furniture inTokyo.

Design:

Rianne Makkink and Jürgen Bey

‘Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.’

Albert Einstein, 1929

Just imagine if it were possible





Top:

Image wall

The collecting of images to inspireand create a visual environment is an important aspect of the ideasearching process.

Middle and bottom:

Artefacts

Objects of interest that fascinatethe senses or provide an openingto understand target audiencebehaviour should be collectedand retained within the workenvironment.J

ust

ima

gin

e if

it w

ere

po

ssib

le

Brainstorming

An idea can arrive at any time, but it can also be encouraged. It is often thought thatthe development of an idea is initiated with a brainstorming session: a process where a trigger term is selected and thenassociations or related analogous themesare communicated.

But such a session relies on individualshaving already encountered a diverse rangeof experiences that are related to the triggerin a direct or indirect manner. Thedevelopment of an idea usually begins muchearlier, although it may remain dormant untilthere is a suitable verbal or visual catalyst. A brainstorming session is surely, therefore,a vehicle for releasing experiences andstimulating the imagination for futuredirections or ideas.

‘If you have an apple and I have an apple and we exchangethese apples then you and I will still each have an apple. But if you have an idea and I have an idea and we exchangethese ideas, then each of us will have two ideas.’

George Bernard Shaw, 1856–1950

Observations





How to?

Using various headings thatidentify relevant areas to a keytheme, the individuals involved in a brainstorming orvisualstorming session shouldaim to communicate all relatedthoughts using simple terms orimages.

All ideas are important at this stage.

Ob

se

rva

tio

ns

> T

ho

ug

hts

Visualstorming

Visualstorming using simple andiconic sketches to communicatefundamental ideas.

Visualstorming

Brainstorming is a verbal process, whichinvolves the identification of key termsassociated to an initial idea and thesubsequent unleashing of creativedirections. It can also be a visual process,which involves the generation of small,thumbnail sketches that are related to, or are tangential to, an idea.

A combination of verbal and visualapproaches can often lead to theidentification of further triggers,experiences, wish lists, and ‘what ifs’. Thesharing of observations is critical in a bid togenerate as many possible scenarios anddirections to explore. An idea, which maysound absurd, may in fact be just themotivating factor needed for another’s inputinto the process. All ideas should beencouraged. A diverse group of individualswill probably bring a broad range ofexperiences and propositions to recall.Involve everyone.

In the design development process theseearly ideas are usually critical indicatorsfor future direction. A subconscious sketch,which is often captured in a visualbrainstorming session, can often be the keyfor progression. Giving an idea too muchconsideration in the initial stages can resultin the loss of such pointers. A simple sketchwill often capture the essence of what isbeing considered, whereas a labouredsketch can drive the life and soul of an ideaaway and leave no room for the imaginationto manoeuvre or fill in the gaps. Filling in thegaps and developing bridges with fragments of information provides theopportunity for creativity.


014_015




Thumbnail

A simple thumbnail sketch of apossible cellphone. The visualthought manages to capture theessence of a direction withoutbeing too refined.

Thumbnails

A thumbnail sketch is a visual representationthat is unpretentious and aims to capturethe essence of a proposal or idea. The depiction is usually considered and theresult of a conscious thought, unlike adoodle, which tends to be less intentionaland more abstract – the result of a subconscious or absent mind. Thescribbles and marks of a doodle need to be carefully placed in context due to theirtranscendental nature. It may be interesting,but it is unlikely to be as beneficial as a thumbnail interpretation of an idea, as concentration was not applied when itwas produced.

Observations


Mind n. The faculty ofconsciousness and thought.

Thumbnail n. Brief or concise in description or representation.

Doodle v. Scribble absent-mindedly.

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016_017




chiaro: lightscuro: dark

The French term grisaille refers to a method where painting isexecuted in monochrome and is therefore closely associated to the chiaroscuro approach.

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Headsets

Development of headset usingmixed media: photograph andpen.

Found objects, which have a basic affinitywith the general components of an idea, canbe used to develop a representation of aproposal and assist in capturing anunderstanding of the form. It is often difficultto comprehend the physical presence of anidea in a mental state and simplisticscenarios can assist significantly. Artisticlicence can present bias and ultimatelyavoid issues that should be addressed,resulting in time being wasted if an idea isnot subjected to scrutiny in a physicalcontext. The use of black-and-whitephotography to capture an idea in contextcan provide a suitable image to investigateusing mixed media. A form of chiaroscurocan be adopted to emphasise specificelements of the object.

Scenarios

The development of an idea can be exploredusing mixed media, which provides furtherstimulation and an opportunity to probe the narrative. The use of mixed media is atechnique that is employed byphotographers, artists and designers, and involves the use of different materials, media and approaches to create astimulating image.

Chiaroscuro is a technique in paintingwhere emphasis is placed on the light anddark regions. The use of chiaroscuro usuallyinvolves a shaft of light targeting the subjectmatter whilst surrounding elements areplaced into shadow.





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Top:

Panoramic photomontage

of Tokyo skyline

The sweeping view is obtained bysplicing together a number ofimages. The individual shots weretaken looking at different aspectsof the city from the same vantagepoint.

Bottom:

Montage

The montage uses fragments ofsourced images to communicatea theme associated to personalfinance. The composition aims tocommunicate the transition frommonetary chaos to an organisedstate in personal banking.

A montage is not intended to be understoodin a literal sense, but perhaps more in anintellectual and philosophical sense. Themontage should provide an opportunity to create an atmosphere or impression of an idea, rather than to dictate it.

A photomontage is usually compiledthrough a series of photographs taken from the same location and records vertical and horizontal aspects compiled into apanoramic, patchwork image.

A composite facsimile can also beproduced if the subject matter remainsstatic and photographs are taken around the subject matter.

The photomontage is useful at capturinga generic scene and provides opportunityfor imagination to interpret the narrative ofthe complete work.

Montage

A visual montage relates to the positioningtogether of different images or forms fromvarious origins to create an enhanced ormore influential method of communicationthan the individual items presentedseparately. Due to the composition beingproduced from various sources there is atendency for scale, form and texture to varythroughout the work, thus providingopportunity for viewer interpretation andassociation. A montage is in many respectsa compilation of observations; a visual story utilising different references and aimed at projecting feeling. The production of a montage is a complicatedtask, with balance, weight, and relationships to other elements within the work requiring consideration.

Observations


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Role play

Role play was used here tounderstand constraints andopportunities in the administrationof first aid.

Role play

Role play is the simulation of a story andprovides an opportunity to engage in asituation to develop physical and/or mentalempathy. The activity is essentially anopportunity to directly relate and interactwith a problem or an idea; a performance tounderstand the bigger picture. The practiceprovides an alternative and simple way tounderstand issues and can identifydirections which may not have been evidenthad the problem been approached in alogical and inert manner.

Mental role play can be conducted atany time by viewing a particular activity inthe mind or in conjunction with minormovements and sound. Physical role play –the actual acting out of a situation – needsto be approached in a space that isrepresentative of an environment, andrequires imagination and creativity. Theability to adopt roles and characters andutilise experiences is important. Physicalresources can be symbolic as a generalreference to an item is often sufficient tounderstand the key issues.





Modifications

Everyday situations provide anopportunity to trigger inspirationand reference ideas. Inspiration is everywhere.

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‘It’s not what you look at that matters, it’s what you see.’

Henry David Thoreau, 1817–1862

Observations


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Tokyo and New York

Lamp posts used in a variety of ways.

Modifications

As the lamp post is only used for itsintended function during the hours ofdarkness, it is important that it can beidentified to have other objectives, whetherintentional or not. These could include:supporting road signs; attachment of trafficlights; locking bikes to; tethering animals;securing flags; providing vantage points; ascrash barriers; sticking flyers to; bus stops;perches for birds; supporting telephonecables; meeting points and to light an areaduring darkness.

There are many examples of productsbeing used for ways that they were perhapsnot originally intended. Observing suchmodifications can provide direction for thedevelopment of these products. A lamp postcould be developed to project a shadow of astreet name or direction to a nearby street orstation. Lamp posts could perhaps becolour coded to represent different speedlimits or districts. It is important to make aphysical or mental note of such adaptationswhen they are seen so as to provideinspiration at the idea stage.





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Hair clip > Bookmarker

Coat hanger > Car aerial

Tin of paint > Doorstop

Stool > Steps

Blanket > Rope

Tin can > Cup

Glass bottle > Rolling pin

Newspaper > Fly swat

Jam jar > Fish tank

Box > Home

Bucket > Net

CD > Decoration

Balloon > Water container

Frying pan > Baseball bat

Rock > Mallet

Paperback book > Fan

Ladder > Bridge

School jumper > Goalpost

Chalk stick > Weapon

Ice cream tub > Bait box

Bin bag > Anorak

Tray > Snowboard

Saw > Instrument

Stockings > Mask

Rug > Den

Paper > Hat

Football > Swimming float

Paintbrush > Duster

Traffic cone > Table leg

Bin > Toy storage

Gate > Bench

Paper cup > Ashtray

Paper plate > Pizza holder

Shoebox > Memory case

Umbrella > Sun shield

Car tyres > Crash barriers

Concrete wall > Chair

Fridge > Noticeboard

Car key > Scribe

Toothbrush > Shoe cleaner

Pebbles > Paperweights

Table > Raft

Wire fence > Tennis net

Sleeve > Handkerchief

Metal railings > Horse tether

Comb > Instrument

Supermarket trolley > Go-cart

Bed > Trampoline

Napkin > Sketchbook

Plastic bags > Sterile shoes

Airbed > Windshield

Broom > Paintbrush

Plant pot > Spider trap

Skateboard > Furniture trolley

Wallet > Photo album

Bin > Goal

Large book > Flower press

Watering can > Shower

Cardboard tube > Sword

House brick > Hammer

Hedgerow stile > Chair

Car spark plug > Fishing weight

Torch > Club

Size 10 slippers > Fly swat

Garden spade > Seat

Tennis racket > Sieve

Fallen tree > Bridge

Folded cardboard > Door wedge

Beer mat > Table stabiliser

Pudding Bowl > Scoop

Spoons > Musical instrument

Sticky tape > Clothes brush

Bottle lid > Measure

Fire > Torch

Scarf > Restraint

Brooch > Fastener

Bedroom pillow > Weapon

Broom > Prop

Cap > Tray

Park hedge > Barrier

The different ways that existing products are used canprovide useful insights for further ideas; insights are merelysuggestions and not solutions.

‘If you are in a shipwreck and all the boats are gone, a piano top buoyant enough to keep you afloat may comealong and make a fortuitous life preserver. This is not to say though, that the best way to design a life preserver is in the form of a piano top.’

R. Buckminster Fuller, Operating Manual for Spaceship Earth, 1963

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Buckminster Fuller

Buckminster Fuller, 1895–1983,was a designer, futurist and writerwho focused predominantly onthe issue of how the human racecould endure the potentialproblems it was facing and secureexistence on earth. As anindividual he aimed todemonstrate how it was possibleto embrace some of the issuesthe world needed to engage withthat were not being confronted by the larger organisations. Thepublication Operating Manual for Spaceship Earth (1963)portrayed earth as a spaceshipwith limited resources that couldnot be replaced. The metaphoracutely demonstrated the needfor everyone to consider carefully his or her destination.

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Broken bottle > Match

Size 12 boot > Hammer

Magazine stack > Stool

Friend’s back > Desk

Ribbon > Barrier

Tie > Belt

Table > Shelter

Cabinet > Plinth

Mug > Penholder

Open newspaper > Umbrella

School bag > Pillow

Towel > Rug

Old jeans > Notebook

Window > Message board

Paddling pool > Fridge

Pram > Trolley

Chair > Table leg

Suitcase > Seat

Handbag > Dance partner

Bus stop > Bed

Spade > Paddle

Saucer > Key storage

Glass beaker > Amplifier

Plastic plate > Fan

Large tree > Umbrella

Chair back > Coat hanger

Window > Mirror

Pen > Cigarette

Coin > Tin opener

Handkerchief > Sun hat

Metal tray > Bat

Coat > Filing cabinet

Paper clip > Key

Sandpit > Cup holder

Cap > Ball catcher

Milk bottle > Vase

Old boot > Flowerpot

Bottle > Candleholder

Hood > Basket

Shopping bags > Panniers

Pallet > Fencing

Tree > Toilet

Bicycle handlebars > Bag carriers

Chimney > Plant pot

Milk crate > Seating

Pen > Drumstick

Car roof > Picnic table

Drinks can > Football

Folded newspaper > Tray

Oil drum > Coffee table

Road > Ashtray

Toilet roll > Notepad

Socks > Gloves

Lipstick > Marker pen

Bag > Dog basket

Concrete slab > Anchor

Cushion > Crash pad

Bricks > Car jack

Pillow > Prop

Stairs > Seating

Drinking glass > Magnifier

Ear > Penholder

Table > Footrest

Violin case > Collection box

Flat cap > Collection pot

Fire extinguisher > Doorstop

Plastic bottle > Buoy

Surfboard > Stretcher

Coat > Blanket

Balloon > Location marker

Bathtub > Boat

Bin lid > Shield

Margarine tub > Dog bowl

Suitcase > Wardrobe

Books > Steps

Towel > Privacy screen

Egg box > Insulation

Jam jar > Cup

Sink > Planter

Door > Skate ramp

Credit card > Ice scraper

Tractor tyres > Mini roundabout

Kerb > Bike stand

Step > Shoe cleaner

Knife > Screwdriver

Log pile > Seating

Handrail > Slide

Pencil > Hole punch





Refinement n. An improvement.

User refinements

User refinements includingattachment of tags, scratchedidentity and a directory.

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User refinements

Although many products are mass-produced it is often the case that theitem has been developed in such a way asto give the impression that it is unique to theuser. Despite achieving the feeling ofbelonging to the user many individuals willstill make adjustments to the design.Alterations may appear to be abstract andoccasionally bizarre however, the owner hasfelt it necessary, for whatever reason, toexecute the changes no matter how small. It is important to observe such alterationsand to evaluate why they have beenconducted. There may be many reasons to warrant changes including sentimental, practical and desire. Exploring andunderstanding these user refinements canassist in developing a product.

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Primary research

Understanding or identifying a problemusually requires an activist ‘go do’ approach to make important connectionsand place them in context. It is necessarynot to be judgemental, biased, or to have preconceived ideas, but to retain an open mind and be prepared to appreciate outcomes.

Primary research can be conductedutilising a diverse range of methodsincluding interviewing, shadowing a targetgroup, adopting a character, or randomsampling. Stories and analogous responsescan provide valuable detail, which may notsurface without interaction. It is preferable tocapture information for subsequent analysisusing audio or visual methods.

Primary research

Primary research involvesobtaining information fromsource, such as interviewingskateboarders to find out related information.





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Research

The contents of a pocket canprovide a valuable impression of a character.

User research

Understanding a user and his or herbehaviour can be enhanced through simpleinvestigative methods. The contents of aperson’s pockets can be very revealing andcan provide much valuable information –providing that they are prepared to share it.A pocket can contain numerous artefactsthat are obviously personal and of sufficientvalue to be transported on the individual.The pocket contents are non-judgementaland will reveal personal habits, issues andagendas. Items from several days, weeks oreven years ago can be identified andinfluence directional thinking. Analysingparticular relationships between items inconjunction with the user provides avaluable impression that might not be fullyobtainable through observation alone.

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Stories and listening

A story can be told verbally, visually, orthrough a combination of both, and iscapable of capturing an audience throughdetail in expression, vocal emphasis,descriptive terminology, metaphors andbody language. It requires the listener,reader or observer to make a connection, to form an alliance and to contextualise the meaning. A story provides opportunityfor imagination and empathy, with gaps and pauses being left for interpretation,realism and possible affinity to individual experiences.

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The match seller New York

An individual’s story can be toldvisually and/or verbally andshould be observed and/orlistened to carefully.

New York busker

at Ground Zero

The stories that are evident in theimage are numerous and yet maynot be fully appreciated by simplypassing by the street busker. Isthere a direct relationshipbetween the busker and thevenue? What is the busker’s song,message or story? It is necessaryto look and listen to understandcontext and meaning.

The use of visual triggers such as bodylanguage, facial expression, imagery or setting, assists in the projection andunderstanding and should be observedcarefully to provide direction. The voice of experience is important in acquiring thecontext of a problem and although issuesmay sometimes be over-emphasised orexaggerated, the fundamentals of themessage are usually accurate indicators for consideration. A story that is retold is often a different story and a story that is told through many voices is capable of encompassing a wider range of issuesand structures.

The listener has an important role in theunderstanding of a story, as not to listencarefully or not to recognise a hidden detailcan result in misunderstanding, confusion,and blurring.



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Inspiration

An architectural reclaim yard can providevaluable inspiration for different approachesto design. It is important to think aboutobjects with an open mind and considerhow they may influence an idea rather thansimply be reproduced.

Taking objects out of context andexploring their potential can lead to excitingdevelopments that break away from themundane and the conventional. Anunorthodox examination of items within thereclaim yard can provide a beneficialstimulus that is often not accessible withoutlooking carefully. The patterns that suchvaried objects can present can be excitingand it is necessary to imagine the items at adifferent scale or in a different material.

An item should not be categorised becauseof history; it should be thought of in differentcontexts and environments. It is also usefulnot just to simply explore the obvious items,but to look closely at the relationshipsbetween items or the way in which the‘rejected’ artefacts have been set out.

It is not always possible to know what tolook for and what to dismiss and, althoughinitial instinct can be a reasonable indicator,it is advisable that everything is noted, bothphysically and mentally.

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Radiator inspiration

A random collection of selecteditems at an architectural reclaimyard that offer something to theimagination during the initialstages of radiator research. Noneof the selected items were formerradiators, but all stimulatedinterest.





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Jumper goal posts

Children are amongst the mostcreative of individuals as theytend not to be too judgementaland are often content with aninterpretation of an idea at a basiclevel. The use of jumpers, bags or coats as makeshift goal postsfor an impromptu game of football is a familiar site onplaying fields and otherrecreational spaces. The absenceof a vertical post, net or cross bar becomes insignificant as thegame gets underway.

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Tennis-net park fence

If a game of tennis is sought, the issue of not having the correctequipment can sometimesbecome a minor detail.Representation of what is neededwill often suffice, especially as the real purpose of the game is tohave time with friends. A parkfence that is almost the size of the players is no longer a problemas it will do to get the activityunderway. No boundaries to the court, incorrect clothing andprobably no real understanding of the rules all become irrelevant.The objective is simply to havefun. Improvisation allows for rules to be broken andimagination to emerge.

Improvisation

Observing how individuals interact withintheir environments provides a good pointerto the sort of products that could bedeveloped. Situations where there arelimited resources available, such ascamping, the beach and park visits, oftenresult in compromise and innovation.





Brief adj. Of short duration.Concise; using few words.

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Drinks vessel or drinks flask?

The terminology that is used todescribe something can appearto be similar but can actually leadto significantly differentoutcomes.

Brief

The design brief usually relates to theengagement of a project and can bepresented in a formal or informal fashion. It is not necessarily the initiation of thethinking process, as observations, thoughts and experiences should always be ongoing.

The important issue is to actuallyunderstand what is being communicated and to be prepared to investigate hidden detail, which might not be apparent to others. The designermust be able to respond to what is beingrequested positively and with creativity, but also prompt lateral lines of enquirythrough questioning.

The language used can often be an obstacle that needs to be negotiatedcarefully. In the situation where a product is required for a particular market theterminology used can instigate a series of creative responses or subject the project to unnecessary boundaries.

A ‘drinks flask’ is a ‘drinks vessel’however, if the former description is usedthe responses are perhaps likely to be more constrained as the immediate thoughtis of a cylindrical container. The ‘drinksvessel’ terminology does not prejudge andis therefore without creative baggage.

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Lunch containers

These self-made lunch containersconvey personality traits.

Language can be manipulated effectively to generate thoughts and conjure up ideas.The name of a simple product such as alunch box could be replaced with alternativewords or slang that befits the targetaudience in an attempt to address possiblelines of enquiry. For example: scoff sack;troff tray; bite bag; scram jar; snack pack;fodder file; pud pod; mess case; grub trunk;ration wrap; scoop crate; snaffle sock; tuctub; chow caddy.

It is not uncommon for individuals to produce their own lunch boxes frommargarine or ice cream containers, or from foil or brown paper bags. The manner in which such containers are modified and personalised can provide a direction to consider.





How to?

To understand a particularproblem it is advisable to try andencounter it. The issue of packedlunches has been tackledfrequently and there is a diverserange of products available for the consumer.

Why are packed lunchesoften seen as a stopgap meal, a snack, rather than a realenjoyable experience? Look atthe amount of food that is taken in different lunch containers, and if anything else is includedsuch as a mat or cutlery.

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The range of food normally included in alunch container is somewhat limited withpre-packed and cold items being theprimary contents. What about a hot puddingor perhaps a hot dog? How could this beaccommodated? Asking a target groupwhat they take and why, can reveal thatwhat they do isn’t what they want. Involvinga target group in what is needed or whatthey would ideally take provides theopportunity to explore ideas.

In addition to home-made productsthere are numerous examples of food beingpackaged for on-the-move experiences.The packaging from fast food restaurants,including polystyrene trays, paper or cardboxes, can inform an ideas process.Considering take-away packaging fromrestaurants and airline food trays may alsoprovide inspiration and enable possibilitiesto be explored.

Variations

Understanding and thinking about howproblems are addressed with home-madeproducts provides a valuable insight intowhat the user is wanting and offers anopportunity to improve or refine thesesimple versions. The range of home-madeproducts – solutions developed by the userfor the user – is broad and should beacknowledged.

Brown paper bag lunch containers maybecome insulated containers withopportunities for name tags andpersonalisation. Ice cream cartons caninspire practical storage solutions forlunches and be enhanced with hard and softzone dividers, or areas that might segregatesmells. The foil-wrapped sandwich with anelastic band to hold it together may developinto a wrapper, which can double up to forma place mat or provide the impetus for acloth or napkin.

Observing different styles and variationsof home-made lunch containers can alsoprovide an insight into what kinds of food anindividual is eating and the context of whereit is being eaten. Do different styles apply todifferent occasions? Are alterations made toaccommodate something not normallyassociated with a lunch container? If giventhe opportunity would a user of a lunchcontainer want to include hot items?

‘The idea generating process never stops for me; the ideas flow continuously. That is the easy part. The hard part is making the idea real.’

Angela Yoder, 2008

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Dos Chicas © Lorraine

Lunch Bag

Design:

Angela Yoder

Margarine tub inspired

lunch box

Considering self-made lunch containers from simplepackaging, such as ice cream ormargarine cartons, can inspireideas. The use of stickers on suchitems work well as they are easilychanged by the consumer ormanufacturer when a fashionchanges.





The G Force bagless vacuumcleaner, designed by JamesDyson was initially sold in Japan. Dyson had questioned the accepted standards of avacuum cleaner. The ability to ask the basic questions and to ignore convention and mentalbaggage is at the heart of gooddesign. Dyson continues to askwhy and continues to manoeuvrearound preconceived ideas andboundaries to remain innovative.J

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G Force

James Dyson’s G Force vacuumcleaner. The functionality of thedesign differed on many levels toits predecessors and in 1991 wonthe Japanese International DesignFair prize.

Mental baggage

An experience can be a particularly usefultool, but overexposure to something candevelop an individual’s mental baggage.When mental baggage is prevalent it can bedifficult to consider any other creativedirection other than that of the overfamiliar,and it can be arduous to persuade others toexplore an alternative path when they alsohave a preconceived notion of what theproduct is. It is only when things can bethought of differently, without accustomedbarriers, that it is plausible to innovatemarkets. If the problem is not confrontedwith a ‘why attitude’, similar to a small childconstantly asking questions aboutsomething, it is almost impossible tounderstand and develop. In the event thatmental baggage can be broken downthrough repeated enquiry and probing, it islikely that a delightful and practical proposalcan emerge and be accepted broadly.

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The Polyprop chair

The Polyprop chair demonstratesthat good design can be practical,inexpensive, lasting and beautiful.

Design:

The original Polyprop chair(1962–1963) was designed by Robin Day for HilleInternational UK

Good and bad design

Is it possible to say that a design is good orbad? Appreciation of a design is surelysubjective with some individuals expressinga desire for an item, whilst others a dislike,or simply disapproval at its difference. It isprobably impossible to get everyone toagree on whether a design is good or badfrom a subjective standpoint.

Perhaps it is possible to categorise anobject as being good or bad on the basis offunction and fit for purpose? Providing it isapparent what the function actually is – this,unfortunately, is not always asstraightforward as it may initially appear.Function can be ambiguous and can besectioned under numerous headingsrelating to the overall design. A cheap watchand an expensive watch both function astimekeepers, but certainly also have otherfunctions such as representing a certainbehaviour, conduct, attitude and brand.

Maybe a design can only be criticallyevaluated if placed in the context of the initial objective, where constraints are understood – but would subjective opinion remain?





Analogous adj. Comparable incertain respects.

Analogy n. A comparisonbetween one thing and anothermade for the purpose ofexplanation or clarification.

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To consider portability for a laptop theanalogous products that could beconsidered might be a portable television orradio as these will have similar traits. Theissue of folding might involve exploringitems such as newspapers or towels,leading to a pathway that considers totalflexibility or perhaps a laptop that could berolled up?

Exploring books or a diary layout mightinstigate a line of thought that proposesmultiple screens, which can be flipped overor similar. The idea of inputting informationmight take reference from historicalproducts such as a typewriter or calculator.Analogous products are extremely beneficialat exploring alternative opportunities forconventional products and should alwaysbe considered.

Analogous

The referencing of similar objects orsystems is useful when addressingparticular issues or problems. An analogousitem may be targeted at a completelydifferent audience or may appear to beunrelated. However, investigation will revealthat there are relationships, which might be influential and provide direction. Thesearch for analogous products is simple if items can be taken out of context andseen differently.

The various features of a laptop thatrequire consideration might includeportability, ability to fold up, the screencharacteristic and the manner in whichinformation can be input. Understandingcompetitors and rival products does providevaluable information, but may not provideopportunity to innovate the market. A reviewof seemingly unrelated products, whichperhaps have a single aspect in common,can ignite alternative ideas.

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TV > Laptop

The portable television isgenerally accepted as being asimple product for a particulartarget market. The simplicity,robust qualities and overallstructure of the television mayprovide further inspiration in theinitial stages of proposal for aproduct such as a laptop.Analogous products are tried andtested and provide a wealth ofinformation.

TV > Laptop

A portable television is a possibleanalogous product to consider ifthinking about the portability of anitem. In the generation of initialproposals for a laptop thetelevision is likely to have certainattributes that may be worthrecognising. Areas such asintegral handle, balance and scalemay be a few of the issues whereintelligence could be sourced.





Newspaper > Laptop

Observing how individualsinteract with everyday objects isnecessary in establishing userhabits and relationships. Anewspaper that is casually rolledup and placed in a back pocketmight inspire a theme or directionfor an emerging product. Whycan’t a laptop be rolled up andtreated in such a personalfashion? Does anything actuallyprevent the laptop being treatedin such a way? Is a flexible laptoppossible?

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Above and right:

Typewriter > Laptop

There is a multitude of differentinput devices that could possiblyinspire thinking and thedevelopment of a laptop. The typewriter is the recognisedancestor of the laptop andalthough technology hasadvanced, such products may still have something that mightcapture the imagination. The angled keyboard or thesculptured form of the keys mayprovide some inspiration.





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Mood boards

A message relating to movementis captured using imagery fromTokyo. The mood board aims to set a path for a desired line of thinking.

Mood board

Reference material is often selected to set ascene or an atmosphere at the outset of thedesign process. The purpose is to inspire, tocapture the essence of a desired direction, afeeling or an intention. It may reflect a givenemotion or poignant expression, but it canalso provide a visual opportunity to considergeneric issues such as texture and scale.

The images should have the capability toignite thinking amongst observers, to triggerrecall and provide mental connections withprevious activities. The mood board canconsist of a single image or an array ofimages projecting a simple message.

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The barber ceremony

The laying out of equipment in aformal manner suggests a certainprofessionalism that is bothencouraging to the customer and beneficial to the user. Theprocess may possibly be parttheatre, but it is important andshould be noted.

Ceremony

Ceremony can be defined as a distinctprocedure, a performance that adheres toprotocols and rules. A ceremony can oftenadopt a theatrical characteristic and isreserved either for special occasions or forcreating a sensation of importance.Although usually associated with religiousexperiences, rituals are encountered all thetime and are often conducted or acted outsubconsciously by an individual or group.

A barber sets out scissors, combs,blades and other essential equipment in aconfiguration that ensures that the customerexperience and the actual task of cuttinghair are distinctive and appropriate.

A trader, set up to clean shoes of passers-by in the street, lays out a stall withan array of brushes, clothes, waxes andlaces to perform a service and generate anexperience for the customer.

The surgeon lines up scalpels, dishes,swabs, knives and other essentialimplements to perform an operation in aparticular way.

A cup of tea can be prepared carefully,following familiar methods, with attentionbeing given to every detail. The completeprocess can adopt a ceremonial aspectenhancing the overall experience.





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Referencing

Location at 2pm

An individual’s perception of what they do during 24 hours and what they actually do can be surprisingly inaccurate.Identifying a set time such as 2pm and recording what isdirectly in front of them at thatpoint will reveal much informationand draw attention to what isreally going on.

When a ring is heard

Identifying a particular sound ornoise and recording your situationevery time it is heard can providesome intriguing information.

2pm?

Simple cameras or any other method ofrecording events can be utilised to greateffect to provide information that assists inunderstanding the context of a situation.

A camera can be used to record thecircumstances that an individual is in whenthey hear a particular sound or piece ofmusic. It can be used to record events thatare taking place at a set time during the day,or to capture the environment whensomething is eaten.

Although the procedure may appearmundane, the outcomes are oftenunexpected and surprising. Preconceivedideas are frequently challenged and shownto be inaccurate and misguiding.

The visual record may show that themajority of food consumed during a 24-hourperiod is actually eaten away from arecognised dining environment and outsideof an assumed time frame. The informationrecorded may detail that cellphone calls areoften received at a time when it is difficult torespond or hear.

Capturing events as they occur is important and difficult to contradict. The visual record of circumstance is a useful tool.


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Adore

It is not uncommon for individualsto lavish attention on what oftenappear to others to be worthless,inanimate objects. Love andaffection are given to seeminglyrandom and obscure objects, butthere is often a significantsentimental or personal reasonwhich cannot be broken withthese items.

Adore

I like it, I want it, what is it? The reasoningbehind why somebody ‘likes’ something canbe simple to comprehend, but can also becomplex and difficult to rationalise. A trendy‘must have’ material may be adored by theuser, as it is believed that ownershipimproves quality of life – a fundamental aimof design. However, a small, grubby, pinkblanket or an apparently insignificant, tattybracelet may be loved by their owner asboth are associated to times gone by, suchas childhood, with fond memories becomingmore embellished as time passes by. It isnot possible to guess if an item is adored bysimply observing or thinking about it. Theproduct needs to be placed in the correctsituation, and what one person worshipsmay be regarded as insignificant or peculiarto others.





Memories n. The faculty bywhich the mind stores andremembers information.

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The ability to recall and conjure up personalencounters stimulates further awareness ofa situation and can trigger responses fromindividuals who were not privileged to bepresent when the original record wasproduced, but who are able to call to mindsimilar exposure.

The scrapbook requires continual careand maintenance to ensure that sourcedinformation does not get damaged and thatemerging areas of interest are represented.It is often the case that the more unusual orabstract the entry is to a scrapbook, themore interesting it will become.

Scrapbook

A scrapbook is an important, but oftenunderrated, tool within the process ofgaining inspiration. The scrapbook shouldbe developed continually with visualrepresentations, collected items and otherartefacts of interest. There are no rules apartfrom collect anything and everything thatstrikes a creative chord. The aim of thescrapbook is to catalogue memories andexperiences so that it is possible to summonevents to mind effectively at a later date.

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Sketchbook and notebook

The sketchbook and notebook can workeffectively in conjunction with each other,providing that sketches can capture theessence of what is being viewed, and thenotebook can record it accurately andconcisely. A few simple marks or key wordscan often record elements that a moresophisticated method of recording wouldnot be able to do. The strength of a line or ametaphor can place an observation withsurprising detail, which can be referenced ata later stage with considerable accuracy.

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Left and right:

Scrapbook

Formulating a scrapbook is inmany respects a personal andorganic process. Items of interest,which may or may not be directlyrelated to a current project,should be included. Thedevelopment of a scrapbookneeds to be ongoing, capturingexperiences and constantlyrecording. Innovation sometimesneeds to be employed regardingthe acceptance of large items intothe collection, but it is importantto include as much as possible.

A library of scrapbooks frompersonal experiences is a veryvaluable resource.





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Searching the unfamiliar

Charity shops, market stalls,vending machines and unusualshops, which are removed frommainstream trends, can provideimportant inspiration for an infodump.

Areas that often provide particular interestinclude vending machines, market stalls, or shops that offer an element of intriguethrough a diversity of eclectic items. Theability to explore such outlets in differentcountries frequently results in peculiar items being discovered, which demandattention and immediately present aspectrum of ideas.

The info dump is the informal process of presenting the collected imagery andartefacts to a receptive audience capable of constructive criticism.

Info dump

In the search for original directions it isnecessary to track down the unknown.Items which are unfamiliar and removedfrom the everyday can be a valuable sourceof inspiration. It is not a simple process toidentify what will provide stimulation orincentive for a particular product so it isbetter to conduct a broad sweep ofeverything that is exciting visually, and todeliberate over the positives and negativesat a later stage. A collected item may be of interest because of a single facet andshould not be rejected because this facet is not regarded as sufficient; it could be the catalyst that is needed in thedevelopment process.

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Journals

International design journalsprovide a valuable source ofbackground knowledge, directionand inspiration. A journal that ispublished in a foreign languagecan still provide much visualstimulation. Design is a visualprocess.

Journals

Journals provide a valuable source ofcontemporary reference material, whichallows an understanding of what isoccurring to be accessed effectively andefficiently. Journals targeted at the creativedisciplines outside of the sphere of productdesign, and often beyond the realm ofdesign completely, can also frequentlyprovide an insight to very relevant issues.Business and science journals provide asignificant amount of information that iscreative, inspiring and enlightening, andshould not be overlooked in a quest to beinnovative. It is not uncommon for many ofthe leading design offices to subscribe tosuch journals and source further informationfrom outlets such as Reuters andBloomberg.

The designer needs to be a sponge forinformation and needs to be able to explore,analyse and categorise as frequently aspossible.





How to

Design requires experiences andsome are adopted unknowinglywhilst others are planned. Aim toattend a different event as oftenas possible. Simple experiences,such as drinking a cup of tea at adifferent venue each day, providea wealth of experiences and aninsight into different cultures.

Experimental Wobbly Bowl

Understanding materials andinteracting with them directly is animportant facet of the designprocess. A willingness toexperience the unknown providesan essential mental resource.

Design:

Colin Brown; The National GlassCentre, Sunderland, UK

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Experiences

Experiences are important to generateideas. Without experiences it is difficult tocontextualise, and being unable tocontextualise a situation or idea can lead toa lack of direction or thought. An experiencedoes not need to be undertaken in anelaborate setting, it just requires enquiry,enthusiasm, conviction and a desire tounderstand. The experience beingconducted may be abstract to an outcome,but will almost certainly influence a thoughtif given the opportunity to do so. A specificelement of the experience, a texture orperhaps an appreciation of balance, mightjust be the necessary stimulant needed toinvestigate and interpret the problem froman alternative perspective.

An opportunity to attend a glass studio,a theatre production or visit an unknownculture should, if possible, be taken up tobroaden horizons and mental resources for idea generation.

Do something different as often as possible.

‘Nothing is a waste of time if you use the experience wisely.’

Rodin, French sculptor 1840–1917

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The manipulation of glass

Colin Brown at the National GlassCentre demonstrates the processof producing the Wobbly Bowl.Observing and experiencing suchevents should be an ongoingprocess and an aspect whichinspires and drives creativity.





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headstand grp*

Understanding the purpose of aproduct is a fundamental aspectin achieving a successful design.The headstand grp* stooldesigned by qed* manages toinstantly capture the imaginationand demand respect through itscombined awareness of fun andcreativity.

Design:

qed* – Michael Neubauer andMatthias Wieser

Product purpose

What is product purpose? The purpose of aproduct is often isolated as being a physicalfunction, but there is substantially more tothe purpose of a product than this particularaspect of function.

Appreciation of functionality needs to be understood at many different levelsand not simply the inherent use. Productsthat are able to combine a variety offunctions are capable of appealing to abroader audience. Beauty, fun and brandawareness are some of the functions thatmay be associated with a design in additionto the practical elements.

‘Drawers are, to me, sensual and mysterious. If you interpret them poetically they enwomb something, nurture and as if giving birth bring it forward.’

Tadao Hoshino, 2007

Referencing


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Aphrodite

The Aphrodite drawer systemmanages to defy expectation,questions user experiences andcaptivates the observer by itsunquestionable elegance, graceand physical beauty.

Design:

Tadao Hoshino – Edition Ligne Roset

Photography:

Shuya Sato



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Common sense is needed

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To apply sound judgement in the search

for ideas and to consider the obvious are

beneficial and should be acknowledged,

but they do not need to be masters when

searching for ideas. Individuals often do

not have an idea of what they want until

they are presented with the unknown.

It is important for design to explore

uncharted territory. If common sense is

given the opportunity to dictate, thoughts

can be dull, staid and constricted. The

understanding of a logical approach

provides a platform to challenge

convention and enables judgements to

be confronted. Common sense is needed,

but it is also a boundary that should

probably be bypassed in preference for a

sense of adventure during the initial

stages of the unknown.

The initial stages of searching for

ideas should exhibit more freedom than

the latter stages, where they become

refined and considered.

Sense of adventure or common sense:

ambiguous; vague; undefined or obvious

risk; chance; exposure; speculate or defined

opening; opportunity; possibility or safe

freedom; autonomy or boundaries

abstract; impractical; visionary or constraint

naïve; open; unaffected or experience

Left:

Customised parking in Kyoto?

Taking advantage of foundobjects or modifying a structurefor personal parking? It isimportant to continually be awareand on the look-out for innovativeideas, modifications or perhapsjust coincidences that might beexploited. The parked van and thestructure of the building mayinspire completely unrelateditems at a different scale;however, the essence of an ideahas been captured and recorded.





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Kyoto commuters photo diary

The expectations of commuting can be capturedusing a photo diary, providingvaluable knowledge andbackground information.

The photo diary is useful for recording andunderstanding a particular experience, suchas the problems encountered by acommuter waiting for public transport andthen appreciating the issues of the ensuingjourney. Empathy can be developed byobserving the circumstances individualshave to endure step by step.

Photo diary

The photo diary is a valuable device inunderstanding an environment andcapturing detail which may be otherwisemissed or forgotten. The recorded imagecan inspire thought and provide a stimulusfor recalling other sensations such as smell,texture and sound.

A constant practice of recordingexperiences is necessary for providing avaluable impulse into the creative process,but also to provide reference material forunfolding projects or for historical evidence.

Empathy


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New York cab photo diary

A real experience can be recorded using photography and analysed at a convenientpoint later on. The photographsassist in understanding aparticular situation, capturingdetail which may have beenmissed, and aiding the recall ofthe overall physical and emotionalencounter. Comparisons ofdifferent journeys or situationscan be made to develop aninformed impression.

Observing a situation fromdifferent perspectives can berecorded successfully using aphoto diary. Actual experiencesand third-party experiences canprovide contrasting information,which may need to be considered equally.





Understanding a problem

Developing a product requires anunderstanding of the user to appreciate their position and situation. Everybody is different and everybody has their ownagenda for doing things a certain way, which may not be through choice. An affinity with the user needs to be developed so that responses to problemscan be suitably tackled.

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Goggles

The use of scratched or dustygoggles or glasses can give the sensation of poor vision and is useful in developing anempathy with a target audiencethat may have restricted eyesight.

Many other empatheticsituations can be obtainedthrough an innovative use of props.

It is common practice to simulate a situation to gain a better insight to a particular difficulty and to physicallyappreciate what is going on. It is hard to understand the problems encountered by others unless those wanting to know can confront their real situation effectively.Various methods are possible to relay the experiences of an individual to othersand they often involve the use of a prop to prohibit or remove a particular sensation, such as touch or balance.

Appreciation of a sense being removedimmediately helps to put the core issues into context and provides a useful realitycheck. Ignorance of empathy can result inworthless and inappropriate solutions nomatter how beautiful the object.

Empathy


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Restrictive props

The removal of a sense can be emulated using ear defenders to mask out externalnoises. A user’s perception of the environment changesimmediately and empathy can be experienced with those whohave to work in noise-pollutedareas where important sounds are not understood.





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Café owners, customers,

or passers-by?

It is difficult to understand the status or background of an individual by a simple visualassessment. Frequentlyindividuals are seen out of context and assumptions should be avoided.

Empathy


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The Horseman, New York

To appreciate and understand theNew York Horseman may bedifficult if placed out of contextaway from the carriages andhorses at Grand Army Plaza.

Ideally, objects and individuals need to be considered separately. Does a child buy the toy in the shop or does a relativepurchase the item? It is likely to be wrong to assume it is the young child who will payfor the item, but perhaps also incorrect tothink that the adult purchases the toywithout some element of lobbying from thechild? Maybe the adult wants the toy?Relationships between individuals can bevery influential and can often result in aperson who might be expected to reside in a certain category actually being moreorientated to the unexpected.

Assumptions

Making assumptions is a dangerous route to take and should be avoided, or at least approached with much caution. The appearance of a person or theperception of an item can frequently be far from accurate on careful inspection. A third party who is not experienced oftenmakes judgements that are incorrect due toa misunderstanding of the context or situation.

Assumptions are usually wrong and,unfortunately, if given the opportunity todevelop, can instigate a series ofinappropriate thought patterns andassociations. References to stereotypes are damaging and difficult to ignore.





Collection of items to construct

a user profile

Items which might be associatedto a specific target audience canbe collected and analysed tounderstand particular traits.

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Profiles


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Images of key products, whichthe target audience are likely tosubscribe to, should be collectedand analysed to understandsimilarities across the range.Interchanging the images,rejecting some and keeping thosethat are believed to accuratelyrepresent the target groupenables a visual profile ofpreference to emerge andunderstand what might berequired in a particularcircumstance. When the criteriachanges, the images will need tobe reviewed. All images should bekept for further profiling activities.

How to

It is important to be able torecognise the personalpreferences of an individual whenit comes to product selection andparticularly necessary to identifytarget audience preferences.What are users buying and whatis it that is attracting them?Collecting artefacts, images,materials and other tangibleevidence, which are believed tobe associated to a particulartarget group, begins to provide anunderstanding of what they like,strands of evidence that caninform the design direction. Targetaudiences are not simply relatedto age or gender, so profiles maybe applicable to a range ofindividuals who might initiallyappear to be unrelated.

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Exploring and examining collected itemscan highlight commonalities includingattention to detail, quality, or patternationpreferences, but can also depict issues such as financial positioning, material usage tendencies and brand awareness.

The intelligence obtained throughprofiling should be considered in the design process.

Profiling

Profiling is an important and necessaryinvestigative instrument that provides an insight into the behaviour, habits androutines of targeted individuals. The process is not intended to be intrusive and can be conducted using primary orsecondary research methods. The objective is to build an understanding – to probe where necessary gathering detail to formulate patterns which can act as important directional signs.

What are the products that targetedaudiences are purchasing? Where, how and why do they use them? These are some of the issues that can be addressedusing profiling strategies. To gain a snapshotof attitudes, values and behaviour, simpleassociation methods can be conducted,such as identifying and collecting productsaffiliated to a particular group.





Target n. A person, object, orplace selected as the aim of anattack.

Mapping (map something out) v.Plan a route or course of action indetail.

Demographics

Demographics are the statisticalinformation that relate to apopulation or a subsection within a community and includesincome, age, gender andethnicity. Understanding thedemographics of a populationprovides a valuable insight whenappraising or identifying an idea.

Harajuka street style

Harajuka street style in Tokyo hasbeen popularised in Japanesetrend journals.

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Target mapping

To understand the potential of a proposedproduct or to appreciate what is required, it is necessary to understand the structure of a community or population and torecognise attitudes and beliefs. Criticalanalysis of research can identify emergingand potential markets and providedirectional indicators to inform judgement.

Understanding a market and recognisinghow an individual or target audience wants to be perceived is attained throughthe compilation and organisation of a body of research.

The intelligence obtained should bepresented in a logical and instantlyrecognisable manner and, where possible,should avoid the portrayal of complicatedstatistics, language and imagery. Anyinformation communicated needs to beclear, concise and focused for it to be usefulin the comprehension and formulation oftargeted proposals.

Profiles


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Forum n. A meeting or mediumfor an exchange of views.

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‘25’ chair

Forum to assess the potential ofthe ‘25’ chair designed usingaluminium foam.

Immediate reactions such as facialexpressions, body language and verbalresponses, as well as reactions to the idea when placed in context, should be recorded.

Associations attached to the proposed idea should also be identified.Comments which may appear obvious when raised may well have been overlooked or gone unnoticed duringprevious appraisals and yet might befundamental to the potential success.

Forums

A forum provides a chance for thoseinvolved in the development of an idea to review the project and engage inconstructive criticism. It is also anopportunity to present an idea to a targetaudience and obtain an indication ofprobable responses or impressions should it be made more widely available.

The forum needs to be conducted with set aims and objectives, although the process for achieving this may actually appear somewhat informal andadopt a freestyle approach. The process is not an interview, but a discussion to extract positives and negatives, tounderstand need and possible reason for change. Individuals should be allowed to interact with the proposed item and examine it carefully.





Inspired selection

Themes are necessary in the developmentof ideas and need to be refined through theuse of constraints as an idea progresses. Atheme usually has a relationship to theproduct being developed although it mayappear random or somewhat abstract. Thetheme may also be a reflection of a currenttrend and therefore be remote to thefunctions of the product, but appealing tothe target audience.

‘As the idea grows, more complex and independent shaping gets easier.’

Torbjørn Anderssen, Norway Says

Themes


, 2007

Mica MP3 player

Torbjørn Anderssen, AndreasEngesvik and Espen Voll of thedesign group Norway Saysdesigned the MICA MP3 player in2005. The manufacturer of theMICA MP3 is Asono, Norway. Thetheme for the design was initiallythe plug – connecting toinformation or power. The elegant and fashionable productcan be worn in a similar way to a necklace.

Design:

Norway Says

How to

Selecting a theme that has an association to a product being designed is beneficial insteering the thought generationprocess. Using standard ideageneration techniques, such asbrainstorming, identify a series ofpotential themes for the design ofa particular product or need.Issues such as who, what andwhere will provide directiontowards a manageable andrelevant theme.

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Giacomo Balla

Giacomo Balla painted Dynamismof Dog on a Leash in 1912. Thepainting captures the movementof the dog’s legs as it walks withits owner. The painting is in theAlbright-Knox Art Gallery, Buffalo,New York.

‘Walker’ rocking chair

The ‘walker’ manages to capturethe essence of a traditionalrocking chair through the use ofnumerous legs, which arearranged to depict an imaginarycurve. The design, synonymousto a Balla painting, manages tovisually emphasise movementand function and in doing soretains a simplistic elegance.

Design:

Oliver Schick

Photography:

Michael Himpel


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The Pee Tree urinal

The sophistication challengesconventional approaches throughan intuitive understanding ofnatural requirements.

Design:

© Eric Morel

Funghi

The porcelain lamps are alluring,graceful and functional.

Design:

Jaime Hayón, for Metalarte

Photography:

Mauricio Salinas

‘In an age of abundance design should be about formalisingvalues and statements. Every product should tell a story that hasn’t been told before. Only this way can the processof designing make sense and bring something to our worldinstead of burden it.’

Eric Morel, Eric Morel Design, 2007




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Little Crawly Thing

The visual language of the 16cabriole legs attached to the seatsuggests a scurrying bug such asa centipede or millipede.

Design:

Carl Clerkin

Photography:

Justin Pipergen

Adoption

The adoption of a character in thedevelopment of an idea can be both fun and rewarding. Careful examination of the key characteristics of animate orinanimate objects can be exaggerated and modified to influence idea progression and impact on an emergingdesign with great effect.

There doesn’t need to be any logic behind the embracing of a character, as outcomes are open toindividual interpretation.

Character


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Mnemonics adj. Aiding ordesigned to aid the memory.

Zoomorphic adj. Having orrepresenting animal forms.

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Long crawly thing

The use of a repeat form, anunderstanding of materials and a combination of fun andsophistication, manages tocapture an unusual animalisticcharacteristic in what mightotherwise be a mundane piece of furniture.

Design:

Carl Clerkin

Photography:

Philip Sayer





Chinese whisper

A Chinese whisper refers to the distortion of messages as they are whispered from individual to individual.

Literal adj. Taking words in their usual or most basic sense;not figurative.

Lateral adj. Of, at, towards, or from the side or sides.

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The process of lateral and literal thinkingshould not simply be conducted at the initialstages during the emergence of an idea, butcontinually throughout the developmentprocess. The search for improvement needsto be ongoing and subjected to appropriatecritical analysis.

A simple item such as the term ‘white’can invoke a broad spectrum of responsesthat include various similes and metaphors.Both similes and metaphors provideopportunity for much manoeuvring of ideasrelated to the key word. The term ‘white’ can invoke an exploration of materials,which are physically or mentally cold, but can also be explored in the sense thatsomething is perhaps designed to besimple, meagre or bare.

If literal key words are subjected to sufficient consideration and investigation they can evolve into laterallines of thought, providing exciting and rewarding possibilities.

Literal and lateral

Lateral thinking is a capacity to addressconventional thoughts and assumptionsrelated to a particular problem from adifferent or unorthodox angle. The aim of a creative thinking process is to generate previously unforeseen directions and alternative solutions. Themove from a standard thinking methodrequires imagination and the need to remove preconceptions and bias relating to the problem.

A literal approach to design still requires an imaginative approach, but tendsto concentrate on more obvious aspects – a direct interpretation of meaning. Thethought process is focused and appears tofollow a particular track and clear indicators.

In generating ideas for a design it isworthwhile exploring both aspects of literaland lateral thought patterns and, wherepossible, to instigate a hybrid approach ofthe thinking methods.

‘We are all astronauts.’

R. Buckminster Fuller, 1963, Operating Manual for Spaceship Earth, 1963

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Chinese whisper table

The visual language of the tablechanges as it moves across thepiece.

Design:

Jodie Spindley and DaveBramston for SaloneSatellite 07





How to

There are many sources forgaining historical references.Visits to museums, other relevantexhibitions or places of interest,such as reclaim yards, canprovide inspiration. An effectiveway is to review journals, whichreflect a particular period, or styleand these may be stored in libraryvaults. Interviewing people withexperience in a particular area isalso an example of primaryresearch that can be beneficial.Historical may refer to relativelyrecent work as well as workproduced decades ago.

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The development of a contemporaryportable music system could undoubtedlygain inspiration from personal stereos,portable record players and transistor radiosof previous decades. These ancestorproducts provide useful references even ifthe materials, construction methods andtarget markets have changed, as thefundamental design questions are likely toremain similar.

The amount of ideas, cross-referencingand eclectic knowledge that can beobtained through an exploration of historicalapproaches is substantial and it is often thecase that such products will have somethingto offer.

Historical influences

To not investigate or consider previousapproaches to design, alternativephilosophies, constraints and restrictions isprobably to miss an opportunity to explore awealth of exciting ideas that may have beenforgotten. Many of these historicalinfluences still have much to offer, althoughtheir original context will have changed.

There is a need to question whysuccessful products ceased to exist andperhaps to understand the externalpressures that may have been significant intheir demise. Fluctuating trends, culturaldifferences, competition or technologicaladvancements are all significant factors thatcan instigate a change. It is unlikely that allthe components of a product in a historicalcontext are irrelevant to the currentconsumer, and attention to detail, quality,form and material usage should beconsidered. Such features are perhaps moreimportant today than they have ever beenand therefore, any positive referencesshould be seized.

‘The Sony Walkman II entered the market in the lateseventies. At the time I was very excited about the device’sextremely small size. Not a millimetre was wasted. Thestandard audio cassette was in effect encased in a thinmetal skin containing all the components, such as the drive,audio head and battery. The thing actually felt no larger thanthe cassette itself. Impossible to outdo, right? I tried anyway! Why enclose the cassette?

Character


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The Museman

The Museman remains aninfluential piece of industrialdesign thinking.

Design:

Jörg Ratzlaff for frog design, 1984

Photography:

V Goico

I left it open, showed it, and only created a form-fittingconnection with the three mechanical openings. The drive,audio head and battery subsequently hang as a visuallyseparate unit alongside the cassette. Although the resulting‘Museman’ had a somewhat larger volume than theWalkman II, the technique of splitting the housing into twoseparate entities made it appear smaller.’

Jörg Ratzlaff, 2008




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Cultural influences

The term ‘cultural’ is somewhat ambiguousand is often subjected to differentinterpretations, which can relate to objectsas well as social interaction and behaviour.

It is important to allow different culturalexperiences to be encountered and to viewdifferent approaches to living with an openand receptive mind.

Ideas can be sourced through anawareness of different cultures and culturalhabits. Not to be aware of the way thatdifferent cultures interact and respond tosituations can be a significant mistake. Theanthropologist studies human beingsengaging in a broad range of subjectsincluding customs, faith and culture, as wellas physical issues and situations. Toappreciate cultural influences it is necessaryto watch, listen, ask, understand contextand comprehend reasoning.

Culture can possibly be defined as a wayof life, but it may relate to localisedorganisations and groups as much as to thecustoms and practices of individuals fromdifferent countries or backgrounds.Influences should be gathered from as manydiverse cultural experiences as possible.

Constraints can compound situations whereinformation needs to be gathered. However,irrespective of such pressures, observationof practices, cultures and methods must begiven sufficient time to ensure interpretationis accurate and that assumptions are notbeing made. It may be necessary to interactwith a community, organisation or socialgroup for a reasonable period. Interactionwill provide opportunity to acknowledgeprocedures, practices and approaches to abroad array of tasks, some of which may beremote or contrary to familiar approachesand habits. The diverse ways in whichissues are addressed in a different culturalenvironment are very necessary aspects ofthe design process.

It is important to recognise that anaccepted practice in a certain culture may be deemed as an insult or be frownedupon in another. Better understanding ofdifferent cultures and practices will almostcertainly improve the creativity in design.Observing the ingenuity, inventiveness andimagination of cultures with sparseresources can be as beneficial as observingmore developed cultures.

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Diversity in culture: Kyoto and

Tokyo 2007

The opportunity to becomesubmerged in an unfamiliarculture is an opportunity thatshould be seized, as everyjuncture has something differentto offer and explore. Even theseemingly familiar is often verydifferent from previousexperiences when looked at moreclosely.





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If something is fun it is often addictive

and captivating. The natural instinct is

to want more and to become submerged

in associated activities. When a venture

is relegated to the status of a task it can

become difficult to be motivated,

inspired and to keep the necessary

momentum. Consequently, it is all-

important to ensure that tasks are not

frequently encountered or allowed to

evolve into burdens; rather, fun aspects

should retain control in the search for

ideas and stimulation.

The instigation for thought can

come from all directions, and intrigue

and curiosity should provide sufficient

diversity to explore and engage in

virgin territory.

When an activity is informative and

responsive it captures the imagination

and progress can be made. A ‘why not’

and ‘do what others don’t’ attitude

presents enjoyable and rewarding

experiences that usually culminate in a

deviation from the anticipated – a place

where ideas can flourish.

Left:

The Yellow Sink

The Yellow Sink, part of thebeautiful ArtQuitect Editioncollection, embraces an eleganttheatrical culture withsophistication and functionality.The design explores aharmonious array of visuallanguages and retains the need tohave fun.

Design:

Jaime Hayón for ArtQuitect

Explore and have fun!





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Designing with materials can take differentroutes. It is possible to conceive an idea andthen find an appropriate material to functionin a specific role, and it is also feasible toexplore a material and then adopt a use forit. It is, of course, also possible to just playwith a material and then go and dosomething completely different. Materialscontribute to the soul of a design and theirphysical and mental beauty should beappreciated, respected and enjoyed.

Maria Kirk Mikkelsen’s description of a ‘Laboratory’ approach refers to a range of creative thinking and investigations, thedevelopment of experiences, stories andideas, whereas the ‘Factory’ approach,informed by ‘Laboratory’, is regarded as being more material-based, instinctive and expressional.

Application

The amount of materials that are available to the designer is fantastic, with globallibraries promoting a vast range of excitingpossibilities. But it is often through askingquestions and exploring fundamentalrequirements that inspiration and directioncan be found.

The basic materials such as wood, metal and plastic cover a huge array of possibilities and when unfamiliar or non-traditional methods are applied to work some of these materials, excitingresults can emerge.

Influences for working with materials can be sourced from different disciplinesand cultures, which provide stimulatingpossibilities and sources of inspiration.Materials can and should be challenged and pushed to their limitations; limits thatwould not normally be considered possible.Investigating a material through simpleworkshop processes can reveal much about its ability and possible application.

‘I distinguish between Laboratory and Factory.’

Maria Kirk Mikkelsen, 2008

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Guardian Angel bag

The Guardian Angel bags appearto conceal weapons and are aresponse to the actual andperceived stories relating to crimeand antisocial behaviour. Thedesign has been part of NewYork’s Museum of Modern Art’s(MoMA) permanent collectionsince 2006.

Design:

Carolien Vlieger and Hein van Dam

Foam Rose divider screen

The polyethylene foam design,inspired by traditional lace workand Islamic tiles, was selected in2005 for the CharlottenborgSpring Exhibition in Copenhagen.

Design:

Maria Kirk Mikkelsen, 2004

The High-Tech Accent Teapot

The High-Tech Accent Teapot was produced for the Germanporcelain manufacturer Rosenthaland is made using porcelain and alumina-boriasilica fibres – a material that Gijs Bakkerdiscovered being used within the kilns, being capable ofwithstanding the melting point of porcelain.

Design:

Gijs Bakker for droog

‘Our inspiration comes from personal experiences or fromstories and articles in the media.’

Vlieger & Vandam, 2008

‘Design is for me observing the world, analysing meanings of objects and giving visual comments.’

Gijs Bakker, Gijs Bakker Design, 2007





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Living in a Box

Design group Transalpin’s Livingin a Box unifies usually disparateitems of furniture with acontinuous line, creating aphysical and fun relationship thatis not usually possible. The visualpurity of the seat, table, lights,walls, floor and shelving merge asone in an elegant, graceful andpersonal environment; anenvironment where restrictive andunsightly umbilical cords havebeen removed.

Design:

Transalpin Design Group

Photography:

Bjørn Blisse

Enjoy

If something isn’t fun it is perhaps necessaryto ask why or at least think how it couldbecome more enjoyable.

Designing a product following the sameroutine and formula each time will soonbecome monotonous, dull and uninspiringand there is a danger that a creativeproduction line that turns out thoughtswithout really understanding the problemwill ensue. A varied approach,communicating with different people andencountering different experiences, willalleviate any frustration and bring alternativeperspectives into play that may not havebeen considered previously.

When a particular approach seems tohave nothing more to offer, a change ofcourse can provide the necessary incentiveand inspiration to restart the imagination.Experimentation with mixed or individualcomponents of an idea, that are perhapsclosely aligned to personal experiences,provide an opportunity to mentally connectwith a design and encounter a positiverelationship that has meaning.

‘There are plenty of new ideas. It’s quite easy to get a new one. But the point is that we should look for ideas which are really useful. Ideas that satisfy a human request, respect ecological aspects and/or make our daily life easier and more joyful.’

Bjørn Blisse, 2007

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Tide Chandelier

The intriguing, curious andseemingly random translucent,clear and transparent plasticcomponents of the ‘TideChandelier (2004)’, deposited by the sea on the beeches ofDungeness, includes broken ordistressed everyday artefactssuch as combs and spectacles.The previously rejected items cast aside by the sea have beencollected and carefully composedinto the spectacular chandelier,their collective presence andunsuspecting relationshipscreating a fascination andelegance that captures theimagination.

Design:

Stuart Haygarth

‘Reconfiguring. Giving banal and overlooked objects a new meaning.’

Stuart Haygarth, 2008





Innovative adj. Featuring newmethods or original ideas.

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Wall lamp

The innovative approach tolighting challenges convention butretains an acceptable visuallanguage.

Design:

S.M.og Milano. Exhibited atSaloneSatellite 07, Milan

Innovation

Why are things done the way they are? Is ittoo dangerous to depart from the comfortzone? Exploring and systematicallyinterrogating the various components of aproduct or the conventional methods ofmanufacture can conjure up a multitude ofpotential directions, as well as query theactual purpose of accepted approaches orpractices. An audience seldom realises whatis required until it is presented, as prematurejudgements relate only to previousencounters, knowledge, expectations andexperiences. When a manner for doingsomething is scrutinised and called intoquestion it is likely to unleash a myriad ofexhilarating proposals, which challengeconservative values and a ‘will do’ attitude.

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S.M.og Milano

S.M.og Milano was founded bySilvio Betterelli and MartinaGrasselli and developed as an ‘ideas factory’. S.M.og Milanosuccessfully combinesexperiences from fashion and art and design disciplines togenerate innovative, informed and absorbing designs.

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Braided wire chandelier

The woven structure of the chandelier is constructed from wire, which is usually hidden away, creating distinction and individualitywithout compromising lighting performance.

Design

S.M.og Milano. Exhibited atSaloneSatellite 07, Milan





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Blowtorch

A dirty model of a blowtorchmade from found objects in thestudio including a straw, a canand a marker pen.

‘IDEO think of prototyping in three main phases: inspire: evolve: validate. The inspirational phase is the right place to try out ideas by making things, to use low-resolution techniques, and to embrace failure...Demonstrating the initial configuration of a surgical deviceused a marker pen, a film canister and a clothes peg.’

Bill Moggridge, IDEO

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Dirty models

Materials for dirty models mightinclude: paper clips, hairgrips,paper cups, fizzy drink cans,elastic bands, pens, straws,waste paper, oranges, tape, wire,buttons and scrap card.

How to

The production of a dirty model is a process used by manyleading design offices and iseffective at achieving instantinformation.

The development of a dirtymodel should be quick, gluing or taping found objects together,to generate a rough appreciationof an idea without bias.Aesthetics are dominated byvague approximations.

An understanding of an idea can beconducted expeditiously using screwed-uppaper from a phone book or newspaper andattaching the individual parts together toevolve into a potential form. The processinforms effectively, although it might not bevisually pleasing.

As the development and evaluation ofdirty models is instant, it is possible toincorporate perishable elements into theprocess to understand or represent texturesand similar attributes. Anything readilyavailable should be considered to be viable.

Dirty model

Producing a ‘dirty’ or ‘junk’ model is an effective and rewarding process, whichassists significantly in understanding thebasics of a problem, initial ergonomic issuesand subsequently, the fundamental elements of an idea.

Readily available objects becomeimprovised materials, which are generallyintegrated into the emerging andspontaneous form. The items do not need to be special, rather a simple approximationof what is needed and assembled usingavailable means. The developed ideas canbe interchangeable so that various thoughtscan be appraised.

There are no particular guidelines in the generation of such a model exceptthat imagination and creativity should be employed, and that outcomes should be understood in an appropriate context.The dirty model is not produced to bebeautiful or elegant; it is generated to beinformative and provocative.





frog design

frog design is a ‘strategic-creativeconsultancy’ with officesworldwide. Initially founded in1969 as Esslinger Design byHartmut Esslinger, the companybecame frogdesign in the 1980sand then frog design in 2000.

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Sunday

In 1989, Dietmar Hennekaphotographed the SUN: SPARCstations designed for SunMicrosystems by frog design. The photograph, titled ‘Sunday’,featured on the back cover of theJuly edition of Design magazineand depicts the various SPARCstations surrounded by smallmodel figures, which creates animpression of working and livingin a dominant city.

Design:

frog design

Scale

Observing the scale of differentenvironments provides a wealth of potentialreference material that can be utilised toconsider balance, proportion, composition,texture, materials, detail and relationships.An assortment of visual influences from different backgrounds can be adjusted to formulate comparable scales andinfluence possible directions.

The surroundings of an object reaffirm physical proportions, but withoutsuch references it is often difficult torecognise size and much easier to viewthings without bias.

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Changing scales

Details of buildings taken out of context can prompt ideas atdifferent scales.

Top:

The Asahi building

The form of the Asahi building andthe distinctive ‘flame’ challengedconventional approaches toscale.

Design:

Philippe Starck, 1989





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Bird’s House

The inspiration for the designerwas a combination of nature anddreams; the dreaming of newsounds was initiated duringexposure to a noisy and chaoticenvironment.

Design:

Simone Simonelli at Industreal ®– All rights reserved

Photography:

Ilvio Gallowww.industreal.it

‘Generating ideas in design for me means to enter a trip.Just give your ideas the right time to speak with you.’

Simone Simonelli, 2008

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The Phonofone

The small, but beautifullyproportioned Phonophonespeaker echoes the form of agramophone.

Design:

Tristan Zimmermann

A sculptural approach to design can certainly provide the opportunity for form, beauty and elegance to become as important as any perceived fundamental objective.

Form

The architect Louis Sullivan stated that‘Form [ever] Follows Function’, a dictum thathas been the basis for much discussion eversince. Both ‘form’ and ‘function’ are termsthat could be further debated as the functionof a product is not always what it mightinitially be perceived to be. A product can beproduced with a primary function of simplybeing beautiful; a function that is probablyintrinsic to the form and cannot be judged inisolation from the other. The maxim tends toimply that form is simply a ‘skin’ dictated toby a predominant function; however,designs often incorporate aestheticjudgement and/or fun elements, which arenot necessarily defined by the assumed andincorrect primary function.





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The Sun, 2006

New York Botanical Garden,Bronx, New York.

Design:

Dale Chihuly (Artist)www.chihuly.com

Photography:

Terry Rishel

Disciplines such as sculpture constantlychallenge accustomed perceptions of whatcan be achieved with materials and shouldbe acknowledged and respected.

Alternative thinking

Appreciating the work of inspirational artistsprovides a valuable introduction toalternative thinking, approaches andexecution. A blinkered attitude to all aroundand the practice of others is not a blueprintfor success and will neither introduce norstimulate different directions for thoughtsand ideas.

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Peacock Blue Tower, 2001

Garfield Park Conservatory,Chicago.

Design:


Photography:

Terry Rishel





Communication

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Monarch Window, 1994

Union Station, Tacoma,Washington.

Design:


Photography:

Russell Johnson


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Neon Tumbleweeds, 1994

The delicate and flowingmovement of the NeonTumbleweeds, created by artistDale Chihuly, is reflected in theartistry, balance and grace of theOregon Ballet Theater at thePortland, 1994 Artquake event.

Design:


Photography:

Russell Johnson





Semiotics pl. n. The study ofsigns and symbols, and their useor interpretation.

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tp1 phono radio

The design of the tp1portable/phono radiocommunicates a functionalcontrol and technicalunderstanding.

Design:

Dieter Rams for Braun, 1959

Attributes, associated to a product such as form and materials, can be selected to enhance a desired or inherent message. The selections may be basic, but they canbe effective communicators if consideredcarefully. Many products are categorised or stereotyped due to their particular visuallanguage, and yet considering an alternativeor unfamiliar language for a product can be refreshing.

Appearance

The way a product appears and the mannerin which it communicates a visual messageare similar to the way an individual appearsand the messages they portray. The physicaldifference between a smile and a stare isslight, but a misunderstanding could haveunexpected consequences. A smile isprobably the preferred or accepted gesturein almost all situations but, occasionally, an alternative reaction may be fortuitous.

The visual language of a product can bemanipulated to emphasise a diverse rangeof signals that may be consciously orsubconsciously recognised by a third party.It is not always necessary to consider thesemiology of a product in detail as themessage it communicates may simply be a culmination of other considerations, but in some cases the signals portrayed are fundamental to the success and need to be recognised.

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‘My intention is to investigate the potential for creating useful new designs by blending together stylistic orstructural elements of existing chair types. I see this as achance to create a ‘three-dimensional sketchbook’, a set ofplayful yet thought-provoking designs that, due to the timeconstraint, are put together with a minimum of analysis.’

Martino Gamper, 2007

Experiment v. Try out new things.

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To experiment is to understand, to reasonand to progress. The courage to trysomething new or unexpected will oftenresult in the opportunity to open up originallines of enquiry and to lead. If designers andartists did not experiment then a certainexcitement, intrigue and curiosity factorwould be removed.

The designer Martino Gamper collectedan eclectic array of abandoned andforgotten chairs for two years and thenembarked on 100 days of questioning,understanding and reworking their functionand character. The outcome, a collection of100 chairs, are all individual and each has astory to tell.

Experimentation

What works, what doesn’t? Is it possible toascertain an immediate outcome?Experimenting, investigating, exploring andenquiring allows for ideas to be teased out.Making mistakes, incorrect judgements andquestioning is all part of the experimentationstrategy. To make a mistake can often beseen as a positive, and an opportunity toreject a particular line of enquiry. A mistakemay even enlighten and provide previouslyunconsidered opportunities.

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100 chairs in 100 days

Design:

Martino Gamper, 24 July 2006

Ch’Air No 9 chair


Design:


Plastic Fantastic


Design:






The ‘Mono Suede’ chair was the original chair producedby Martino Gamper in the 100 Chairs 100 Days project.

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Mono Suede


Design:

Martino Gamper, 3 March 2005

Sonet Butterfly


Design:


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Black Skirt


Design:


Olympia


Design:

Martino Gamper, 2 August 2006

Barbapapa


Design:






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Back Seat


Design:


A Basketful


Design:


Tubolare


Design:

Martino Gamper, 10 September2007

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‘The project suggests a new way to stimulate designthinking, and provokes debate about a number of issues,including value, different types of functionality and what is an important style for certain types of chairs.’

Martino Gamper, 2007

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Backside


Design:


Arne Cubista


Design:






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Feel seating system

The Feel seating system has anemotional attraction.

Design:

Sarit Attias and Amit Axelrod, for Animi Causa


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idea

Inhibitions and inexperience should not prevent ideas from being exploredand considered, but rather should be a vehicle to enquire and to consider what can be communicated through a design. Subtle differences ininterpretation can impact significantly on what can or can’t be accomplishedwith regard to sensory stimulation and overall aesthetic perception.

It is often the case that a situationfeels right and although a particularaspect might not be identified, there is something about it that should beexplored and examined for possibleadaptation or transposition. In suchcircumstances, the situation is perhapsmore instinctive and visceral and suchoccasions should not be overlooked. The spirit and soul of an idea is perhaps a combination of sensory and instinctiveawareness and it is not uncommon for products to adopt life characteristicsin their make-up.

All of the senses need to be engaged inconsidering ideas and seeking inspirationfrom the surrounding environment. It isn’tnecessary – or perhaps even desired – to replicate all of the aspects ofsomething that provides stimulation, butsimply to try and recognise andunderstand what it is that is creating theinterest, capturing the imagination andencouraging the process. The senses arecontinually at work through consciousand subconscious means and everydayexperiences become a creative resource.

The way the senses respond todifferent stimulations changes dependingon external factors and conditions;therefore something might only be ofinterest in a particular setting or momentin time, or presented in a certain light.The aim is to translate what is beingobserved or understood through thedifferent senses into a tangible product –a product that might be able to retell orcommunicate the experience.

It is often difficult to reinterpret anemotion or a primary response due to a context being misconstrued ormisunderstood; however, a product that can communicate effectively andstimulate the senses positively is usually desired.

Sensory issues





DNA

How to

Constantly be on the look out for textural references throughtactile and visual means.Consider changes in scale andhow something could be utilisedin a different context. Texture is often a very subtle attribute to a product rather than a dominantaspect, but its presence can havea significant impact regardingoverall appeal.

Keep photographic records and annotate imagesfrom journals in scrapbooks ornotebooks. Interact with products to appreciate theirtactile qualities.

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Nautilus

The appealing form of the nautiluscan inspire direction. The need totouch items of such beauty isalmost compulsive andunderstanding the attractionshould be recognised. Objectswith appealing contours, texturesand traits can be influential inthought development.

Photography:

Keith James, 1993www.kjamesphotography.com

Textures are often incorporated into a design to hide manufacturing defects as well as to enhance the property of aparticular object. Seeing through touch on a continual basis will provide a valuableunderstanding of textures and theirsignificance in the search for ideas. It should be recognised that not all touch is conducted using the hand, and that itrelates to the overall body surface.

Texture

Holding, feeling, touching, caressing andmanipulating are activities that provide an understanding of a material or a form, all of which can trigger inspiration for ideasfrom what might appear to be randomobjects. The craftsman will often hold amaterial to feel and sense quality prior toengaging on a particular activity; the waysomething feels is of the utmost importance.The sensation of touch can be encounteredanywhere and at any time and the suddenrealisation that something feels good shouldbe recorded. Indicators such as sculpturesor banisters that have become polishedbecause generations have touched, felt orenjoyed them might provide an awakeningto a possible direction, as may the usedform of soap or weathered shells, rocks,wood and pebbles on a beach. Suchdelicate forms can be held and caressed to appreciate the overall form, but can alsofurther stimulate understanding of textures.


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The Ford 021C concept car

The pure and captivating Ford021C concept car, with itsfunctional fun aesthetic is aimedat appealing to young targetaudiences. The simple languageis engaging, creating anatmosphere of innocentsophistication with a creativeappeal.

Design:

Marc Newson for Ford MotorCompany.www.marc-newson.com

Photography:

Tom Vack, 1999

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Colour theorists have often demonstratedthat colour can be associated with a rangeof properties including perceived weight,smell, taste, strength and gender, often dueto previous tangential experiencesencountered by individuals. Theassociations are not difficult to comprehend,i.e. dark colours being regarded as ‘heavy’and bright colours being considered to‘taste’ good. However, pink can be a darkcolour or a bright colour: it depends entirelyon the actual colour (tone) being presented.

Inspiration for colour selections andcombinations are everywhere and it is useful to collect fragments or swatches ofcolours to clarify what is being considered.Scrapbooks with swatches should becollected continually and specific colourthemes, such as the pink example, will soon present an array of possibilities.

Sourced colours can be matched to professional colour palettes to ensure clear communication of a desired colour is being made.

Colour

If someone is asked to say what theirfavourite colour is, the response might bepink. However, this information is probablyuseless due to the vast range of colours that could be categorised as pink.

Colour is an important component in the design process and if not consideredcarefully can often be the deciding factorbetween a product being successful or not – no matter how fantastic the item is.Research has shown that colour isunderstood faster than most elements, such as (and in particular) form, and so inthe split second that an individual makes a selection it is often colour that is informingthe decision. Incredibly, it is also often thecase that colours are not considered in theinitial stages, making an appearance only in the latter phases. The reason is perhapsunderstandable in the sense that a designidea could be rejected early on simplybecause of its colour rather than itsfunctionality; but colour should also beregarded as a functional component and not just as an appealing aesthetic.





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Observing familiar elements andunderstanding lineage provides a usefulvehicle for the direction and development of ideas as well as an appreciation ofrecognised constraints.

The generation of ideas and theemergence of a product family can bethrough an identified philosophy with setaims and objectives, but it is often the case that a particular aesthetic is not fullyunderstood until a broad range of itemshave been developed allowing a distinctivepattern to be recognised throughretrospective appraisal.

Production methods, attention to detail,sculptural appreciation and quality can allcontribute to the tribal language of a rangeof products, even if the materials employedare not uniform. It is often such attributesthat define the existence of a particularlanguage rather than appearance alone.

Tribal language

A tribe is usually the term used for a group of individuals with a common ancestor that adhere to accepted habits, procedures and traditions. The tribe is distinguishablefrom other similar groups through thesemannerisms and customs. The agreedstandards provide identity and enable themto be understood, recognised andrespected for who they are and what theystand for.

Tribes and tribal languages existamongst products in much the same waythat they are present amongst groups of individuals; an aesthetic signature that is unique to a particular approach or set of beliefs forming distinguishable traits.Distinctive characteristics might not beapparent on any initial investigation, as they probably do not relate to an obviousidentifier such as form, but rather to aninherited approach or relationship betweenthe items. The history of the products may be identical and so too the influencesand target audiences, but this does notmean that the objects are simple facsimiles.The products can be diverse with differingfunctions, behaviours and performances,but languages used in their initiation willhave commonalities.

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Beo Center 6

The Beo Center 6, also designedby David Lewis for Bang &Olufsen, was launched in 2006.Attention to detail, finish andaesthetics create a triballanguage of quality andsophistication that is evidentwithin the Bang & Olufsen range.

Design:

David Lewis

Serene mobile

The Serene mobile phone,designed by Chief Designer DavidLewis, was created and launchedby Bang & Olufsen in cooperationwith Samsung in 2005.

Design:

David Lewis





A consumer of a product may be influenced into making a purchase becauseof a smell that is emitted and the association that accompanies it. It wouldcertainly be unfortunate if a product was to be rejected on the basis of smell, but associations are powerful and shouldnot be overlooked.

Materials that change their physicalproperties under different conditions will often result in different responses being made by the senses. Smellsemanating from a material in familiarsettings may well change in unfamiliarenvironments or climates.

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Intense smells

The intense smell of a material in certain surroundings or underparticular conditions can triggeremotional and physical responses, which may or may not be beneficial.

While sitting in a traincarriage, it is almost possible tosmell the history of the materials.Careful consideration should begiven to the selection of materials if they are to be subjected to adiverse range of stimuli.

Smell

It may not seem important to considersmells but, if functioning correctly, smellscan be extremely sensitive and capable of triggering memories and recalling specific details.

Smells are useful in the search for ideasand in remembering past situations, but theycan also be adept at enhancing ordiscriminating an idea path through exactlythe same mechanisms. As there may not be any physical visual pointers with recallinga particular smell it is possible to receivemixed messages; messages that have thesame trigger but recall different events fordifferent individuals.

Is it possible to be put off a productbecause of the way it smells? The dodgysecond-hand car dealer will spray the vinylseats of a car with preferential scents to hide musty odours or to give an impressionof leather, and the baker will ensure that the smell of freshly baked bread is directedat passers-by.

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Sounds everywhere

Sounds are everywhere and have an important role to play in design. It is difficult to get away from audible triggers asthey can intrude and confront with surprise.

The integration of personal ring tones to cellphones enables the user to have anenhanced experience and to stamp theirown audible preferences. There arenumerous products where such experiencescould be encountered and could enrich an experience with careful consideration toa note, pitch, tone or melody.

Sounds

How important is a sound? The sound of a door closing or a button being pressedcan be an indicator of quality – or at least a perceived quality. Sound associations to a product are important and should becarefully considered. A switch that makes an audible click may be needed in somesolutions, but considerations should begiven to alternatives. What does the actionof switching something on represent? It may mean the start of a rest period for the user or it may be an indication thatsomething is about to occur. Whatever the reason for a particular product, soundquality should appeal to the senses. Thesound should not simply be a by-product of circumstance, but rather something thatis integral to the user experience.





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‘Creativity grows at the intersection of technicalconsiderations, the needs and desires of people, and anaesthetic point of view. We look further than keen problemsolving abilities and look for people who are self-inspired,people who are naturally curious about the world. And then we foster that creativity in an environment that allowsand rewards risk taking.’

John Edson, Lunar Design president

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The Torch 600 light

The beauty and structuredsimplicity of the design of theTorch 600 light is in many waysovershadowed by the delicateand captivating rays of light,reminiscent of shafts of sunlight,that it emits.

Design:

Finn Kaerulff Clausen for Contact Design

Something else

The purpose of design must be to improvequality of life in some capacity, and thisbasic premise applies to whatever is beingconsidered. If something cannot fulfil thisfundamental aim then it should probably berejected at source. In the search for ideas,consideration should always be given to theprimary objective, but it is also useful forthought to be applied to the potential of anyadded values that might be incorporated.The advantage of considering added valuesis that an initial thought could, throughsimple or even inadvertent changes, adopt a characteristic or function that is additionalto purpose and will either complement an idea or enable it to be considered in apreviously unforeseen sphere.

Added values can emerge for aestheticor functional reasons and rely on the abilityto identify and exploit an opportunity.

Left:

Cake plate

Lunar Design’s 20th anniversarycommemorative plate solves theproblem of what to do with thecake and the candle.

Design:

Lunar design

Photography:

Vanessa Jespersen-Wheat





‘We like to find something fantastic in the mundane, lookingat everyday life we try to inject some humour and play.’

Richard Broom, 2008, thorsten van elten

Stamp cups

Stamp cups, designed by ValeriaMiglioli and Barnaby Barford forthorsten van elten, 2004,transform unsightly tea/coffeestains into something beautiful.

Design:

Valeria Miglioli and Barnaby Barford for thorsten van elten, 2004

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Little Joseph

A simple solution for a candleholder that combines practicalityand intrigue.

Design:

Maxim Velcovsky qubus design studio





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The Ranch Royale wallpaper

The Ranch Royale wallpaper,designed by Maria KirkMikkelsen, is part of the ‘Make upthe wall’ collection. The imagesthat are inspired by the Wild Westappear to be traditional printsuntil investigation reveals thatthey are actually constructed fromthe repeated forms of skulls orguns!

Design:

Maria Kirk Mikkelsen

Pattern and repeat form

Repeating a single form at a similar or adjusted scale can produce visuallycomplex outcomes from what areessentially simple structures. In nature,fractal structures demonstrate theeffectiveness of repeated forms and how an apparently complicated network can be configured.

In a fabricated and artificial domainrepeated forms can be seen everywhere,although recognising such structures can be difficult as a visual deconstruction needs to be conducted to identify theduplicated shapes.

The complicated structures of objects,such as chandeliers, can often be brokendown to identify simple and basiccomponents. Collectively, the initialimpression of such designs can appearinconceivable. Obviously the use of arepeated form is only one aspect of theoverall problem to be considered. However, considering the simplistic in thefirst instance is frequently more beneficialthan initially attempting the complex.

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The repeated forms are used toformulate the captivatingchandelier.

Design:

Verner Panton, 1969





Many different influential factors may beconsidered, which might include fashionsense, personal ornamentation, behaviour patterns, habits, architecturalreferencing and the relevance of othermaterial possessions. It is unlikely that allobservational evidence and intelligence that is gathered will be able to sit together in a single product, but commonality strands running through the referencematerial may be identifiable for use.

Product gender

Although it may be preferable to developitems that are non-gender specific to appeal to a broader market, it is often thecase that products are positioned forspecific audiences. Gender-specificproducts are carefully researched and aim to consider the conscious andsubconscious perceptions of a user.Anthropologists study targeted groups andidentify influential pointers and mannerismsto develop cultural awareness that can support the design development process.Patterns of user practice and theirinteraction with environments can beobserved in a variety of ways to helpdevelop understanding. Research needs to be carefully conducted and the targetaudience understood for the outcomes to be beneficial. Assumptions and personal views need to be set aside and not allowed to bias findings.

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Nokia 7373

The Nokia 7373 phone, part of The L’Amour Collection,challenges conventionalapproaches to design andembraces a specific genderaesthetic through the considered use of ornamentationand fashion.

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The aluminium recess chair

collection

The aluminium recess chaircollection was exhibited at theSaloneSatellite 07. The chairs usea simplistic aesthetic to capturethe purity of the pieces. Theremoved inner section (therecess) provides the basis for asister chair.

Design:

Dave Bramston and Neil Housego

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Aesthetic adj. Concerned withbeauty or the appreciation ofbeauty.

Subjective adj. Based on orinfluenced by personal feelings,tastes or opinions.

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Aesthetic qualities are usually associated to the physical appearance of somethingand if visual comprehension is difficult to understand, awkward, unnecessarilycomplicated or proportionally unbalanced,the impression portrayed is often interpreted as being unacceptable.

Aesthetically pleasing elements that are in unison may project a radically different impression if modifications,personalisation or damage occurs.Adjustments during primary investigationscan explore the potential of aesthetic quality to gauge a satisfactory outcome.

Subjective aesthetics

The philosophical area of aestheticsencompasses the fascination of allurement,elegance and attraction of an object withcontrasting elements that may beconsidered to be repugnant, unattractiveand somewhat abstract.

Individuals with different attitudes,instincts and reactions have a tendency to favour and engage with a particularaesthetic in preference to another, often for no discernable reason. The subjectivenature of aesthetics is difficult to predict as opinions, fashion and appeal fluctuatedepending on mood, personal bias,inclinations and experience.





Subtle differences in an idea or thedevelopment of a product can also make thedifference between what works well andlooks good, and what is readily dismissed.The generation of ideas often results inwildly different propositions; however,simple adjustments to original concepts canresult in positive progress and direction. It isnot always apparent what has beenchanged, but changes are often necessary.

Top:

Fat Convertible, 2005

Bottom:

Fat Car, 2001

The works confront ‘normal’perceptions using over-exaggerated forms.

Design:

Erwin Wurm

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Subtlety

To understand subtlety requires anunderstanding of judgement and an abilityto be critical. An idea can be missed orrejected simply because an element isslightly misrepresented or notcommunicated effectively.

When an acquaintance or relative has not been seen for some time and then a chance meeting occurs, it is notuncommon for remarks such as ‘You lookwell’, ‘Have you lost weight?’ or ‘Haven’t you grown?’ to be made. Such statementsare not planned and are probably not simple pleasantries, but are more likely to be a statement of fact; an instantrecognition that something has changed.Unless the separation between the twoparties is substantial, the remarks actuallyrefer to what are essentially minor changesin an individual. It might not be possible forthe person stating ‘you look well’ to identifyany particular change, but simply toconsciously or subconsciously recognise a change. References to height or weightmight only be due to a few centimetres orgrams, but the change does get noticed.

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‘Custom’ or ‘hacked’ cell phone

With an individual aesthetic andextended existence, MehmetErkök used a Nokia 3210 for theexperimental work, replacing and altering original componentsto develop a unique, personalised product.

Design:

Mehmet Erkök

After the initial shock of the damage isacknowledged and alleviated it can actuallybegin a sensible existence; an existence in an environment where accidents do occurand are recognised. The scratch or bumpusually only impacts on any aestheticfunction rather than operational capabilitiesand if such battle scars are actuallyunderstood they can add a unique,distinctive character.

The idea of a product being visuallyunattractive due to knocks and bumps canbe contrasted with its sudden practicalstatus. The concept of scratches, bumps,tears, rips and dents can often be seen as a desired feature and inspiration for originality; as well as an opportunity topersonalise.

Product respect

The degradation of an adored product can lead to a subconscious neglect and a distancing between user and object. Up until a product receives its initial tarnish (a scratch or a dent) it is respected andcared for; however, when such adisfigurement does occur it is almostrelegated to a league of less importance and user focus can become directed at a possible replacement, alternative or a next generation item. The caring attitudecan begin to dwindle with the blemishedproduct and the love and respect it mayonce have been shown gets forgotten. It is, however, not uncommon for productsof a decommissioned status to actuallybecome more useable in practical terms.

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Cellphones

The cellphones of Mehmet Erkökexplore rechargeable cells,operational qualities and usabilitythrough the use of visiblebatteries, an ability to ‘dress’ thephone for specific requirementsand an acknowledgement of whatErkök describes as ‘stereotypicallearning’. The phones havedistinctive personalities thatdemand attention and respect.

Design:

Mehmet Erkök





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Emotional response

Happiness, sadness, calm, anger, fear,disgust. Inanimate objects can instigatedifferent emotional responses, to differentusers, using various inherent qualities.

The response is an instinctive feeling ofsomething that is evident through a verbal or physical bodily movement. A user’semotional response would usually dependon the context of their encounter andintuitive associations. It is possible for anobject to arouse, seduce and stimulatebeneficial feelings or emotions throughappearance and memory. The integrity ofthese mental triggers can be further affirmed or disbanded through a physicalrelationship with an object, which mayprompt emotional negativity.

The juxtaposition between mental andphysical, and positive and negative,experiential emotions is difficult to predict as everything and everyone is unique, but manipulation of an object to assessproactive and negative responses canidentify and stimulate exciting ideas.

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La femme et la maison.

Ordinary life disturbed

The Maid chair, presented by NikaZupanc at SaloneSatellite 07,explores emotional ergonomicsand questions function. Theemotive aesthetic engages desireand sensual expressionstimulating imagination andassociation. The physical activityof sitting is challenged by theemotional experience.

Design:

Nika Zupanc





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Left:

Portable MP3 unit

The design includes reusedcomputer speakers, MP3 player,cardboard box and electricalcable.

Designer:

Stuart Walker

Development of an idea

As a potential idea progresses, the

research that informs the development

becomes more focused and informative.

Primary research strategies are

supported by secondary research

approaches, which aim to reaffirm

thoughts and feelings about

the particular direction of an idea.

An analysis of research methodologies

and ideas needs to be conducted with

ever-increasing rigour to generate

confidence in an emerging proposition.

Focused criticism is required and needs

to be acknowledged and absorbed. In

cases where an idea is beginning to lose

its momentum it needs to be carefully

evaluated to decide if it is to be

terminated. Being able to conclude that

something is not appropriate is a positive

rather than a negative as to peruse

something destined to fail is pointless.

Alternative strategies to assist with

the development of an idea can be

rewarding and can provide opportunities

to view things differently.





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An individual must be critical about his or her design methodologies to understandwhat is reasonable and challenging andwhat is not acceptable. It can be difficult to be criticised, but it is necessary toevaluate what is being said and to steer a suitable path.

A passionate and enthusiastic outlookon an idea can develop into a biasedopinion, a view that is not beneficial and an approach that should be controlled.Perhaps the acid test for any idea is to ask,‘would you buy it?’ A negative or delayedresponse is possibly enough to warrantanother look.

Constructive criticism

It is important to be critical, have standardsand to apply logical thinking, but not to be destructive in doing so. A criticalcomment that doesn’t offer any direction,any substance or foundation, or is simply a random and speculative remark, is notuseful. Such comments should be avoided, as they tend to offer nothingexcept a negative barrier to creativity.Critical comments are, however, very usefuland necessary if structured appropriatelyand delivered in a suitable context as they often open up previously unconsideredopportunities. It is rewarding to hear positivecomments about an idea, but withoutconstructive criticism such remarks areactually unlikely to surface. Everybody hasan opinion and if given the stage for too long they will undoubtedly find a reason forinappropriate or ill-considered negativity.Likewise, it is always possible to findsomeone with a similar view, but usefulfeedback that can be used should always be sought.

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Bicycle

Certain activities, such as playinga musical instrument or riding abicycle, can become so naturalthat it is often difficult toappreciate what is taking place.An observer cannot always relyon a description from theindividual concerned as familiarprocesses are often overlooked orrelegated in importance.

Self and team analysis

It is imperative that in conducting researchand identifying possible ideas or directionsthat an individual or team understands theproblem; a complete problem and not aperceived or isolated problem. Recognitionof a problem can come from interaction witha target group but it is possible that eventhey do not fully understand what is neededor what the problem is. The reason for this is that many activities are conductedautomatically without knowing you aredoing it, especially when the task becomesfamiliar. As an observer it is necessary to recognise the forgotten actionsconducted by others, and to understandcontext. Self-analysis of thinking and doingrequires a capacity to recognise the unseenand an ability to present accurate findings with evidence.





Transform

The ability for something to change from the mundane to the extraordinary or forsomething to be able to evolve and respondto market changes is an exciting and oftennecessary direction to explore.

The metamorphosis of an object, to transform it into another item, may be an incidental outcome, something that has emerged through accident, but actuallyfunctions effectively in either capacity. The permutation can also be initiated by theidentification of a constraint or throughthinking being directed deliberately towardsthe need for an adjustable or fluctuatingproduct. Items familiar to a target audience,such as a dresser and divider, or desk andmat, can be coupled together to explorevirgin territory and ideas. The identificationof a possible marriage between objects – no matter how obscure – will focus thinkingand enable innovative thoughts to surface.

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Vase Space

The Vase Space is inspired byAmerican Federal furniture and machined utilising multi-axis CNC technology in collaboration with an Americanaerospace manufacturer. Theflexibility in production allows for modifications and alterations to be made despite the classical form.

Design:

Paul Loebach

Ability to change

The development of an idea should also consider the potential for change that does not engage form but is a result of natural progression or diversification of an audience. The ability for a product to respond to trends or fashion can beobserved in the modifications the usermakes to a product, but simple changes can also be conducted at the manufacturing stages through theintroduction of alternative colours,accessories and functions.


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The Japanese designers Shin + Tomoko Azumi formedAzumi in 1995, producingexciting, sculptural and puredesigns. In 2005 the designersbegan to operate their ownindividual design studios withShin Azumi operating ‘a studio’and Tomoko Azumi operating the ‘tna design studio’.

The simplicity and surpriseelement of the Azumi practice is captured in the Table = Chestdesign and since 2005 the workof the individual studios hascontinued to portray a simplistic honesty through thecontrol of functional design andaesthetic language.

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Table = Chest

The Table = Chest design is beautifully simplistic andcaptivating. Designed forRöthlisberger, Switzerland, the transformation from table to chest is as elegant as theindividual pieces.

Design:

Design: Shin + Tomoko Azumi 1995.

Photography:

Thomas Dobbie





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Secondary research

Secondary research is aninvestigation of already publishedfindings.

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How to

As secondary research involveslooking at previously publishedwork, it can be difficult to absorb a diverse range of information ondemand, effectively andefficiently. Although facilitieswithin libraries and researchcentres exist to aid the executionof secondary research, a goodstarting point is to be constantlyabsorbing information by readingjournals, reviews, publicationsand other sources of informationon an ongoing basis. It is perhaps unlikely that randomreading will specifically relate to a particular problem, but it willprovide a valuable platform andbackground knowledge that will facilitate cross-referencing when required. A

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Secondary research

Secondary research is the collection of information that has previously beenpublished in some manner following aprimary research approach. The informationis not collated using original investigativework, but from understanding the findings of others or from similar experiences.

The differences between primaryresearch and secondary research areimportant; they both have positive andnegative qualities and can be considered in tandem. Whereas primary researchprovides an opportunity to actually go outand find things first-hand, it is often the case that it is not possible to conduct a widescale investigation; however, secondaryresearch does allow for a sweep of allpublished articles and information relating to a particular area to be considered inbroader terms.

The somewhat negative side of secondaryresearch strategies is that the informationcan be presented out of context or cancontain inaccuracies and, therefore, it ispossible for findings to be unsound ormisconstrued. Secondary researchstrategies may include using reviews ofjournals, publications, articles and recordedinformation and these processes can in turnprovide sufficient information to instigate aprimary research strategy having providedthe fundamental leads for specialist enquiry.During the secondary research stages it isnecessary to keep a record of what is usefuland where it has been sourced.





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Napkinsketchbook

The Napkinsketchbook is asimple and creative idea that has been conceived throughobservation and need.

Design:

Fridolin T. Beisert

Photography:

Julia Kopelson

Starting points

An idea is simply a starting point, a pointthat may be the initiation of a proposal, but itwill need to be interrogated, scrutinised andchallenged at every juncture before it isanything more than a notion. If it can surviveunscathed and strong it might evolve, but itwill need to rely on scores of other positiveideas to support it during a passage toreality. Too often an initial idea is confusedwith a solution. It is simply a pointer or aglimpse of what might be. The developmentof an idea is an investigative process, whichis continual until sufficient evidence canjustify its existence.

‘I was at a local bar with a friend, brainstorming on someideas using napkins. By the time we were getting ready to leave we had a whole stack next to us and wondered:“Wouldn’t it be great if there was a way to keep themsomehow together?” That thought never left my mind and a few weeks later the Napkinsketchbook was born.’

Fridolin T. Beisert, 2008

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‘The Tune ’n Radio is a fm-radio which people have to finish themselves, in order to make the product functionalwithin their own personal perception.’

Wouter Geense Design Studio, 2008

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Tune ’n Radio

The radio prototypes are part of the Little Things, Raging Thoughts collection.www. woutergeense.nl

Design:

Wouter Geense Design Studio, 2005





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Exploring contrasts using play

The utilisation of simple materialsto transmit a basic idea can beeffective and direct.

Idea development

Chasing an idea through play becomesenthralling and fascinating; directions that would not normally be unleashed cometo the fore and are unable to escape orevade dissection. Reserves and restraintsbecome challenges to overcome, and groupactivity with different characters andopinions brings different experiences andopportunities.

During play, ideas can be quicklycomposed and sculpted; things are notresolute and progress can be made throughan absorbing indulgence. Play is fresh air, a change from the norm and an opportunityto be exposed to high creativity.

Play

Play within design is an important conceptas it is through play that social barriers canbe brought down, making it possible toengage, understand and develop withoutinhibitions. Play allows or even dictates thatthings are kept simple and complicationsare avoided. If a difficulty arises, playquestions and looks for a different rule or approach so that progress can be made and enjoyed. Enquiry within play can beunexpected, random and experimental;questions are constantly asked, answersdemanded and ‘what if?’ thoughts arecontemplated until awareness isforthcoming. Tackling ideas through playmeans that things aren’t too serious andthoughts can be thrown away easily orinvestigated from different perspectives.Play activities allow things to be taken apart,rebuilt and taken apart again so that ideascan be evaluated. An instinctive playapproach suppresses obstacles with easethrough enjoyment and emotionalexpression; there is no logic, just feelingalong with the inherent desire to discoverand make.


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Design development

Developing an idea does not mean jumpingbetween random ideas as problems arepresented, but rather exploring the potentialand trying to nurture it.

The following terms should becontinually explored and considered duringthe development of a design:

Analyse

Probe

Feel

Instinct

Look

Question

Reflect

Step back

Investigate

Refine

Clarify

Elevate

Improve

Regulate

Rectify

Foster

Exploration of ideas and

languages using everyday

items

Considering alternativeapproaches to broadly acceptedpractices of communicationallows for unforeseen possibilitiesto be revealed.

Play is an opportunity torelease emotions and should be encouraged.





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Visual noise

Numerous instructions,information and characters can have a negative effect on a product rather than actually assisting it.

Confusing

Noise is generally regarded as being chaoticsound, where confusion is created becauseof agitated and conflicting messages. Suchuncertainty impedes behaviour and acapacity to effectively understand. Thenotion of visual noise is closely related toaudible noise in the sense that whenconcentrated messages are presentedoverload occurs. It is not difficult to locateproducts with an extraordinary amount offutile and nondescript bits betraying anaesthetic, but these credulous productscould probably be much improved with anappreciation of sensitivity and less furore.

‘Less is more.’

Statement attributed to Ludwig Mies Van Der Rohe.

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Visual overload

A myriad of messages instigatesconfusion and uncertainty. Busylanguages of products are oftenfunctionally detrimental becomingornamental rather than useful.





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Why not?

In an age where prisoners,poodles, porches and otherpersonal belongings get tagged,the ‘tom bunny’ rabbit is designedto be worn around the wrist of a child or attached to an item of clothing. Inside the bunny is a chip which informs parents ofexactly where the child is.


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Identifying an exciting idea and being

enthusiastic about it is undoubtedly

a good thing, but it is also possible to

become so enthralled by the momentum

of an idea that basic elements are

overlooked. Is the design actually that

prudent?

Key questions that should be

considered when thinking about an

idea are:

Is it realistic functionally?

Is it realistic practically?

Is it realistic logistically?

Is it realistic morally?

Is it realistic ethically?

Is it realistic to produce?

Is it realistic to market?

A rethink regarding any problem

areas does not necessarily mean a

complete redesign, and minor alterations

could have significant benefits without

being too detrimental to the overall

result. The ideas stage is a continuous

period of evaluation and progression,

although it may become less obvious

that changes are occurring as the

design evolves.

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Blue sky or reality?





Geek Squad

The Geek Squad, formed in the USA in 1994, has managed to remove the frustration andanguish associated with problems with computers through an innovative approachsynonymous to an FBI agent. The Geek Squad agents that aredispatched to solve consumerdifficulties have the appearanceof a special agent and thecomputer know-how of a geek.The combination manages toconvert perceived obstacles intoa rewarding experience. Theability to recognise such issuesand manoeuvre them intopositives enhances the brand.

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The experience should not be contemplatedafter other development matters haveensued, but should be considered at theoutset – it is an intrinsic and fundamentalissue. A brand experience can always beenhanced further down the line, but itsfoundations should be prevalent at theinitiation of an idea.

Opportunities to fascinate and captivatean audience on an apparently individuallevel are significant and are more aligned tonurture than manufacture. Every associatedaspect to a product needs to be carefullyevaluated and understood.

Product experience

Identifying an idea and developing it is by nomeans the end of the story. A product needsto be much more than a physicalcommodity. A product should engage theuser, appealing emotionally and intimately toensure that interaction is positive. A productneeds to connect in a manner that isacceptable and personal; the consumerwants more than a tangible thing – he or sherequires exposure to an experience, anexperience that aligns with his or her ownbeliefs, standards and aspirations. It is nolonger difficult to find products that arecomparative regarding physical beauty orfunction; the distinguishing difference isproviding a beneficial experience andmaking a unique impression.

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Brand n. A type of productmanufactured by a companyunder a particular name.

Experience n. An event oractivity, which leaves a lastingimpression.





Without thought

In the previous year to the launchof the Muji CD player, NaotoFukasawa had organised the‘Without Thought’ workshop that recognised that individualswere interacting with objects andfinding solutions to problemsunconsciously. Theunderstanding of theseinspirational acts provides thebasis for innovative and excitingideas within design.

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Brand experience

The experience of a brand is influencedthrough physical, mental and sensoryencounters. If an experience is perceived as being contradictory, incoherent orirregular then a unified message is not beingcommunicated effectively and the responsecan be damaging. Everything needs to be considered carefully and thoroughly to formulate an impressionable dialogue that has meaning and consistency.Consideration and appreciation of the brand experience should be understoodfrom the outset to influence idea direction,formulate desirable objectives andrecognise important constraints or themes.

It is as necessary to have empathy with a brand and appreciate what it standsfor and why, as much as it is to having anunderstanding of a target audience andreally comprehend what they want. Although a brand experience must work ona personal level it should also be functionalon all other platforms where it will beencountered. An evolved reputation of abrand, positive or negative, will almostcertainly impact on the individual consumer;attention must be focussed on everythingassociated with the brand if understandingis to be enhanced as a readily formedimpression can be difficult to overturn if incorrect.

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Muji CD player

Muji is synonymous with purityand efficiency. The no-logo brand represents simplicity in all areas, including packaging,production and presentation,which enhances both quality and experience.

Design:

Naoto Fukasawa





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Lather lamp

The design uses liquid soapbottles, steel rod and castconcrete. The honesty of the design has an appeal and elegance that many fail to capture.

Design:

Stuart Walker

Sustainability

The maintenance and ability to repairproducts effectively and efficiently withoutburden is a necessary factor that needs to be considered on a broader scale. Basic everyday products can be designedusing simple components or parts thatwould normally be discarded after an initialuse. The utilisation of such existing features enables a product to almost inheritan extended existence as the variouscomponents can be readily replaced orcorrected without any significantcompromise. There are variousinterpretations of sustainability; however,when considering ideas the fundamentalobjective needs embracing.

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Wire lamp

The beautifully simplistic lightuses mild steel rod, cast concreteand off-the-shelf electrical parts.The design is something that caneasily be maintained and repairedby the user.

Design:

Stuart Walker

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Package n. An object or group of objects wrapped in paper orpacked in a box.

Skin n. The thin layer of tissueforming the natural outer covering of the body of a personor animal.

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Packaging

The packaging of a product is an area thatneeds to be considered with ever-increasingcare, attention and understanding, but itdoes not need to be a compromise.

Packaging should not be anafterthought, but rather something that issubjected to rigorous investigation toquestion what is actually needed. Whypackage something that is alreadypackaged? A strange question? Packagingis not simply assigned to plastic bags andpolystyrene, it is anything that surroundssomething else, a skin securing and oftenprotecting more vulnerable items.

It is not unfamiliar for packaging to be a physical component of a product,something that is not discarded, but ratherembraced and which adds value. Naturalmaterials are often assumed to bepreferential to synthetic materials, although creative thinking will reveal exciting opportunities that are not harmful to the environment and can actuallyenhance an idea.

The need to consider packaging carefullyhas become an influential design constraintin the generation of ideas. Innovation has to be explored and audiences are becomingappreciative of efforts to reduce detrimentaleffects caused by some packaging. The notion of reuse is no longer a desireanymore but more a necessity, a necessitythat is creating a wealth of ideas. Inspirationfor packaging-related ideas are everywhereand particularly in regions where materialsare limited and where there is an increasednumber of design constraints.

What does it say about an individual or a company if there is no consideration to environmental impact when designing or purchasing a product? Target audiencesare becoming increasingly aware of socialresponsibilities and associations.

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vases in PP with display box

The plastic bottles are used as vases to hold flowers, rather than being discarded. Theapparent contrast of the flowersand detergent bottles becomesinsignificant when considered and placed in context.

Design:

Enzo Mari, 1995Alessi S.p.a., Crusinallo, Italy





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Project 1:

Fit in the box

Identify the essential items that are required for a short vacation and then pack as many items as possible into a boxthat is no larger than a 500g margarine container. Items should not be repackagedor adjusted to fit into the container and so you will need to think carefully as to what is absolutely necessary. In situationswhere desired items can’t be used,innovation and improvisation will be needed to identify something that will do the job instead.

It should be possible to place more than 50 items in the container, but no itemscan be repeated. Avoid items that you would probably find in a hotel room. Whenall the items have been collected the lid for the container must be firmly replaced.

Having achieved the initial 50 itemsremove 25 items, keeping only the essential things left in the container.

Project 2:

Improvisation

Select an innocuous item and consider the different ways that it could be utilised as a particular product.

For example:

A marker pen could be considered as a phone.

The lid of the marker phone could be a detachable speaker.

The marker phone could be held in front of the mouth.

The marker phone could be used to write text messages.

The lid of the marker phone could be turned back and forth to dial.

The cylindrical form of the marker may contain a battery.

Either end of the marker phone might be a speaker.

The marker phone can easily fit in a shirt pocket.

The marker phone could be held like a microphone to speak.

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Project 3:

Curious actions

Observe the mannerisms of individuals as they walk towards an entrance to a building. There is often a ‘preparation zone’ prior to entering a building wherepeople start to physically and mentallyprepare themselves for a transition.Mannerisms may include brushing their hair, adjusting their shirt or coat, or perhaps scratching themselves(somewhere). It may also include changingspectacles, applying make-up or simplydiscarding a coffee cup in a peculiar fashion. There are numerous curious actions that individuals do and observing a flow of people will highlight many of these often unnoticed and unscheduledcharacteristics.

Observing a scene after a mass ofpeople has passed will also give indications of certain habits. Pathwaysemerge from shortcuts that have beentaken, rubbish bins are piled precariously full and clusters of cigarette ends can beseen in adjacent areas to the mainthoroughfare. All of the curious actionindicators can provide valuable inspiration for design.

Project 4:

The mall

Making an assumption about an individual and associating a person to acertain stereotype is usually a mistake.Watch individuals as they select items within a supermarket or shopping mall and observe the products that they areplacing into their trolley and taking to the checkout. The items that are beingselected may be very different to what might be expected. Try to consider why this might be.





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Project 6:

Number 11

Identifying a problem and conducting a brainstorming session releases interesting and exciting ideas; however, the initial ideas, which can sometimes prove to be the most rewarding, are toooften the most obvious. It is not until there is a struggle to set an idea free that really interesting possibilities begin to appear and there is a pull on mental resources.

A brainstorming session to identify the different ways that people remember things might initially include suggestionssuch as writing notes on their hand, putting a knot in a handkerchief or perhaps turning their watch upside down. Exploring this line of investigationfurther will lead to ideas that instantly excite and enthuse. Consider further the different ways that individuals use toremember things and select the 11thsuggestion for development.

Project 5:

The journey

Taking a journey in a taxi, on theunderground or on a bus can provide an insight into the difficulties thatcommuters encounter on a daily basis.Problems with luggage, communication,comfort and close proximity to othertravellers can influence perceptions of an experience. Record a journey using acamera to highlight issues that may need tobe addressed. The journey should beconducted several times and at differentpoints of the day to appreciate the bigger picture.

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Project 7:

Orange 100

Use found swatches to identify 100 differenttones of orange.

Project 8:

Hybrids and scale

Find different images of a family of products and photocopy them at differentscales to produce paper-based referencematerials. Using the images, cut out keycomponents and place them next tointeresting features from other products.The manipulation and apparent merging of the different images can be capturedeffectively using the black-and-white copier again. The images produced willappear unusual and somewhat disjointed,but working on the copies in black-and-white media will allow thedisfiguration to become less noticeable and potential pointers for ideas to beevaluated. Using this simple approach,produce a range of cameras thatincorporate aspects taken from otheranalogous products.





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Projects

Project 9:

In the post

The average letterbox is approximately300mm x 40mm and there is a tendency for individuals to order products fromcatalogues that can’t be delivered whenthey are not at home. Most items that are delivered through a standard letterbox tend to be flat, thin and short; however, it is possible to post more complicatedshapes with a bit of thought and ingenuity.

Without posting individual components or compromising a design tothe extent that it is not practical, design a single piece of furniture that incorporates a lamp, chair and a table so that it can be posted through the letterbox! It may be easier to begin with card models toidentify the different forms that go through a letterbox and then develop theitem from this foundation.

Project 10:

Roadside beauty

When a tyre needs changing on a vehicle it is usually during bad weather conditionsand poor light. There is never a good time for a tyre change. The process involves the use of difficult-to-access tools, is dangerous, dirty and unpleasant.Design a roadside assistance kit forchanging a tyre, which will be produced by a leading skin care company who wants to focus on care for your hands, nails and hygiene.

Consideration should be given to the priorities of the product, but also theemotional requirements of the user. The stigma of grease and grime, along with the hassle and bother of changing a tyre, needs to be considered as anopportunity to refresh and cleanse.

Analogous products might include:dressing tables; manicure sets and beauty salon workstations.


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Project 12:

Dirty models

Dirty models provide a basic understanding of an idea and can beconstructed easily from found material,providing that they have an underlyingaffinity with the proposal. The importantaspect of a dirty model is that they areeffective and efficient and so if realisation is too time-consuming it is probably notbeneficial to the overall process.

Using found objects that can be sourced readily, produce simplerepresentations of the following items:

A laptop computer.

A cellphone.

A portable TV.

A welding mask.

A tape player.

Project 11:

Conker collecting kit

Understanding the needs of others is anecessary feature within the overall designprocess. Design a non-gender specificconker collecting kit for children aged tenyears old. What does the ten-year-old child need for collecting conkers and why is the process important to them? Where will the conker collection take place andwhat dangers would they need to consider?

Things that the children may want in their conker collecting kit include:

A box to stand on to look out for angryfarmers.

A sign to warn passers-by of conkercollecting in progress.

Some cones to section off an area.

A collection of tools to obtain conkers.

A container for carrying their hoard.

Steps to reach branches.

Conker collecting protective uniform.

A gang identification badge.

Large gloves to deflect falling conkers.

Conker shell mallets.

‘Do not cross line’ conker collecting tape.

A method of tagging a tree to let othersknow they were first.

Camouflage netting to hide equipment.

Compass, map and notebook.

It is unlikely that all the ideas could be used in a single solution and thereforepriorities would need to be identified.





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Projects

Hide something

Hold memories

Start a fire

Dig a hole

Protect from danger

Write notes on

Sit on

Hide suspicion

Protect from rain

Scrape with

Shout louder!

Put drinks on

Stifle sound

Prevent smacks

Hold a secret

Amplify sound

Hit a ball with

Make a goal post

Shield with

Put cake on

Insulate something

Kneel on

Flatten something

Prop a window open

Brush things with

Throw for the dog

Put your head on

Hammer with

Cut on

Mix paint with

Project 13:

Analogous uses

Select an everyday item and think of as many ways as possible that it could beused in addition to its recognised purpose. It will be easier if an object is selected that can be held.

For example a book can be used to:

Read

Fan yourself

Prop up a wobbly table

Create shade

Cuddle and keep warm

Throw at something else

Support other books on a shelf

Keep something held down

Press flowers

Step on

Have an excuse to meet someone

Adjust a projector

Hold a door open

Have as a tray

Hold something hot

Swat a fly

Increase arm length

Give as a present

Push pins in

Make a telescope


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Project 15:

Supporting structures

Identify ten different objects that are one metre in height or items that can be reduced to the specified size. Use the various objects to support a table with a dimension 600mm x 1200mm or similar.

Project 14:

Sitting comfortably?

Observe and catalogue the different waysthat individuals really interact with astandard chair. Along with the different ways of sitting, identify the other uses that a chair is unexpectedly subjected to.Use photographs to accurately record the findings and collate the information in a notebook with limited annotation.





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Project 17:

20 buckets

A bucket is a very versatile object that is normally purchased to carry things in.However, the bucket can be used to domuch more, but is seldom purchased for such reasons. Identify 20 ways that abucket could be used, which are notassociated to carrying. Avoid additionalcomponents although material can beremoved from the bucket if necessary.

Project 16:

Two blocks of timber

Using two blocks of wood, each having a dimension of approximately 300mm x 25mm x 25mm, identify as manyuses as possible. The separate pieces may be joined to create a larger piece orremain as individual items. Additional partscan be attached to the wood, but thisshould be kept to an absolute minimum and avoided wherever possible.


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Project 19:

Sushi lunch

Design a lunch container for the under-seven that allows them to eat a form of sushi at school. The sushi isexpected to be child friendly, consisting of parcels of rice and fish or chicken, and is aimed at introducing moreexperimentation within a child’s diet.

Project 18:

30 seconds

Develop a device that can accuratelymeasure a 30, 45 and 60 second period. The design must be innovative and should be constructed from found objectsthat are not usually associated to themeasure of time.





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Project 21:

Folding wall

Card engineering, such as pop-up books,are incredibly innovative and utilise material effectively and efficiently. The pop-up items are often well considered, but are also often representations of a form rather than an accurate portrayal. Observing the techniques employed by card engineers, design a fold-out workingenvironment that incorporates a desk, light and shelving system for children aged seven to nine years old. The complete design should be able to fold flat against a wall when not in use and may have a secondary function such as a pin board or gallery wall.

Consideration will need to be given to strength and weight of materials, as well as an innovative use of folds and supports. As the design is for a young target market, it is especially imperative that there are nofinger traps.

Project 20:

Cup of tea

Making a cup of tea is regarded as a simple task and may be defined in thefollowing way:

Add hot water to tea bag.

Remove tea bag.

Add milk/sugar.

Drink.

The above statements may leave an individual, not familiar with the process of making a cup of tea, thinking that it all takes a few seconds. In fact the statements miss out a lot of the detail and this is often because a process has become so automatic that an individual doesn’t even recognise what istaking place.

Carefully identify all the stagesnecessary in the process of making a cup of tea with milk and two sugars.

Having identified the stages, make a cup of tea and record the stages carefullywith photography that will also capture the time of the shot.

On evaluating all the information it is likely that the process of making the drink takes considerably longer thananticipated.


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Project 23:

Showroom walk

A short walk around the workplace, usingyour senses, will reveal a host of ideas that often go unnoticed in everyday activity. Evidence can be seen everywherewhere individuals have improvised. For example:

A cup holding pens on a desk.

Cardboard placed under a door to keep it open.

A bicycle locked to railings.

A chair used as a step to reach something on a cupboard.

Taking a 20-minute walk around the working environment identify as manyinnovative uses of items as possible. It should be possible to identify at least 50 such situations in the allocated time.Each of the ideas that are recorded should be evaluated and considered. Is there a need for something, which isn’t currently available?

Project 22:

Park game

Identify a game that can be played in a park or on a beach. The game might besoccer, softball or cricket, it doesn’t matter what is selected. Having decided on a place to play the game and what toplay you are allowed only one piece ofspecialist equipment i.e. a football; everything else has to be sourced at thelocation. A bicycle might become a marker on the pitch, or a bag might become a goal post or cricket wickets.Using your imagination you should aim to replicate as many facets of the real game through improvisation. An improvised substitutes bench, first aid kit, or advertising board may all be consideredto bring the game alive and provide anexperience, which is not often encountered. Think about ways that thevarious teams can be identified andinnovative approaches to timing the lengthof the game. The use of improvisation will provide a wealth of opportunities toimprove the quality of the game.



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Recall?

To recall something to memory is usually possible, but the detailwill not be present without asuitable trigger. A song, a memoryor an idea requires inspiration andreference material that can bedeveloped and enhanced ifsomething is to become real.

Singing on a stage with no audience or backing band is as difficult as generating an idea successfully without an appropriate physical andmental support structure.

Collect as much referencematerial as possible, but knowwhat to use, when and how.

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Isolation in the design process may be needed to think for a short time, butquestions should be looked at in unisonrather than a single individual looking to go it alone. Almost without exception the design process is a team effort even if there is a recognised maestrosteering the process.

The research work for Idea Searchingdid not start when the publication wasconceived, as this was only an identificationof a collection of experiences to be drawntogether. Unknowingly, the research begandecades before on multiple levels and bymany individuals.

‘Always look and listen, and do it again.’

Think of a song and now sing it out loud. It is almost impossible to do except for a few lines or maybe some of the chorus.When there is accompanying music it is alittle bit easier, but listen to the enthusiasticsounds emanating from an audience at a concert and you will soon realise that even with professional acoustic support it can take a long time to actually hear an accurate rendition.

The analogy is much the same duringthe design process in the sense that it is often possible to see things in the mind, but quite a different thing to try andeffectively communicate it. There is a needto be surrounded by visual stimulation,images that can assist and prompt thinkingeven if they are not directly related. To be creative without any visual input tostimulate is not impossible, but almostcertainly more difficult. The hoarding ofobjects to rouse and encourage thinking is a natural characteristic of the designer. It is equally important to get out of the studio environment and get involved,experience things and communicate withothers; to see what is actually going on.There should never be a situation where the design process becomes stagnant oruninteresting and if such times do occur, there is a need to consider things from an alternative perspective and to see what emerges.

Conclusion





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Brainstorming

A brainstorming session is often regarded asthe initial stages of idea generation althoughthis may occur much earlier and can also bean ongoing process. A brainstormingsession usually involves a group ofindividuals responding verbally to a keywordto generate possible ideas. All ideas within a brainstorming session should be recorded.

Catalyst

A catalyst is something that can hasten a process and enable outcomes to occursooner. A verbal or visual catalyst issomething that can be utilised to precipitateideas and thinking. Catalysts are an important aspect of generating ideaseffectively and efficiently.

Ceremony

A ceremony is regarded as an undertaking that follows a prescribed path or format usually due to tradition or religious beliefs. Ceremonies are also frequently adhered to as a way ofcommunicating professionalism and enhancing user experience in a somewhat theatrical manner.

Chiaroscuro

This Italian term refers to light and dark.Chiaroscuro emerged in Renaissancepaintings and drawings where there werestrong contrasts in light and dark. Theapproach to using conflicting contrasts oflight and dark is now evident in a broadrange of creative disciplines.

Chinese whispers

A phrase usually used to describe themiscommunication of verbal informationfrom one individual to another. As amessage is passed along its meaning orunderstanding can become altered or misunderstood.

Aesthetics

Fundamental principles connected toemotional perceptions and understanding of beauty, judgement, and awareness.

Analogous

A resemblance or relationship betweendifferent things. An analogous product is when something seemingly unrelated has a comparable feature to that which is being considered.

Anthropologist

Anthropologists have an important role within the design process as they observebehaviour, mannerisms, attitudes and other attributes of individuals, societies and cultures, providing key information to consider.

Artistic licence

Terminology that usually refers to the generation of a sketch or similar in a two-dimensional format that is not accurate or representative of what isactually being proposed. Artistic licence is often inadvertently used when an idea is not clearly understood or considered. To avoid artistic licence, the generation of simple sketch models or maquettes, in conjunction with two-dimensionalsketching, can be used to gain betterunderstanding of a proposal.

Bigger picture

To take a look at something as a whole and its possible outcomes, implications,contexts or consequences, rather than to focus on a single aspect.

Blueprint

A blueprint refers to an original plan.


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Glossary

Forum

An assembly of individuals to assess thepotential of an idea and to exchangethoughts. A forum may include selectedmembers of a particular target group to gain valuable feedback.

Fractal

A component part of a complete form or figure that manages to retain the samefundamental structure despite being of a different scale.

Function

The function of a product is often identifiedas the actual physical function, but can also relate to many other areas includingemotional or aesthetic function.

Haptic

Relating to sense of touch.

Inanimate

An object that is not alive or doesn’t portrayany evidence of living.

Info dump

A forum to discuss and present sourcedartefacts and references, which may or may not be significant in the development of a product. The information collected is used to prompt ideas and to allow othersto gain an understanding of identifiedreference areas.

Inherent

Something that is an integral attribute fromwithin or part of the make-up.

Logistics

The comprehensive organisation of acomplicated task to ensure that everythingis addressed effectively and efficiently.Understanding the logistics and the mannerin which things should be conducted isproductive and economical.

Comfort zone

The comfort zone is effectively a state ofmind, which prevents individuals fromexperiencing the unknown. Such individualstend to be less anxious in familiarsurroundings. Exploring beyond a comfortzone may be to engage in a risk, but it isnecessary to discover and gain originalexperiences.

Deconstruction

Investigating existing products bydismantling them and conducting ananalysis of the various components.

Degradation

The wearing down or physical deteriorationof a product.

Demographics

The statistical information available that details specific attributes of a societyincluding births, death, age and wealth.Demographic information can be used to gain an insight into and understanding of a society.

Eclectic

A broad range of styles, ideas or similar,which can be brought together to informdirection and understanding.

Empathy

Understanding the position of others andseeing things from their point of view. It isimportant to understand a person’s feelingsand the context that has developed theirparticular outlook.

Facsimile

An identical copy of something.





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Maquette

The term maquette refers to a scale modelthat is produced to assist in the physicaldevelopment of an idea. Other terms mayinclude sketch model or bozzetto.

Mental baggage

Preconceived ideas of things, which prevent the development of original thought.Mental baggage can be a barrier todevelopment, but can be overcome throughthe use of alternative approaches.

Metamorphosis

The transition of something from one stateto a different state.

Mnemonic

The development and understanding of how certain imagery, patterns and storiescan be structured and utilised to assist the memory. There are many differentmnemonic thoughts that individuals use to trigger memories.

Panoramic

A panoramic view is an uninterrupted view of something that captures an entirevisual field.

Photo diary

A photo diary is usually a detailedphotographic recording of a particular eventor situation aimed at highlighting positivesand negatives. The contents of a photo diaryenable the analysis and understanding ofsomething to be conducted with a certainamount of empathy.

Primary research

Primary research is the gathering ofresearch from first-hand experience and usually requires a ‘go out and do’ approach. Types of primary research might include questionnaires, interviews or forums with a target audience.Approaches might also require the need to explore current markets and gainappreciation of current practices.

Profiles

Profiles or user profiles usually require the gathering of artefacts or images that are considered or known to be relevant to a particular target group. Understanding the products that groupsalready associate with provides an insight into what might be developed.

Secondary research

Secondary research can work in conjunction with primary research, but differs in the sense that it is thegathering of information that has already been published by a third party.

Semiology

The analysis of visual languages todetermine an understanding or meaning.

Shadowing

A process where the activity of another is better understood by joining them for a period of time to appreciate the situationfirst hand. Shadowing is a useful form ofprimary research that can provide detailed understanding that might not beunderstood otherwise. Shadowing provides a taste of what is occurring andpossible directions to explore.

Glossary


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Splicing

The joining together of two or more parts to form a whole. The splicing of images is frequently executed in activities such as montage.

Stereotype

A perception of somebody fitting a particular group or criteria that is oftenshown to be an incorrect understandingwhen further investigations are made.

Subjective

Refers to an opinion, often without anylogical rationale, that is based on personalunderstanding, belief or taste.

Swatches

A small sample of something, often fabric or paper, which can be collected and tested or assessed prior to any further commitment.

Tags

Identifiers, labels or signatures that can be personal or generic. An individual maytag an item to be different or may use a tag to be identified with a certain group.

Tangible

A physically existing item as apposed to an imaginary item or thought.

Target mapping

The identification of a particular audienceand the subsequent understanding of issues that relate to the emergence of an idea relevant to the group.

Three-dimensional sketching

The practice of generating ideas effectivelyand efficiently by using found or sourcedthree-dimensional components. Physicalideas and configurations can be assessed,considered and changed easily in a similarway to sketching in two dimensions.

Thumbnail

A simplistic, efficient outline of an idea in a sketch form.

Triggers

Artefacts, images, terminology or something that appeals to the senses, which can prompt an idea or thought.

Visceral

Connecting with profound emotions and feeling rather than reason, judgement or comprehension.

Visual noise

Visual confusion of messages or understanding of something due to an overload of information or physical details.

Visualstorming

An idea development process similar to brainstorming, but utilising simplisticvisual imagery to communicate a thought or association.

Zoomorphic

Term used to describe something that has a form, which resembles an animalcharacteristic in a particular way.





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Bibliography

Aldersey-Williams, H.King and Miranda: The Poetry of the Machine

(Blueprint monographs)Fourth Estate (1991)

Antonelli, P.Humble Masterpieces: 100 Everyday Marvels of

Design

Thames & Hudson Ltd (2006)

Antonelli, P.Mutant Materials in Contemporary Design

Museum of Modern Art (1995)

Bakker, G. and Ramekers, R.Droog Design – Spirit of the Nineties

010 Uitgeverij (1998)

Benyus, J.M.Biomimicry

William Morrow (1997)

Bloemendaal, L.Humanual

Uitgeverij BIS (Book Industry Services),Amsterdam (2002)

Börnsen- Holtmann, N.Italian Design

Benedikt Taschen (1994)

Brownell, B.Transmaterial

Princeton Architectural Press (2006)

Buckminster Fuller, R. Operating Manual for Spaceship Earth

Southern Illinois University Press (1969)

Coates, N.Guide to Ecstacity

Laurence King Publishing (2003)

Dempsey, A.Styles, Schools and Movements

Thames & Hudson (2004)

De Noblet, J.Industrial Design Reflection of a Century

Flammarion (1993)

Dixon, P.Futurewise Six Faces of Global Change

Harper Collins (1998)

Fiell, C. and Fiell, P.Design for the 21st Century

Taschen (2003)

Forty, A.Objects of Desire


Fuad-Luke, A.The Eco-Design Handbook


Fukasawa, N.Naoto Fukasawa

Phaidon Press (2007)

Fulton Suri, J. and IDEOThoughtless Acts?

Chronicle Books (2005)

Gamper, M.100 Chairs in 100 Days and its 100 Ways

Dent-De-Leone (2007)

Gershenfeld, N.When Things Start to Think

Hodder & Stoughton (1999)

Hauffe, T.Design A Concise History


Jensen, R.The Dream Society

McGraw-Hill (1999)

Kaku, M.Visions

Oxford University Press (1998)

Kelley, T. The Ten Faces of Innovation

Doubleday (2005)

Lupton, E.Skin


MacCarthy, F.British Design Since 1880

Lund Humphries (1982)

Meneguzzo, M.Philippe Starck Distordre

Electa/Alessi (1996)

Moors, A.Simply Droog

Droog Design, revised edition (Jul 2006)

Papanek, V.The Green Imperative


Pink, D.A Whole New Mind

Cyan (2005)


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Further resources

Smith, P.You Can Find Inspiration in Everything

Violette Editions (2001)

Sozzani, F.Kartell

Skira Editore Milan (2003)

Sweet, F.Frog: Form Follows Emotion

Thames & Hudson Ltd (1999)

Thompson, D.On Growth and Form

Cambridge University Press (1961)

VariousAnd Fork: 100 Designers, 10 Curators,

10 Good Designs

Phaidon Press Ltd (2007)

Walker, S.Sustainable by Design – Explorations

in Theory & Practice

Earthscan Ltd (2006)

Journals

Product Design WORLDAbitareEggMODOIDMetropolis magazineKultFRUiTSDEdiCatefriezedwelliconMONUMENTINNOVATIONvanidaddomuswallpaperTWILLmixnewdesignDesign WeekAZUREsurfaceFRAMEb0xMARKDesignintramurosT3StuffBlueprintArtformLowdownW magazine

Websites

www.core77.comwww.idsa.orgwww.csd.orgwww.designspotter.comwww.designmuseum.orgwww.cooperhewitt.orgwww.rsa.org.ukwww.newdesigners.comwww.cosmit.itwww.vam.ac.ukwww.TED.comwww.designboom.com



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Contacts

www.animicausa.comwww.aqhayoncollection.comwww.bang-olufsen.comwww.barnabybarford.co.ukwww.braun.comwww.carlclerkin.co.ukwww.chihuly.comwww.colinbrownglass.co.ukwww.contact-design.comwww.droogdesign.nlwww.dyson.co.ukwww.ericmorel.comwww.frogdesign.comwww.gampermartino.comwww.geeksquad.comwww.gijsbakker.comwww.hayonstudio.comwww.hoshino-atr.comwww.ilviogallo.comwww.imagination.lancaster.ac.ukwww.industreal.itwww.kirkmikkelsen.comwww.kjamesphotography.comwww.ligne-roset.comwww.lincoln.ac.ukwww.lunar.comwww.makeupthe wall.comwww.marc-newson.comwww.merkok.comwww.metalarte.comwww.muji.comwww.nationalglasscentre.comwww.nikazupanc.comwww.nokia.comwww.norwaysays.comwww.oliver-schick.comwww.qed-design.dewww.qubus.czwww.scienceandsons.comwww.smogmilano.comwww.stuarthaygarth.comwww.studiobramston.comwww.thorstenvanelten.comwww.tomvack.comwww.transalpin.netwww.verpan.dkwww.vliegervandam.com

Credits

Front Cover


Pages 2–3

Stewart Bibby

Page 8

Tom Stott

Page 14

Dave Bramston

Page 15

Tim Harrison

Page 16


Page 17

Clive McCarthy

Page 18 Panoramic montage

Tim Harrison

Page 18 Montage

Dave Overton

Page 19

Clive McCarthy

Page 20

Stewart Bibby

Page 21

Tim Harrison

Page 24

Clive McCarthy

Page 25

Philip Copland and Tim Harrison

Pages 26–27

Clive McCarthy

Pages 28–31

Dave Bramston

Pages 32–33

Clive McCarthy

Page 35 Margarine tub

Neil Housego

Page 35 Lorraine Lunch Bag

Angela Yoder

Page 36

Dyson

Page 37

Clive McCarthy

Pages 39–41

Clive McCarthy

Page 42

Tim Harrison

Page 43

Clive McCarthy

Page 44 When a ring is heard

Keith James

Page 44 Location at 2pm

Tim Harrison

Page 45

Clive McCarthy

Pages 46–47 Scrapbook

Dave Overton

Pages 48–49 Info dump

Tim Harrison and Stewart Bibby

Page 49 Journals

Dave Overton

Pages 50–51 Experiences

Peter Nunn

Page 51

Tim Harrison

Page 52

Michael Neubauer

Page 53

Shuya Sato

Page 55

Stewart Bibby

Pages 56–57

Tim Harrison

Page 58

Tim Harrison

Page 59

Clive McCarthy

Pages 60–62

Clive McCarthy

Page 64

Tim Harrison

Page 65

Clive McCarthy

Pages 66–67

Norway Says

Page 68 Themes

Michael Himpel

Page 69 Funghi

Mauricio Salinas

Page 69 The Pee Tree

Eric Morel


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Contacts and credits

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Page 70 Character

Justin Pipergen

Page 71 Character

Philip Sayer

Page 73

Neil Housego

Page 75

V Goico

Page 77

Stewart Bibby and Tim Harrison

Page 78

ArtQuitect

Page 81 Teapot

droog

Page 81 Guardian Angel

Vlieger & Vandam

Page 81 Foam Rose


Page 82

Bjørn Blisse

Page 83

Stuart Haygarth

Pages 84–85

S.M.og Milano

Page 86

Clive McCarthy

Page 88

Dietmar Henneka

Page 89

Tim Harrison

Page 90

Ilvio Gallo

Page 91

Tristan Zimmermann

Pages 92–93

Terry Rishel

Pages 94–95

Russell Johnson

Page 97

Copyright Braun GmbH, Kronberg

Pages 99–103

Angus Mills and Åbäke

Page 104

Animi Causa

Page 107

Keith James

Page 108

Tom Vack

Pages 110 Beo Center 6

Søren Joneson/Bang & OlufsenMediacenter

Page 111 Serene Mobile

Jesper Jørgen/Bang & OlufsenMediacenter

Page 111 Beo Center 6

Søren Joneson/Bang & OlufsenMediacenter

Pages 112–113

Tim Harrison

Page 114

Vanessa Jesperson-Wheat

Page 115

Jim A Larsen

Pages 116–117

thorsten van elten

Page 118


Page 119

Verner Panton

Page 121

Nokia

Page 122

Neil Housego

Page 125

Courtesy of Xavier HufkensGallery

Pages 126–127

Mehmet Erkök

Pages 128–129

Nika Zupanc

Page 130

Stuart Walker

Pages 132–133

Tim Harrison

Page 134

Paul Loebach

Page 135

Thomas Dobbie

Page 136

Clive McCarthy

Page 138

Julia Kopelson

Page 139

Wouter Geense Design Studio

Pages 140–142

Clive McCarthy

Page 143

Stewart Bibby

Page 145

Tom Stott

Page 147

Geek Squad

Page 149

Tim Harrison

Pages 150–151

Stuart Walker

Page 153

Alessi S.p.a.

Page 166

Tim Harrison

Definitions taken from the Concise Oxford EnglishDictionary.



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Acknowledgements

Thank you to all the designers, artists,photographers and researchers who have supported this project and provided exciting images and statements. Theinformation has been sourced from all over the world and has involved young designers along with influential leaderswithin their respective disciplines. The involvement of all of these individualsis really appreciated.

Many thanks to the Product Design staff and students at the University ofLincoln (UK) who have helped tremendouslywith the project. The understanding and willingness to get involved is also verymuch appreciated and respected.

Thank you to Sarah Jameson for thecontinued efforts in ensuring that requestedimages were located and included and also thank you to Malcolm Southward forthe book design.

Finally it is important to recognise and thank the staff at AVA publishing and in particular Caroline Walmsley, Lucy Tiptonand Brian Morris who identified the projectand provided the opportunity, the necessarysupport and drive for the book.

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Job No:01042 Title:Basics product designProof - 2 Page:GateFold Cover

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The Basics Product Designseries investigates differentmethods for generating anddeveloping ideas. Basics ProductDesign: Idea Searching involvesexamples and practices fromaround the world and includesinternationally recogniseddesigners, artists and researchers.

Basics Product Design: Idea Searching explores howdifferent experiences, contexts,references and the practices ofother disciplines are important inidentifying an idea that isappropriate for a particularindividual, target audience orculture.

Basics Product Design: IdeaSearching looks at the importanceof understanding modifications toproducts, personalisation and therelevance of the individualexperience.

Other titles in the Basics ProductDesign series include: MaterialThoughts, Drawing, VisualConversations, and Trend Seeking.

David Bramston is the subject leaderfor Product Design at the University of Lincoln. He has also worked in thedesign industry on projects forcompanies such as Motorola, Swatchand Christian Dior.

David has an MA in Industrial Designand has exhibited and presented work in Europe, the United States andthe Far East. He is an International Member of the Industrial DesignersSociety of America, a member of the Innovative Design Practice Group at the Centre for Critical DesignPractice and a member of the Centre for Creative Industry Development, at the University of Lincoln.

Current research work is focused on the development of living materialsfor industrial design applications.

Featured topicsvisualstormingbrainstormingscenariosmontagerole playmodificationsuser refinementsuser researchinspirationsubtletyimprovisationmental baggageanalogous referencingtarget mappingalternative thinkingproduct languagecharacterliteral and lateral thinkingprofilesthemesassumptionstribal languagephoto diaryproduct purposeinfo dumpsadded valuessustainabilityceremonyexperiencescommon senseempathyaestheticsbrand experienceproduct gendercultural influenceshistorical influencesinnovationexperimentationempathyvisual noiseprimary researchsecondary researchplay and fun

Featured contributorsNika ZupancGijs BakkerDale ChihulyMartino GamperMehmet ErkökStuart WalkerTadao Hoshino Stuart HaygarthMaria Kirk MikkelsenMaxim VelcovskyEric MorelJaime HayónCarl ClerkinJörg RatzlaffErwin WurmOliver SchickCarolien VliegerHein van DamSilvio BetterelliMartina GrasselliFinn Kaerulff ClausenValeria MiglioliBarnaby BarfordBjørn BlisseFolker KönigbauerReinhard ZetscheTorbjørn AnderssenAndreas EngesvikEspen VollSarit AttiasAmit Axelrod and many others

ava publishing sa [email protected]

BASICS

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ideasearching

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vlook for information or an item of interest

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Documents

Basics product design Idea searching