Visualizing complexity is a design approach that has always been used to handle multi-layered facts and perspectives. By using creative methods to visualize dry data, diverse people in an organization can be engaged in critical decision-making, from the outset of a project through to continuous improvement out on the marketplace. Turning dry facts into deep insights enables rapid and relevant decision-making. And it is only the people within a company who can know what relevant steps are needed for innovation. There is no one-size-fits-all approach. Doing the right things based on the wrong assumptions is not innovation.
Maps have to be ‘designed’ correctly for the task at hand. Take the world map as we know it today. The Gerardus Mercator’s projection was first published in 1569, and became widespread because it depicts a line of constant bearing as a straight line, which was relevant at the time for marine navigation. But the drawback of using that map today, to visualize new and existing business markets, is that it distorts the shapes and relative sizes of all the countries. The map also distorts our perception of the world. The map of True Africa created by Kai Krause, shows that Africa is far larger than we think. Then see the maps on land area to population, or amount of money per head spent on healthcare, and we instantly gain a more informed picture on which to base our innovation strategies.
The True Africa map by Kai Krause shows the size of the continent in relation to European counties.
The Gerardus Mercator’s projection was made for marine navigation.
Map from worldmapper.org shows public health spending to population
Innovation is not so much of an outcome, as a process of asking the right questions at the right time, and asking them again and again, reiteratively. Since a company’s offering exists in real-time, across connected or digitally enabled networks, so too do the insights and information that continuous questioning and decision making are based on need to be in real-time. Innovation means never being satisfied with the obvious assumptions. And to break preconceived ideas we now have big data and data visualization.
Although a company cannot map all the potential outcomes of its activities, visual maps can play a large part in nurturing breakthrough thinking so that a company can focus on what it does best – and partner for the rest. Data visualization has yet to find its role in delivering real-time information for communications within a company, for critical decision making, or for real time communications between a company and its network, who, in a connected world, should be more deeply engaged in the ongoing strategies, activities and outcomes that bring to life a brand’s vision of innovation.
Maps don’t always make good online interfaces, but they do help us understand data in an intuitive way. Moving into a service-driven world, a company’s offering is continuously evolving and data visualization can be used to engage different types of stakeholders in the ongoing process of value generation. Imagine, for example, a call to action to developers to test and hack a beta digital service “pre-launch”. Or real time, localized invitations for users to swarm around an open innovation event, on and offline. Or adding services by using data collected from the public realm, such as traffic or weather reports, or national averages on life expectancy in relation to lifestyle choices. Innovation should be continuous rather than be an occasional manned mission to Mars. When users are informed and communicated with in more personal and transparent ways, they are more likely to offer up their own data to share in the benefits of ongoing innovation.
Maps in themselves do not tell us what to do: but they can help us harness knowledge and creativity to solve problems, and that is true innovation. No market research report or marketing message can compete with factual, real time information. We need to use technology and its designs to help us question all the assumptions that we take for granted- and make sure our good intentions result in meaningful activities.
As long as I can remember, I have been drawing. As soon as I could hold a pencil I started scribbling. Those scribbles turned into drawings of my friends, my family, their houses, their cars and other people I saw on the street. It was a way of navigating the world that existed around me. It was my way of labeling things. Drawing was part of my language process, like any child. It helped me categorize the world- and therefore understand it.
I drew a lot of family portraits. People gave me confirmation through those. I got more confidence because they loved my drawings and slowly I started to draw things that I wished to see. A world of my own imagining. A boat with wheels or a man with 8 legs. They were kind of dreams, an imaginary life.
Drawing was also a way to express my moods and feelings and like most kids I used crayons and “wax pastels”. There drawings that were a kind of abstract expressionism. So far it is the story any child might have with drawing. But it was at school that drawing started to have a particular significance to me. Although I was verbally articulate, I soon realised that I wasn’t like the other kids. My imaginary world was visual- not verbal.
I started to have a very hard time in school. I couldn’t keep up with the class work and worse than that, didn’t understand the point of the exercises. Why couldn’t I carry on imagining the world? Why wasn’t I allowed to draw all the time?
It turned out that I am heavily dyslexic. But in those days, the schools and teachers didn’t have the tools or knowledge to diagnose kids like myself. And because my problems were not recognized or diagnosed at school, my situation just became worse. Drawing was my only refuge- my only way of communicating with the outside world and getting some positive feedback from my teachers and peers.
Drawing became my very own language.
The other kids loved it and I was more popular because of it. It helped me compensate for my verbal and written expression – or lack of it. But one day, when I illustrated my thoughts with drawings in a Finnish language test my teacher yelled at me again and everyone laughed at me. On Monday my drawings were great, on Tuesday they got me into trouble. It was a very confusing time.
Somehow I managed to finish school. My drawings meant that I could go to higher education – it got me into university and it was probably the greatest way for me to learn during my university time. I used drawing to make mental notes. It was the most important single media to learn, document, plan and illustrate all the design and architecture I was learning about. Once again I was allowed to dream.
As a student I traveled to important locations, sites and buildings in Rome, Siena, and Venice to make drawings. Once I sat all day in Siena’s main square until late in the evening. Drawing allowed movement, but it also enabled stillness. It let me observe life I wouldn’t normally have seen. I drew all the buildings around the square. I realized that drawing a building or site is one of the best ways to learn architecture.
During the drawing process you learn every detail, you learn about proportions and shadows, and even the daily changes of the architecture in a profound way. It was through drawing that I realized that architecture is not static, but inherently connected to the time and space of its surroundings.
Only later I understood the importance of life drawing. Even if it was difficult and painful to draw the human body, it was a way for me to learn about layers of structure, from what is seen to what is unseen. From the skin right through to the bones. The breathing living movement that is part of every stillness. Light and shadow. What I learned from life drawing I have also taken with me into my furniture design- it has been translated quite clearly into an understanding of the body’s relationship to furniture- and architecture. Ergonomics, use and pose. The emotion of space.
I have always been fascinated by technical drawings. To me they are like abstract modern art. Technical drawing tells me more about something than a photo or realistic sketch. Technical drawings reveal secrets and mysteries: How things are made, how things work. In the end, technical drawings are the final documents we do in my office. They are my work, and my tools to talk with other people about design. They describe my projects more than words ever could.
And my drawings go on teaching me, more than I could imagine. It’s not as if I have an idea and then I draw it. Drawing is a reiterative process, where the drawing itself takes on a life of its own and tells me the questions that need to be answered. Anyone who draws understands this. You can’t ‘choose’ what you draw unless it is already justified. Already correct. The designs in my studio are always based on technical drawings- they are the last defining work done in the whole design process. Drawing from an early age enabled me to develop a process naturally that enables me to ask all the right questions at the right time, again and again until the solution is just right.
When I am drawing today, there are many reasons depending on the time: maybe I am studying a technical detail, maybe I am trying to understand “what if” – or maybe I am trying to find out why something is good. Maybe I am just thinking aloud. I always make several sketches to communicate and discuss ideas with my people in my studio.
When I am bored: I draw, it’s a friend who can be with me no matter where I am. I entertain myself by dreaming about possible products and spaces for a future that is better than one we know today.
I look back at the old masters: my heroes before me- Alvar Aalto and Eero Saarinen. I look at their drawings and am in conversation with them. In Alvar Aalto’s drawings you can see several scales sketched in a one single piece of paper simultaneously: From a detail of a door handle to the site-plan to the perspective of a house. In a way this represents his holistic view on design. Just one drawing holds all that knowledge.
I meet my heroes in books and discuss design and architecture with them through every line and gesture.
I am still fascinated about the vast variety of problems that Eero Saarinen could try and solve in a one single drawing: I saw a plan of a skyscraper and a evaluation matrix of candidates for his possible future wife in one drawing. For me this represents his opportunistic view on architecture- and how he also used drawing as a thinking process- to think about the future. To dream the future. The drawings are serious, poetic, light and artistic. They are about something that could be or something might not be for centuries.
So when you ask me to explain the importance of drawing, I should in fact, draw for you. Because drawing is not only a strong part of my work and who I am. It is more than that – it has enabled me to be myself, in a complex world ruled by words.
Sandu Publishing House have released a book that features our very own Johan Hjerpe, concept developer, art director and partner at Imaginary Life. In parallel with commercial brand strategy and design work, Johan is highly active within the cultural field, driving projects as diverse as designing prints and textiles for fashion, set design, magazine art direction, graphic design and concept development for various art and fashion projects.
Entitled ‘Designers Universe – the Wow Factor’, the book is a fascinating, if not somewhat random collection of design that you will have seen in the latest blogs, crossing graphic design, illustration, fashion, set design and motion graphics. Described by Sandu as a book spotlighting “59 professional designers who shine within the field,” each designer, coming from different corners of the world, has a couple of spreads showcasing recent work with short Q&A’s on what makes them tick.
The articles surrounding the Shenzhen Industrial Design Conference go something like this:
“Sweden: Design for Better Business
Sweden is the first country to become industrialized in Scandinavia and also the earliest country to develop the industrial design movement. IKEA and VOLVO have been icons in people’s minds, standing for Swedish design.
The Swedish designers coming this time are well prepared, not only for the signing ceremony, but also for holding presentations sharing their experience in furniture design, interior design, industry design and other types of design.”
The companies who are keeping quiet about sustainability fall into two categories: the ones who know what they are doing, and the ones who don’t. Denial ain’t a river in Egypt, as they say in Cairo. Our oceans are dying, our air changing, and our forests and grasslands turning to deserts. From fish and plants to wildlife to human beings, we are killing the planet that sustains us, and fast.
But telling this to business people is like showing a smoker a slice of a cancer infected lung. It just doesn’t work. No matter how eco-conscious the person is- the catastrophe scenario is just too much to take on, emotionally, and viably. And quite frankly- isn’t it up to our governments and politicians to sort out this mess? The UN treaty on climate change — our best hope for action — expires next year. As it looks like, the US corporate-nation-democracy will not take the lead – leaving every other nation on the fence? We suspect not. But let’s stick to business for now.
Forward looking companies realize that drastic change in legislation is inevitable, and are already quietly working towards a 2015 change in legislation that will exceed any CSR law being mentioned today. Far beyond the blanket calls for lower carbon emissions and the carbon payoffs, a cradle to grave product life-cycle responsibility is almost certain to put many successful companies today exactly there: in the cradle if not the grave.
Would more people take the stairs if it was more fun? Turns out, 66% more people choose the stairs versus the escalator when it makes noise. Or use the trash can if it was more fun? Joy can change everyday behavior. Thanks to Chad for the tip and VW for the project. See more on rolighetsteorin.se
Design Bay is one of the many growing online user driven market places that we expect to see more of in the near future. As a client you can post your brief and receive quotes from designers around the world, assess designer portfolios and ask designers questions. Payment via paypal upon completion and approval of the work. Just like IRL.
Janine Benyus has a message for inventors: When solving a design problem, look to nature first. There you’ll find inspired designs for making things waterproof, aerodynamic, solar-powered and more. Here she reveals dozens of new products that take their cue from nature with spectacular results.