Creatives should experiment with ideation and invention from time to time. They should leave the field of problem solving and take time for themselves as creative individuals in order to design their own interest. As a collective it is at least uneasy to observe how they are exclusively find solutions as the only means of production.

Not only as a purely intellectual exercise, but also as a practical and real concern for their careers as practitioners, creatives must embrace this temporary adaptation in time to steer their careers and their motivation to innovate.

A traditional methodology in design is concerned only with competent individuals and tried collective solutions. These solutions are the ones that are able to thrive only when they are in some type of a quantitative consensus. A kind of resigned unquestioning is defining the majority of the practitioners in the architecture and design disciplines and it is producing endemic/systemic results. A major argument like quality can be questioned just because in this line of thought a divergent critical role from the part of the creative is clearly absent. Justified by market and/or clients it lacks the first premise of a critical analysis on a procedural process of production: creatively construct content from context.

Without denying the importance or the value of the majority I have to think about the ones who dare and make the opportunity to take their time to evolve into an idea of cultural maturity. This is my intended argument: maturity. Cultural, social and disciplinary, the matured professionals act as the hybrid bodies of evolution, being able to transition and compete with solutions from ideation and innovation. Not only in the architecture and design field!

By proposing solutions as a mere end result of an entire process of creation those bodies present a possible bifurcation. Yet, identifiable as a unique methodology for alternativity, these set of politics of production is becoming rarer and rarer and almost indefinable as a professional profession. It’s being statistically normalised as an artistic practice, out of commercial context and in a globalised process of rapid extinction as a vertiginous phenomenon.

Perhaps as a new type of craft, this is how another type of creatives are tackling their reality from a very eccentric perspective: unlearning, disobeying and queering.

It shouldn’t end so abruptly.