Slow Ideation

Idea generation is often thought of as a speedy activity or a pop-up phenomenon, as in the proverbial "Aha!" moment, or in sayings such as "in a flash" or "out of the blue". But ideation can also be akin to a  meditative thought process of "reflecting", "mulling over" or "ruminating". Or a process of "iteration", "fits and starts" or "incubation". Yet irrespective of fast or slow ideation modes, what matters most is to capture the first thought(s) in some shape or form that enables the idea to be developed and communicated effectively to the intended audience, be they team mates, clients or the public at large. And whether ideas travel in the fast lane or the slow lane, the ideation tools employed are not mutually exclusive, that is, pen and paper, for example, moves along with computing. In other words, analog and digital creative means co-habit the same ideation space.

AI as innovative partner

Artificial Intelligence, AI, as a branch of computing, can also be seen as an ideation tool for helping designers become more proficient in generating ideas for innovation. That is, using AI as a tool to help innovate rather than invent, to improve what already exists rather than creating from scratch. This is because while AI attempts at mirroring some of the qualities of the human mind, it is not capable of replacing the creative mind. Yet there are many iterative even mundane steps in the ideation process of generating, developing and communicating ideas. These steps, then, and to use an analogy - Thomas Edison, the inventor, claimed that 'Genius is one percent inspiration and 99 per cent perspiration', might be seen as "perspiration". AI, however, may be a source of inspiration too - not only by extending the range of ideas generated but also testing and prototyping ideas using, say 3D printing thereby making AI a meaningful and valuable innovative partner.

Drawing equality

The Architecture Drawing Prize 2018 showcased the importance of drawing as a tool for generating, capturing and communicating ideas. The prize, launched in 2017, embraces the creative use of digital tools and digitally-produced renderings, while recognising the enduring importance of hand drawing. The competition has three three categories of drawing; Hand-drawn, Digital, Hybrid, and each category provides clear evidence that drawing is not only alive and well, but that there is equal value in the craft of each of the categories, as the tools available to achieve a means to an end. For a review: https://www.makearchitects.com/thinking/the-architecture-drawing-prize-review/ Similarly, Eye Line, the RIBA annual drawing competition, which started in 2013, highlights the skill and talent involved in 2-D representation of a building design or concept through visual means, and without drawing distinction between ‘hand drawing’ and computer rendering skills – not only because both are of equal value but because so many architectural de­pictions layer several techniques to produce the final image, making such distinctions meaningless https://www.ribaj.com/eyeline/eyeline-winners-2018

Generative ideation

One of the advantages of generating ideas with the help of computing is speed, that is, in the time it takes for a designer to create one idea, a digital computer can generate thousands (from the fact that where complexity and scale are of concern, human ideation requires exponentially more effort and time than computers, which excel at iteration without fatigue). But not only in terms of speed, and quantity is the computer a suitable ideation tool. Generative design software, such as Autodesk, helps designers create complex shapes and form, some of which would be impossible to make with traditional manufacturing techniques and procedures. Instead, they're built using additive manufacturing (defined as the process of joining materials to make objects from 3D model data). Moreover, when designers input goals and constraints into the software, along with parameters (variables) such as materials and manufacturing methods, the software is able to produce a wide range of potential design solutions for the designer to choose from and, by altering the parameters experiment and explore further. Using generative design software for ideation purposes (generative ideation), in conjunction with additive fabrication, can save substantial design, modelling, prototyping, and, ultimately manufacturing time, while avoiding costly errors and enhancing product quality.

Narrative ideation

The narrative, or story is a powerful means of communication and used as a conceptual tool can make ideas more complete, exciting or persuasive. The narrative, then, turns the ideator into a storyteller developing and communicating ideas through written or spoken words, or visual images, or both. Using narrative formats such as analogy, metaphor and storyboard, design ideation thus becomes an interaction, or a dialogue between language (verbal) and visualisation (non-verbal) that not only brings ideas to life but also provides possible design solutions that can be understood by professionals, clients and laymen alike. Moreover, using computational power (by a computer), narrative ideation may help contextualise ideas further fusing seemingly unconnected, unrelated or contradictory ideas or situations to produce even more compelling ideas and concepts.

Ideation practice

While new ideas can appear from anywhere, and at anytime - the proverbial Aha! moment, and generated with the help of an array of conceptual tools, one may ask if there are conditions particularly conducive to ideation? In trying to answer this question, ideators may consider two practices: one is to open themselves to inspiration through seeking out and embracing stillness; the other is to focus on the present moment. The first practice follows from the observation that the mind is most receptive when not disturbed, the second that often the best ideas present themselves right now, in the present. But although these two conditions may seem desirable for ideation they are neither necessary nor sufficient for the free flow of ideas which may occur in many "other places" and, moreover, may not appear "all at once".

Use it or lose it

There’s an old rule in neuroscience that does not alter with age: use it or lose it. It is a hopeful principle when applied to ideation tools because it implies choice. Designers possess both the knowledge and the technology to identify and redress the changes in how they use ideation tools in everyday practice. That includes the physicality of tools and the sense of touch that afford spatial and sensory awareness in the ideation phase also allowing for ideators to return to first thoughts, to check information and learn from re-examination. The question, then, is what happens to design as a reflective practice, and designers ability to use analog tools when the use of digital tools or drawing and reading on screen become the deafult position? Why make notes, draw and read on paper, or build physical sketch models when digital tools seem so much more efficient, and less messy? Yet if designers work to understand fully what they might lose, alongside the new capacities that the digital age has brought the design field, there seems as much reason for excitement as caution.