Design schools should think of an educational thinking reform that centralizes their goals in forming smart, skilful, thoughtful, yet above all efficient and effective designers, since any design product, whether architectural, industrial, graphic, web, will ultimately have a physical manifestation that confronts social reality, and the more immistative the designer is in the process and his variables, the more effective the result. This paper establishes as a starting point a definition of the concept of design from cognitive and metacognitive, through the revision of contemporary references of design (architectural, industrial and graphic) to focus later on the analysis of Robert Sternberg's intelligence theories and their application to a business model that allows the designer to direct his efforts to the efficiency, effectiveness and effectiveness of the resulting. The ultimate purpose is to generate a clear schematic instrument for anyone who studies and performs in the creative discipline of design, especially a reflection for all those of us who are dedicated to teaching it in the academic field.

Creativity is the cognitive and meta-cognitive ability of men or women attempts to reshape the experience based on its observation, understanding and explanation of reality (Bermejo 2009). The greater this capacity cognitive and meta-cognitive, more likely to approach a reformulation successful experience (Maturana 2011) It is divergent thinking in the search for conceptions and criteria alternatives that allow the development of more efficient ideas (Guilford 1950). This thought encompasses all areas of necessity: utilitarian, symbolic, emotional, aesthetic, social, economic; and brings them together in a set of intellectual skills to give different solutions and possibly more than those generated through a positivist process. For De Bono (1986) creativity is the ability to organize the information in unconventional structures, which can act through more efficient and more efficient procedures. This form of organizing information adapts to the development of ideas during the process of reformulation of experience. Creative thinking is one that visualizes, understands, and evaluates rigorous technical criteria, but always driven by volitive factors thinking, so that the whole process achieves more close to reality. In his triarchic theory of intelligence, R. Sternberg (1985) states that this construct of very complex features, feeds on both the knowledge as of man's weight, his relationship to context and his life itself. It is a structure where all the pragmatic and intelligence come to the end of the most suitable solution. This solution produced by a divergent thinking structured to your rather by a broader and more comprehensive intelligence, it is characterized by being different from what known, and is able to even change the way reality looks like. When this happens, creativity has generated innovative methods. Innovation is fueled by practical skills that are synthesize demerging procedures, where technology and technology appear as a major conceptual tool. As technology and technology collaborate with the creative performance, innovation is more likely to become in an efficient solution.

D.M. Fenelon is a former university professor of Architecture Design Studio in Venezuela (University of Los Andes). For ten years, as an Assistant Professor, he was deeply committed to the research and teaching of the process, diagrammatic thinking and schematic organization of the design concept. D.M. Fenelon also frequently combined his teaching tasks with fine art photography and academic lectures and writing. Currently living in Michigan, US, and working in the design field as a consultant and visualization expert.