My starting point for gathering inputs to a creative project is the working brief. The technique that I use with participants in my workshops is what I call the ‘brief explosion’, the first stage in the process of ‘Filling the Kalideacope’. It’s an explosion because from just a few brief words you can generate so many inputs.Continue reading “Brief explosion – starting a creative project”
Yesterday I wrote about the inputs you might gather at the start of a creative project. These are what I call inputs in the moment. But there is a different sort input that is only available to you if you put in the work to gather them. I call these creative inputs over time.Continue reading “Filling the Kalideascope – creative inputs over time”
In my last post I described the Kalideascope as a tool for having ideas. You fill it with inputs and then turn it to create new the connections between those inputs which constitute new ideas. In this post I will give an overview of the different kinds of inputs to the creative process you might look for.Continue reading “Filling the Kalideascope – creative inputs in the moment”
In my last post I cited James Webb Young’s definition of an idea as being a new arrangement of existing elements. He goes on to suggest having an idea is like using a kaleidoscope. As I explain in this second video on creative thinking, in my teaching I encourage participants to create their own kaleidoscope dedicate to generating ideas – a Kalideacope.Continue reading “Build a Kalideascope for creative thinking”
This course, which I deliver at Constructivist for the Institution of Structural Engineers is my longest running conceptual design training course. It is an introductory course, which splits conceptual design up into three phases: establishing the brief, creative thinking and convergent thinking and provides simple models for understanding each of these phases.Continue reading “Training course – Introduction to Conceptual Design for Structural Engineers”
I spend most of my time designing creativity training for engineers. In this episode we flip the format. Alexie Sommer, Independent Design and Communication Director and collaborator on many of my projects interviews me about why I set up Eiffel Over and Constructivist Ltd, and what our plans are for designing creativity training for engineers in 2020. We get into:
- Techniques for teaching creativity
- Our programme of training support people tackling the climate emergency
- And what engineers might learn from clowns.
My Dad and I talk about chords. How would you get from one key in a piece of music to another? To onlookers, it might seem as though we are playing a game of Mornington Crescent. But it makes sense to us.
This evening I put on the second movement of Ravel’s String Quartet in F, which I love. It’s a plucky effervesecent number, with a soaring, bowed second phrase in a completely different key. I sat down at the piano to work it out. The first section is in D minor, and the second part is in F# minor. The common note that allows the connection is A. But in all my years hammering things out on the piano I have never noticed this as a possible transition, in any key.Continue reading “From Dminor to F#minor – new adventues in chord transitions”
This week I have had the feeling that I have been struggling recently to find focus on my creative work. I have lots of projects on at the moment, and I am not satisfied that I am being able to draw a cohesive thread between them. I think this is important because I subscribe to the idea that to have impact on your work, you need to be regularly adding to it in a disciplined way – always adding momentum to the fly-wheel, as Jim Collins puts it.Continue reading “Olafur Eliasson at the Tate + reflections on my own work”