The march of technology

The inroad of digital tools on design has been dramatic, both in terms of process (digitalisation) and outcome (digitisation). For example, in graphic design, the computer, both hard- and software, has much reduced the use of analogue design tools, from pencils and erasers to ruler and scissors. Similarly, digitalisation is influencing design thinking through online search engines, social media and chatbots, such as ChatGPT. Although designers may still do freehand sketching or hands-on modelling in the early stages of the design process, efficiency criteria have put digitalisation at the forefront of professional practice (although it can be quite inefficient to try to measure efficiency in creative contexts). Take architecture, for example, where Building information modelling, BIM - a digital process that facilitates collaborative working between all the disciplines involved in design, construction, maintenance and use of buildings - has now become industry standard. Moreover, integration of BIM and AI systems has made designers increasingly dependent on them. The impact of the digital age on design education is equally stark. As traditional skills are in decline so are the embedded sensory experiences of hand tools. Yet digital tools, like every tool, should be used skillfully and responsibly. And so, designers may ask themselves what risk to human creativity, innovation and judgement if they are asked to implementing AI suggestions without critical evaluation.

Reflective ideation

Efforts to get the ideas flowing - "Just begin" (see the previous blog entry) - are enhanced through capturing and reflecting on the process of generating and developing ideas. That is, to keep a sketchbook, notebook or visual diary to help track and reflect on the ideation process as it happens, or "reflection-in-action" (Schön 1991). Capturing and reflecting on the ideas generated, moreover, will help raise the awareness not only of what ideation tools and techniques are being used in the process but also feelings, sensations and reactions associated with the process. That is, keeping track of what happens during the ideation process is turning ideation into a recorded learning experience.

Just begin

John Cage (1912-1992), the US composer and philosopher, knew well the challenges of just getting started. For him, music was a complete universe that could be entered at any point to find something to work with: 'Begin anywhere', he advised. And so with design and the ideation workshop. But that is not to say that ideation begins with a clean slate or that the mind starts blank (tabula rasa). In reality, nobody begins from scratch. Even in computer science, AI included, an initial data-set or knowledge-base is placed there by the human designer. And so, every designer consciously or not, draws on a reservoir of past ideas and forms, and, as a practice unfolds, past experience: incomplete projects, intuitions and half-formed thoughts that have been put aside to revisit later. But also, a project is never fully contained in its beginning. That is, the first sketch is just that: a beginning, an intuition to be developed, and whatever is drawn there will change and evolve as it is fleshed out. If there is no capacity for change, it’s a flawed beginning. The role of drawing, then, as a fluid medium of thought is a place where designers can set down and test ideas, a medium always incomplete. More, https://drawingmatter.org/just-begin/

BrAIn storming

Ideation signifies idea generation in general without referring to any specific technique or method. One such creative thinking technique is brainstorming in which a group of people, or an individual come up with new ideas in response to a prompt. The brainstorming sessions typically focus on the quantity of ideas and welcome all kinds of ideas be they absurd, foolish, strange, or fantastical. That is, brainstorming allows for any idea to be voiced, and without judgement. The freewheeling approach to ideation, however, has been criticised for promoting group-think, mediocrity or out of hand results. Yet the application of the method, which was originally developed to stimulate idea generation in the US advertising industry, has gained new interest with web scraping, or AI data harvesting. That is, GenAI, in responding to prompts, provides not only vast quantities of ideas of great variety and at high speed but enhances the quality of ideas through seemingly unlimited combinations of ideas. In short, GenAI has the power either to replace or enhance the traditional brainstorming session resulting in ideation on a massive scale, or brAIn storming. Indeed AI-generated creative content is increasingly difficult to tell apart from human-created work, at least for everyday design tasks, that is, when dealing with "tame" rather than "wicked" design problems.

Jack of all ideas

The phrase 'Jack of all trades, master of none' often has a negative connotation in that it suggests someone who is kind of skilled in a variety of things but isn't an expert in anything. However, the phrase actually comes from a longer quote that has a more positive message: 'Jack of all trades, master of none, though oftentimes better than the master of one'. It means that even though a jack of all trades may not be a master at anything, their diverse skills often make them better than someone who is only a master of one subject. And since Jack knows a lot about different subjects, they have multiple perspectives. These perspectives are useful when generating ideas and finding new ways of problem solving. Indeed, historical figures like Leonardo da Vinci and Galileo Galilei were jacks of all trades. In other words, Jack is no other than the versatile ideator or, Jack of all ideas!

The workshop revisited

This long-running workshop is instrumental in raising the awareness of the use of ideation tools through hands-on practice. The hands-on approach embraces both analogue and digital ideation tools, from traditional sketching to using an AI prompt writer. The theme of each workshop situates ideation in the widest context reflecting design as an ever-changing social and cultural activity. The workshop, then, plays an experimental and critical role in a generating ideas that are innovative as they are purposeful. Individual ideas are presented to group which are followed by open discussion. In the discussion there are no habitual assumptions or procedures. Indeed the workshop participants are invited to find their own voices fostering individual agency.

Solo, duo or group ideation?

A common question about ideation is whether it is a solo, two-person or group activity? The workshop experience shows that in the conceptual design stage, pairs of designers acting "with one spirit" can be more fruitful than solo designers. Moreover,  a classic 1970 paper by Torrance showed that two-person interaction produced twice as many original ideas, produced ideas of twice as much originality, increased enjoyment, and led subjects to attempt more difficult tasks. This reflects how ideation is influenced and shaped by participants' social interactions that provide inspiration and emotional satisfaction. And so, solo ideators may find that subsequent brainstorming in group can improve the overall quantity and quality of ideas generated. In short, whether solo, duo and group ideation, the quality and variety of ideas improve when exposed to other ideas, as experienced when ideas are shared and discussed in the workshop's plenary session.