The road to innovation is like an antelope. Although it is changeable, there are traces to follow...

As we all know, design is a kind of commercial behavior. It is the art of compromise and the science of trade-off. Among them, industrial design is especially great.

Because it is the starting point of the entire product life cycle, it also gives the product inherent vitality to some extent; until the end of the product life cycle, the part of the consumer lifestyle it participates in should be the initial industrial design. The theme that needs to be considered, satisfied and optimized.

Perhaps, for merchants, a product is sold as long as it meets the supporting services within the time limit.

But for designers, successfully selling their creative tools is just the beginning, and there is no end to the road of constantly updating, iterating and improving their core competitiveness.

Just because this road has no end, we should be more aware of the big environment we are facing now:

1. Consumers generally lack confidence in made in China;

2. Most entrepreneurs have not tasted the brand premium of design;

3. Designers lack bargaining power and voice in survival.

This leads to the monopoly of the design discourse power on the market by enterprises: what they want is not a more antelope-hanging design, they just want to make a design that keeps up with the trend in a very short time with limited resources; Of course, there is no need for large companies to exchange channels here, and small companies dare not take risks and have no choice. This leads to more and more serious homogenization of design.

Some companies with ideas have just come up with a new trick, and the street has been rotten before it is hot. As a result, it changed its copy and designed the road to become narrower and narrower. As a result, even the most thoughtful Apple can only play the same old tune: Apple, which once used iPod to subvert music, iPhone to subvert mobile phones, iMac and iPad to subvert computers, and Pixar to subvert movies, can only find every opportunity in changing shells, bangs, cameras and content payments.

Even Apple has fallen into the sand on the road to innovation. Is the current herd design still saved?

Of course, Apple's loss of innovation is due to its excessive commercialization.

However, for us, there are still traces of micro-innovation in innovative design thinking.

(1)
Repackaging: Stones into Gold
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In 2016, Plane Industries (formerly Fallen Furniture) first introduced a large chair made of regenerative fairing using the engine of the wave sound 737 aircraft.

Over the past three years, the small UK-based company has continued to expand its line of household and household products designed and manufactured with parts from civilian and military aircraft.

American designer Ben Fearnley redesigned the packaging of pizza and doughnuts with fire fighting equipment.

Repackaging has not changed the attributes of the product itself, but its "whimsical" can make people shine and give the product new vitality.

②
Reinterpretation: Inductive deduction
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In 2017, in this series called MIMIC, Pakistan's digital artist and artistic director Omar Aqil randomly selected Picasso's works and completely redesigned them into 3D renderings.

In 2019, Omar Achil reinterpreted Picasso's MIMIC series of art in 2017 by splicing together discrete metal and shiny objects in the shape of human or animal faces, creating a new way of digital art expression.

Picasso's abstract art is regarded as the standard, but it lacks too much expression tension in the current digital age. The 3D artistry of Pakistani digital artist Aqil can be said to have promoted it from two-dimensional to three-dimensional, and his cubism style in 2019 can be said to have inherited part of Picasso's mantle and is an innovative form of artistic expression.

(3)
Reconnecting: Making Conflicts
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Japanese artist hirotoshi ito carve unpolished rocks to create a series of sculptures that "fool" the audience's perception. Stone in his hand is no different from paper, cloth, tofu and metal cans.

Turkish artist Uği urGallenku uses split images to emphasize the sense of tearing between the war-torn country and the privileged and peaceful society; the two sets of pictures are "bridged" through some similar form, and the more seamless the overall picture is, the more you can perceive the gap between them.

If ito's rock carvings are only inherent thinking violations, then UğurGallenku's split impression is an ideological conflict; the former can still laugh, but the latter can directly hit the soul.

In short:

The repackaging is relatively peaceful. It grafted a tail on the original life track of the product and produced a subtle chemical reaction;

The reinterpretation is relatively mild. It adds a new path beside the original life track of the product, so that the original art form has a new place to use;

The reconnection is more inconsistent. It cuts off the original life track of the product and extends an unusual opening method. The exquisite design makes it easy to produce greater emotional stimulation to users.

If you can stand on the basis of your predecessors, examine your own experience, coordinate the current trend and move forward a little bit, and "re-use" your design thinking, this is the most basic mode of innovation.

But whether it is repackaging this new bottle of old wine, reinterpreting this kind of turning decay into magic, or reconnecting this kind of rebirth, they all have their own boundaries of use; let alone we get a project You must be responsible for it, whimsical, but you must also consider the possibility of it taking root.