Intelligence applied to the Design process

By D. M. Fenelon

Creativity is the cognitive and meta-cognitive ability of men or women attempts to reshape the experience based on its observation, understanding and explanation of reality (Bermejo 2009). The greater this capacity cognitive and meta-cognitive, more likely to approach a reformulation successful experience (Maturana 2011)
It is divergent thinking in the search for conceptions and criteria alternatives that allow the development of more efficient ideas (Guilford 1950).
This thought encompasses all areas of necessity: utilitarian, symbolic, emotional, aesthetic, social, economic; and brings them together in a set of intellectual skills to give different solutions and possibly more than those generated through a positivist process.
For De Bono (1986) creativity is the ability to organize the information in unconventional structures, which can act through more efficient and more efficient procedures. This form of organizing information adapts to the development of ideas during the process of reformulation of experience.
Creative thinking is one that visualizes, understands, and evaluates rigorous technical criteria, but always driven by volitive factors thinking, so that the whole process achieves more close to reality.
In his triarchic theory of intelligence, R. Sternberg (1985) states that this construct of very complex features, feeds on both the knowledge as of man's weight, his relationship to context and his life itself.
It is a structure where all the pragmatic and intelligence come to the end of the most suitable solution.
This solution produced by a divergent thinking structured to your rather by a broader and more comprehensive intelligence, it is characterized by being different from what known, and is able to even change the way reality looks like.
When this happens, creativity has generated innovative methods.
Innovation is fueled by practical skills that are synthesize demerging procedures, where technology and technology appear as a major conceptual tool. As technology and technology collaborate with the creative performance, innovation is more likely to become in an efficient solution.

• Language: English
• Publisher: BookBaby
• Release date: Nov 11, 2019
• ISBN: 9781543993295

Book preview

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ISBN: 9781543993295

Preface: Iron man vs Thor

I. Understand design: Problem statement

I.1. - What is design? Conceptual problem

I.2. - How to define the intellectual operations of design? Problem of action

I.3. - Should the current designer necessarily be creative? Problem of value

I.4.- Objectives – Strategies

I.5.- Reference framework: Iron designers

I.5.1. - Steve Jobs: Think different!

I.5.2. - Norman Foster: Architecture and power

I.5.3. - David Carson: Intuitive design

I.6.- Various theories about intelligence: Summary table

– First Conclusion –

II. Theorization

II.1. - Intelligence applied during the design process

II.1.1. - Analytical meta compontents: cognition / metacognition

II.1.2. - Synthetic intellihence: Creativity / innovation

II.1.3. - Practical intelligence: Efficiecy / competitiveness

– Second Conclusion –

II. 2 Procedural Synthesis

III. Final Thoughts

IV. Bibliography

Notes

PREFACE

Ironman vs Thor

The extravagant and repellent Tony Stark, billionaire technocrat, the mesmerizing character created by Stan Lee, and recently vindicated cinematographically by the American director Jon Favreau, is perhaps the champion who most fervently represents the entire contemporary global culture summarized in one person. His vehemence, high esteem, security, efficiency, pragmatism, intelligence and creativity, symbolize in his masterpiece, Iron man, the ideal designer of the modern world.

In a memorable scene of the film, a journalist asks: They call you today’s Da Vinci, what do you say to that?: Absolutely ridiculous, I don’t paint.

The world we know and the world we live in today, are probably two totally different things. We are immersed in a cognitive time that requires us to efficiently organize and use the information that surrounds us in a boundless way, and for this purpose, it is necessary to use all areas of intelligence as instruments to make that information become something useful, beautiful, efficient, groundbreaking. (Sternberg 1985)

Our way of knowledge has not sufficiently developed the ability to contextualize

information and integrate it into a whole that makes sense. (Morín 2011).

Throughout the early twentieth century, the great architects of modernity in terms of image and design, were partial in their notion that reason and science being the only road to efficient design (Bill 1965). Nonetheless, it is public and notorious that much of that belief had an end (not permanent) synchronize with the fall of the Third Reich in Germany, the main cause of this prolonged rest, waiting for the moment to resurface with more force and more effectiveness.

It was in this prolonged rest that the mysticism inherent in human behavior, disguised as postmodernism, took the opportunity to infiltrate all areas of knowledge, influencing even the most specific and technical criteria of any discipline, which inevitably led to the conception of small ideologies from the same discipline, based on codes of faith and emotional reflections that questioned, with a certain dose of frustration behind them, the failed expectations of modernity.

The evident failure of the modernists to put all their confidence in reason led the

postmodernists to not believe in that notion, but they found nothing to replace it (White 2007). This became the fragile and unstable foundation of the entire postmodern culture.

However, postmodernity rescued the sense of authority as unique and sufficient power; without reasonable explanations and with a humanistic ideal of a world capable of harboring all beliefs and codes of faith.

Premises that claims that to solve the design of a house, it is only necessary to thoroughly study the influence of the universal energies of the site destined to build, but that the designer can disregard the minimum measurement criteria to inhabit.

In this sense, it is relevant to talk about another of the famous characters introduced by the scriptwriter and cartoonist Stan Lee: Thor, the god of thunder in Norse and Germanic mythology. In Lee’s version, Thor is a god, a king from Asgard, a distant constellation from our planet, and unlike what could be the idea of a king from a remote place in the universe where we thought that technology has the most incredible breakthrough, Lee presents us with an extraterrestrial full of magic and mysticism, of divine nuances, with supernatural powers that base its origin only on its superior condition by nature. The power of authority over society.

For postmodernists, magic imposes itself over reason, or at least tries to replace it as long as reason cannot give answers to the persistent problems of humanity.

This is how this trend has effectively invaded the design discipline until more recent times.

Designers who try to solve specific problems and needs by resorting only to philosophical and humanistic reasoning, relying on the mystical character of the image, or the magic of color, or symbols or textures.

They have placed all their trust in the god of thunder, thinking that the hammer (Mjolnir1) is strong enough to solve what reason could not.

Knowledge has been split (Morín 2011), producing global ignorance, striving to please everyone in everything. Design for Buddhists, design