The Invisible Hand
“The greatest trick the devil ever pulled was convincing the world he did not exist.”
That line from the 90s cult classic The Usual Suspects, is uttered by the psychologically dark character Keyser Soze, who is played with inimitable professionalism by actor Kevin Spacey. Soze was an enigma, a character who steered the scene-by-scene action, deftly, but without intrusion. This uncommon skill, orchestrating a project minus any imposition, is one that business leaders use all the time. But in the arena of spatial and interior design, where people are employed for their singular ‘vision’, is this still relevant? Is an invisibility cloak just as essential to the sartorial tool-bag?
Designers are infatuated with the idea of the ‘idea’. On the face of it, such love-sick obsession seems reasonable. The idea is, after all, the single biggest asset in their repertoire. If you look beyond the usual suspects for a good one – one that is specific, relevant, but also new and fresh, it can drive a project and its narrative. The Holy Grail, of course, that which we are all in dogged pursuit of, is an ‘original’ idea. Given the availability and exposure of information in today's fully connected society, it is difficult to find unprecedented ideas.
At college, my fellow students and I would jealously guard our ‘great’ ideas. We wanted to be unique, the creative centre of the universe. We imagined that was what it meant to be a successful designer. No wonder we were so afraid of failing. That naïve perspective is dangerous when you venture out into a world where other people invest their trust in your creativity. The best ideas never grow wings if they are held close like a precious object.
The 'idea' is an interesting psychological animal, and it can be destructive when the origin of one is disputed; many a relationship has fallen apart because of perceived appropriation of a peer’s thinking. There is a wonderful scene in Season 4 of Mad Men which encapsulates this. Young copywriter Peggy Olson decides to confront company director Don Draper who has just received a Clio award for a commercial. The finished version of the advert clearly takes its kernel from an idea that Olson first tabled. Draper's subsequent dressing down of his protégé is a superb insight into the business ownership of IP. It makes painful viewing, but his argument is that collaboration and collective effort has created a better result, which benefits all not just the individual.
The biggest problem with idea generation is the first-past-the-post mentality; the saying 'your first idea is always your best' feeds into this mind-set. Sometimes your first idea is lumpen and awkward. So, on the contrary, it’s important to have the ability to collectively explore as many ideas as possible so that no stone is left unturned. Designers who are anxious to generate and keep ideas as their own can very quickly reach the edge of their ability. We are limited by our own set of experiential references.
This is where thought liberation comes in - the process of being able to coax the development of ideas out from colleagues and clients. A lead designer’s skill is to curate the flow of imagination and harness the creative powers of others, almost imperceptibly. When Warren and Mahoney refurbished the TVNZ headquarters in Auckland last year, the over-arching idea for the scheme, 'open and live', came from an unlikely source in the corporate sector of the business. This signature phrase gave the team momentum and the project added meaning as the character of that terminology was explored.
Surrendering to the organic process by giving ideas the emancipation they deserve is both expedient and fair. For collaborations to be truly fruitful, designers need to be comfortable and gracious in letting others’ ideas emerge. Like Keyser Soze, it helps to put on the invisibility cloak. “The greatest trick the designer ever pulled was convincing the world he did not exist.” And like that… he is gone.