Ideation freedom

Although ideation, ideally, has no limits, often there are constraints set by the brief or the client. But there might be self-imposed constraints too, that is, ideators confine themselves to tried and tested ideas that have worked well in the past. So, to minimise self-imposed limitations or restrictions, be aware what kind of thinking and behaviour might be holding back unencumbered ideation. Such awareness may include stepping out of your comfort zone and, for example, rather than logging in to the computer first thing, scribble a poem on the theme of the brief. Or, taking risks, say, making a small sketch modell and then crumbling or setting fire to it (health & safety rules considered). Or, taking a totally different conceptual approch to the task in hand by, say, figuratively speaking, "putting the cart before the horse". And so on and so forth. Indeed surprise yourself!

Why sketch or make models?

Exploring ideas in a quick, informal, and rough manner, as might be sketched out on a scrap of paper (such as the back of an envelope), also known as a thumbnail sketch, is core to the design process and the ideation workshop. Equally, a physical 3D sketch model, hastily made and incomplete may serve the purpose of expressing first thoughts and ideas. In contrast, producing 2D sketches or 3D sketch models using software (CAD), arguably lacks the immediacy of physical ideation tools. So why sketch on paper or make physical models? Says Gavin Henderson of Stanton Williams, the Sterling-prize winning architecture practice: 'I take a pencil and make marks on paper. I take pieces of card and hold them together, reconfigure, cut, pin, add, fold, subtract, assemble, carve, disassemble, reassemble. In each case the hand thinks.' He continues: 'Making by hand explores thoughts that are unpremeditated, pre-verbal, non-linear. The idea evolves before the brain has had time to set boundaries, enforce preconceptions. The craft of making things, whether drawings or models, is the essence of design.' Moreover: 'The model provides a shared focus for design discussion in a way that promotes interaction, the exchange of ideas and an engagement with the messy, physical, creative process of designing the world in which we live.' Reference: https://www.architectsjournal.co.uk/news/opinion/why-make-models

Ideation tools and AI

Artificial intelligence, AI is set to change the ways people work. What, then the implications for design, and ideation in particular? Pen and paper, say, the typical sketchbook, have long seen a decline relative to computer hard- and software. While the programmable computer was inititated in the Second World War,  AI, a term coined in the 1950s, is a system that combines computer science with robust datasets to enable problem-solving based on the abstract essence of mathematical reasoning where everything is digital and quantitative. The power of AI, then, lies in its ability to continuously improve with more data, dramatically exceeding human performance, for single-domain tasks - power based on easier access to massive volumes of data, development of high efficiency computer processors, and advancement in machine learning techniques. Accordingly, AI, in conjunction with robots have the potential to take over the manufacturing, delivery, and marketing of most goods and services. But while such forecasting typically apply to data-driven industries, say, construction, transport or financial services it may overlook problem-solving in the design field that is not necessarily a single-domain or quantitative task based on datasets. Moreover, such datasets are not impartial or value free. That is, data is interpretive all the way down, shaped by what is collected, how it’s collected and for what purpose. AI-driven ideation, then, based on digitised data, might underestimate the role design ideation plays in addressing human needs in a much broader sense, including purposeful play - needs that, moreover may compete or be in conflict with each other. Ideation, then, cannot be left to computing alone but rather embrace a range of tools, both analogue and digital that facilitate, mediate and reflect on the meaning of design as a social and cultural activity. In short, activity that encourage creativity, self-expression and constructive problem-solving. Reference: Lee K. & Quifan C  (2021), AI 2041, Ten Visions for Our Future.

Ideation by building on pre-existing ideas

The phrase "Standing on the shoulders of giants" expresses the meaning of "discovering truth by building on previous discoveries", a notion made famous by Isaac Newton in 1675: "If I have seen further it is by standing on the shoulders of Giants". Now, in everyday language, truth is typically ascribed to things that aim to represent reality or otherwise correspond to it, such as beliefs and propositions. Moreover, most commonly, truth is viewed as the correspondence of language or thought to a mind-independent world. An idea, then, as an element of thought, and as a proposition aiming at representing reality may amount to discovering truth too. Thus, in the context of ideation, the process of discovering truth by building on previos discoveries, would translate into generating ideas by building on previous, or pre-existing ideas. That is, most ideas, if not all, are combinations, or re-arrangements of pre-existing ideas. In short, today's ideators are producing "new" ideas by standing on the shoulders of ideators who came before. Practically speaking, then, ideators, to see further engage in creative activities such as the ideation workshop, or building ideas through research, experimentation and serious playfulness. Source: Wikipedia.

Responsible ideation

Design ideation is not objective, or value free, in the way science typically seeks to be - it is motivated and purposive activity. Moreover, ideation is intertwined with social and aesthetic values enveloped by an economic and cultural system. The workshop, then, goes beyond satisfying the participants' own success, or using it in an instrumental way, say, by focusing on the latest technology. Rather they are encouraged to assume responsibilty for the ideas they bring into the world through discovering new ways of thinking and doing design. Ideation, then, becomes a way of revealing things in a world of changing reality. But not "reality in itself", but "reality for us". That is, ideas that characterise our time in ways that are both meaningful and responsible.

Free range ideation

Although the ideation workshop is studio-based, realistically ideation is situated  in many 'other places'. The free flow of ideas, then, suggest designers face a minimum of constraints for thinking and making when ideating. In such a creative environment, ideation becomes akin to a 'free range' activity rather than a 'caged' activity whereby ideators can move freely in the ideation space, both physically and virtually while engaging with a broad range of ideation tools. In this sense, the workshop is makeshift or nomadic in character allowing for the greatest ideation experience possible.

Ideas of both artistic and social significance

The workshop encourages the participants to engage with as many ideation tools as possible, from drawing and words to modelling and computing ("sensory input"). This hands-on approach may suggest ideas for ideas sake where autonomy and individualism run counter to processes of socialisation. However, the workshop supports a creative approach to ideation without being "arty" because ideas, while abstract, visual or concrete, have a social context too, that is, design ideas carry social significance if not social obligation. So, the workshop doesn't set up an opposition between self-realisation and social reality. In this, the workshop is inspired by creative thinking and making in the applied arts. Says Frank Gehry, the American architect and designer: 'I always start from the understanding that architecture is art and was always considered an art. Everyone became architects after being painters. El Greco, he became an architect. I've always thought that, but it gets pretentious and pompous to talk about it that way as our culture doesn't see architecture as an art and most buildings are not art'. El Greco, howver, was far from the only renaissance artist cum architect. Brunelleschi, for example, was a master goldsmith and sculptor before he turned architect designing and building the cupola of the cathedral of Santa Maria del Fiore in Florence, the highest and widest masonry dome ever built.