In design is curious to note the apparent lack of an important theoretical and methodological reflection on creativity, as we find in the fields of philosophy, science, mathematics, sociology and medical pathology, despite the creative spirit is the key and dominant element of the very design essence. Munari, with the delicacy that has always characterized him, defines creativity a production capacity where imagination and reason are connected so that the result obtained is always practically feasible. With creativity the designer, after analysing the problem to be resolved, seeks a synthesis between the data taken by the various components to find an optimal novel solution, where every single solution is merged with other second how that feels best to achieve a total balance. And here we find the Poincaré conditions so that creativity can be recognized: the "new", an optimal novel solution, and the "useful", the way which feels better to reach an outcome always feasible. But what it means to talk about creativity in the industrial design? And at which point in the inventing process is the creative contribution? Is an uncontrollable spark or might lead to a method? And if yes, are there methods to translate the creative spirit in use instructions for the designer? And again, how to teach to industrial design students to be creative? Or how to recognize the presence of creativity in design project and products? Although the issue is extremely complex and fraught with unknowns to the point that any model used to describe the stages of the creative process is only a crude approximation of something that is really quite fluid and can follow an infinite number of trajectories, the aim of this book is to investigate the path of creativity in order to provide a reflection on methodology that can be useful to designer to deal with greater awareness and determination the "creative gesture."

CREATIVE DESIGN PRACTICES. THE CREATIVE PROCESS IN PRODUCT DESIGN AND ENVIRONMENT FOR EDUCATIONAL

DOMINONI, ANNALISA
2008

Abstract

In design is curious to note the apparent lack of an important theoretical and methodological reflection on creativity, as we find in the fields of philosophy, science, mathematics, sociology and medical pathology, despite the creative spirit is the key and dominant element of the very design essence. Munari, with the delicacy that has always characterized him, defines creativity a production capacity where imagination and reason are connected so that the result obtained is always practically feasible. With creativity the designer, after analysing the problem to be resolved, seeks a synthesis between the data taken by the various components to find an optimal novel solution, where every single solution is merged with other second how that feels best to achieve a total balance. And here we find the Poincaré conditions so that creativity can be recognized: the "new", an optimal novel solution, and the "useful", the way which feels better to reach an outcome always feasible. But what it means to talk about creativity in the industrial design? And at which point in the inventing process is the creative contribution? Is an uncontrollable spark or might lead to a method? And if yes, are there methods to translate the creative spirit in use instructions for the designer? And again, how to teach to industrial design students to be creative? Or how to recognize the presence of creativity in design project and products? Although the issue is extremely complex and fraught with unknowns to the point that any model used to describe the stages of the creative process is only a crude approximation of something that is really quite fluid and can follow an infinite number of trajectories, the aim of this book is to investigate the path of creativity in order to provide a reflection on methodology that can be useful to designer to deal with greater awareness and determination the "creative gesture."
Maggioli Editore
883874324X
creativity; design practices; design innovation
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11311/545409
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