| Design Metaphor Database |
| id | mapping_id | example | Reference | submitted by |
| 19080 | 0 | If we can really understand the problem, the answer will come out of it, because the answer is not separate from the problem. --Jiddu Krishnamurti | 0 | |
| 473 | 0 | ..the process has been designed to cope with the things we normally view as problems, but also the other side of the coin, the opportunities - those situations where we think we have a solution, but we do not know what to do with it or how to exploit it. | Hands-On Systematic Innovation, Darrell Mann, p.24 | 1 |
| 472 | 0 | The design function plays the lead role | Ulrich and Eppinger, p.3 | 1 |
| 471 | 0 | All elements in a design are not created equal. Use the 80/20 rule to assess the value of elements, target areas for redesign and optimization, and focus resources efficiently. | Universal Principles of Design, Lidwell, Holden, Butler, p.12 | 1 |
| 470 | 0 | the perception of a market opportunity | Ulrich and Eppinger, p.2 | 1 |
| 469 | 0 | pail | 1 | |
| 468 | 0 | To render meaning, I must admit the possibility that design is complex, social and uncertain. | Louis Bucciarelli, Designing Engineers, The MIT Press, 1994, pp.53 | 1 |
| 467 | 0 | Just as performance specification and constraints are not simply given "boundary conditions" within which one designs, so the formal organization of the design effort is not an inflexible initial condition. Organization, as one dimension of the ecology of design, is part of designing itself. There is a give-and-take between the two. In all of this, the biological metaphor works well. Design acts and events are embedded within nurturing fields - organization within the firm, infrastructure outside, and constraints throughout. This environment configures design; it shapes and sustains the substance and spirit of designing just as designing ultimately reconstructs the field. | Louis Bucciarelli, Designing Engineers, The MIT Press, 1994, pp.159 | 1 |
| 466 | 0 | The thesis of this book is that the process of designing is a process of achieving consensus among participants with different "interests" in the design, and that those different interests are not reconcilable in object-world terms. There is no overriding perspective, method, science, or technique that can control or manage the design process in object-world terms. The process is necessarily social and requires the participants to negotiate their differences and construct meaning through direct, and preferably face-to-face, exchange. | Louis Bucciarelli, Designing Engineers, The MIT Press, 1994, pp.159 | 1 |
| 465 | 0 | winning through innovation | 1 | |
| 464 | 0 | This approach could be called an innovation "sandbox" because it involves fairly complex, free-from exploration and even playful experimentation (the sand, with its flowing shifting boundaries) within extremely fixed specified constraints (the walls, straight and rigid, that box in the sand). The value of this approach is keenly felt at the bottom-of-the-pyramid market, but any industry, in any locale, can generate similar breakthroughs by creating a similar context for itself. | C.K. Pralahad, Strategy and Business, Issue 44 | 1 |
| 463 | 0 | The other thing this course is not is a course on creativity. Though the ability to generate useful insights from observational and other research will undoubtedly require some level of creativity as well as the ability to think “outside the box”, our focus will be on discovering opportunities, based on the research carried out in this course, rather than inventing or creating them. | John Mullins | 1 |
| 460 | 0 | Bento Box metaphor for design | In Emotional Design by Don Norman | 1 |
| 455 | 0 | Service as a journey | http://www.doorsofperception.com/archives/2006/09/post_7.php | 1 |
| 449 | 0 | Any theory of need addresses many different levels of need. One of the most widely known theories is Maslows hierarchy of needs. | Liz Sanders, Converging Perspectives, Design Management Journal, Fall 1992 | 1 |
| 435 | 0 | Coming At Design From A Different Angle: Functional Design | Gibbons, A., Rogers, P., C.. (2006) Coming At Design From A Different Angle: Functional Design. AECT Research Symposium. | 1 |
| 434 | 0 | Design as the application of process or category system. | Branson, R. K., & Grow, G. (1987). Instructional Systems Development. In R. M. Gagn (Ed.), Instructional Technology: Foundations . Hillsdale, NJ: Lawrence Erlbaum Associates. | 1 |
| 433 | 0 | Design as tinkering with the application of problem solving methods. Through knowledge of a wide spectrum of design techniques, designers can advance toward solution, changing techniques as the needs of the solving process change with the stage of solution. | Jones, J. C. (1992). Design Methods (2nd ed.). New York, NY: Van Nostrand Reinhold. | 1 |
| 432 | 0 | Design as prototyping and iteration. | Schrage, M. (1999). Serious Play: How the World's Best Companies Simulate to Innovate. Boston, MA: Harvard Business School Press. | 1 |
| 431 | 0 | Design as engineering. | Vincenti, W. G. (1990). What engineers know and how they know it: Analytical studies from aeronautical history. Baltimore, MD: Johns Hopkins University Press. | 1 |
| 430 | 0 | Design as a social process that involves defining common terms, forming goals, and reaching consensus | Bucciarelli, L. L. (1994). Designing engineers. Cambridge, MA: MIT Press. | 1 |
| 429 | 0 | Design as the application or assembly of patterns | Alexander, C. (1979). The timeless way of building. New York: Oxford University Press. | 1 |
| 428 | 0 | Design as search. | Simon, H. A. (1999). The sciences of the artificial (3rd ed.). Cambridge, MA: MIT Press. | 1 |
| 427 | 0 | Design as the progressive placement of constraints. | Gross, M., Ervin, S., Anderson, J., & Fleisher, A. (1987). Designing with constraints. In Y. E. Kalay (Ed.), Computability of design. New York: John Wiley & Sons. | 1 |
| 426 | 0 | Design is a reflective conversation with the problem | Schn, D. A. (1987). Educating the Reflective Practitioner. San Francisco, CA: Jossey-Bass Publishers. | 1 |
| 425 | 0 | People kept returning to the iPod example, in which Apple (AAPL) shifted the frame of the MP3 market to seeing the business model as managing personal music -- and video -- libraries. As one panelist said in the conference, the iPod and cell phones with small screens turn daytime into prime time for TV broadcasting. It shifts the entire broadcast paradigm. | In Davos, CEOs get creative, http://www.businessweek.com/innovate/content/jan2006/id20060130_353096.htm | 1 |
| 424 | 0 | For many, it was liberating to see that shifting the frame of a problem -- and solution -- could open new and very lucrative business opportunities. | In Davos, CEOs get creative, http://www.businessweek.com/innovate/content/jan2006/id20060130_353096.htm | 1 |
| 423 | 0 | FINDING NEW PROBLEMS. Most executives, for example, were blown away by the first workshop on innovation and design strategy when a group of eight people steeped in that area competed for the best creative ideas. Google's (GOOG) vice-president for search products and user experience, Marisa Ann Mayer, won with her twin ideas of embracing constraints, rather than fighting them, while simultaneously "maintaining a healthy disregard for the impossible." This yin-yang approach focuses innovative efforts while opening up the realm of opportunities for solutions. | In Davos, CEOs get creative, http://www.businessweek.com/innovate/content/jan2006/id20060130_353096.htm | 1 |
| 422 | 0 | In sum, did the designer understand the problem, frame it in a way that search could potentially find a good solution, find such a solution within the search space, and deliver an artifact consistent with the design. | Karl Ulrich, Design: Creation of Artifacts in Society, part Three | 1 |
| 421 | 0 | Product development as problem solving | Terwiesch, C., "Product Development as a Problem-Solving Process," in S. Shane (editor), Blackwell Handbook on Technology and Innovation Management, forthcoming. | 1 |
| 420 | 0 | Search for solutions. Given a problem, designers search for sstisficing solutions. Search itself often includes some form of abstraction/representation. In only a very few domains are search spaces explicitly defined, and in even fewer cases are these spaces finite in scope. (e.g. Internet domain names vs houses) | Karl Ulrich, Design: Creation of Artifacts in Society, part Three | 1 |
| 419 | 0 | I include in the model, along with the design process, the production of the designed artifact, as this activity closes the loop between the original gap and the solution. | Karl Ulrich, Design: Creation of Artifacts in Society, part Three | 1 |
| 418 | 0 | Within this paradigm (the information processing view of design), design is part of a problem solving activity beginning with a perception of a gap in the user experience, leading to a plan for a new artifact, and resulting in the production of that artifact. | Karl Ulrich, Design: Creation of Artifacts in Society, part Three | 1 |
| 417 | 0 | Design As Search | Karl Ulrich, Design: Creation of Artifacts in Society, part Three | 1 |
| 416 | 0 | Design as Coffee-making | Student project, May 2006 | 1 |
| 414 | 0 | Use the obstacle. Obstacles are solutions. Using the obstacle forces you to enter the domain where the solution lies, like boat-rowers fighting the wind inventing the sail. | Lee Nordin, MINT newsletter, Vol 13, number 22 | 1 |
| 411 | 0 | Obstacles don't have to stop you. If you run into a wall, don't turn around and give up. Figure out how to climb it, go through it, or work around it. | 1 | |
| 410 | 0 | Obstacles don't have to stop you. If you run into a wall, don't turn around and give up. Figure out how to climb it, go through it, or work around it. | Michael Jordan | 1 |
| 400 | 0 | If you have an apple and I have an apple and we exchange these apples then you and I will still each have one apple. But if you have an idea and I have an idea and we exchange these ideas, then each of us will have two ideas. | George Bernard Shaw | 1 |
| 399 | 0 | over the wall design | 1 | |
| 398 | 0 | The Tipping Point | The Tipping Point, Malcolm Gladwell | 1 |
| 379 | 0 | creative leap | Widely used | 1 |
| 377 | 0 | traveller model | koberg and bagnalls | 2 |
| 374 | 0 | "I'm writing these down and we'll see if they gel into something" | Meeting | 1 |
| 373 | 0 | Their central proposition: You can't rely on rare flashes of brilliance -- "eureka moments" -- if you want to produce a steady stream of good ideas. Instead, you must approach the manufacturing of ideas with as much rigor and as much discipline as you apply to the manufacturing of assembly-line products. "Our idea factory has all of the elements of an industrial process," Mettler explains. "You can follow an idea from one step to another." | Great Ideas in Aisle 9, Fast Company magazine, Issue 33 | April 2000 | Page 46 By: Anna Muoio, http://www.fastcompany.com/magazine/33/rftf.html?partner=rss | 1 |
| 372 | 0 | Idea Factory | Widely used and company name | 1 |
| 371 | 0 | Idea Bin | www.gingkodesign.com | 1 |
| 370 | 0 | Idea Board | Design team meeting 100705 | 1 |
| 369 | 0 | Idea bank - systems implemented in companies to solicit ideas from employees | Widely used | 1 |
| 368 | 0 | The search for solutions takes place in a problem space, defined as how a solver views a problem (Newell & Simon, 1972). It has three parts, an initial state, a goal state, and a series of operators (...) that provide a solution path from the initial to the goal state. | Stokes, P., Fisher, D., Selection, Constraints, and Creativity Case Studies: Max Beckmann and Philip Guston, Creativity Research Journal, Vol.17, No. 2 & 3, 283-291, 2005 | 1 |
| 367 | 0 | Constraints facilitate problem solving by directing and limiting search for solutions (Reitman, 1965) | Stokes, P., Fisher, D., Selection, Constraints, and Creativity Case Studies: Max Beckmann and Philip Guston, Creativity Research Journal, Vol.17, No. 2 & 3, 283-291, 2005 | 1 |
| 366 | 0 | divergent and convergent modes of thinking | Guildford, J., The Nature of Human Intelligence, 1967, New York, McGraw Hill | 1 |
| 365 | 0 | ...an ability to operate flexibly between opposing poles of cognitive spectra (Hermann, 1989; Leonard & Strauss, 1997) | Meneely, J., Portillo, M., The adaptable mind in design: Relating personality, cognitive style, and creative performance, Creativity Research Journal, Vol.17, No. 2 & 3, 155-166, 2005 | 1 |
| 364 | 0 | flexible thinking style | Meneely, J., Portillo, M., The adaptable mind in design: Relating personality, cognitive style, and creative performance, Creativity Research Journal, Vol.17, No. 2 & 3, 155-166, 2005 | 1 |
| 363 | 0 | "It would appear that the creative person has the capacity to tolerate the tension that strong opposing values create in him, and in his creative striving he effects some reconciliation of them" (Mackinnon, 1962, p.490) | Meneely, J., Portillo, M., The adaptable mind in design: Relating personality, cognitive style, and creative performance, Creativity Research Journal, Vol.17, No. 2 & 3, 155-166, 2005 | 1 |
| 362 | 0 | Design criteria guiding appropriateness not only channel the creative process of designing but serve as a measure of evaluation, gauging levels of suitability or fit in ideas and solutions during the design process, "Criteria offer both direction and adaptability in developing solutions" (Portillo & Dohr, 1994, p.407). | Meneely, J., Portillo, M., The adaptable mind in design: Relating personality, cognitive style, and creative performance, Creativity Research Journal, Vol.17, No. 2 & 3, 155-166, 2005 | 1 |
| 361 | 0 | The polemic that design entails both artistic and scientific mindsets suggests that creativity in design may depend on one's capacity to be adaptable, exhibiting flexibility to negotiate complex and multi-dimensional design problems | Meneely, J., Portillo, M., The adaptable mind in design: Relating personality, cognitive style, and creative performance, Creativity Research Journal, Vol.17, No. 2 & 3, 155-166, 2005 | 1 |
| 346 | 0 | It provides a way for solutions to emerge, as is necessary for the resolution of wicked problems. Note: For wicked problems solutions 'emerge'. For 'tame' problems, problems addressable using known methodologies, solutions can be 'found.' This is a very different view on what a 'solution' is and how you 'get one' | http://www.poppendieck.com/wicked.htm | 1 |
| 345 | 0 | Optimization methods can be viewed as nothing more than numerical hill-climbing procedures in which the objective function, representing the topology of the hill, is searched to identify the highest point - or maximum - subject to constraining relations that may be equality constraints (stay on winding path) or inequality constraints (stay within fence boundaries). While the constraints do serve to reduce the area that must be searched, the numerical calculations required to ensure that the search stays on the path or within fences generally do constitute a considerable burden. | Kutz, Myer,(editor) "Mechanical Engineers' Handbook", John Wiley & Sons, New York, 1986 | 1 |
| 344 | 0 | For some twenty years, it has been a powerful, indeed a dominant, view that the development of social policy ought to be considered as a problem solving enterprise. In opposition to this view, I have become more persuaded that the essential difficulties in social policy have more to do with problem setting than with problem solving, more to do with the ways in which we frame the purposes to be achieved than with the selection of optimal means for achieving them. | Schon, Donald. "Generative Metaphor and Social Policy," in A. Ortony, ed., Metaphor and Thought, 1979, p. 254-283. | 1 |
| 343 | 0 | ...a problem may be regarded as well structured to the extent that it has some or all of the following characteristics: ... 2. There is at least one problem space in which can be represented the initial problem state, the goal state, and all other states that may be reached, or considered, in the course of attempting a solution of the problem. | Simon, H. A. (1973) The structure of ill-structured problems. Artificial Intelligence, 4, 181-201., p.183 | 1 |
| 342 | 0 | The boundary between well structured and ill structured problems is vague, fluid and not susceptible to formalization. | Simon, H. A. (1973) The structure of ill-structured problems. Artificial Intelligence, 4, 181-201. | 1 |
| 341 | 0 | The search for scientific bases for confronting problems of social policy is bound to fail, because of the nature of these problems. They are "wicked" problems, whereas science has developed to deal with "tame" problems. Policy problems cannot be definitively described. Moreover, in a pluralistic society there is nothing like the undisputable public good; there is no objective definition of equity; policies that respond to social problems cannot be meaningfully correct or false; and it makes no sense to talk about "optimal solutions" to social problems unless severe qualifications are imposed first. Even worse, there are no "solutions" in the sense of definitive and objective answers. | Rittel, H., & Webber, M. (1973). Dilemmas in a General Theory of Planning. Policy Sciences, 4, 155-169. (Abstract) | 1 |
| 340 | 0 | Perhaps something is not right, somewhere there is a conflict, a tension, a need to be satisfied. | Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York: Harper Collins, p.95 | 1 |
| 339 | 0 | burning curiosity | Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York: Harper Collins, p.87 | 1 |
| 338 | 0 | In some cases, as with Darwin's formulation of the theory of evolution, the basic insight may appear slowly, in separate disconnected flashes that take years to coalesce into a coherent idea. | Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York: Harper Collins, p.81 | 1 |
| 337 | 0 | Finally, a creative person is able to delay closure: she avoids jumping to conclusions, and waits for the new idea to mature instead of forcing it prematurely into the shape of an already existing one. | Csikszentmihalyi, Mihaly (1988a). Motivation and creativity: Toward a synthesis of structural and energistic approaches to cognition. New Ideas in Psychology, 6(2), 159-176. p.168 | 1 |
| 336 | 0 | Others have arrived at similar conclusions, as in, for example, the distinction Guilford (1967) made between the orthogonal processes of divergent and convergent thinking. | Csikszentmihalyi, Mihaly (1988a). Motivation and creativity: Toward a synthesis of structural and energistic approaches to cognition. New Ideas in Psychology, 6(2), 159-176. p.162 | 1 |
| 335 | 0 | Creative thinking - the ability to discover new problems never before formulated - seems to be quite independent of the rational problem solving capacity | Csikszentmihalyi, Mihaly (1988a). Motivation and creativity: Toward a synthesis of structural and energistic approaches to cognition. New Ideas in Psychology, 6(2), 159-176. p.162 | 1 |
| 334 | 0 | He classifies thought processes along a continuum between two poles. At one end of the continuum is presented problem solving. At the other end of the continuum, however, we have instnaces of discovered problem solving, where the problem, the method of solution, and the correct solution are all unknown. | Getzels JW. Creative thinking, problem solving, and instruction. In Hilgard R (Ed.), Theories of learning and instruction (63rd NSSE Yearbook, Part 1). University of Chicago Press, Chicago, 240-267 (1964). | 1 |
| 333 | 0 | Herbert Simon...in his 1985 American Psychological Association address entitled "The Psychology of Scientific Discovery," argues that creativity involves nothing more than normal problem solving processes. Given a broad enough domain based knowledge, and good enough heuristic search proedures, it is only a question of time before the problem solver will arrive at some important scientific law. | Csikszentmihalyi, Mihaly (1988a). Motivation and creativity: Toward a synthesis of structural and energistic approaches to cognition. New Ideas in Psychology, 6(2), 159-176. p.159 | 1 |
| 332 | 0 | To say that the theory of relativity was created by Einstein is like saying that it is the spark that is responsible for the fire. The spark is necessary, but without air and tinder there would be no flame. | Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention. New York: Harper Collins, p.7 | 1 |
| 331 | 0 | "I look for others with related expertise that might see the idea from a different perspective." - survey respondent | Brainstorming groups in context: Effectiveness in a product design firm, Sutton, Hargadon, 700/Administrative Science Quarterly, 41 (1996): 685-718 | 1 |
| 330 | 0 | an informant asserted, [products and prototypes] are "solidified intellect, not an object, but rather a collection of ideas." | Brainstorming groups in context: Effectiveness in a product design firm, Sutton, Hargadon, 699/Administrative Science Quarterly, 41 (1996): 685-718 | 1 |
| 329 | 0 | Brainstorming topics range from broad or "blue sky" ("What can a computer be used for when it is off?") to narrow ("This tool is too noisy.") design problems. | Brainstorming groups in context: Effectiveness in a product design firm, Sutton, Hargadon, 685/Administrative Science Quarterly, 41 (1996): 685-718 | 1 |
| 328 | 0 | Many writers have tried to chart a route through the [design] process from beginning to end. The common idea behind all these 'maps' of the design process is that it consists of a sequence of distinct and identifiable activities which occur in a some predictable and identifiably logical order. This seems at first sight to be quite a sensible way of anlaysing design. Logically it seems that the designer must do a number of things in order to progress from the first stages of getting a problem to the final stages of defining a solution. Unfortunately, as we shall see, these assumptions turn out to be rather rash. Indeed Lewis Carroll's Queen may well have made a rather good designer with her apparently ridiculous suggestion that the sentence should precede the evidence! | How Designers Think, Bryan Lawson p.31 | 1 |
| 327 | 0 | For instance, consider the design of a race car. The car must perform well on turns of various different radii which will be taken at various different speeds. While the car can be "fine-tuned" for a particular size corner, the basic configuration and conceptual layout must remain the same as most race tracks contain corners with several different radii. This mimics a multiobjective design problem, where the radius of the corner is a given objective. That is, for two different radii corners there would be two objective functions: one to minimize the time to navigate the smaller radius and one to minimize the time on the larger radius. The optimal car configuration is unlikely to be the same for each corner due to differences in speed, aerodynamic forces and tire performance. Race teams want their car to perform well on all corners to give the best aggregate lap time. Therefore, a compromise decision must be made between the optimal designs for each radius corner. | An Approach to Facilitate Decision Tradeoffs in Pareto Solution Sets, http://does.eng.buffalo.edu/publications/publications/EDA.Kasprzak.pdf | 1 |
| 326 | 0 | resolve | Widely used | 1 |
| 325 | 0 | half baked idea | 1 | |
| 323 | 0 | Michael believes that designers impose order on a situation by guiding creativity down a set path, but a designer also has to be a unique individual who can step outside of that imposed order. | http://www.designcouncil.org.uk/webdav/servlet/XRM?Page/@id=6009&Document/@id=8899 | 1 |
| 322 | 0 | "The computer metaphor describes cognition as being in a particular discrete state, for example, "on or off" or in values of either zero or one, and in a static state until moving on. If there was ambiguity, the model assumed that the mind jumps the gun to one state or the other, and if it realizes it is wrong, it then makes a correction. "In thinking of cognition as working as a biological organism does, on the other hand, you do not have to be in one state or another like a computer, but can have values in between -- you can be partially in one state and another, and then eventually gravitate to a unique interpretation, as in finally recognizing a spoken word," Spivey said." | http://www.news.cornell.edu/stories/June05/new.mind.model.ssl.html | 1 |
| 321 | 0 | "Smart also accepts Huebner's findings, but with a reservation. Innovation may seem to be slowing even as its real pace accelerates, he says, because it's slipping from human hands and so fading from human view. More and more, he says, progress takes place "under the hood" in the form of abstract computing processes. Huebner's analysis misses this entirely. Take a modern car. "Think of the amount of computation - design, supply chain and process automation - that went into building it," Smart says. "Computations have become so incremental and abstract that we no longer see them as innovations. People are heading for a comfortable cocoon where the machines are doing the work and the innovating," he says. "But we're not measuring that very well."" | http://www.newscientist.com/article.ns?id=dn7616 | 1 |
| 320 | 0 | But why does he think this has happened? He likens the way technologies develop to a tree. "You have the trunk and major branches, covering major fields like transportation or the generation of energy," he says. "Right now we are filling out the minor branches and twigs and leaves. The major question is, are there any major branches left to discover? My feeling is we've discovered most of the major branches on the tree of technology." | http://www.newscientist.com/article.ns?id=dn7616 | 1 |
| 319 | 0 | The Toughbook CF-R3 laptop is targeted to business professionals requiring mobile computing. The design balances two contradictory principles of lightness (it weighs in at just over 2 pounds along with an impressive nine-hour battery life) and toughness (for optimum protection of the hard drive) all in a sleek and engaging form. | http://images.businessweek.com/ss/05/06/idea2005/source/18.htm | 1 |
| 317 | 0 | We are moving away from binary categorization -- books either are or are not entertainment -- and into this probabilistic world, where N% of users think books are entertainment. It may well be that within Yahoo, there was a big debate about whether or not books are entertainment. But they either had no way of reflecting that debate or they decided not to expose it to the users. What instead happened was it became an all-or-nothing categorization, "This is entertainment, this is not entertainment." We're moving away from that sort of absolute declaration, and towards being able to roll up this kind of value by observing how people handle it in practice. | http://shirky.com/writings/ontology_overrated.html#organization_goes_organic | 1 |
| 313 | 0 | Inventive step | Widely used | 1 |
| 312 | 0 | Invention may be defined as a process of creation during which a novel idea becomes a novel product. | Design Council | About Design http://www.designcouncil.org.uk/webdav/servlet/XRM?Page/@id=6004&Section/@id=1532 | 1 |
| 311 | 0 | New design solutions had to be found to be able to deliver within the restricted budget, resulting in new ways of designing and creating animated film. | Design Council | About Design http://www.designcouncil.org.uk/webdav/servlet/XRM?Page/@id=6046&Session/@id=D_VE6lsBu27P3XQBILs1nR&Document[@id%3D5187]/Chapter/@id=3 | 1 |
| 310 | 0 | According to Mulgan, such structures should include idea suggestion schemes that ensure that innovative sparks are not extinguished at first sight. | Design Council | About Design http://www.designcouncil.org.uk/webdav/servlet/XRM?Page/@id=6046&Session/@id=D_VE6lsBu27P3XQBILs1nR&Document[@id%3D5187]/Chapter/@id=2 | 1 |
| 309 | 0 | Design is about doing things consciously, and not because they have always been done in a certain way. It is about comparing alternatives to select the best possible solution. It is about exploring and experimenting. | Design Council | About Design http://www.designcouncil.org.uk/webdav/servlet/XRM?Page/@id=6004&Section/@id=1534 | 1 |
| 308 | 0 | In the context of innovation it is helpful to bear in mind three definitions of the word 'design':
* A design is the tangible outcome, ie the end product of the design process, for example a camera or car etc * Design is a creative activity * Design is the process by which information is transformed into a tangible outcome. It seems that the third definition - design as process - is the most commonly used, and it is how the word is used throughout this topic. Design is a conscious process. So our definition reads: 'Design is the conscious decision making process by which information (an idea) is transformed into an outcome, be it tangible (product) or intangible (service).' | Design Council | About Design http://www.designcouncil.org.uk/webdav/servlet/XRM?Page/@id=6004&Section/@id=1534 | 1 |
| 307 | 0 | The idea that business is 'hard' while design is 'soft' needs to be challenged, argued Susan Lee. | Design Council | Learning and Education http://www.designcouncil.org.uk/webdav/servlet/XRM?Page/@id=6007&Document/@id=8460 | 1 |
| 306 | 0 | Engineering is not the filling of a pail but the lighting of a fire | W.B. Yeats | 1 |
| 305 | 0 | technology-driven; customer-driven; user-driven; content-driven; education-driven...where are they driving you? Are they driving you in different directions? Is the metaphor apt at all? Does it cause us to think about it in the wrong way? | Widely used | 1 |
| 304 | 0 | WN: But there's still no sign of the long-rumored Mario 128 for GameCube. Miyamoto: It's still floating around. We're searching for that fundamental idea that's going to drive the next 3-D Mario game. But we're not sure when that's going to jump out at us. We're doing lots of tests with small groups. | Wired News: The Man Who Keeps Nintendo Cool http://www.wired.com/news/games/0,2101,67854-2,00.html?tw=wn_story_page_next1 | 1 |
| 303 | 0 | As API designers we may talk about a trade-off between simplicity and power, but we can look to human factors to find tools to address it. One such tool is Progressive disclosure: rather than put expert-level features at the same level as basic ones, you put them behind a door marked "expert." | Ken Arnold, ACM QUEUE, June 2005, p.55 | 1 |
| 302 | 0 | Free communication and the ability to combine activities in new ways are necessary for creativity. Perceived problems must be questioned, knowledge must be transmitted, and new and fragile concepts must first be brought to a state of reality and then sold to a conservative organization. | Conceptual Blockbusting, James Adams, p.150 | 1 |
| 301 | 0 | Finally, as I have implied repeatedly in this book, we must be particularly careful of evaluation and judgement. They are not only liable to destroy fragile concepts, but seem to cool the fires of creativity. | Conceptual Blockbusting, James Adams, p.144 | 1 |
| 300 | 0 | (On brainstorming) The first rule is that no evaluation of any kind is permitted. Osborn's explanation is that a judgemental attitude will cause the people in the group to be more concerned with defending the ideas than with generating them. His second rule is that all participants be encouraged to think of the wildest ideas possible. ... The final rule is that participants build upon or modify the ideas of others because, in his words, "combinations or modifications of previously suggested ideas often lead to new ideas that are superior to those that sparked them." | Conceptual Blockbusting, James Adams, p.136 | 1 |
| 299 | 0 | People will like you if you think the way they do. But to the extent you succeed in aligning your thoughts with those of others, you can add to your perceptual and intellectual blocks. | Conceptual Blockbusting, James Adams, p.133 | 1 |
| 298 | 0 | The reason for your complaint [about not being creative] lies, it seems to me, in the constraint which your intellect imposes upon your imagination. Here I will make an observation, and illustrate it by an allegory. Apparently, it is not good-and indeed it hinders the creative work of the mind-if the intellect examines too closely the ideas already pouring in, as it were, at the gates. Regarded in isolation, an idea may be quite insignificant, and venturesome in the extreme, but it may acquire importance from an idea which follows it; perhaps, in a certain collocation with other ideas, which may seem equally absurd, it may be capable of furnishing a very serviceable link. The intellect cannot judge all those ideas unless it can retain them until it has considered them in connection with these other ideas. In the case of a creative mind, it seems to me, the intellect has withdrawn its watchers from the gates, and the ideas rush in pell-mell, and only then does it review and inspect the multitude. You worthy critics, or whatever you may call yourselves, are ashamed or afraid of the momentary and passing madness which is found in all real creators, the longer or shorter duration of which distinguishes the thinking artist from the dreamer. Hence your complaints of unfruitfulness, for you reject too soon and discriminate too severely. | A.A. Brill, The Basic Writings of Sgmund Freud, quoted from Conceptual Blockbusting, James Adams, p.119 | 1 |
| 297 | 0 | If this judging can be put aside for a while, many more ideas will live until they can be "seen." | Conceptual Blockbusting, James Adams, p.119 | 1 |
| 296 | 0 | Manipulative verbs (on physical things but also on concepts): Multiply, Divide, Eliminate, Subdue, Invert, Separate, Transpose, Unify, Distort, Rotate, Flatten, Squeeze, Complement, Submerge, Freeze, Soften, Fluff-up, By-pass, Add, Subtract, Lighten, Repeat, Thicken, Stretch, Extrude, Repel, Protect, Segregate, Integrate, Symbolize, Abstract, Dissect, etc. | The Universal Traveler, Koberg and Bagnall, 1973 quoted from Conceptual Blockbusting, James Adams, p.116 | 1 |
| 295 | 0 | The Solution Space visually: through Morphological Analysis as a listing of all the possible attributes and then selecting (Fritz Zwicky) and as a 3D cube with each axis representing parameters of possibilities e.g. material, power, form | Conceptual Blockbusting, James Adams, p.110 | 1 |
| 294 | 0 | Just as we use physical tools for physical tasks, we employ conceptual tools for conceptual tasks. | Interaction Associates, 'Process Notebook,' quoted from Conceptual Blockbusting, James Adams, p.76 | 1 |
| 293 | 0 | Even after the idea is fleshed out into a believable and complete form, it must be sold to an often skeptical world. | Conceptual Blockbusting, James Adams, p.69 | 1 |
| 292 | 0 | In this way, he would literally construct a solution and usually an outstanding one. (on accepting and incorporating criticism) | Conceptual Blockbusting, James Adams, p.68 | 1 |
| 291 | 0 | Change is often threatening; therefore, so are new ideas. They can be quickly squelched, especially when newly born, imperfect, and not reduced to practice. The usual response of society, in fact, is to squelch such ideas. | Conceptual Blockbusting, James Adams, p.67 | 1 |
| 290 | 0 | Creativity requires the manipulation and recombination of experience. | Conceptual Blockbusting, James Adams, p.50 | 1 |
| 289 | 0 | If you are never relaxed your mind is usually on guard against non-serious activities, with resulting difficulties in the type of thinking necessary for fluent and flexible conceptualization | Conceptual Blockbusting, James Adams, p.48 | 1 |
| 288 | 0 | Incubation | Widely used | 1 |
| 287 | 0 | Professional problem-solvers have a working understanding of the difficulty in having ideas and a respect for ideas, even if they are flawed. If you are a compulsive idea-judger you should realize that this is a habit that may exclude ideas from your own mind before they have had time to bear fruit. | Conceptual Blockbusting, James Adams, p.47 | 1 |
| 286 | 0 | (On desire for order) However, if your thoughts are precisely folded and dressed right you are probably a fairly limited problem-solver. The process of bringing widely disparate thoughts together cannot work too well because your mind is not going to allow widely disparate thoughts to coexist long enough to combine. | Conceptual Blockbusting, James Adams, p.46 | 1 |
| 285 | 0 | The solution of a complex problem is a messy process. ... You must usually wallow in misleading and ill-fitting data, hazy and difficult-to-test concepts, opinions, values and other such untidy quantities. In a sense, problem-solving is bringing order to chaos. A desire for order is therefore necessary. However, the ability to tolerate chaos is a must. | Conceptual Blockbusting, James Adams, p.45 | 1 |
| 284 | 0 | Such insecurities are also responsible for the next emotional block, the "Inability to tolerate ambiguity; overriding desire for order; 'no appetite for chaos.'" | Conceptual Blockbusting, James Adams, p.45 | 1 |
| 283 | 0 | If they are not selective enough, a torrent of highly innovative but extremely impractical ideas will emerge. | Conceptual Blockbusting, James Adams, p.41 | 1 |
| 282 | 0 | The conscious mind, or ego, is a control valve on creativity. | Conceptual Blockbusting, James Adams, p.42 | 1 |
| 281 | 0 | Preconscious processes are assailed from both sides. From one side they are nagged and prodded into rigid and distorted symbols by unconscious drives which are oriented away from reality and which consist of rigid compromise formations, lacking in fluid inventiveness. From the other side they are driven by literal conscious purpose, checked and corrected by conscious retrospective critique. | Lawrence Kubie, Neurotic Distortion in the Creative Process, quoted from Conceptual Blockbusting, James Adams, p.41 | 1 |
| 280 | 0 | Logic is the tool that is used to dig holes deeper and bigger, to make them alogether better holes. But if the hole is in the wrong place, then no amount of improvement is going to put it in the right place. No matter how obvious this may seem to every digger, it is still easier to go on digging in the same place than to start all over again in a new place. Vertical thinking is digging the same hole deeper; lateral thinking is trying again elsewhere. | New Think, Edward De Bono, quoted from Conceptual Blockbusting, James Adams, p.34 | 1 |
| 279 | 0 | It is often difficult to see a problem from the viewpoint of all the interests and parties involved. ... In many cases, no solution is possible until each person can gain a feeling for the viewpoint of the other. | Conceptual Blockbusting, James Adams, p.33 | 1 |
| 278 | 0 | As limits on problem-definition are relaxed, one usually becomes involved in interdisciplinary considerations... | Conceptual Blockbusting, James Adams, p.33 | 1 |
| 277 | 0 | You might formulate your problem as... | Conceptual Blockbusting, James Adams, p.32 | 1 |
| 276 | 0 | In general, the more broadly the problem can be stated, the more room is available for conceptualization. | Conceptual Blockbusting, James Adams, p.31 | 1 |
| 275 | 0 | Problems are, of course, often constrained by considerations other than mere removal of a difficulty, and the problem-solver must be sensitive to this. | Conceptual Blockbusting, James Adams, p.23 | 1 |
| 274 | 0 | Perceptual blocks are obstacles that prevent the problem-solver from clearly perceiving either the problem itself or the information needed to solve the problem. | Conceptual Blockbusting, James Adams, p.13 | 1 |
| 273 | 0 | (responding to traditional definitions of creativity) Everybody seems to agree that a creating person is full of new ideas and suggestions, scrutinizing reality in unforeseen perspectives, and turning traditional conceptions topsy-turvy. At the same time the new perspectives have to be interesting and worthwhile. Creative activity pointing in other directions, at passing fancies or solutions judged by experts to be unrealistic, or even at antisocial and criminal pursuits are just not considered. | Smith, Gudmund, "How Should Creativity be Defined?", Creativity Research Journal 2005, Vol 17, No.2 & 3, 293-295 | 1 |
| 272 | 0 | Expedition Outfitter Travel Tips Language guides Traveler's Map Travel Agency Side Trips | The Universal Traveler, Koberg and Bagnall, 1973 | 1 |
| 271 | 0 | Using the analogy of travel, an activity already known to all readers, The UNIVERSAL TRAVELER makes the process of problem-solving a familiar activity. The travel vocabulary reinforces the concept that design is more meaningful when it can be visualized and pursued as a logical and planned journey though a series of stopovers called DESIGN STAGES. | The Universal Traveler, Koberg and Bagnall, 1973, p.4 | 1 |
| 270 | 0 | "How do you broaden the space that people are looking in?" | Marcia Linn, personal conversation, 5/26/05 | 1 |
| 269 | 0 | "How do you let people be using each of their brain characteristics in an unconstrained way to start with and then to integrate the ideas rather than compromise?" | Marcia Linn, personal conversation, 5/26/05 | 1 |
| 268 | 0 | The process of engineering design follows an analagous system model to that of a biological ecosystem, where a collection of elements affect the nature of activity, including population, environment, climate, activity cycles and resources. | The Ecology of Innovation in Engineering Design, Milne and Leifer, ICED 99 | 1 |
| 267 | 0 | Design Is A Complex Social Activity | Minneman, S. "The Social Construction of a Technical Reality: Empirical Studies of Group Engineering Design and product Analysis Activity", Ph.D. Thesis, Stanford University, 1991. | 1 |
| 266 | 0 | Design activity takes place within an ecosystem of its own, one comprised of a complex, dynamic community of poulations and their environments that function as a unit. | The Ecology of Innovation in Engineering Design, Milne and Leifer, ICED 99 | 1 |
| 265 | 0 | We propose a framework that suggests design activity takes place within an ecosystem composed of populations, environments, resources, and activity cycles. | The Ecology of Innovation in Engineering Design, Milne and Leifer, ICED 99 | 1 |
| 264 | 0 | Both authors (Shon and Dorst) asserted that designers develop their own approach to defining the problem after encountering a design opportunity. The designer's approach towards defining the problem may in turn influence the solution paths they investigate. | Information handling and social interaction of multi-disciplinary design teams in conceptual design: A classification scheme developed from observed activity patterns. Milne and Leifer DETC2000 | 1 |
| 263 | 0 | The early state of a design problem as being a "mess" | Shon, D. 1983. The Reflective Practitioner: How Professionals Think in Action. Basic Books, N.Y. (from Milne and Leifer DETC2000) | 1 |
| 262 | 0 | WOIS Spiral model of innovation | ETRIA 2002 Strasbourg | 1 |
| 261 | 0 | The 'Christmas Tree' model. Cycles of Object to Abstract towards Ideality | Nikolay Shpakovsky - ETRIA Bath 2001 | 1 |
| 260 | 0 | Design is not like a game with a fixed set of pieces, perfect knowledge and a certain range of possibilities. The Design As Problem-Solving metaphor could therefore be problematic... | Jonathan Hey, 17th May 2005 | 1 |
| 259 | 0 | A person is confronted with a problem when he wants something and does not know immediately what series of actions he can perform to get it. | Human Problem-Solving, Newell and Simon, 1972 | 1 |
| 258 | 0 | Let's get together to hammer out some ideas | .. | 1 |
| 257 | 0 | Room for innovation | Phone conversation with TP, Feb 05 | 1 |
| 256 | 0 | If you're not part of the solution, you're part of the precipitate. | Steven Wright, http://cyclone.weather.net/zarg/ZarPages/stevenWright.html | 1 |
| 255 | 0 | What matters is not ideas, but the people who have them. Good people can fix bad ideas, but good ideas can't save bad people. | Paul Graham, http://www.paulgraham.com/start.html | 1 |
| 254 | 0 | 3,000 Raw Ideas | Greg Stevens and James Burley, 3,00 Raw Ideas = 1 Commercial Success, Research Technology Management, 40(3), May-June 1997, 16-27. | 1 |
| 253 | 0 | A hacker - "it's a hack" - rather than a coder: taking off pieces and adding pieces. It's quite a good metaphor for a creative approach to problem-solving like bricolage | 1 | |
| 252 | 0 | Screen Readers - the 'soda straw' approach where all you see is the little hole at the end of the straw on the page | 1 | |
| 251 | 0 | 'Over the wall' design - referring to on department throwing their finished work over the wall to the others. i.e. the designers to the manufacturers | 1 | |
| 250 | 0 | Creativity crutch or a creativity tool - the difference in metaphor according to the frames that are evoked is significant | Scott Luebking, May 05 | 1 |
| 249 | 0 | Plasticity - the ability to adapt. did we have this metaphor before plastics? | 1 | |
| 248 | 0 | It felt like I was using the system rather than the system helping me | Vinu Ranganathan, May 05 | 1 |
| 247 | 0 | Technology roadmap | 1 | |
| 246 | 0 | Technology horizon | Alice Agogino | 1 |
| 245 | 0 | Arrival at the age of 16 is usually all that is required for achieving half of this important attribute of creativity. It is unusual to find a "contented" young person; discontent goes with that time of life. To the young, everything needs improvement... As we age, our discontent wanes; we learn from our society that "fault-finders" disturb the status quo of the normal, average "others." Squelch tactics are introduced. It becomes "good" not to "make waves" or "rock the boat" and to "let sleeping dogs lie" and "be seen but not heard." It is "bad" to be a problem-maker. And so everything is upside-down for creativity and its development. Thus, constructive attitudes are necessary for a dynamic condition; discontent is prerequisite to problem-solving. Combined, they define a primary quality of the creative problem-solver: a constantly developing Constructive Discontent. | quoted from Conceptual Blockbusting, James Adams, p.105 | 1 |
| 244 | 0 | Design for flexibility | A software 'motto' | 1 |
| 243 | 0 | Ideas have many parents | - | 1 |
| 242 | 0 | Applying Aristotle's Golden Mean to the classroom: Balancing underteaching and overteaching | Robert K. Noyd, Director of Faculty Development U.S. Air Force Academy - Tomorrow's Professor Msg. #640 | 1 |
| 241 | 0 | collaborative design | 1 | |
| 240 | 0 | XX is really good about getting us back on track and focused when we are brainstorming and going off in all different directions. XX is a really calming presence with a mind full of creative and wacky ideas. | Design student, ME290P, F04 | 1 |
| 239 | 0 | Often we have creative conflict, for example in structuring our surveys. I believe that this is healthy conflict, not personality or relationship conflict. By helping to mediate differences and seeing each others' points of view, our team is very effective. | Design student, ME290P, F04 | 1 |
| 238 | 0 | At first we kept these two directions because it was a source of richness as far as creativity is concerned. But we needed to take one direction eventually and we did not really agree on that. | Design student, ME290P, F04 | 1 |
| 237 | 0 | When so many people have a common goal, the process to achieve this is not always easy; especially when there are many directions. In our case we have a number of possible sollutions and each one accents a specific feature over another. When group members don't agree on the heirarchy of different features, this can cause discrepancies in what the percieved best direction might be. We are still deliberating. | Design student, ME290P, F04 | 1 |
| 236 | 0 | No big problems. There was a small disagreement about which direction we should pursue to reach our goal ( either a passive or active approach) but we compromised effectively and overcame that small hurdle | Design student, ME290P, F04 | 1 |
| 235 | 0 | Entrepreneurship is "Creative destruction" | Joseph Shumpeter | 1 |
| 234 | 0 | Every act of creation is first of all an act of destruction | Pablo Picasso | 1 |
| 233 | 0 | "ill-structured" problems: problems that can rarely be solved quickly, that may have more than one defensible solution, that may have multiple routes to a single solution, and that may have many sub-problems that must be solved before arriving at an answer. By contrast, "well-structured" problems (e.g., solve for x in the equation 3x + 2 = 17) have a unique answer, can usually be solved quickly, and have a very limited number of ways to a solution." - Lloyd Bond, #15 in the monthly series called Carnegie Foundation Perspectives | No ref | 1 |
| 232 | 0 | "ill-structured" problems: problems that can rarely be solved quickly, that may have more than one defensible solution, that may have multiple routes to a single solution, and that may have many sub-problems that must be solved before arriving at an answ | No ref | 1 |
| 231 | 0 | Contextual design | No ref | 1 |
| 230 | 0 | "If, at first, the idea is not absurd, then there is no hope for it" - Albert Einstein | No ref | 1 |
| 229 | 0 | Encourage wild ideas - there is always a way - Peter Skilman, April 12th 05, UCB | No ref | 1 |
| 228 | 0 | You can't meticulously plan a solution; a solution evolves - Peter Skilman, April 12th 05, UCB | No ref | 1 |
| 227 | 0 | "Good concept generation leaves the team with confidence that the space of alternatives has been explored fully." Shuang Song's thesis p.120 2004 | No ref | 1 |
| 225 | 0 | We need to have some more concrete ideas before going ahead | No ref | 1 |
| 224 | 0 | "Patterns_capturing the essence of recurring problems and their solutions in a compact form. They describe the problem in depth, the rationale for the solution, how to apply the solution, and some of the trade-offs in applying the solution." EChung etal04 | No ref | 1 |
| 223 | 0 | The prototype was at its embryonic stage - Fall 04 Cord Management team ME290P | No ref | 1 |
| 220 | 0 | pineapple | No ref | 1 |
| 217 | 0 | "...unknown, but unguided and as likely to end up nowhere." - Alan Dix, Being Playful - Learning from Children, IDC2003 | No ref | 1 |
| 216 | 0 | "Pure rational analytic thinking leads to ant-like innovations, convergent solutions, tiny incremental developments: each correct yet making slow progress. Pure imagination and play leads to flea-like innovations, divergent thinking, large leaps into... | No ref | 1 |
| 215 | 0 | ...notice that, all the while, a straight, wide road lay near your path. It would have been much easier and faster to reach the summit had you only known about this road in advance" - G. Babat, Roads into the unknown, 1962, p.581 | No ref | 1 |
| 214 | 0 | You wander around searching for a footpath. You go down a dead-end, approach a cliff, and return. Finally, after much distress, you reach the summit and look back down. It is then that you see how chaotic and disorderly was your trek. Meanwhile you... | No ref | 1 |
| 213 | 0 | Last night upon the stair, I saw a man who wasn't there. He wasn't there again today, I wish that man would go away | No ref | 1 |
| 212 | 0 | Idea smushing - Scott Luebking | No ref | 1 |
| 211 | 0 | Innovation is the process of seeing things in a different way - http://www.triz-journal.com/archives/2005/02/05.pdf | No ref | 1 |
| 210 | 0 | "...taking on a huge, apparently intractable problem, refusing to let it overwhelm you, and doing your best to break it down into manageable chunks." - Rosalind Williams, Retooling, pp.152 | No ref | 1 |
| 209 | 0 | "...have people added, have people removed, twisted, colored, raised, lowered, reshaped, restructured, put in sun, etc. It's like the gel somehow ties into probability spaces or something but I'm not sure of that." - SL, personal communication Feb 05 | No ref | 1 |
| 208 | 0 | "An approach to problem solving...It's kind of like a large object of gel which has various aspects of the problem tucked into it. The goal is to modify the gel such that the problem goes away. The gel can be cut, strectched, made wet, made dry, split." | No ref | 1 |
| 207 | 0 | "Seek to identify what the main areas for exploration should be so that your brainstorm is targetted" - it makes a lot of sense to 'focus' the randomness of a brainstorm | No ref | 1 |
| 206 | 0 | "For such a wide open problem...bucket the ideas" - on Community-Based design project - Wide open problems can be approached from many angles | No ref | 1 |
| 205 | 0 | "Concepts can be open" | No ref | 1 |
| 204 | 0 | "That to me leads down some very fertile ground" - on structuring/targetting brainstorming | No ref | 1 |
| 203 | 0 | "It's a basic tension" - Nancy Van House, Feb 10th 2005 | No ref | 1 |
| 202 | 0 | Breakthrough thinking - Jonathan Cagan | No ref | 1 |
| 201 | 0 | Work on the business, not in the business - Darrell Mann | No ref | 1 |
| 200 | 0 | The Magic Wand Metaphor - Altshuller, The Innovation Algorithm, p.129 - it does it by itself, as the wand itself is useless to help physically | No ref | 1 |
| 199 | 0 | The Genie Metaphor - Scott Luebking - Frees your inhibitions; Allows you to do what you want | No ref | 1 |
| 198 | 0 | The Butler Metaphor - Scott Luebking, on someone who knows you and can anticipate your needs | No ref | 1 |
| 197 | 0 | It's not the complete solution, but it is, I believe, the beginning of a solution - Marshall Mclintock - forward to Contextual Design by Beyer and Holtzblatt | No ref | 1 |
| 196 | 0 | Communication between designers and technicians is usually through sketches and written descriptions - Against Ambiguity, Eckert and Stacey | No ref | 1 |
| 195 | 0 | Of course, creative designing is fluid and unpredictable - Against Ambiguity, Eckert and Stacey | No ref | 1 |
| 194 | 0 | Customer driven vs Technology driven | No ref | 1 |
| 193 | 0 | the source of the problem can be diagnosed | No ref | 1 |
| 192 | 0 | Problems Are Diseases | No ref | 1 |
| 191 | 0 | While I often don't state that, mentally that's the way I come. There has got to be a solution. There is a way to solve this. There is an answer here. There's no problem that's insolvable or too big to solve...William Pollard, Good Business, pp.157 | No ref | 1 |
| 190 | 0 | Sometimes, when theyre paying that much money, they want to see that youve explored every avenue, turned over every rock - Marc Goldman, Pentagram | No ref | 1 |
| 187 | 0 | Design Is Problem-Solving - Erik Zimmerman on Game Design | No ref | 1 |
| 186 | 0 | The rules are a toolbox that don't come to life until someone interacts with it - Erik Zimmerman on Game Design | No ref | 1 |
| 185 | 0 | At a fundamental level creating structures is what game designers do - Erik Zimmerman on Game Design | No ref | 1 |
| 184 | 0 | All of this rests on a perspective that design is a social process: that the sources of concepts and creative ideas are to be found in the discourse of participants. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 183 | 0 | 'Trade-offs' are symptomatic of the problem, but these polarities are themselves the constructions of designers. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 182 | 0 | Concepts and images need a precision, or equivalently, a fuzziness appropriate to their place in the design process. Early on, less precision; close to freezing the design, less ambiguity. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 181 | 0 | The inertia of design practice is well known. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 180 | 0 | (a finance discussion) The metaphor was actuarial; the construction was 'risk' of system problems and the hardware was 'insurance'. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 179 | 0 | A name...serves to label a particular focus of common concern. It defines the ballpark so to speak, providing an arena for design...Naming is part of designing. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 178 | 0 | Far from dead, archaic commandments they are very much alive, drawing their meaning through continual exercise and redesign. (on codes, regulations and specificatinos) - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 177 | 0 | Specifications - dead metaphor? check etymology | No ref | 1 |
| 176 | 0 | ...harmonious design... - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 175 | 0 | ...designing as a synthesis of different perspectives - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 174 | 0 | ...time is both a resource and a marker of events to be. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 173 | 0 | Where and how you locate the boundaries, how you break up the overall design task, is no straightforward process. - Bucciarelli, An ethnographic perspective on engineering design | No ref | 1 |
| 146 | 0 | Organized chaos? It's not organized it's focused - David Kelley (eDay 04) | No ref | 1 |
| 145 | 0 | Take a piece of each of these ideas and kind of back off a little before putting it into one final prototype - David Kelley (eDay 04) | No ref | 1 |
| 144 | 0 | Organized chaos? It's not organized it's focused - David Kelley (eDay 04) | No ref | 1 |
| 143 | 0 | Deep Dive: A total immersion in the problem at hand - David Kelley | No ref | 1 |
| 142 | 0 | Clarify ideas | No ref | 1 |
| 141 | 0 | Crystallize ideas | No ref | 1 |
| 140 | 0 | "We come out of the starting blocks and run the wrong race" Burchill, Chen (Metaphor families) | No ref | 1 |
| 139 | 0 | Design as bricolage (Louridas) | No ref | 1 |
| 138 | 0 | Designing as Disclosure (Sidney Newton) | No ref | 1 |
| 137 | 0 | Design is a selection process | No ref | 1 |
| 136 | 0 | Design is an exploration process | No ref | 1 |
| 135 | 0 | Technology push versus need pull (Burgleman and Sayles) | No ref | 1 |
| 134 | 0 | IBM Development funnel | No ref | 1 |
| 133 | 0 | Solution: A creation that enables the transition from the current frame of meaning to the future frame of meaning (John Feland) | No ref | 1 |
| 132 | 0 | Need: A perceived gap between a present frame of meaning and a future frame of meaning | No ref | 1 |
| 131 | 0 | Of course it may happen that the road to the solution will be long and difficult. But, any long journey always begins with the first step - The Innovation Algorithm p.235 | No ref | 1 |
| 130 | 0 | Uncommon Genius: How Great Ideas Are Born (by Denise G. Shekerjian) | No ref | 1 |
| 129 | 0 | Their resistance melted away | No ref | 1 |
| 128 | 0 | Conceive of an idea (as in progeny) | No ref | 1 |
| 127 | 0 | Concept (as in conception) | No ref | 1 |
| 126 | 0 | John Arnold of Stanford's 'Imaginary Planet' metaphor of Arktur IV | No ref | 1 |
| 125 | 0 | Without the ability to forger what we know our minds remain cluttered up with ready-made answers, and we never have the opportunity to ask the questions that lead off the path in new directions | No ref | 1 |
| 124 | 0 | "Because he never knows when these creative ideas may come together to form a new idea." | No ref | 1 |
| 123 | 0 | Get your creative juices flowing | No ref | 1 |
| 122 | 0 | Project post-mortem | No ref | 1 |
| 121 | 0 | Creative tension | No ref | 1 |
| 120 | 0 | If necessity is the mother of invention, play is the father. Use it to fertilize your thinking | No ref | 1 |
| 119 | 0 | You'll understand why play is the father of invention | No ref | 1 |
| 118 | 0 | Necessity is the mother of invention | No ref | 1 |
| 117 | 0 | You'll identify the places where you 'hunt' for ideas | No ref | 1 |
| 116 | 0 | You'll learn how to use impractical ideas as stepping-stones to practical, creative ideas | No ref | 1 |
| 115 | 0 | Breaking the rules can be an avenue to innovation | No ref | 1 |
| 114 | 0 | Writer's block | No ref | 1 |
| 113 | 0 | "I'm stuck!" | No ref | 1 |
| 112 | 0 | We need some new perspective on the problem | No ref | 1 |
| 111 | 0 | Fresh ideas | No ref | 1 |
| 110 | 0 | "I've got it!" | No ref | 1 |
| 109 | 0 | She's a bright spark | No ref | 1 |
| 108 | 0 | Flash of inspiration | No ref | 1 |
| 107 | 0 | Perception mapping | No ref | 1 |
| 106 | 0 | Rock logic, water logic | No ref | 1 |
| 105 | 0 | Lateral thinking | No ref | 1 |
| 104 | 0 | Psychological inertia as digging a hole | No ref | 1 |
| 103 | 0 | Be open and receptive to ideas (yours and others). New ideas are fragile; keep them from breaking by seizing on the tentative, half formed concepts and possibilities and developing them. | No ref | 1 |
| 102 | 0 | A hinge design appears to be the only conceptual approach to prohibiting the motion. | No ref | 1 |
| 101 | 0 | In this phase, the team works with the TRIZ software to ensure coverage of the entire solution space. This allows the team to look across engineering disciplines and identify potential solutions to the problem that may have been applied in other industrie | No ref | 1 |
| 100 | 0 | Problem definition | No ref | 1 |
| 99 | 0 | ...adopt a structured thought process that breaks pscyhological inertia | No ref | 1 |
| 98 | 0 | Compromise | No ref | 1 |
| 97 | 0 | Develop inventive solutions that eliminate both conditions without compromise | No ref | 1 |
| 96 | 0 | Unfortunately, no robust and cost effective solution was found | No ref | 1 |
| 95 | 0 | a number of design alternatives were explored | No ref | 1 |
| 94 | 0 | ...this can only ever be a partial solution to the problem | No ref | 1 |
| 93 | 0 | In the short term, recycling waste can reduce the problem substantially... | No ref | 1 |
| 92 | 0 | ...the biggest problem | No ref | 1 |
| 91 | 0 | It is a major problem which has gone on long enough and needs tackling seriously | No ref | 1 |
| 90 | 0 | It is the latest attempt to cure the problem in Cornwall resorts | No ref | 1 |
| 89 | 0 | ...the main problem adults found with child-proof packaging... | No ref | 1 |
| 88 | 0 | The result has been a potential Iraqi solution to a problem that threatened to spill way beyond the dusty streets of Falluja | No ref | 1 |
| 87 | 0 | There are some things holding us back | No ref | 1 |
| 86 | 0 | We have a problem | No ref | 1 |
| 85 | 0 | Build off each others' ideas | No ref | 1 |
| 84 | 0 | Find a balance between these parameters | No ref | 1 |
| 83 | 0 | Brainstorm | No ref | 1 |
| 82 | 0 | These two processes are interrelated, since one must be able to abandon or discard bad ideas quickly to enable the designer to create new ideas by exploring different possibilities | No ref | 1 |
| 81 | 0 | The creative process, where new ideas or solutions are generated in the absence of prior examples, and the analytical process, where design decisions must be made by evaluating the new ideas proposed. | No ref | 1 |
| 80 | 0 | The potential need to chain together several principles in order to achieve 'the' solution opens up a considerable problem | No ref | 1 |
| 79 | 0 | ...a correlation between the strength of an invention and the number of inventive principles that have been applied in order to achieve it | No ref | 1 |
| 78 | 0 | Trends of evolution | No ref | 1 |
| 77 | 0 | Design patterns | No ref | 1 |
| 76 | 0 | Design is a negotiation | No ref | 1 |
| 75 | 0 | Design is an argumentative process | No ref | 1 |
| 74 | 0 | Design is a social process | No ref | 1 |
| 73 | 0 | Much more likely is that the actual 'best' solution will emerge through the application of several principles acting in combination with one another | No ref | 1 |
| 72 | 0 | Occasionally the application of a single inventive principle will give the 'right' answer to a problem. | No ref | 1 |
| 71 | 0 | The inventive principles act as signposts directing systems to more ideal states | No ref | 1 |
| 70 | 0 | The matrix and this physical contradiction table are trying to offer more systematic approaches - and thus efficient shortcuts | No ref | 1 |
| 69 | 0 | Contradiction solution route: Separation in space, time and condition | No ref | 1 |
| 68 | 0 | improving.worsening parameter | No ref | 1 |
| 67 | 0 | TRIZ has uncovered a number of inventive strategies for overcoming such contradictions. Whenever we are faced with a physical contradiction, we should look to these strategies to help us generate inventive solutions | No ref | 1 |
| 66 | 0 | Physical contradiction resolution strategies | No ref | 1 |
| 65 | 0 | In order to make our research and findings visible | No ref | 1 |
| 64 | 0 | elgegant solutions | No ref | 1 |
| 63 | 0 | ...the strength of a solution | No ref | 1 |
| 62 | 0 | ...prefer to get straight to the idea generation stage | No ref | 1 |
| 61 | 0 | ...where it is not possible to find pairs of conflicting parameters... | No ref | 1 |
| 60 | 0 | ...identify problems | No ref | 1 |
| 59 | 0 | We have tried to ease this problem by... | No ref | 1 |
| 58 | 0 | ...different stages in the life-cycle of a typical engineering system | No ref | 1 |
| 57 | 0 | Amount of information... | No ref | 1 |
| 56 | 0 | ...difficulties users sometimes have in connecting their specific solution to the generic descriptions... | No ref | 1 |
| 55 | 0 | This assumption was useful but its integrity can be questioned | No ref | 1 |
| 54 | 0 | Break a problem down | No ref | 1 |
| 53 | 0 | ...or that a competitor will introduce a product with dramatically better performance than the product under development | No ref | 1 |
| 52 | 0 | Thorough exploration of alternatives early in the development process greatly reduces the likelihood that the team will stumble upon a superior concept late in the development process... | No ref | 1 |
| 51 | 0 | Good concept generation leaves the team with confidence that the full space of alternatives has been explored | No ref | 1 |
| 50 | 0 | ...the concept generation process | No ref | 1 |
| 49 | 0 | ...the team faced the following questions | No ref | 1 |
| 48 | 0 | The product that eventually resulted from the effort | No ref | 1 |
| 47 | 0 | Another trade-off is between cost and mass | No ref | 1 |
| 46 | 0 | Until a product concept is chosen and some of the design details are worked out, many of the exact trade-offs are uncertain | No ref | 1 |
| 45 | 0 | ...the freedom to achieve the specifications using the best approach possible | No ref | 1 |
| 44 | 0 | Mapping from needs to metrics | No ref | 1 |
| 43 | 0 | Ensure that no customer need is missed or forgotten | No ref | 1 |
| 42 | 0 | ...innovative solutions to customer needs may never be discovered | No ref | 1 |
| 41 | 0 | ...the degree to which the product satisfies the user needs | No ref | 1 |
| 40 | 0 | Target specifications | No ref | 1 |
| 39 | 0 | Target market | No ref | 1 |
| 38 | 0 | Lead users | No ref | 1 |
| 37 | 0 | Frequently customers will make assumptions about... | No ref | 1 |
| 36 | 0 | trade-offs | No ref | 1 |
| 35 | 0 | Identifying/observing customer needs | No ref | 1 |
| 34 | 0 | ...meeting specifications will therefore lead to satisfaction of the associated customer needs | No ref | 1 |
| 33 | 0 | this need is largely captured by... | No ref | 1 |
| 32 | 0 | translate needs to metrics | No ref | 1 |
| 31 | 0 | You don't take photographs you make them | No ref | 1 |
| 30 | 0 | Explore all the avenues | No ref | 1 |
| 29 | 0 | Leave no stone unturned | No ref | 1 |
| 28 | 0 | Pursue an idea | No ref | 1 |
| 27 | 0 | Constraints | No ref | 1 |
| 26 | 0 | Satisfy all the constraints | No ref | 1 |
| 25 | 0 | User needs | No ref | 1 |
| 24 | 0 | A half-baked idea | No ref | 1 |
| 23 | 0 | It's only a half-formed | No ref | 1 |
| 22 | 0 | This concept needs a little refining | No ref | 1 |
| 21 | 0 | Concept generation | No ref | 1 |
| 20 | 0 | Design is like a fluid-filled bag | No ref | 1 |
| 19 | 0 | Design conflicts | No ref | 1 |
| 18 | 0 | Contradictory requirements | No ref | 1 |
| 17 | 0 | Think outside of the box | No ref | 1 |
| 16 | 0 | Mental blocks | No ref | 1 |
| 15 | 0 | Conceptual blockbusting | No ref | 1 |
| 14 | 0 | Psychological inertia | No ref | 1 |
| 13 | 0 | A wicked problem | No ref | 1 |
| 12 | 0 | A helicopter view of innovation | No ref | 1 |
| 11 | 0 | A hard problem | No ref | 1 |
| 10 | 0 | Mental spaces | No ref | 1 |
| 9 | 0 | Explore the solution space | No ref | 1 |
| 8 | 0 | They're coming here for our intellectual property | No ref | 1 |
| 7 | 0 | The design process | No ref | 1 |
| 6 | 0 | The concept of a marker is a great bucket to put those comments in | No ref | 0 |
| 5 | 0 | Creators rather than discoverers | No ref | 0 |
| 4 | 0 | Intellectual Property | No ref | 0 |
| 3 | 0 | Discover a solution | No ref | 0 |
| 2 | 0 | Unravel the fuzziness of the creative front-end | No ref | 0 |
| 1 | 0 | The trends are signposts to good directions | No ref | 0 |