The creativity in innovative design doesn’t come emerge from a vacuum: one academic explains how it is related to social forces.
“The ADA totally changed transport, architecture and every area where accessibility is important,” he says. “Design also develops out of a sense of social needs.”…
At a time when Jony Ive’s creations for Apple are as much status symbol as a technological advance, Margolin believes that the discipline’s potential lies in solving big problems and the creation of culture, not just the newest products…
He sees system design and a systemic perspective as key to innovation. Numerous modern inventions, such as Peapod and mobile banking, are built upon pre-existing infrastructure and only work well when they encompass different behaviors and user cases. Failures that ignore these perspectives are apparent every day…
Margolin also believes that innovation on a disruptive scale often requires a concept that creates a community of people around a common cause, such as the American mobilization of industry during WWII, the growth of research laboratories of mid-century American industry or the Silicon Valley of Steve Jobs’ era, inspired in part by the innovations of Xerox’s PARC research division.
This is related to one thing I try to impart in my Culture, Media, and Society course: despite our images of lone geniuses developing great novels, music, art, technology, etc., objects come out of a social process. This is the argument of a number of sociological works on cultural production and includes famous ideas like Becker’s idea of “art worlds.” You can also this in case studies of certain objects that once were not very popular but became popular through a series of events, such as the Mona Lisa whose stature was heightened by theft. Of course, social forces can also limit creativity whether we are talking about Babylonian culture in the first century BC where they were more interested in preservation of their past or in current copyright law that places restrictions on using created works.