This week day equalled night.
I see the seasons as sine and cosine waves. Peaks and troughs for different phenomena offset from one another.
At the summer solstice, the hours of day light peak, but the rate of change of day light is zero. Nothing much seems to change.
At this time of year the hours of daylight are only half way between their winter and summer extremes, but the rate of change is at its maximum.
For an instant everything is in balance, when day equals night. But there is no pause. This is also the time of maximum change. We are now moving away from balance at the highest rate of the year.
Close up it is moving rapidly but taking the longview there is dynamic equilibrium.
I find lots I can draw inspiration from in my creative and design work at this time of year.
Continue reading “Inspiration from balance : when the day = night”
In my last post I asked how do I know if my ideas are any good? My answer was that a good idea is one that meets the requirements of the brief. In this post I turning the brief into requirements we can test – and how the process can be surprisingly creative.
Continue reading “Turning the brief into requirements we can test”
It’s a simple question. When I ask people what they want to get out of a training course with me on design or creativity, a common answer is ‘greater confidence that my ideas are good’. But how do I know if my ideas are any good? In this post I provide an answer that is simple, but that has deeper consequences.
Continue reading “How do I know if my ideas are any good?”
Today I’m sharing a principle of workshop design about how we gather feedback in workshops. But the principle also applies more widely to how we get feedback in design.
Continue reading “From would you think to what do you think – avoiding hypothetical feedback”
For anyone attending one of my conceptual design training courses, the second question I ask is what is conceptual design*. In this post I’ll give the definition I use and why I find it helps trainees.
Continue reading “What is conceptual design? – the defining features”
One of the first questions I ask people in my conceptual design training is can you define design as a process. In this post I explore why describing design as a process helps teaching and learning about design. I then share three models for describing design as a process, including my own.
Continue reading “How describing design as a process helps teach design”
For me the Designer’s Paradox is a key concept in helping people understand what the process of design is. The term was coined by my colleague at Think Up Ed McCann.
The Designer’s Paradox states that the client doesn’t know what they want until they know what they can haveEd McCann – see Think Up (2018). Conceptual Design for Structural Engineers (online) – notes and resources. Available here [Accessed: January 2021].
In this post I’ll explain why I think this observation is so useful and how we can use it.
Continue reading “The Designer’s Paradox – the key to unlocking the brief”
One way I use this blog is a jotter for ideas that I’m mulling over and discussing. By having all these musings in one place, I’m creating a sort of written Kalideascope. This weekend I’ve been thinking a lot about left-handedness.
Continue reading “Thinking book mark: handedness”
I regularly ask this question on my ‘How to Have Better Ideas’ workshops (the sequel to ‘How to Have Ideas’). It’s a short question that triggers a wide range of answers. But the one I am looking for is this:
‘A good idea is one that meets the brief’
My aim is marrying up the brief and the idea. I want to emphasise that the two should match. If the idea doesn’t meet the brief, then we have three consequences:
Continue reading “How do you know if your idea is any good?”
You are in a state of flow. The next action flows from the previous. You are in the moment. Then boom, in comes an email that sets off a chain reaction of anxiety and worry. At least that’s what just happened to me. Your creative surplus – time and attention – gets burned on managing your personal response to that email. You are back to zero. What do you do next?
Continue reading “The email that knocks out creative surplus”