Abstract
This chapter introduces the definition of AdvanceDesign as an articulated combination of design processes that attempt to give shape to products and services destined for the advanced future. The author highlights the state of the art in the field of ADD and presents the four main directions which the ADD research can follow, very different from one another but coherent in terms of ability to drive constant innovation through the culture of design.
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Notes
- 1.
Cfr. Manuela Celi in the second chapter of this book, describes a part of the journey we shared to identify her field of research and try to name it.
- 2.
Cfr. Celi, the author mentions in her contribution a large number of companies that, starting from the 1980s, have introduced in their institutionalized innovation processes structures and enterprises referred to as ‘advanced centre’ or ‘advanced design innovation’, etc.
- 3.
In the same period David Bihanic, at the University of Auvergne - Clermont-Ferrand, France, began his work on Design and Prospection using the term Advanced Design, Roberto Poli, of the University of Trento in Italy, was able to open an institutionalized scientific and academic debate around the Future studies, launching the preparatory work of the subsequent years around the establishment of the first Master in Future Studies at the University of Trento. In the same period, there was an increase in the number of authors who used terms such as future, long-term research, long-term projects, advanced future, within a context, that of research in design, in which, strangely, it was difficult to explicitly use the word ‘future’. In this period Norman (2008) and Thackara (2009) introduced the concept of innovation in due time, in the long term.
- 4.
If we attempt an analogy with respect to the English language, we can say that contemporary design works in respect of two different times: a ‘progressive present’ that has deep roots in the study of what is already present today to make it evolve with respect to the need for change that consumers are expressing, or a ‘future’ which is definitely projected forward with respect to the present and which in Latin languages is defined as ‘futuro anteriore’.
- 5.
- 6.
We wish to stress here the increasingly less effectiveness of a process of innovation of goods and services based on the temporal dynamics determined by the concept of project, or rather a process with a scheduled beginning and an end, given resources, objectives defined through a brief.
- 7.
In this case, the meaning of constant innovation is synonymous with ‘shelf innovation’ or rather the capacity to carry out constant innovation processes (without solution or obtaining finished product, but creation of components for innovation and a platform logic which is expandable and increasable). The term in this case does not stress the idea of incremental innovation versus radical innovation, but refers to the continuity over time of the research and design flux. Cfr. Celaschi and Deserti 2007.
- 8.
A complex problem is constituted by a more or less vast combination of lots of minor problems, more easily solvable: the solution of n problems that make up the problem of higher level that contains them determines the automatic solution of the problem of higher level.
- 9.
That which has given a satisfactory result will continue to do so also in the future, or rather you do not change a winning horse.
- 10.
‘Projecting a project, as the etymology suggests, means to produce an idea in a way that it gains its own autonomy and is realized not only by the efforts of its inventor but also of those that are independent of one’s ego’ (Czeslaw Milosz in Brodskij J., Miłosz M., A conversation between the two great authors, on literature and not only, published in La Repubblica, 4 December 2011, p. 52–53).
- 11.
From which the famous phrase by Giovanni Klaus Koenig: ‘the designer is a bat, half bird, half rat’.
- 12.
From Bateson’s first studies on self-poietic processes and on the self-organization ability of organic systems, we get to Shon’s studies in just over a decade. ‘In 1993, Schon suggests a learning concept that finds its fundaments in the concept of reflection in the course of action. Our knowledge lies in the same action. He investigates the processes of knowledge and learning occurring during the course of the action (professional practice) reaching the definition of an action of reflective nature which, starting from the uncertainty and anxiety connected with it, can become itself the generator of a new knowledge. The author reaches the assumption that the solution of problems implies first of all the process of definition of the problem, through which the action to take is decided, the objectives to set and the means to choose’. Cfr. www.formazione-esperenziale.it. It is the act of designing and the project dialogue between the authors of the process that lead to the construction of other possible worlds. There is no creative thinking which is separable from these processes and applicable to other professions (Sclavi 2003). Other authors describe the concept of design thinking as not extractable from the project cultures towards other practices, like for example towards management, without having an adequate creative aptitude formed, in fact, through designing.
- 13.
‘Kairos as a time in between, a moment of an indeterminate period of time in which ‘something’ special happens. That which is special depends on who is using that term’ in Zaccaria Ruggiu 2006.
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Celaschi, F. (2015). AdvanceDesign Points of View. In: Celi, M. (eds) Advanced Design Cultures. Springer, Cham. https://doi.org/10.1007/978-3-319-08602-6_1
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