关键词：设计是不可见的、忘掉什么是好的、不要装酷、重复自己、不惧羞耻地模仿、创新思维方法。
//////////////////////////////////《不完整的成长宣言》//////////////////////////////////
在沙特阿拉伯，他重新规划圣城麦加，解决每年日益增长的朝圣者带来的交通和社会问题。在哥伦比亚，他被政府邀请参与设计贩毒者改造系统，使悔过自新者可以健全地回归社会。他创立了实验性的“无边界学院Institute without Boundaries”教育机构，九万多亚利桑那州立大学学生将在此参与面向未来的教育变革。他突破了传统平面设计的领域，与享誉世界的建筑家弗兰克·盖里、库哈斯等灵感激荡，规划洛杉矶的沃特·迪士尼音乐厅、安迪沃霍尔美术馆等举世瞩目的公众项目；知名品牌可口可乐、麦当劳等也向他求助，解决企业在新时代面临的挑战。他一个人几乎享有所以创意界最举足轻重的奖项：克莱斯勒设计创新奖（1998）、美国视觉传达设计协会金奖AIGA Gold Medal(2007)、全球创意领袖奖Global Creative Leadership Award(2009)、Cooper Hewitt国家设计奖(2016)…在费城美术馆举办设计展览…他就是
布鲁斯·毛，加拿大明星设计家、当代前瞻的设计思想家、作家；他开辟并实践着一个广阔的设计新领域：企业设计(Enterprise Design)－通过对商业的、文化的、社会的组织内部隐蔽的系统的重新想象和重新构造，以大胆有效的创意行动，提高可持续发展的社会效率、增强竞争价值，创造系统性的变革。
1998年，布鲁斯·毛撰写了《不完整的成长宣言》，以43条创意法则重新审视创造力的心智运作；此宣言因其直觉性与开放性而广为流传，启迪全球设计与创意精英重新思考创作流程。『中文版翻译：唐托泥德』
1.让事件来改变你。你必须渴望成长。区别于你遇到的其他偶然事件，成长由你创造、由你激活。你必须坦然体验，渴望被改变。
1. Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.
2.忘掉什么是好的。好是已知的、公认的品质。成长未必意味着好，而是意味着探索未被照亮的未知，脱离我们的探寻轨迹。如果你固步自封于已知的所谓的“好”，你将永远无法成长。
2. Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good.Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.
3.过程重于结果。如果结果驱动过程，我们只会抵达已经到过的地方。如果过程驱动结果，我们可能不知抵达何处，但将抵达渴望到达的地方。
3. Process is more important than outcome. When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.
4.像一个淘气的孩子一样爱你的实验。乐趣是成长的发动机。将你的工作当作美丽的实验、重复的努力、不断的尝试和失败。眼光长远，每天享受失败之乐趣。
4. Love your experiments (as you would an ugly child). Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.
5.深入探索。探索得越深，你越有可能发现价值。
5. Go deep. The deeper you go the more likely you will discover something of value.
6.捕获偶然。错误的答案也许是另一个问题的正确答案。收集错误答案作为过程的一部分。问不同的问题。
6. Capture accidents. The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.
7.学习。工作室是学习的空间。把工作的过程作为学习的借口，每一个人都会获益。
7. Study. A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.
8.漫游。允许自己漫无目的地走神。漫游相关的领域，放下判断，搁置批评。
8. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.
9.随时随地开始。音乐家约翰·凯奇告诉我们：不知道从何处开始是一种常见的麻痹状态，他的建议是：随时随地开始。
9.Begin anywhere. John Cage tells us that not knowing where to begin is a common form of paralysis. His advice:begin anywhere.
10.每个人都是领导者。成长随时可能发生，当它浮现时，任其生长，学习跟随正确的方向。顺势而为，从善如流。
10.Everyone is a leader. Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.
11.收获想法，编辑应用。创意生活在动态的、流动的、丰富的环境中,而应用需要批判性的苛刻与精确。提高创意与应用之比率。
11.Harvest ideas. Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.
12.保持机动。市场有加速成功的惯性。抗拒之，让失败和变化成为实践的一部分。
12.Keep moving. The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.
13.放慢速度。从常规的时间节奏脱离，令人惊奇的机遇可能会浮现。
13.Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves.
14.不要装酷。酷是穿黑衣的、保守的恐惧。不要被其限制。
14.Don't be cool. Cool is conservative fear dressed in black. Free yourself from limits of this sort.
15.问傻瓜式的问题。渴望和纯真是成长的燃料。评价答案，而不是评价问题。终身学习，像一个婴儿一样快速地学习。
15.Ask stupid questions. Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.
16.合作。工作伙伴之间充满冲突、摩擦、争吵、愉悦和巨大的潜在创新之可能性。
16. Collaborate. The space between people working together is filled with conflict, friction, strife,exhilaration, delight, and vast creative potential.
17. _____刻意留白。保留空间以容纳你未来的想法，也为他人的思想留下空间。
17._____Intentionally left blank. Allow space for the ideas you haven't had yet, and for the ideas of others.
18.工作到深夜。当你长途跋涉、持久坚持、工作异常努力，以至于与世界分离之时，奇特的事情将发生。
18.Stay up late. Strange things happen when you've gone too far, been up too long, worked too hard, and you’re separated from the rest of the world.
19.隐喻。每样东西都有代表其他事物的能力，思索其寓意。
19.Work the metaphor. Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.
20.谨慎于从事冒险。时间承前启后，今天的工作会成就你的未来。
20.Be careful to take risks. Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21.重复自己。如果喜欢，再做一次；如果不喜欢，也再做一次。
21.Repeat yourself. If you like it, do it again. If you don't like it, do it again.
22.创造自己的工具以生成独特的结果。自创的工具即使异常简单，也有可能开启探索的新旅程。记住：工具放大我们的能力。微小的、与众不同的工具也可能创造巨大的不同。
22.Make your own tools. Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23.站在他人肩膀上。在他人成就基础上，你可以探索得更远，具有更广阔的视野。
23.Stand on someone's shoulders.You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
24.回避软件。使用软件的问题是所有人都在用。
24.Avoid software. The problemwith software is that everyone has it.
25.不要清理桌面，也许早上醒来你会看到昨晚熟视无睹的东西。
25.Don't clean your desk. Youmight find something in the morning that you can't see tonight.
26.不要参加奖赛。对你没有益处。
26. Don't enter awards competitions.Just don't. It's not good for you.
27.只读左页。原创媒介理论家马歇尔·麦克卢汉是这样做的。减少信息量，把空间留给随手的涂鸦。
27.Read only left-hand pages.Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our “noodle.”
28.创造新词，扩展词典。新的条件需要新的思维方式，新的思想需要新的表达形式。新的表达创造新的条件。
28.Make new words. Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.
29.思考，忘记技术。创造力不依赖于任何设备。
29.Think with your mind. Forget technology. Creativity is not device-dependent.
30.组织=解放。设计或其他领域中真正的创新发生在情景中。情景通常是协作的形式。建筑大师弗兰克·盖里之所以能创造毕尔巴鄂古根海姆博物馆，是因为只有他的工作室能够在预算内完成。区分“创意人”和“商务人士”的神奇要素就是加拿大音乐人、文学家里奥纳德·诺曼·科恩所说的“过去之锦灰”。
30. Organization =Liberty. Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between“creatives” and "suits" is what Leonard Cohen calls a "charming artifact of the past."
31.不要借钱。这还是弗兰克·盖里的建议：财务独立保证创新独立。虽然这不是火箭技术，但是坚持这个信念好像是出奇地艰难，很多人挫败于此。
31. Don't borrow money. Once again, Frank Gehry's advice. By maintaining financial control, we maintain creative control. It's not exactly rocket science, but it's surprising how hard it is to maintain this discipline, and how many have failed.
32.认真倾听。每一个合作者的世界都是独特而复杂，超越我们的想象。通过倾听其需求、愿望和雄心的微妙细节，他们的世界和我们的相叠加，彼此改变。
32. Listen carefully. Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.
33.野外散步。世界的带宽大于你的电视机、互联网，或任何全景式的、交互的、沉浸式的电脑虚拟环境。
33. Take field trips. The band width of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented,real-time, computer graphic–simulated environment.
34.迅速地犯错误。这个想法我可能借鉴于英特尔总裁安迪·格鲁夫。
34. Make mistakes faster. This isn't my idea — I borrowed it. I think it belongs to Andy Grove.
35.模仿。不惧羞耻地模仿。尝试尽可能逼真地模仿。你永远无法达到惟妙惟肖，差别可能才是真正值得关注的。观察一下艺术家理查德·汉密尔顿的马赛尔·杜尚的装置作品《大玻璃》模仿版，就可以认识到模仿是多么丰富的、未充分利用的技巧。
35. Imitate. Don't be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited,and underused imitation is as a technique.
36.咿呀。当你忘记了表达言辞，学小女孩Ella那样去做：创造其他非言辞的表达方式。
36. Scat. When you forget the words, do what Ella did: make up something else … but not words.
37.打碎之,拉伸之,弯曲之,碾碎之,爆破之,折叠之。
37. Break it, stretch it, bend it,crush it, crack it, fold it.
38.探索其他边界。当我们回避使用技术时，巨大的自由才有可能存在。我们对新边界熟视无睹，是因我们将其踩在脚下。尝试使用过时的、作废的工具，这里潜在着丰富机会。
38. Explore the other edge. Great liberty exists when we avoid trying to run with the technological pack. We can't find the leading edge because it's trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.
39.咖啡小憩、兜兜风、漫步植物温室。真正的成长常常发生在我们预期的地点之外，在间隙的、等待的空间。策展人小汉斯曾经组织了一次艺术和科学的会议，该活动具有常规的会议结构：酒会、闲聊、聚餐和机场接机，唯独没有正式的会议。此次活动成功孕育了许多持续的合作。
39. Coffee breaks, cab rides,green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces — what Dr. Seuss calls “the waiting place.” Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference—the parties, chats, lunches, airport arrivals—but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.
40.跨越樊篱，避免被学科的领域限制。学科的领域和规则是避免创新失控的手段，给多样化的、复杂的、逐渐演化的过程带来秩序。我们的职责是跨越藩篱、穿越不同的学科领域。
40. Avoid fields. Jump fences.Disciplinary boundaries and regulatory regimes are attempts to control thewilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.
41.欢笑。这测量着自我表达的舒适程度。
41. Laugh. People visiting the studio often comment on how much we laugh. Since I've become aware of this, use it as a barometer of how comfortably we are expressing ourselves.
42.记忆。成长是历史的副产品。没有记忆，创新不过是新颖。历史指引成长的方向。但记忆只是过去某一时刻或事件的模糊印象，一个不完美的、差异的、局部的、但是鲜活的对过去的重构，因此孕育了成长的潜在可能性。
42. Remember. Growth is only possible as a product of history. Without memory, innovation is merely novelty.History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That's what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.
43.授权。当人们感到可以控制自己的生活，自由意志才有可能发生。
43. Power to the people. Play can only happen when people feel they have control over their lives. We can’t be free agents if we're not free.
布鲁斯·毛认为：人口不断增长促使环境的挑战日益迫切，设计必须超越了产品外表装饰和功能优化的传统范畴，嵌入企业经营与社会生活的深处，重新规划组织运营行为，因此，关键性的设计是不可见的（Design is Invisible）。例如，UPS重新规划其运输系统，使卡车司机减少了左转弯的频率。因为左转时运输车辆有更长时间的怠速等待，这意味着更高的尾气排放量和运输成本。他为“可口可乐”创造了一个“积极地生活Live Positively”的传播战略，每111个可乐塑料瓶将被再造成一把二战期间流行的复古塑料椅子Emeco 111 Navy Chair …他在美国、加拿大策划的＂巨大的变革The Massive Change＂设计展将对未来的梦想转换为积极的行动。在危地马拉、巴拿马等地宏大的政府项目中，都有他繁忙的身影。
布鲁斯·毛的设计思想方法论是一种战略管理方法，他认为这是“重新设计世界”。他的设计团队由高度创造性的、跨学科的人士组成，重温文艺复兴时代博学的达·芬奇艺术创造精神，将创造力和科学研究相结合，以深刻的思考、锐利的目标洞察、大胆的愿景引导设计的未来。面临日益动荡复杂的世界的严峻挑战，布鲁斯·毛的创新观念推动着设计界给出更意义深远的答案。
布鲁斯·毛 职业生涯：
开始于商业平面设计，布鲁斯的设计项目逐渐扩展到了建筑、艺术、博物馆、环境和电影等多样化领域。1982年，他在伦敦任职于著名的Pentagram设计工作室。一年以后在多伦多，他成为著名的Public Good设计公司的三个创始人之一。之后，布鲁斯成立自己的工作室，编辑并设计了关于当代城市的观念与思辨专著zone 1/2,该著作汇集了在城市化领域顶尖的思想家、知名建筑家（如库哈斯等）的论述；他也为高古轩画廊做设计。1991-1993年，布鲁斯成为著名的设计杂志id的创意总监。他以访问学者、驻留艺术家、设计理论及建筑学教授的身份在Getty研究院、加利福尼亚艺术学院等北美和欧洲的学术机构任教并演讲。
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