1. THESIS HYPOTHESIS
RON ZISMAN
DIRECTED RESEARCH
PROF. TOM KLINKOWSTEIN
SUMMER 2011

2. Creativity is radical discontinuity
in a pattern of thought.
— David Bohm

3. PROBLEM
Current design work is pragmatic,
but lacks ‘wow’ factor.
Find or develop a (design) methodology
that encourages unexpected or untried
approaches to problem solving, leading
to more interesting solutions and
providing insight into a personal
‘signature’
or ‘voice’.

4. HYPOTHESIS
This thesis presents the hypothesis
that applying disruptive strategies to
problem solving interrupts habitual
thinking and creates space for fresh
interpretations.
People classify situations quickly, leading
to predictable responses. Forcing a ‘stop’
to the process at prescribed intervals
allows space for questions, analysis and
new understandings. When this exploration
is authentic, solutions are more interesting
and reveal the creator’s point-of-view.

5. HYPOTHESIS (cont.)
The added intention—to see anew—
makes the process more wakeful, informed
and personal.
This thesis suggests that creativity can be
cultivated through systematic techniques
for changing concepts/percepts and
generating new ideas. The benefit to
designers is a tool set to help transcend
creative blockages, engage projects, and
deliver original (and meaningful) solutions.

6. CREATIVE REFERENCE I
TIBOR KALMAN
It is the deviated form that draws
attention and produces something
memorable.
“By definition, when you make something
no one hates, no one loves it. I’m
interested in imperfections, quirkiness,
insanity, unpredictability. That’s what we
really pay attention to anyway. We don’t
talk about planes flying; we talk about
them crashing.”

7. CREATIVE REFERENCE II
LUKE WILLIAMS
Disruptive hypotheses are designed to
upset comfortable equilibrium and bring
about an accelerated change in thinking.
A disruptive hypothesis is an intentionally
unreasonable statement that gets your
thinking flowing in a different direction.
The process hinges on three steps:
Defining the situation; searching for
cliches; and twisting those cliches to find
new ways of seeing them. Its thinking
about what is usually ignored, and paying
attention to what’s not obvious.

8. CREATIVE REFERENCE III
PABLO PICASSO
I used to draw like Raphael, but it has
taken me a whole lifetime to learn to draw
like a child.
For me, creation first starts by
contemplation, and I need long, idle
hours of meditation. It is then that I work
most. I look at flies, at flowers, at leaves
and trees around me. I let my mind drift
at ease, just like a boat in the current.
Sooner or later, it is caught by something.
It gets precise. It takes shape —my next
painting motif is decided.

9. OUTLINE
Overview
• Disruption
Understanding the problem
• Divergent Thinking
• Convergent Thinking
Idea Generation
• Idea Finding
• Evaluation & Selection
Implementation
• Planning
• Acceptance
Conclusion

10. CONTENT SOURCES
Luke Williams, Frog Design designmind.frogdesign.com
David Kelley, IDEO disrupt.com
Robert McKim, Stanford d-School designthinking.com
Edward DeBono, Consultant POPTECH.com
Clayton Christensen, Harvard B-School TED.com
Wlater Diethelm, Designer creativethinking.net
Alan Fletcher, Designer theawakenedeye.com
fastcodesign.com
designobserver.com
kerzweil.net
futurelab.com
bx.businessweek.com/design-thinking/

11. VALORISED DESIGNER I
The valorised designer should see
design for its major potential
contribution to making the quality of
life richer and more sustainable.
This thesis embraces the idea that by
bringing rigorous attention and critical
examination to the design process,
outcomes will be richer and more
considered.

12. VALORISED DESIGNER II
The essential, unifying factor
underlying work done across the
spectrum from theory to practice would
be a rigorous awareness of values.
Designers need to fuse the practical
aspects of design with a sense of
responsibility for the sociological and
ecological implications of their work.

13. VALORISED DESIGNER III
A sophisticated society needs
sophisticated designers who need to
be informed and critical as well as
practically creative.
The intent of this thesis is to
integrate persistent critical inquiry
with the design process, and thus
promote creative approaches to
problem solving.

14. ADJACENT POSSIBILITIES
Fear, lack of confidence, poor
self-image—we are what we think,
right? How will I be creative if I
don’t see myself as a particularly
creative person?
Can I learn to set all of this aside,
lighten up, and play?