Category: Design

Rolf Jensen says so, but that doesn’t feel quite right to me. Though his point of view is certainly interesting…

In the Dreamtelligence era, we trade in stories and dreams, in the extraordinary and the implausible. In this new age, industry can make anything you want, but what it can’t manufacture is fantasy – and that’s where imagination comes in, for both brands and consumers. The blur between fantasy, reality, adulthood and childhood is inspiring brand communications that truly enchant, surprise and engage. Designers are dreaming up playful landscapes – playscapes – to which our inner child can escape, and to give consumers the ability to discover through playful interaction with products, spaces and brands.

We live in a fantasy world and we need to make products to fill it,’ says Rolf Jensen, chief imagination officer of futures consultancy Dream Company. ‘Fantasy products may never materialise in the real world. They could be robot milk, a computer game or a concept car. The product is a by-product of a fantasy.’

Here’s a quick clip of Brad Bird talking about the film creation process and giving up particular ideas for the good of the overall concept. I find that’s one thing people learn along the way: it’s good to critique and trash ideas, just as long as it doesn’t get personal.

His dig on “businessmen” is over-generalization of course, and we understand his point: making a film is a design process, and can’t be reduced to analysis.

The clip is from an interview on The Incredibles DVD, and includes bits of negotiation between Bird and the producer who has to get the film made on-time and on-budget, an insightful peek into how Pixar makes fantastic movies and fantastic profits.

Concept Art is distinct from the design concepts I talk about here, but they do converge at the point of expressing a powerful image of the artifact. The Concept Design book, by Scott Robertson with a forward by Francis Ford Coppola, collects the work of seven concept artists, but the book has been sold out. I’m happy to discover they’ve posted this online version as a reference…

Concept Design Book

Now here’s a little nugget of gold for concept hunters like myself: The Office for Metropolitan Architecture’s original 1999 proposal for the Seattle Public Library. I love flipping through it and reading the story of how they let their idea unfold.

We are, by turn — and a writer says it with sadness — essentially a society of images: a viral YouTube video, an advertising image, proliferates and sums up our desires; anyone who can’t play the image game has a hard time playing any game at all.

— Adam Gopnik, Angels and Ages: A Short Book About Darwin, Lincoln, and Modern Life, p 33

Here’s a reality we deal with all the time: toilets that use a great deal of clean, potable water in order to flush. This urinal for instance, requires one gallon, or 3.8 litres, just to flush some pee, which seems excessive:

The sustainability problem here has multiple facets: the availability of water, the financial cost of water for the building owner, and the energy needed to treat and transport water, just to name three. The latter challenge alone makes up a large percentage of every city’s energy expenditure.

Let’s say we were a toilet manufacture responsible for a great deal of this water use. How might we develop concepts to address this problem? Here’s how I would use two tools from the concept design toolbox:

The problem we’re trying to address here is very clear (as opposed to, say, create a toilet that people are more likely to buy). So we can play with idealized design to set our bar very high for solving this particular problem. A ideal design statement is:

A urinal which uses no potable water at all.

Then the team could play question the brief on this statement to generate variations. Here’s a few:

1. A urinal which uses greywater.
2. A urinal which flushes with something other than water
3. A urinal which does not use water
4. A receptacle that accepts urine that is not a urinal

…and so on. Then the team could take each of these statements and workshop them, sketching and sharing and playing with ideas. Each different set of constraints helps us think differently and generate different ideas, for example the first could have us thinking of all sorts of ways of capturing and routing greywater.

We could probably generate several plausible concepts using this combination of idealized design and question the brief. One of those might be the Falcon Waterfree urinal.

And a little PR doesn’t hurt…

Image: Configuration A2 Mach 5 Civil Transport, Reaction Engines

When I see concepts that are received well, the concept itself can usually only take a portion of the credit. Just as important is how the concept is communicated. Some of this is common knowledge: make it look good, choose the right level of fidelity, show it in context. Others are maybe not so obvious…

1. Show what’s new, then stop. As opposed to stories which can take their time to create worlds full of intricate characters and details, effective concept narratives should only last as long as they can sustain interest, inspire, and present the new. When I’m done showing what’s new, I’m done with the presentation.

   The temptation here is to show everything the team worked on, because the work was hard and full of careful detail. But like a beautiful movie set, the rest is there to support the concept, not become part of the story.

   The Charmr concept is a good example, focusing on day-to-day diabetes management only.

2. State the time frame. Setting expectations of the purpose and feasibility of a concept is often accomplished easily by stating the time frame for a concept; we perceive a concept for next year’s product very differently than a concept for 10 years in the future.

   I find it useful to think in terms of the three concept types described in the book Product Concept Design: A Review of the Conceptual Design of Products in Industry:

   • Product Development Concepts support the definition of the product specification, which is needed to set detailed goals of the design of the subsystems of the product and for the following phases of the design process. An example is the concept for the second generation One Laptop Per Child XO-2.
   • Emerging Concepts are created in association with technical research or the modification of products for radically different markets. They unravel the opportunities of a new technology or market and growing user needs, and facilitate the company’s learning and decision-making process. An example is IconNicholson’s Social Retailing.
   • Vision Concepts support the company’s strategic decision-making by outlining the future beyond the range of product development and research activities. There is no expectation that this kind of vision concept will be implemented, and therefore the technical and commercial requirements are less restrictive than in other kinds of concepts. An example is frog design’s Aura.

3. Distribute a holistic presentation. Whether it’s a model, a document, or Web 2.0-style syndication, the elements of our concept should stay together in one media piece so that anyone who experiences it will understand it.

   While not a concept, the way Apple presents the iPhone exemplifies careful, holistic packaging. Starting with Steve Job’s keynote presentation and extending to the video guided tour the tone is exciting, educational, and includes all the relevant information in one media clip (I would embed them here, but notice that Apple doesn’t let me do that).

   Unfortunately forums like the Techcrunch blog can be brutal on concepts when the presentation doesn’t do justice to the concept. I think different presentation can change that.