The Perspective on Innovation Design:

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(1)116. 特集：イノベーションデザイン論. Deny W. Junaidy University Malaysia Kelantan. The Perspective on Innovation Design: East and West. East and its heritage. In contrast with the developed nation like Europe and Western, the Eastern worlds, particularly in Southeast Asia tends to view the term Innovation not as a life priority, at least refer to the historical background of civilization in the last period. Southeast Asia becomes a group of nation, which gets constant exposure of knowledge on etiquette in life, religion, culture that obtained through the trading and diplomatic relation among nations for centuries. Those beliefs have assimilated and implied the virtue of acting and thinking collectively toward spirituality instead of ego of individual potency or spirit of competition. It is implied that the individual virtue in pursuing success indicates that they are trapped in mundane. In the mundane, someone is considered dedicating himself/herself more on the pragmatism and temporary matter in this world instead of submitting oneself with modest attitude in facing the challenge of life. It is concluded that resignation becomes the superior value of representation in individual faith instead of ambitious character or spirit in responding problems in life. Junaidy, D.W., et al. (2015) explained the attitudes of master craftsmen in Indonesia often prioritize collectivism and mutual benefit instead of competition among craftsmen. It explains that the individuals hold the attitude to bring benefits to each other and do not compete directly with excitement of competition in business to each other. In other countries, like Malaysia and Thailand, the spirit in their beliefs tends to create slow and less aggressive toward their working culture. Besides the belief, the long history of colonialism in Southeast Asia for centuries definitely develops the submissive mentality, which is not productive for further strategy and thought. Thus, the submission on behalf of religion and compliance with the pressure in colonialism become the perfect catalyst to put aside spirits of creation and innovation. Nowadays, the term “innovation” is not quite easy to achieve in terms of working culture in some countries of Southeast Asia.. Shifting of Perspectives by Design and Technology. Design is the representation of modern lifestyle. Design exists and develops since the perspective of human being on needs in life is increasingly complex. The perspective represents expectation of satisfaction in life which is more sub-individual. In the past, life satisfaction was the realization of self-expectation and surroundings. Nowadays,.

(2) デザイン学研究特集号 Vol.25-1 No.97. the life satisfaction on one-self becomes a more sub-individual satisfaction that includes the surrounding satisfaction. For example, sub-individual happiness currently is parsed with correlation in existence of occurrences from other parties. The need of ‘me time’ is not about the individual need to get his/her time personally, but it is when the personal time needs some legitimation from other parties. That ‘me time’ which is done by an individual personally requires to be witnessed and approval by the public that he/she is in the state of happiness. The personal concept of ‘me time’ currently changes into the transaction of occurrences, which are not really personal, but it is actually an imaginary consensus among ‘me, you, and us’. It means that personal concept of ‘me time’ requires justification. Design and technology has significantly shifted the expectation of personal satisfaction into hyper-personal satisfaction that is organic with public involvement. To summarize, the personal time needs social justification. The progress of design and technology has overturned the personal concept of ‘me time’. Take another example, ‘design’, while design activity requires artistic, creative, and technical skills to make it happen. Design was previously special capability of individuals with formal educational background in the field of design. Design and its creativity nature became a prerogative of the skilled individuals as if the creative process is really personal and its development process is exclusive. Formerly, common people are only able to admire it without certain reference on how to create the superior artifacts. Then, sooner or later, technology allows openness and accessibility. Every person can see and have access to the whole process and library of design knowledge that is unlimited and borderless. Everyone are eased to know and to make it happen. Online knowledge become widely shared knowledge resource for those who have formal and non-formal design education. What happens here is that design knowledge is the contribution from many parties. Online library media, such as Pinterest, Instagram, and so on, opens the opportunity for those who have formal education in design and non-formal education in sharing and taking benefits from library. The next is change of understanding and standard of idealism on originality in design. Nowadays, imitating and copying are common. By relying on online media library, nobody cares about the background of those who own the work. Formal and non-formal education background are no longer important, including concept, background, and originality of work. What is happening is the need on inspirational form and it will be the shared need for formal and non-formal designers. Gino & Ariely (2011) in their scientific writing explained that participants with creativity characters tend to cheat more than less creative individuals, while people with creative character put virtue of creativity on dishonesty attitude (Gino & Ariely, 2011; Cropley, et. Al., 2010). At this point, design currently involves many parties; every person enriches creative process and its development. Thus, the advanced technology has respected the standard and concern on ethical and legal things, into one mutual interest. Design creativity has shifted into functional contexts and more broadly on how to provide common knowledge. Creativity skills become more familiar for everyone, not only experience of privilege (Verger & Kaderlan; 1994). Modifying, changing, and adopting another design into part of common creative process for every party, what they have imitated is then returned into common media. 117.

(3) 118. 特集：イノベーションデザイン論. library of online design artifact. Every party which is professional and amateur takes benefits and contributes to this openness. Thus, the idealism standard on originality in designing has shifted due to the rise of narcissistic and hype (self-promoting) lifestyles, and promotion which lacks of quality can be feedback for other people.. Innovation Design and lifestyle. For Eastern nation, the term of design is not quite easily comprehended as idealistic achievement. Design is more frequently seen as improvement from what previously existed. Design is improvement of visual quality, design is a product variation, and design meets the expectation of clients. The design in the West develops extremely fast and in harmony with technology, science and social science, so it results in new nomenclatures in design, such as strategy design, innovation design, and so on. Compared with issues in the knowledge of traditional design, definition of design becomes very simple. Even, in the context of its creative process, design nomenclature has been expansive; the process of creative design demands interdisciplinary of science. To be more assertive, the inter-disciplinary knowledge is an idiosyncrasy of design as stated as design manifesto by some design researchers. Manifesto of “DesignX” which was initiated by a group of well-known researchers, namely Don Norman (UC San Diego), Ken Friedman (Swinburn Uni), Pieter Jan Stappers (TU Delft), and Pattrick Whitney (Illinois Institute of Technology), implies the privilege of design. As a discipline of knowledge, “Design” nowadays is not only focused on the problem-solving on product, service, lifestyle, and pleasurable stuff. ‘Design’ which focuses only on solving the problem of users, lifestyle, and mass manufacturing looks traditional and is only temporary trend. “DesignX” is when several multi-disciplinary specializations solve complex social problems (communication, computation, transportation, health, education, urbanization, environment, even a corruption issue) with approach of “designerly ways of thinking”, “X” can consists of other themes such as Strategic Design, Transformative Design, Change Design, Systemic Design, Co-Design, Participatory Design and Innovation Design. Then, where is the role of Asian designers in the excitement of innovation design? When the design becomes more cohesive and symbiosis with technology, science, and society, thus the form or shape is no longer viewed merely as an aesthetic artifact. A design then successfully manipulates the human in reframe the problem. Every problem approached with traditional design method will only result in artifacts for filling the gap. Design artifact always becomes a mean in packaging to make design problem managed, organized, and obeying. It is like the design of bicycle which is lighter or follows the green standard. Another example is design of fashion, which merely shows sensation of colour and form. The point is, for most of designers in the east, design is still understood to respond the need of lifestyle. A good design is a matter of being beautifully displayed in exhibition as a fancy stuff. In order to create design as the breakthrough and innovation, the perspective of designer needs to change; design must pay attention to the research and interdisciplinary knowledge. It must inspire the perspective of people on looking at.

(4) デザイン学研究特集号 Vol.25-1 No.97. problems. The program which was initiated by Volkswager (2009) gave many inspirations on how design is able to inspire the perspective of people and how the perspective of people is changed to choose using ladder over escalator. The Fun Theory program answers the problem by giving a touvh of creativity in design of electronic ladder which produces sound (http://www.thefuntheory.com). Furthermore, for bigger step, manifesto of DesignX is the need of designer which is able to manipulate perspective for complex social problems. Design with its strategy and innovation should be able to solve problems, such as complex engineering of traffic jam, even to respond the corruption issue.. Being left vs stay consistent. East seeks to keep abreast of current lifestyle, it is like young people who just learned smart gadget and are required to immediately understand the sophisticated features within. The young nation who barely understands of the design must also know the innovation at the same time. Their ability to identify problems in lifestyle is actually less critical compared to the west. The criticism on innovation design is a result of different circumstance and the perspective to look at the issue itself. At certain level, the engineers intentionally create new market from an entirely new innovation, similarly when Apple introduced haptic screen technology for the first time. The ease and comfort of touch screen technology is not a necessity for a nation which is just barely starting to grasp lifestyle and technology. Thus in the west, attitude in innovating has been aggressive and obsessive. With the aforementioned perspective, the innovation design seems to be monopoly of those who are thirst of making radical change. Meanwhile, for other nations, innovation itself is not completely urgent and important. Refer to the above matter; local designers apparently spot more pragmatic issues on something, which is simple and easy to be accessed by society. Moreover, local people or the users remain amazed with those modest and unassuming thought, so the emergence of innovations in radical design is very possible to be responded as consumerism excessively. Although in the reality, the disruptive innovation often gets its own market. However, innovation design can be considered too fast to follow for the east which is not aggressive and tends to be slow. It is the culture in which designer, technologist, and scientist are happy with their own environment. It is the condition in which technologist is more pragmatic and busy to produce practical tools for certain group of people. It is the condition in which the scientists work hard to conduct research on nature in which they are familiar with it. The designers work hard to discuss value and local potency as the virtue of a design. The combination of these three entities in the research domain becomes inelegant like what happens in West. The interdisciplinary research culture as key of innovation superiority becomes strange and ambitious. With local belief and tradition which have been embraced for a long time, interdisciplinary and lifestyle researches are probably considered exaggerations in viewing the need in life and have a sense of worldliness or hedonism. On the other hand, what has been done by designers, scientists, and technologists is a. 119.

(5) 120. 特集：イノベーションデザイン論. considerable contribution for people. In simple language, pragmatism which they did in the scope of usefulness to society becomes reality. In general, every innovation leads to a considerable research investment and becomes the commercial product which is not cheap. Thus, the advanced product from innovation design also has consequence in its acceptance in the society.. The wisdom of east in innovation. Then, where is the role of culture in society on progress and development of technology for the need of human being? Understanding the culture means understanding the basic principles of human being and environment that shaping it. The preservation of culture exists due to the spirit to maintain and protect it; without the understanding, culture will disappear and become a fairytale. Thus, when understanding culture is considered less in line with the fast shifting of lifestyle, the culture in fact successfully forms mentality of obedience, which is consistent in maintaining, and protecting what available around them. For example, in a remote village at the foot of the mountain which was far from cities in Indonesia, a wellknown designer, Singgih Kartono, came with his innovation, Magno wooden radio, in which his innovation did not show advance technology related to wood enginnering nor radio technology. He successfully made world-class products that produced in remote village. His innovation is to build inspiration and to encourage designers to empower local people (Figure 1). His innovation becomes a portrait of inspiration for other young designers to move from the excitement of living in metropolis and to create nothing to be something to the world. He proposes that to inspirit simplicity is the true innovation. Singgih Kartono, the designer, has successfully developed the local eco-village tourism, along with the traditional market, world-class products, such as wooden radio and bamboo bicycle that he created is acknowledged to return the glory in village revival (Figure 2a, 2b & 2c). This is the true innovation of the East tradition.. Figure 1. IKoNO Personal Radio, AM/FM Radio, an international-class product produced in Kandangan Village, Temanggung, Indonesia, which is located in a remote village. The designer, Singgih Kartono decided back to village one decade ago and devoted himself to empower the locals. (Source of photo: Singgih Susilo Kartono). Figure 2a. Picture shows Papringan Market in Temanggung Village, Indonesia which is initiated by Singgih Kartono. All the products are produced from the local people. (Image source: Singgih Susilo Kartono/Papringan Market).

(6) デザイン学研究特集号 Vol.25-1 No.97. Figure 2b. Picture shows Papringan Market in Temanggung Village, Indonesia which is initiated by Singgih Kartono. All the products are produced from the local people. (Image source: Singgih Susilo Kartono/Papringan Market). Figure 2c. The design of the currency for Papringan market make out of. (Image source: Kompas.com/Nazar Nurdin). The designer mentioned above is to describe that local tradition and culture are not obstacles for accelerating the innovation. Local belief and culture actually become resource on innovation, while the differences are on perspective on how to utilize is to innovate. Perspective in understanding innovation design is very obvious between Eastern and Western culture. For the West, innovation design highly correlates with the radical novelty. A design creates new system and order or becomes the disruptive technology. Innovation for the West is also full of multi-disciplinary research, while research and development in innovation also result in the product which is actually without urgency, but it is challenged by their lifestyle. Thus, innovation design is easier to be accepted in society. In the Western perspective, innovation design replaces something with a new thing with features of ease and comfort and meets the need of lifestyle. It means this perspective of innovation design offer new perspective and needs, not as current understanding on advance technology such as haptic technology and so on. This eastern perspective views the novelty as to go back to something easily to forget, namely nature, material, custom, and several resources. This becomes a challenge,. 121.

(7) 122. 特集：イノベーションデザイン論. since the current extreme shifting in lifestyle and technology is exposed the East. To drive and to accept what exist and available around us is not easy. Innovation design in this regard seems to invite those who drifted back into position. The above example is successfully revitalizing the local potential, including society and the surrounding environment. This supposed to be an ideal concept for innovation design for eastern culture.. Spirit of innovation in East. Innovation design is an effort to improve life comfort in the context of design and technology. The context of improving life comfort in every nation can refer to their tradition. The other context is the perspective of the needs, where the needs of each nation might be differ. For western culture, the reference of comfort in life is new, radical product as a part of new reference about human being in responding problem and lifestyle. For eastern culture, perspective in viewing standard of comfort and the need is quite different. Standard of life comfort must refer catalytic with belief and pragmatic. Meanwhile, the perspective of needs is a collective need, which brings mutual benefits, which is more fundamental, not only as lifestyle. Thus, the conclusion is, belief and culture in the east has significantly contributed to innovation design that always refer to what available and provide collective welfare. References. １）Cropley, D. H., Cropley, A. J., Kaufman, J. C., & Runco, M. A. (Eds.). (2010). The dark side of creativity.. Cambridge university press.. ２）Gino, F., & Ariely, D. (2012). The dark side of creativity: original thinkers can be more dishonest.. Journal of personality and social psychology, 102(3), 445.. ３）Junaidy, D. W., Kaner, J., Ioras, F., & Nagai, Y. (2015). Capturing characteristics of the conceptual. ideation process of master crafts persons to inform design education: a comparative study of rural craft practitioners in Indonesia and in the UK. Journal of Design Research, 13(4), 395-423.. ４）Norman, D. A., & Stappers, P. J. (2016). DesignX: Complex Sociotechnical Systems. She Ji: The Journal. of Design, Economics, and Innovation, 1(2), 83-106.. ５）Verger, M. D., & Kaderlan, N. S. (1994). Connective planning. McGraw-Hill..

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