ELECTIVE-THEORY OF DESIGN Il-DESIGN METHODOLOGY MOVEMENT -VARIOUS MODELS OF THE DESIGN PROCESS -PROBLEMS & SOLUTIONS -IDEAS OF ESCALATION/REGRESSIONThe very word ‘design’ is the first problem we must confront in this book since it is in everyday use and yet given quite specific and different meanings by particular groups of people. The first map we might examine is that laid out for use by architects in the RIBA The handbook tells us that the design process may be divided into four phases: Phase 1- assimilation The accumulation and ordering of general information and information specifically related to the problem in hand. Phase 2- general study The investigation of the nature of the problem. The investigation of possible solutions or means of solution. Phase 3- development The development and refinement of one or more of the tentative solutions isolated during phase 2. Phase 4 -communication The communication of one or more solutions to people inside or outside the design team.A map of the design process according to the RIBA plan of work assimilation general study development communication ‘usual terminology’: A-B Briefing C-D Sketch plans E-H Working drawings JEM Site operations Two academics, Tom Markus (1969b) and Tom Maver (1970) produced rather more elaborate maps of the architectural design process K.KEDHEESWARAN B.Arch Asst.Prof,Cbethe architectural design process [ analysis synthesis appraisal decision outline proposals fT analysis +| synthesis + appraisal +] decision scheme design fT t [ analysis synthesis appraisal decision detail design { K.KEDHEESWARAN BArch Asst. ProfAmore honest graphical representation of the design process evaluation synthesis The design process seen as a negotiation between problem and solution through the three activities of analysis, synthesis and evaluation K.KEDHEESWARAN B.Arch Asst. Prof,CbePROBLEMS AND SOLUTIONS Dees are cu A model of Deseo mn and judgement in design ff design problems | and the design process Designers are traditionally identified not so much by the kinds of problems they tackle as by the kinds of solutions they produce. Industrial designers are so called because they create products for industrial and commercial organisations whereas interior designers are expected to create interior spaces. Most architects could turn furniture designer to design a wooden chair, although a furniture designer would probably claim to be able to recognise architect-designed chairs A different context and thus have already developed a ‘timber language’ with a distinctly architectural accent. The imposed loads and methods of construction of buildings Argument suggests that architecture must be more complex than industrial design since buildings are larger than productsThe components of design problems 7 produet design : aR c ) A tree’ of three dimensional CAP yy | design fields architecture ; OV turban design town planning The beginning and end of the problem There is no way of deciding beyond doubt when a design problem has been solved. THERE IS NO NATURAL END TO THE DESIGN PROCESS Designers simply stop designing either when they run out of time or when, in their judgement, K-KEDHEESWARAN B.AThe components of design problems One of the essential characteristics of design problems then is that they are often not apparent but must be found. Unlike crossword puzzles, brain-teasers or mathematical problems, neither the goal nor the obstacle to achieving that goal are clearly expressed. In fact, the initial expression of design problems may often be quite misleading. If design problems are characteristically unclearly stated, then it is also true that designers seem never to be satisfied with the problem as presented. Eberhard (1970) has amusingly illustrated this sometimes infuriating habit of designers with his cautionary tale of the doorknob. a doorknob is the best way of opening and closing a door’. Soon the designer is questioning whether the office really needs a door, or should even have four walls and soon. political system which allows this organisation to exist is called into question ESCALATION leads to an ever wider definition of the problem Respond to a design problem by what Eberhard calls RegressionTHE DESIGN FIX Aclient once asked me to design an extension to his house. BEDROOM STUDY KITCHEN views mea ACOUTICS were SITE ROOF GEOMENTRY The definition of such problems then is a matter of deciding just how much of what already exists can be called into question. Design problems do not have natural or obvious boundaries but, rather, seem to be organised roughly hierarchically THE MULTI-DIMENSIONAL DESIGN PROBLEM Design problems are often both multi-dimensional and highly interactive.Architect Philip Johnson is reported to have observed that some people find chairs beautiful to look at because they are comfortable to sit in, while others find chairs comfortable to sit in because they are beautiful to look at. Both the visual and ergonomic aspects of chair design Geometry and construction of these chair legs must provide stability and support, allow for interlocking when stacked and be sympathetic to the designer’s visual intentions for the chair as a whole Buildings the window offers an excellent example of another unavoidably multi-dimensional componentheat loss sete gin thormal entiation atontion ‘0m acoustics Ci = Some of the complex array of issues a involved in designing a window transmission ‘annoyance artighting viow | lare sunlight privacy Paysics PSycHO.PHYSICS PsycHoLocy K.KEDHEESWARAN Birch Asst. ProfiCbeSub-optimising Chris Jones (1970) summarises how John Page, a professor of building science, proposes that designers should adopt what he calls a cumulative strategy for design in such a situation. This would involve setting carefully defined objectives and criteria of success for the performance of the window on all the dimensions we have identified. Enlarging our window may well let in more light and give a better view but this will also result in more heat loss and may create greater problems of privacy The integrated solution advent of modern building science this is just how windows were designed. the finest period for window design in England was the eighteenth century The vertical proportions of Georgian windows positioned near the outer edge of the wall and with splayed or stepped reveals gave excellent daylight penetration and distributionMeasurement, criteria and judgement in design Measuring the success of design a design solution is characteristically an integrated response to a complex multi- dimensional problem. K.KEDHEESProblems, solutions and the design process The only person who is an artist is the one that can make a puzzle out of the solution], Karl Kraus, Nachts The advanced technocratic society for which the contemporary designer works is itself changing rapidly Now and when Designers are therefore all ‘futurologists’ to some extent at least two ways of being unpopular. First, the new often seems strange and therefore to some people at least unsettling and threatening. Second, of course, the designer can turn out to be wrong about the future. It is very easy with that wonderful benefit of hindsight to see design failuresAbstract expressionism Naw York art movement that presented large-scale works containing forms not found in the natural world. Pictured is ‘Cubi VI (1963), by the American sculptor David Smith. a mca 3S Dit a Stam Art deco ‘An elegant decorative style that celebrated the rise of technology and speed via geometric designs and streamlined forms. Pictured is the art deco spire of the Chrysler Building in New York, built 1928-1920. JUGEND. Sapa Art nouveau Arich omamental style of decoration, rooted in romanticism and symbolism and characterised by undulating lines and highly stylised natural motifs, as shown on this magazine cover.Arts and Crafts Movement A decorative arts, furniture and architecture movement that sought to reverse the demise of baauty at the hands of the Industrial Revolution. Shown here is Artichoke wallpaper (c.1897) by John Henry Dearie for William Mortis & Co. Avant garde An artistic work that pushes the established limits of what is considered acceptable, often accompanied by revolutionary, cultural or political connotations or ideas. Pictured is Fountain (1917) by Marcal Duchamp. K.KEDHEESWARAN Birch Asst. ProfiCbe abc ‘An approach to design that featured the use of the three basic primary shapes and colours, and geometric fonts to convey a sense of modernity. Pictured is Bayer Universal, by Herbert Bayer, a font based on geometric forms.Sticking paper and other media together in unusual ways (collage), or juxtaposing and/or superimposing pictures or designs to form a new image (montage). Pictured is Das Undbild (1919) by Kurt Schwitters. Amodem art movement that used industrial materials such as glass and steel to create non- representational objects, with a ‘commitment to total abstraction. Pictured here is a photo montage by Tatlin, 1924. K.KEDHEESWARAN B.Arch Asst. Prof,Cbe An art movement that rejected the single viewpoint and presented fragmented subjects from different viewpoints simultaneously. Pictured is Le guitariste by Pablo Picasso (1910).A graphic structure used to Asstyle that is considered to organise the placement of be an inferior, tasteless copy of elements within a design. an extant style of art, that may Abaseline grid acts as a be overty sentimental and/or Positioning guide for taxt, Pretentious, or mass produced pictures, diagrams, folios, strap _—items considered trite and crass. lines, columns and so on. Pictured, German Lohengrin legend postcard (c.1900) by an unknown artist. K.KEDHEESWARA BvArch Asst Prof.CbeAa Modernism Pointillism Postmodemism A movement that was shaped A painting style featuring tiny Accreative movement that by Westem industrialisation dots of primary colours that, retumed to earlier ideas of and urbanisation and favoured when viewed from a distance, adomment and decoration as simple, utilitarian traits and merge to produce secondary it questioned the notion of a rejected elaborate decoration. colours. Television screens work _ reliable reality by deconstructing Pictured is Lake Point Tower ‘on a similar principle. Pictured is authority. Pictured, Jeff Koons's in Chicago, USA, designed by 2 Gotail of La Parade (1889) by Puppy at the Guggenheim Schipporeit and Heinrich, ‘Georges Seurat. Bilbao Museum in Spain. K.KEDHEESWARAPsychedelia ‘Surrealism ‘Acounter cutture that ‘Amovement that sought to challenged traditional roloase the potential of tho boundaries in music, art unconscious mind by depicting ‘and design, and saw the the real without being use of bright and eclectic constrained by reality. We colour schemes, interference recognise what we see but itis patterns and curves. Shown not as we would expect it to be. there is Brian Exton's Land of Pictured is La Trahison des Psychedelic lituminations. Images (1928-1929) by Magritte. HEESWARAN Birch Asst, Prof,CbeA repeated geometric design that covers a surface without gaps or overlaps, used in wallpaper design to provide a seamless pattern, Vernacular The everyday language through which a group, community or region communicates. Designers can incorporate ‘the vernacular through “found ttoms (such as street signs) or slang, for example. Zeitgeist The moral and intellectual trends of a given era, the spirit of the age. Fashion, art and design are all subject to the zeitgeist and its reflected in everything from the height of hemilines to typography.IN-CREATIVE THINKING - Understanding the term creativity - Theories on thinking: convergent and divergent thinking, lateral and vertical thinking -Understanding of problem -Design tacticsDESIGN THINKING THINKING ABOUT THINKING the thought processes which are required to identify and understand those design problems and create design solutions. we will need to consider the principles, strategies and tactics which designers use in this mental process. The traps and pitfalls that frequently beset them and examine how designers use drawings, work in groups and with computers. all designers are not philosophers for whom the thought process itself is centre of study, Designer's thinking is directed towards some physical end product the nature of which must be communicated to others who may help to design it and to construct it History of COGNITIVE PSYCHOLOGY reveals many conflicting views about the nature of thought and the thought process from the most mechanistic to the most mythical.The word ‘thinking’, like the word ‘design’, is used in so many ways in everyday language that we need to specify exactly which versions of it we are examining The word ‘think’ which we apply to the act of concentrating or simply paying attention, as when we say ‘think what you are doing’. The great British philosopher and student of thought, Ryle (1949) described even this last version of thinking as being ‘polymorphous’. THEORIES OF THINKING The ‘behaviourist’ theories of thinking hardly admitted that thinking was any more than very mechanistic behaviour which just happened to go inside the head. The Gestalt psychologists were more interested in how we solved problems, and more recently the cognitive science approach has tried to study humans as information processorsTHE BEHAVIOURISTS Thorndike’s early writings many behaviourist psychologists tried to explain thinking purely in terms of direct associative links between stimuli and responses Really only sub-vocal speech or ‘talking to ourselves’ some experimenters found evidence of peripheral muscular activity during thinking Osgood and Berlyne eventually abandoned the search for ‘muscular thought’ and introduced the notion of purely cortical responses. theories have appeared most successful in explaining behaviour such as learning and the acquisition of physical skills. The rat in the psychologist’s maze can be seen as learning to associate the response ‘left’ or ‘right’ with the stimulus of each junction the thinker is not wilfully controlling direction but, rather, is allowing the thought stream to wander.THE GESTALT SCHOOL Gestalt theories of thinking concentrate on processes and organisation rather than mechanisms problem-solving as grasping the structural relationships of a situation and reorganising them until a way to the solution is perceived. mental tricks include trying to redescribe the problem in another way and the use of analogy as a way of shifting the mental paradigm Gestaltists were also very interested in perception and, therefore, stressed the importance of context in thought THE COGNITIVE SCIENCE APPROACH The advent of electronic communication devices and information processing machines such as computers has generated a new perspective on human thought. cognitive psychology reports experiments in short-term memory, discrimination, pattern perception, and language and concept formation all using information theory to provide the yardstick for human performance. Other workers in this field have proposed theories of human problem-solving based on the model of the computer program.The cognitive psychologists, while building on the Gestalt tradition, also follow on from the first flush of enthusiasm shown by psychologists for applying information theory to human thought, but are less fanatical about its potential The cognitive science approach is strongest when dealing with well-ordered problem- solving situations rather than the ill-defined ‘wicked’ problems which are so characteristic of design. TYPES OF THINKING Artistic and creative thought as well as daydreaming are normally considered imaginative Many kinds of problems, even in such apparently logical disciplines as engineering mental processes are bipolar, being influenced both by the external world and by inner personal needs Problem-solving obviously requires more attention to the demands of the external world than to inner mental needs.Design is directed towards solving a real world problem while art is largely self- motivated and centres on the expression of inner thoughts. The control and combination of rational and imaginative thought is one of the designer’s most important skills and we shall discuss this crucial issue Thought and personality intellectual factors could be divided into the two major groups of thinking and memory cognition factors of human thought have to do with becoming aware of and understanding classes of objects or ideas analytic ability to classify and recognise the differences between THE STRUCTURAL SYSTEMS EMPLOYED IN ROMANESQUE AND GOTHIC CHURCHES Productive thinking and design the notion of ‘productive thinking’ he was primarily concerned with the directional quality of thought: ‘what happens when, now and then, thinking forgestwo main modes of productive thinking which he calls ‘thinking in closed systems’ and ‘adventurous thinking’ Closed system thinking Closed system thinking can be highly creative as in the case of discovering new mathematical proofs or making anagrams. Bartlett identifies two processes in closed system thinking, interpolation and extrapolation Adventurous thinking often depends for its success upon elements not normally related being brought together in a new way, hence its adventurous nature the literature on productive thought we find a variety of closely related binary divisions between, on the one hand, rational and logical processes and, on the other hand, intuitive and imaginative processes. two major categories have become known as convergent and divergent productionO oO @ @ O @ oO a convergent task: complete the sequence oO a divergent task: what might this represent? Convergent ability is measured by many of the conventional IQ test problems and has been associated with ability in science The divergent task demands an open-ended approach seeking alternatives where there is no clearly correct answer Divergent ability can be measured by tests mistakenly called creativity tests such as ‘how many uses can you think of for a brick’ and divergent ability has been associated with skill in the arts.Guilford and others treat convergent and divergent thinking as separate and independent dimensions of ability which can occur in any proportions in an individual. design is rarely an optimisation procedure leading to one correct answer, divergent thinking will be required Design clearly involves both convergent and divergent productive thinking and studies of good designers at work have shown that they are able to develop and maintain several lines of thought in parallel CREATIVE THINKING Describe design as one of the most creative of human pursuits. The so-called creative arts include musical composition, painting, sculpture and the various forms of two- and three-dimensional design. Margaret Boden (1990) has proposed that it is useful to distinguish between what she calls H-creativity and P-creativity. H-creativity is that which results in novel and fundamentally new ideas in the history of the worldEinstein's discovery of relativity or the moment when Archimedes leapt from his bath shouting ‘Eureka!’, are both moments of H-creativity. P-creativity, whilst less glamorous is none the less important to us here. For Margaret Boden rightly points out that an idea which is fundamentally novel to the individual mind is still of great significance. The general consensus is that we may identify up to five phases in the creative process (Fig. 9.1) which we will call ‘first insight’, ‘preparation’, ‘incubation’, ‘illumination’, and ‘verification’ (Kneller 1965). The architect/engineer Santiago Calatrava has produced some of the most imaginative and innovative structures of our time, but all in response to specific problems: ‘It is the answer to a particular...first insight |} formulation of problem preparation }] conscious attempt at solution incubation |} no conscious effort illumination |} sudden emergence of idea verification |} conscious development The popular five-stage model of the creative process SPEED OF WORKING many good designers for time consumption they posses working methods. K.KEDHEESWAGUIDING PRINCIPLES The designer does not approach each design problem afresh with a tabula rasa, or blank mind, MORALITY AND DESIGN Design in general can be seen to pass through phases of relative certainty and doubt. Walter Gropius (1935) who was largely responsible for the creation of the Bauhaus, itself a cross-disciplinary school of design, announced this period of confidence by claiming that ‘the ethical necessity of the New Architecture can no longer be called in doubt’. Victorian Gothic revival not only as structurally honest, but as an architectural representation of the Roman Catholic faith. 8 Le Corbusier advancing his own variation on this theme in his famous treatise The Modulor. (Fig. 10.1) He proposed a proportional system based on numbers which he claimed could be derived from the ratios of parts of the human body and which, therefore, had some deep significance and rightness = 70 140 13The word ‘fashion’ itself has come to stand for something temporary and passing. DESIGN STRATEGIES designers to carry some set of guiding principles with them through their working lives. The early years of the design methodology movement were characterised by a tendency to look for common features in the design process or at least to classify design strategies. Begin at the beginning the process starts with some sort of problem and finishes with some sort of solution, empirical evidence suggesting that designers use what we might call solution rather than problem-focused strategies design problems cannot be comprehensively formulated and that solutions cannot be logically derived from themTHE BRIEF Conventionally a design begins with a brief, which we may imagine a designer is given bya client. Ina study of architects and their clients, most of the architects argued that they preferred to be involved with the project from the very beginning Some clients are experienced at their job, and may even be acting in that capacity professionally. The architect and interior designer Eva Jiricna tells how, in her experience, ‘we never, ever get a brief from a client which we can start working on’ (Lawson 1994). Now this might seem problematic for designers, but when asked about this most of them are quite happy to receive briefs which are very brief indeed!DESIGN TACTICS Part of the art of dealing with wicked problems is in the act of not knowing too early which type of solution to apply. Rittel and Webber, Dilemmas in a General Theory of Planning Methods and tactics The ways in which designers choose to control their thoughts, either consciously or not, during the design process. Turn our attention to overcoming the obstacles ,To productive and creative thought in the design process The human mind are not just an issue for designers they must be addressed by all creative and productive thinkers. Arelatively small number of principles underlying all this advice which are based on controlling the direction and quality of thought. Edward de Bono’s famous use of ‘lateral thinking’ is An exhortation not to rely entirely on what he calls ‘vertical thinking’.‘vertical thinking’ as the tool we use to dig holes deeper and bigger, whilst ‘lateral thinking’ leads us to dig another hole Many devices recommended for more productive thinking are based on devices for changing the direction of thought. UNDERSTANDING THE PROBLEM. Five mental tricks are used: asking the designer to think of ways of relating people or issues by ‘conflict’, ‘contradiction’, ‘complication’, ‘chance’ and ‘similarity’ the game might proceed by identifying people involved in the design situation as being in conflict or seeing things from different points of view (contradiction), or seeing that things may not be as simple as originally thought (complication). The model of problems Possible to explore a design problem by visiting all the boxes combining constraint generators, domains and functions trying to think of some problems relevant to this project Reference to the model of design problems from time to time during the design process may reveal the rather distorted attention which can otherwise develop. “Good designers may do this without the need for such tools and such a self- conscious approach”.BROADBENT’S METHOD relies upon four distinct ways of generating design form which he called, ‘pragmatic’, ‘iconic’, ‘analogical’ and ‘canonic’ methods. a complete design method could find the designer using all four of his tactics in an ordered and organised way, and then selecting from amongst the solutions produced. Pragmatic design is simply the use of available materials methods of construction, generally without innovation, as if selecting from a catalogue. The designer has a good grasp of the strengths and weaknesses of traditional and established techniques this method certainly has its uses... Iconic design is even more conservative in that it effectively calls for the designer to copy existing solutions The commercial psychologist, Conrad Jameson (1971), has been critical of architects for beginning their design process with a blank sheet of paper as if each problem were entirely new.By using ICONIC TECHNIQUES DESIGNERS might begin with existing solutions and modify them to meet the new conditions. This might lead to a greater stability and avoid the commonly found errors in which designers miss the clever way in which vernacular designs solved problems, although it is also possible that such a technique could perpetuate errors... Canonic design relies on the use of rules such as planning grids, proportioning systems and the like. The classical architectural styles Renaissance approach, Vitruvius and later Alberti Le Corbusier’s ‘modulor’ can be seen as an attempt to produce canonical rules that allowed for more iconoclastic designs. Analogical design results from the designer using analogies with other fields or contexts to create a new way of structuring the problem. Techniques such as brainstorming and synectics rely on the assumption that a group of people are not likely all to approach a problem in the same way, and that if the natural variety of the individuals can be harnessed the group may be more productiveDivergence Divergence is the expansion or spreading out of something from a central point or theme. This can be clearly seen in fields as diverse as market segmentation and typography. Divergence occurs as both an instigator and a response to divergence in society at large as designers respond to changing demographics, and the increasingly diverse market segmentations of their clients. Convergence Convergence is the contraction of something towards a central, more generalised point. In design, although the overriding tendency is towards divergence, convergence can still be found in areas such as Brands nowadays often take products back to a more basic state or pro- branding time - when a tin of tomatoes was just a tin of tomatoes, for example. Transformation Transformation involves a substantial qualitative change, such as the redesign of a visual identity, or a repackage in order to facilitate a new distribution method. -@- en Moving away incitfrent The coming topsthor of two oF ‘A qualitative chango in ‘Srectons from a commen pont. more entities tow cena... Appearance or charactec ‘Aso called branching out. point or common ground.Python philosophy Derived from ideas presented by Tim Peters in The Zen of Python, these tenets include: beautiful is better than ualy; simple is better than complex; sparse is batter than dense; readability count; practically beats purity; and refuse the temptation to guess. White space ‘Some believe that white space allows key design elements to breathe and be ‘easly soon. It also helps the viewor fo focus attention on ther, giving thom (greater impact. ae Themes of thinking n Toxt minimisation This tenet suggests that text should be kept to a minimum, with sentences De: pared back to shor, sharp phrases that have a meaningfulimpact. Graphic impact ss According to many designers, graphics should create a visual impact that grab Shem the attention and reinforces text communication. However, graphics that go so ‘overboard and are too large, complicated or numerous are distracting. Seale Designers need to think about scale, an easily forgotton aspect when designing ‘on screen. Design proofing needs to include an actual scale proof for small- or large-scale items such as stamps or posters to ensure that taxt and graphics a Of sufficiont scale to be comfortably read. User-contred design (UCD) User-centred design (UCD) places the needs, desires and limitations of the usor at the contro of every stage of the design process and requires designers, to foresee how they are likely to use the resulting product. Ergonomics Ergonomics isthe practice of dasignng in accordance with physical human ‘noods, to optimise porformance and minimise discomfort. Ergonomics focuses (on safety, efficiency, productivity and health in work settings to ensure that terewen products, services and envronmonts are compatible with the human form. co and finally... IMTOWTD! (pronounced Tim Toady) (Shim rates ror tm nto cat ee This moans simply that ‘there is more than one way to do it’ and follows the ‘re hey at ingot tem saps goes te belief that a problem may have several cflerent, But LUN VA Sbtions. Ast. Prof EBte ames tans aceCREATIVITY | An exploration of lateral thinking techniques to enable more robust problem solving K.KEDHEESWARAN Birch Asst. ProfiCbe¥ Te Lateral Thinking hy }& K.KEDHEESWARAN B.Arch Asst. Prof.CbeLateral thinking is an unorthodox approach to problem-solving, often looking at a problem from other 'sides' rather than head-on... 7 h K.KEDHEESWARAN B.Arch Asst. Prof.Cbe... regular versus linear thinking. Lateral Thinking K.KEDHEESWARAN Birch Asst Prof,CbeDeconstructing Creativity We'll do that by looking at how the music created the famous musician Album . ..and comparing a linear approach to the lateral approach that they took. Lateral Thinking K.KEDHEESWARAN Birch Asst. ProfiCbe+ Normal Logical Thinking — Step 1 - Identify the problem or opportunity — Step 2 - Logically, analytically generate alternatives — Step 3 - Select the best Let’s start with a normal, linear approach to the problem of creating anew and exciting album. Make anew Rock album Arrange Use J&P Chuck Barry unrecorded Write songs old new songs songs That’s not very exciting. h K.KEDHEESWARAN B.Arch Asst Prof.CbeHow they did it * Lateral Thinking — Step 1 - Identify the problem or opportunity — Step 2 - Generate a new, unrelated, thought or idea = Step 3-Extract principles or characteristics from the idea — Step 4 - Logically explore the relationship of the characteristic to the problem — Step 5 - Select the best alternative(s) Now let’s look at their lateral thinking approach. =e Make anew Rockalbum = oa Be cat Make an opera Opera Fat Tella singers lady sings story Duets with —_Fat lady Write opera on cover songs singers of album that tella story K.KEDHEESWARAN B.Arch Asst.Prof,Cbe* CREATIVE LATERAL THINKING *Two middle steps are most important Step 1 - Identify the problem or *One of them is not: opportunity — Rational — Step 2- Generate a new, unrelated, — Sensible thought or idea <2 [togieal — Step 3 - Extract a principle or —. Reasonable characteristic from the idea , +All other steps are logical — Step 4 - Logically explore the - relationship of the characteristic to +All creativity uses this same template, or the problem a simple variation on it. — Step 5 - Select the best alternative(s) So what did we learn? rarelly. Rule While the first idea May seem silly, the technique’s value is its ability to get you to see ideas you are not normally able to contemplate. K.KEDHEESWARAN Birch Asst. ProfiCbeLateral Thinking Techniques \ K a t roe, LI Raney emerscose,Lateral Techniques - Generic Process Step 1 - Identify the problem or opportunity where you need to generate alternative solutions Step 2 - Generate a new thought or idea Step 3 - Extract a characteristic or principle Step 4 - Logically explore the relationship of the characteristic to the problem Step 5 - Select the best alternative(s)1. Escape Technique Step 1 - Identify the problem or opportunity where you need to generate alternative solutions Step 2 - List characteristics of that issue that we normally take for granted — Choose one characteristic Step 3 - Change the characteristic in some way, or eliminate it Step 4 - Logically explore the relationship of the changed characteristic to the problem Step 5 - Select the best alternative(s)Escape Technique Practice Naieeame pega Process 35 rena ak for rated ‘Cheate ane charctersic ‘Step Change the characteristic some ‘Step Select the best alternatives)Technique Review * What did you learn? K.KEDHEESWARAN Birch Asst. ProfiCbe2. Random Entry Technique Step 1 - Identify the problem or opportunity where you need to generate alternative solutions Step 2 - Select a word at random + Use a dictionary and select two numbers at random — one for the page, one for word on the page (a noun) Step 3 - Extract a principle or characteristic from the random word Step 4 - Logically explore the relationship of the characteristic to the problem Step 5 - Select the best alternative(s)