Discover methodologies to find design ideas that serve as universal solutions for various design challenges.
Part 1
Design is the result, strangely enough, not of divine inspiration, but of analytical processes occurring in the brain of a person capable of abstract and figurative thinking.
In this general sense, thinking as a whole involves the dissection of objects of consciousness and their unification. By knowing objects, we dissect them in a certain way, highlighting and examining separately their various aspects, properties, connections, that is, we perform “analysis.” Thinking, in general, is a reflection through abstractions.
Then we synthesize something new from the dissected information, which is an individual product of our thinking. This process in design can be observed in the formulation of the TASK and the finding of SOLUTIONS.
TASKS in design are divided into: functional, figurative, constructive, economic, subjective, etc. All these tasks are closely interconnected and are hierarchically dependent on each other. A change in one layer inevitably leads to changes in other layers.
1. Therefore, the more universal the SOLUTION, the higher its quality from a design perspective.
2. The artistic component can be distinguished from this close interconnection in such a way that it is subjected to minimal influence from other TASKS, and
in turn, has minimal influence on them. This concept has gained popularity in the DECORATIVE approach to design.
DECORATING differs from DESIGN primarily in that decorators work with the mutable, mobile, “superficial” layer (textures, colors, accessories, furniture). Designers work comprehensively, starting from planning, solving ergonomic tasks, calculating lighting, and ending with decoration: selecting finishing materials, furniture, and accessories.
Where to find ideas for design?
Part 2
To find an IDEA for design that serves as a universal SOLUTION (CONCEPT) for most design TASKS, the following METHODOLOGIES exist:
1. ANALOGOUS DESIGN
This involves collecting analogs (constructive, figurative, functional, direct) and analyzing them. Identifying ready-made principled solutions in them, eliminating unnecessary TECHNIQUES.
And finally – synthesizing a CONCEPT. A SOLUTION for any TASK can be created anew, without analyzing analogs. For example, a FIGURATIVE SOLUTION. It can be independent, as the number of figurative variations is countless, and there is more freedom for creativity here.
2. STYLIZATION
Here, the principle of “pulling out” a series of TECHNIQUES is used and applying them either in their pure form or in another context. For example, we take the PRINCIPLE of “pointed arch” and project this SHAPE-FORMING PRINCIPLE onto all forms that combine rectangularity and radiality. Or we DEVELOP THIS THEME, trying to find in this PRINCIPLE a variety of SOLUTIONS, selecting those that are either most adequate to the task or provide a FRESH PERSPECTIVE on a frequently recurring TASK.
3. FROM CONSTRUCTION TO CONCEPT.
The construction can be veiled or emphasized. But in this approach, it cannot be ignored.
The logic of the constructive solution can set the RHYTHM and METRE, the relationship between the GENERAL and the PARTICULAR, the MASS and the OPENWORK. Identifying CAPACITY AND FILLING. CENTER AND SURROUNDING. CONSTRUCTION sets the LOGIC and HIERARCHY OF PARTS. A construction usually has a self-sufficient MEANING, which can become an important part of the concept.
4. FROM FUNCTION (ERGONOMICS) TO CONCEPT.
Ergonomics and construction can be self-sufficient CONCEPTS, can complement each other, or can contradict each other. The CONCEPT is intended to soften this DISPUTE, serving as a connecting link, a common logic. Finding a CONCEPT is a kind of GAME, where there are no prohibitions except for INATTENTION TO DETAILS.
5. FROM OBJECT TO CONCEPT.
Suppose we have some given object from which we have to start. For example – a chair.
And there’s nothing we can do about it. It already exists. Then we have two possibilities. The first is to study the object and identify its SHAPE-FORMING PRINCIPLE and MEANING. Then hypertrophy this principle either through multiple repetition, or by changing the scale, or by cleansing it of unnecessary techniques.
6. FROM PHILOSOPHY (IDEA) TO CONCEPT.
7. FROM CLIENT TO CONCEPT.
8. FROM PSYCHOLOGY TO CONCEPT.
9. FROM COLOR SOLUTION TO CONCEPT.
10. FROM IMAGE TO CONCEPT.
11. METHOD OF CORRECTING ERRORS.
12. FROM GEOMETRY TO CONCEPT.
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