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Kennedy, Paul. "Design practice : routine creativity." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1847/.
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The aim of this research is to understand and explain designers - what makes them tick, what motivates them and why they do things in the way that they do. A research approach specific to people, being designers, and the social science framework associated with Pierre Bourdieu has been rigorously engaged. Designers have been spoken to face-to-face and given the opportunity to raise their concerns so that their engagement with design production is illuminated and considered. A series of interviews has been carried out with practising designers. The early interviews exposed areas of interest that could best be investigated by targeting older designers who could recount the changes in design production they had witnessed during their working lives. This life history approach has yielded social as opposed to technical descriptions of design practice and has identified significant technological and organisational changes that have affected designers in the past 30 years. The design habitus is a system of dispositions that enables designers to act as they do and be successful in such a complex, interactive activity as designing. Designers display the habitus through their practice and their interactions with other people, with the products they design and the machinery they use when designing. They make distinctions about the products of their activity on through designers’ continuous physical engagement with the objects of their work and their design colleagues. Their attitude to technology is typified by a willingness to embrace the new; they create new things themselves and this leads them to adopt new tools and adapt them to do their job.
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Robinson, Joyce Robin. "Creativity in Fashion Design Students." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/406.
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AN ABSTRACT OF THE DISSERTATION OF Joyce Robin Robinson, for the Doctor of Philosophy degree in Workforce Education and Development, presented on June 27, 2011, at Southern Illinois University Carbondale. TITLE: CREATIVITY IN FASHION DESIGN STUDENTS MAJOR PROFESSOR: Dr. Beth W. Freeburg and Dr. Jane E. Workman The purpose of this study was to examine relationships among environmental influences, changes in domain specific knowledge, and changes in tolerance of ambiguity as well as changes in creativity of individuals majoring in fashion design at four-year universities. This study was based on the confluence theoretical approach which holds that multiple components must connect in order for creativity to occur. This was a quantitative study involving participants from multiple universities with four-year fashion design programs. The study used online surveys to gather data on attitudes, opinions and achievements. Dependent variables were creativity and tolerance of ambiguity. Independent variables included tolerance of ambiguity, family background, and demographic information. The findings revealed: (1) media such as art, music and literature were positively correlated with creativity; (2) parental encouragement was positively correlated with creativity; (3) electronic media, such as television, computers, and the internet were negatively correlated with creativity; (4) lessons (e.g., in sports, music, dance, cooking, or childcare) was negatively correlated with creativity; (5) available space to create, explore, and experiment was negatively correlated with creativity; (6) there was a positive correlation between creativity and tolerance of ambiguity. This information will contribute to the existing knowledge on creativity. Parents and Instructors may use this information to help develop and enhance creativity.
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Holden, Allison Marissa. "Creativity in children's furniture design." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2519.
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Research shows the importance of a childhood home environment encouraging of creative and imaginative play.
I designed a set of children's furniture that, in addition to being play toys, stimulates creativity, interactivity and understanding of design construction. When a child understands how furniture is assembled and is encouraged to be creative in play, he or she gains valuable learning experiences while having fun. Together, a child and adult can easily assemble all the pieces of furniture without any need for tools. Much like a puzzle, the child has fun assembling the furniture while, at the same time, learns valuable lessons of spatial relationships and structural stability. This also leads to an understanding of safety in play. The added element of a portable three-inch LED orb encourages interaction once all pieces are assembled.
Abstract design elements were used to stimulate imagination during play. Using basic Gestalt design principles, the furniture series was constructed to not only be structural but to be beautiful in design. The curved abstract shapes encourage the child to take control and imagine the furniture as integral components of their play scene.
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Meyer, Kendra Louise. "Creativity in Repurposing Textiles." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1288110244.
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Nacsa, Júlia. "Curious Cuisine : Bringing culinary creativity home." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-126555.
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How could culinary science and technology educate us about food through engagement and reflection? In this project, I proposed to uncover opportunities for design intervention within our near-future scenarios of cooking and eating in a home environment. My intent has been to use interaction design methodology to form social practices that turn the process of making and eating food more pleasurable and inspiring, while developing one’s individual knowledge, without being didactic and prescriptive. The hypothesis has been that culinary science simplified, combined with today’s data-driven technologies, have the potential to foster creativity and experimentation among hobby cooks. The aim has been to discover the consequences of cloud data and connected technologies on experimentation, which is inherently driven by human intuition. My approach has been to explore what behaviors such data-driven systems designed for eliciting creativity could possess, and what kind of inspiration the science of flavor could bring into everyday cooking. The result is a set of design principles for how creative cooking explorations can be fostered through tangible and embodied experiences. It is manifested in a concept that creates a ‘culinary safe zone’ by encouraging experimentation, presenting information on demand, but without overshadowing the cook’s intuition. The concept Curious Cuisine allows non-professional cooks to create their own unique dishes; to explore ingredient pairings, preparation techniques, and fine-tuning flavors.
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Merrill, Jeremy. "Increasing creativity in design education: measuring the e/affect of cognitive exercises on student creativity." Diss., Kansas State University, 2013. http://hdl.handle.net/2097/16996.
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Doctor of PhilosophyDepartment of Environmental Design and Planning
Stephanie A. Rolley
Creativity is vital to the design professions although there is a not a common understanding among designers about the nature of creativity. Designers need a model of creativity that helps place the importance of creativity in the design process and informs educators about how to better enhance creativity in their students. Merrill’s Model of Creativity in Design (Merrill & Rolley 2012) was developed by the researcher and served as the framework for exploring the effect of an academic intervention on the creativity of college freshman design students in order to answer the question: Does participating in an academic intervention affect the creativity of first-year, three-dimensional design students, as measured by the Figural Torrance Test of Creative Thinking? A mixed methods approach allowed development of a rich field of data for analysis as well as a body of student work and experiences. Design students were taught creativity techniques in addition to completing short exercises during a one-hour weekly seminar class, Design Thinking and Creativity. These students were compared to a control group of students utilizing a modified Solomon four-group non-equivalent control group quasi-experimental research design, adapted from Campbell and Stanley (1966). A paired t-test compared post-test scores between the treatment group (n=70) and the control group (n= 18). Qualitative data was also collected including a demographic survey, a Creative Self-Assessment, and interviews. The treatment group, on average, (M=113.53, SE=1.82) scored significantly higher than the control group on the post-test administration of the FTTCT (M=104.78, SE=3.41), t(84)=-2.22, p<.05, r=.06). An analysis using Spearman’s Rho determined a significant correlation between individual participant’s scores on three assessments of individual student creativity, which focused on the individual’s creative cognitive abilities; however, there was no significant correlation with the final creativity project. These findings show that deliberate creativity education coupled with creativity exercises allowed students to slightly raise their creativity while the creativity of their peers dropped. Analysis of qualitative data revealed high student confidence and commonalities in defining creativity. This study demonstrates that an academic intervention can improve the creativity of beginning design students and provides a theoretical framework for future creativity research and teaching.
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Short, Benjamin William. "Exploring creativity in physical interface design." Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551642.
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A dual methodological approach was adopted to investigate the effects of constraint upon creative product while using a physical interface toolkit. A longitudinal design study was carried out and found a persistence of ideas from the initial design task. In addition to this an action-oriented bias was found in the use of the toolkit. Experimental studies replicated Finke's (1990) finding that the use of a preinventive form may influence creative product. Presence of preinventive form in conjunction with constraint of form and a taxonomic category was found to significantly increase originality while leaving practicality unaffected. Verbal protocols of a design task using physical interface devices were gathered and were found to reflect the action- oriented bias seen in the design study. A final study into the effect of different dimensions of constraint upon a short design task using descriptions of physical interface toolkit items found that originality may be raised both by constraint in the form of taxonomic categorical instruction and goal-directed categorical instruction and that these gains in originality appear to be additive. However the introduction of a goal-directed categorical instruction resulted in a significant reduction in practicality ratings.
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Warr, Andrew M. "Understanding and supporting creativity in design." Thesis, University of Bath, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439275.
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The topic of this thesis is to understand and support creativity in design. While the interdisciplinary field of Human-Computer Interaction has been described as a ‘design-oriented field of research’, it has been argued that our understanding of design is relatively poor. The process of design has been described as involving a certain ‘mystical element’. The ‘mystical element’ of the process of design has been described using terms such as ‘creativity’. With a poor understanding, it is hard to know how best to support creativity. This could impact the processes and outcomes of design. This thesis attempts to increase our understanding of creativity in design, thereby increasing our knowledge of how best to support the creative design process. The thesis develops an understanding of creativity in the forms of a definition of creativity, metrics and measures of creativity and an understanding of the creative process as it is expressed in the activity of design. These contributions are developed throughout the thesis building upon theoretical work and are refined reflecting upon our practical studies. Furthermore, we develop an understanding of how to support creativity in design by eliciting requirements for creativity support tools, based upon our theoretical work and practical studies. The application of these requirements are reflected upon and illustrated through the evaluation of an existing support tool and the design, development and evaluation of our own creativity support tool: Public Social Private Design (PSPD).
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Kliiman, Kristin, and Annie Ekblom. "The effect of constraints in creativity : From the perspective of web designers." Thesis, Tekniska Högskolan, Högskolan i Jönköping, JTH, Datateknik och informatik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-43643.
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Purpose – Web is no longer solely about functionality and information as it used to be. Nowadays the aesthetic aspects, including creativity, could be considered just as important. However, web designers still need to fulfil the needs of clients and users in the design process which causes various design constraints. Therefore, this study aims to investigate how web designers’ creativity is affected by various design constraints. This is explored by one main research question and a sub-question: 1.) How is web designers’ creativity affected by design constraints?; 1.1) What could cause web designers to break web design guidelines? Method – This research applied an inductive, qualitative approach with an exploratory view. In order to find answers for the research questions, semi-structured interviews were conducted with 8 participants from the field of web design. The data gathered was later analysed and evaluated through thematic analysis Conclusions – The findings of this study suggest that while there are some positive effects, web designers’ creativity is mostly negatively affected by design constraints. Furthermore, it seems web designers break web design guidelines due to finding them irrelevant and/or to get a more creative outcome as well as breaking them unintentionally. Delimitations – This study only covers how web designers reason regards the research questions and does not include the perspective of web developers. Moreover, this thesis focuses solely on website design and does not involve design for mobile applications.
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Jeffries, Karl K. "Skills for creativity in graphic design : testing the relationship between visualisation, written comprehension, and graphic design creativity." Thesis, Open University, 2017. http://oro.open.ac.uk/50274/.
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This thesis explores the relationship between skills, creativity and domain. It is situated within an evolving topic of design creativity; an emerging field that interfaces between creativity research, which has often occurred in the field of psychology, and design research often associated with the fields of engineering, art and design. Through five interconnected studies, and the domain of graphic design as the basis for experimentation, the research culminates in testing the relationship between creative output and skills considered important for competent performance in graphic design. How to assess graphic design creativity in a manner credible to both the creativity research and design research community has been a core challenge for this thesis. The method selected - the Consensual Assessment Technique (CAT) - before this thesis had yet to be used as a reliable measure of graphic design creativity in experimental research. For this reason, three of the studies were directed at establishing the reliability of the CAT. • One undertook the first systematic literature review of the CAT in design research; • a second tested the assumption that a graphic design CAT would show acceptable levels of inter-rater reliability (as researchers had found in other domains of design); • a third focused on optimising the CAT to measure graphic design creativity. Additionally, given the wide range of graphic design competencies available, a conceptual framework was developed to prioritise those most important, and suitable, for experimental study. Two were identified (mental visualisation, and written comprehension) and each was tested for its relationship to graphic design creativity. Where other researchers have suggested or found a relationship, in this study, no significant correlations could be evidenced for either mental visualisation or written comprehension with creative output. Such a finding is likely counter-intuitive to many in art and design, thus, the implications of this study impact upon debates within design creativity research, design education, and graduate skill gaps for the Creative Industries.
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Pechoux, Beatrice Le. "A Pattern Language Describing Apparel Design Creativity." NCSU, 2000. http://www.lib.ncsu.edu/theses/available/etd-20000404-214300.
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The apparel design process involves gathering and analyzing information on fashion trends, markets, past line sales and editing ideas for successful combinations of fabric, style and price. These ideas are the result of creativity. Creativity is most often modeled as a problem solving process involving complex chaotic systems. In the fields of architecture and software design, pattern languages have been developed to help understand the various fundamental components and dynamics of complex systems by using a series of related generic problem-solving patterns empirically proven to be successful in a specified context of forces. Patterns record existing knowledge to make it rapidly and easily accessible and communicated between different users. The research objective of this dissertation was to develop a pattern language describing the initial creative phase of the apparel design process. First, an archetype of the initial creative process in apparel design was constructed based on the literature reviewed to integrate the intervening marketing and design components, and suggest a set of links between these components and the various stages of the process. Second, patterns describing these links and the archetype were developed to form a pattern language representing the dynamics of the archetypal model, i.e. the articulation and interdependencies of all its components and stages. Design professionals reviewed the pattern language. Students used it to develop product concepts and storyboards, which were evaluated by a panel of judges. Feedback from these participants indicates the pattern language offers a "design manual" that can be used by all team members to improve design efficiency and effectiveness, i.e. higher success rates of new products in a timely manner. Combining information technology and the pattern language could make an even greater contribution to apparel design, both at an operational level and a strategic planning level. This research provides a working example of a pattern language and shows the benefits to be attained. Also, the dissertation includes a guide on constructing pattern languages in the hope of reaching the ultimate goal of encouraging industry and academic apparel design experts to contribute to the necessary ongoing developments of the pattern language.
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Ryan, Kathleen. "Sketching and creativity of interior design students." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Spring2008/K_Ryan_042508.pdf.
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Lordan, Martina M. "Methods of enhancing creativity for engineering design." Thesis, University of Manchester, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488025.
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Braithwaite, N. J. "Shoe design : an ethnographic study of creativity." Thesis, Nottingham Trent University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.629250.
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The empirical focus of this thesis is the creative practice of a select number of contemporary British based high fashion women's shoe designers. The research responds to an existing gap in theoretical debates on fashion, in particular shoes, as to what creativity in design entails. Based upon a twenty month long ethnography with twenty three shoe designers and other informants, my thesis contributes original knowledge of what shoe designers do to create shoes. Through a holistic approach to the study of creativity, the research demonstrates that ideas are not always the starting point of creativity. The designers work as individuals and thus their creative process cannot be reduced to the strict linear sequence that design discourse can assume. My work contributes to material culture by demonstrating, in the context of shoe design, what materiality actually is. The thesis reveals the inspirational and agentic properties of the materials of shoe design, just as the practitioners act upon the materials so do materials act upon them. Through the study of materials creativity is presented as an embodied practice where the practitioner exists in a dialogue between materials, creative processes and forms. By showing how materials give life to shoes, I have produced a significantly mc e dynarric approach to material culture. The research has encompassed the creative network surrounding the shoe designer and reveals the complexity and relationality of the creative process. I have shown that creativity in shoe design moves beyond the realm of the individual to encompass a network of humans and materials. Inherent in the study of this practical process was the difficulty for designers to verbalise their creativity and in order to overcome this barrier, a phenomenological approach was required. This was achieved by learning to design and make shoes. The final part of the thesis traces my journey through the learning of these practical processes and in so doing reflects back upon the ethnographic findings. What emerges from my research is that creativity in shoe design is a sensorial, material and embodied process for these practitioners of shoe design.
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Beach, Joni Leigh. "Apparel Textile Design Process as Related to Creativity." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/36697.
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This study was framed by the question, How is creativity integrated into the design process of apparel textile designers? A qualitative approach was used to explore the integration of creativity in the design process of two designers in the field of clothing and textiles. The personal experiences of a weaver and a costume designer were shared with the researcher through interviews, participant observation, logs, and document/visuals. Data were analyzed by a method of coding and categorizing. Comparative analysis was conducted on the studies of the weaver and the costume designer. A comparative analysis was done among the findings of the two apparel textile designers and from the review of the literature. First, steps of the design process as related to creativity were explored. The design process model stated by Koberg and Bagnall (1981) was used to analyze and discuss the findings. It was found that the apparel textile designers' process included the steps of acceptance, analysis, definition, ideation, idea selection, implementation, and evaluation. Many themes emerged from the data for each of the steps of design. Amabile's (1996) three components of creative performance (domain-revelant skills, creative-revelant skills, and task motivation) were used to examine and discuss the creativity of the weaver and the costume designer. It was found that the design process acted as a framework, and creativity allowed for the generation of new ideas and outcomes in the designer's work. The study of apparel textile designers, their individual design processes, and creativity serves to expand the body of knowledge of the design process and creativity related directly to the textile arts and to aid in the development of methods in design education.Master of Science
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Mozaffar, Reyhaneh. "Creativity for children : assessing children's creativity in play and design : recommendations for educational outdoor environments to enhance children's creativity." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31113.
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This research studied children’s educational outdoor environments in order to understand which contexts and environmental characteristics support children’s creativity in play. Creativity is an important factor in children’s cognitive development; children’s creativity can flourish in outdoor environments as they can engage in free play. Accordingly, this research had two central aims: Aim 1: To classify and assess children’s levels of creativity during play. Aim 2: To develop design principles for educational outdoor environments in order to nurture children's creativity in play. Initially, behaviour observation and the Leuven Wellbeing and Involvement Scale were used to collect data for a pilot study. Children’s play behaviours were observed and analysed, and based on the Evaluation of Potential for Creativity, the Creative Play Taxonomy was designed in relation to the first aim of the study. Then, at two study sites, experimental research was designed. At both study sites, children were observed in four different play contexts. At Study Site One, duration recording was used and the videorecorder observations were coded with the Creative Play Taxonomy using the software The Observer from Noldus. At Study Site Two, narrative recording was used in the observation sessions and focus group discussions were held with the children. The findings from both study sites achieved the second aim of this study. The current research makes two main contributions to knowledge. Firstly, it introduces the Creative Play Taxonomy, which can be used by researchers, psychologists, educationalists and related disciplines to understand, categorise and assess children’s creativity in play. Secondly, it increases the understanding of the particular play contexts that support children’s creativity in play, and the environmental characteristics that enhance these types of play. Accordingly, this research suggests that: - Outdoor play spaces should include a variety of different play contexts to encourage creative play amongst different groups of children. - The most effective play contexts for children’s creativity are those facilitated with flexible, changeable, mouldable, movable, multi-functional and open-ended play materials. - Children’s outdoor play spaces should be facilitated with loose parts, both natural and synthetic, as they are highly supportive of children’s creativity. - Natural outdoor environments and elements highly encourage creative play behaviours amongst children. The findings are intended to guide landscape architects and playground design professionals to produce informed design decisions based on the framework of creativity, in order to nurture children's creative thinking abilities.
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Unrath, Katie C. "Collaborative Creativity in the Physical Work Environment: A Pre-Test, Intervention, Post-Test Case Study." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1408949815.
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Sosa, Medina Ricardo. "Computational Explorations of Creativity and Innovation in Design." University of Sydney. College of Sciences and Technology, 2005. http://hdl.handle.net/2123/614.
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This thesis addresses creativity in design as a property of systems rather than an attribute of isolated individuals. It focuses on the dynamics between generative and evaluative or ascriptive processes. This is in distinction to conventional approaches to the study of creativity which tend to concentrate on the isolated characteristics of person, process and product. Whilst previous research has advanced insights on potentially creative behaviour and on the general dynamics of innovation in groups, little is known about their interaction. A systems view of creativity in design is adopted in our work to broaden the focus of inquiry to incorporate the link between individual and collective change. The work presented in this thesis investigates the relation between creativity and innovation in computational models of design as a social construct. The aim is to define and implement in computer simulations the different actors and components of a system and the rules that may determine their behaviour and interaction. This allows the systematic study of their likely characteristics and effects when the system is run over simulated time. By manipulating the experimental variables of the system at initial time the experimenter is able to extract patterns from the observed results over time and build an understanding of the different types of determinants of creative design. The experiments and findings presented in this thesis relate to artificial societies composed by software agents and the social structures that emerge from their interaction. Inasmuch as these systems aim to capture some aspects of design activity, understanding them is likely to contribute to the understanding of the target system. The first part of this thesis formulates a series of initial computational explorations on cellular automata of social influence and change agency. This simple modelling framework illustrates a number of factors that facilitate change. The potential for a designer to trigger cycles of collective change is demonstrated to depend on the combination of individual and external or situational characteristics. A more comprehensive simulation framework is then introduced to explore the link between designers and their societies based on a systems model of creativity that includes social and epistemological components. In this framework a number of independent variables are set for experimentation including characteristics of individuals, fields, and domains. The effects of these individual and situational parameters are observed in experimental settings. Aspects of relevance in the definition of creativity included in these studies comprise the role of opinion leaders as gatekeepers of the domain, the effects of social organisation, the consequences of public and private access to domain knowledge by designers, and the relation between imitative behaviour and innovation. A number of factors in a social system are identified that contribute to the emergence of phenomena that are normally associated to creativity and innovation in design. At the individual level the role of differences of abilities, persistence, opportunities, imitative behaviour, peer influence, and design strategies are discussed. At the field level determinants under inspection include group structure, social mobility and organisation, emergence of opinion leaders, established rules and norms, and distribution of adoption and quality assessments. Lastly, domain aspects that influence the interaction between designers and their social groups include the generation and access to knowledge, activities of gatekeeping, domain size and distribution, and artefact structure and representation. These insights are discussed in view of current findings and relevant modelling approaches in the literature. Whilst a number of assumptions and results are validated, others contribute to ongoing debates and suggest specific mechanisms and parameters for future experimentation. The thesis concludes by characterising this approach to the study of creativity in design as an alternative �in silico� method of inquiry that enables simulation with phenomena not amenable to direct manipulation. Lines of development for future work are advanced which promise to contribute to the experimental study of the social dimensions of design.
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Kaiser, Marie. "Well-being through creativity : A collaborative online platform for hobby illustrators." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-43262.
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This project explores how interactive technologies can support digital collaborations between hobby illustrators in order to foster their mental well-being through creative exchange, with special regard to physical distancing. The exploration of the design concept builds upon four main areas of theory: social connectedness in times of physical separation, the impact of creativity on mental health, design for collaborations and creativity through collaboration. The design project resulted in a prototype for a smartphone application that enables hobby illustrators to find inspiration to create artworks and collaborate with other hobby illustrators while being physically distanced, as to be presented in the following chapter 0. This paper discusses the design process from research to design decisions and reasoning behind the features of the prototype. The outcomes contribute to Interaction Design research at the intersection of technology and artmaking and open considerations to design for creative collaborations in non-professional contexts, potentially extending to the broader field of arts.
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Viklund, Emma. "Design approaches in industrialized house building : A creativity perspective." Licentiate thesis, Luleå tekniska universitet, Industriellt och hållbart byggande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-63034.
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Industrialized house builders strive towards structure and control of their processes, including design. Such structure is seldom sought for in architectural design practice, where individuality and autonomy are considered essential. This is causing a tension in the construction industry as industrialized house builders and architects strive to improve their collaboration. In this licentiate thesis, a first step towards better understanding this tension is taken by exploring different design approaches from a creativity perspective. The analytical framework builds on a theoretical conceptualization of design approach features, including design task, design process, design organization, and knowledge sharing. A creativity perspective is added using heuristic or algorithmic design tasks; divergent or convergent design processes; autonomy or imposed structure from the design organization; and sole designer or teamwork as the basis for knowledge sharing. This framework is used to analyze four empirically explored design approaches, two focusing on platform development and two focusing on project specific design. Three of these are explored using a case study approach, while the fourth is explored through interviews with multiple architects. The architectural design approach’s features seem likely to facilitate creativity: the design task is mainly heuristic; the design process enables divergence; and the architects have autonomy in how to go about the design process. However, they experience a lack of knowledge sharing, which could further facilitate creativity. The studied standardized design development approach has the opposite features: the design task is mainly algorithmic; the design process facilitates convergence; and there is a clear structure with instructions of how each subtask should be executed. Hence, this design approach is not likely to facilitate creativity (which was also not its intention). The structure has however improved the design team’s knowledge sharing, which is likely to facilitate creativity. The two platform development approaches have a mix of features. Both design tasks are more algorithmic than heuristic and creativity was not expected of the design results. The design processes are clearly convergent. While the house platform development team is multi-functional and work in close collaboration, the design automation platform developers’ knowledge sharing is based on communication with the client’s organization, thus not enabling as many perspectives on the designed product. The design automation platform developers use a support structure with process descriptions and methods to ensure quality, motivated by the variety of platforms that they develop on a regular basis. The house product platform developers on the other hand, were expected to develop only this one platform. Hence, they worked autonomously, using the teamwork setting to progress and converge in the process. In summary, the creative intention seems related to how design is approached. If creativity is sought for, the design task is heuristic, and divergence and autonomy is promoted. If creativity is not sought for, structure seem to facilitate other benefits such as reliability and quality control. Knowledge sharing could however be potentially beneficial in most design approaches. By understanding that different design approaches will influence creativity in different ways, a first step has been taken towards understanding why architects and industrialized house builders approach design differently.
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Nouri, M. "Creativity-supporting environments : an emotion-based framework for influencing designers' creativity through using design environments." Thesis, City, University of London, 2016. http://openaccess.city.ac.uk/16161/.
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Organisations need to develop their physical/psychological environments in order to build more creative, positive, activated and motivated spaces for people to work. Although previous research has investigated the effect of environment on creative performance, there has been little research into how it might support creative work that evolves through a sequence of divergent and convergent activities based on people’s emotions. This research proposes a theoretical framework with which to design the environments to support creative thinking that recognize and apply components that link creativity and emotions. Environment, emotion and creativity are the 3 main elements that form the structure of this framework. It is called the CSE (Creativity-Support-Environment) framework. The framework uses the link between emotion and creativity to create physical and digital environments that actively enhance and maintain different types of creative thinking in the design workspace. The framework addresses that gap in knowledge in the fields of environmental design and psychology, the effect of physical and digital work environment on creativity on the one hand, and the impact of emotions on creativity in the environment. On the other, the framework gives rise to guidelines for designing physical and digital spaces that facilitate creative thinking. To validate the CSE framework, empirical studies were undertaken in different environments, a set of design guidelines that can be applied in designing spaces with different stimuli (physical and digital), to foster divergent and convergent creative thinking. The CSE framework is important because it examines creativity from the perspective of emotion and applies the link of creativity and emotion in designing the environment to improve creative thoughts. In practice, the design guidelines can be adopted by designers of physical and digital environments to ensure those environments better support divergent and convergent design tasks. The results of this research have implications for the development of further design guidelines to form the construction of creative design environments in organizations with the aim of optimizing creative potential.
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Marin, Vidal Flavio Alejandro. "Metaphor and cognition| Creativity in new product design." Thesis, Instituto Tecnologico y de Estudios Superiores de Monterrey (Mexico), 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3570883.
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Through nine experiments, this research advances knowledge about the influence of metaphors grounded in the visual sensory system on creative cognition by showing that perceiving ostensibly task-unrelated visual images that carry metaphoric meaning alters consumers’ creativity. While the results of Experiments 1a, 1b, and 2 provide convergent evidence that positive visual metaphors representing ideas like “I just had a light go on” increase consumers’ creative output, Experiments 3a and 3b reveals that a negative visual metaphor conveying ideas like “ I am burnt out” decrease it. Experiments 4a and 4b show that aptness and familiarity moderate the metaphor creativity link, and Experiment 6 shows that the metaphor–creativity link is moderated by analogical reasoning skills. Experiment 5 uncovers the mediating role of creative intent. In addition to implying that marketers can use metaphors to enhance consumers’ creative feedback in areas like new product development, this research also makes important theoretical contributions by showing (1) that grounded visual metaphors (in addition to tangible objects or physical exercises) can not only raise but also lower creative output, (2) that the cognitive relationship to the metaphor alters the metaphor-creativity link, (3) that a unique cognitive skill alters the metaphor–creativity link, and (4) that consumers’ intentions explain that relationship.
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Davies, Trevor. "Creativity : its contribution to design and technology education." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269122.
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Ding, Annie. "Recombinant design : leveraging process capture for collective creativity." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36393.
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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2006.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (p. 123-126).
Design is omnipresent and fundamental to the modern world, yet so little of the rich semantic information of the design evolution is preserved. If we are to gain the greatest knowledge and utility from a creative work, we must understand and preserve the process by which it was designed. To pursue this understanding, I have designed and implemented two electronic media-based process capture frameworks that automatically capture and share process as well as provide process reviewing tools. The first system, Chronicler, is a universal capture framework which captures fine-grained process information at an action resolution, demonstrated through the example of a painting program. The second system, Artwork Genealogy, a component of the OPENSTUDIO project, uses versions embedded with process metadata to document the evolution of artwork in an open collaborative community. This web-based system was launched to users in February 2006 and continues to collect art processes from an active and growing community. Through simple, friendly user interfaces, these two systems encourage designers to donate to a repository of shared, searchable design information from which design rationale, the explanations for design decisions, can be inferred.
(cont.) The comparison of these two systems, through data mining and user analysis, shows the effectiveness of these methods for collaborative process capture and combinatorial process reuse. In particular, I demonstrate the ability of process capture systems to give rise to emergent behaviors, uncover process regularities, and to empower designers through five key areas: learning from past work, reusing ideas and work, expression, attribution, and evaluation.
by Annie Ding.
M.Eng.
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Bardici, Minavere. "ICT Design and Users’ Affect, Cognition and Creativity." Thesis, Blekinge Tekniska Högskola, Sektionen för management, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5995.
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This study set out to investigate how ICT design relates to users’ affect, cognition and creativity in task performance. More specifically, the intent is to highlight how ICT design can elicit positive effective states and enhance cognitive abilities, including creative thinking in task activity within distance learning. In addition to this is to emphasize the synergies between ICT design, affect, cognition, and creativity from as well theoretical as empirical perspectives. To achieve the objective of this study, a qualitative empirical method was used. A survey questionnaire was chosen as a collection data technique. As far as analysis is concerned, phenomenology analytic strategy was espoused to explore how the participants perceive the phenomenon under inquiry. As for theory, central themes were selected for review given the synergy between them and their implication for the topic. They include: ICT; design; ICT design aspects: aesthetics, functionality, and usability; affect and cognition; and creativity; as well as the synergies between these concepts. Key findings highlight the role of affective quality of ICT design aesthetics in eliciting positive affective states among users when they acquire and use new ICT products or services regardless of their motivational needs. Most users consider aesthetics, usability, and functionality as design aspects but they tend to differ in ranking them depending on how they emotionally perceive them. Simplicity in ICT design is perceived as pleasurable aesthetic value. Further, natural colors are favored most by ICT users and positively affect their emotions so do the other aesthetical features associated with computers, software graphics, and web design. Using ICT inspire users creativity in task performance through what design affective qualities induce as positive affect in them in addition to software usability and functionality depending on the user. There are some synergies between design aesthetics, affect, cognition, and creativity. Moreover, ICT design can, depending on additional factors, ease and help users’ to carry out complex task and if software applications are skillfully used, they can help stimulate users’ creativity in task performance because of the built-in capabilities that are intended to enhance cognitive and emotional abilities of users. In addition, users differ on the elements they focus on when interacting with ICT depending on their inclination. Human attentional capacity and intensity can play a role in creativity. Crystallization of creativity can be triggered when various ICT design elements are perceived in a useful way.+46704393342
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Nestok, Bennett R. "Uninhibited Ideation: Childhood Games as Design Methods." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438342.
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Strouse, Emily Elizabeth. "Collective Creativity through Enacting: A Comparison of Generative Design Research Methods." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374072488.
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Swenberg, Thorbjörn. "Postproduction Agents : Audiovisual Design and Contemporary Constraints for Creativity." Licentiate thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-14083.
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Moving images and sounds are processed creatively after they have been recorded or computer generated. These processes consists of design activities carried out by workers that hold ‘agency’ through the crafts they exercise, because these crafts are defined by the Moving Image Industry and are employed in practically the same way regardless of company. This thesis explores what material constraints there are for such creativity in contemporary Swedish professional moving image postproduction. The central aspects concern digital material, workflow and design work as distributed activities. These aspects are coupled to production quality and efficiency at the postproduction companies where production takes place. The central concept developed in this thesis is ‘creative space’ which links quality and efficiency in moving image production to time for creativity, capacity of computer tools, user skills and constitution of digital moving image material. Creative spaces are inhabited by design agents, and might expand or shrink due to material factors. Those changes are coupled to parallel changes in quality and efficiency.Audiovisuella Medier
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Norton, William Kelly. "Finishing touches : adaptive graphic design that leverages human creativity." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36150.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Includes bibliographical references (p. 87-89).
This thesis proposes the investigation of a distributed architecture to facilitate automatic adaptation of graphical representation in digital documents to constraints imposed by the presentation device. The goal of the system is to select the most effective graphical solution from among a set of such solutions given the characteristics of the viewing environment (i.e. resolution, screen area, aspect ratio, color depth) or to determine that all available solutions lie below a specified effectiveness threshold in order to prompt manual, human redesign for that particular case. Such a system demonstrates a new hybrid architecture for problem-solving systems that is able to leverage the systematic protocols of pure computing systems with the creative intelligence of human invention.
by William Kelly Norton, Jr..
S.M.
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Akhavan-Tabib, Parnian. "The contribution of intimate relationships to creativity in design." Thesis, Glasgow School of Art, 2008. http://radar.gsa.ac.uk/4890/.
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Harkan, Lama Abdulrahman. "Creative Networks: Toward Mapping Creativity in a Design Classroom." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609116/.
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This study developed new mapping techniques and methodologies for understanding creativity in terms of connectivity and interaction between human and non-human actors in a design classroom. The researcher applied qualitative methods of data collection combining both observation of classroom activities and focus group interviews in order to map a creativity network. The findings indicate that creativity is a complex weather-like system (or what I call "creative climate") composed of many sub-networks and diffused networks. Four interactions emerged from the study: (a) the creative climate is composed of the circulation of bodies and objects forming networks and sub-networks, (b) centers and corners/edges are a measure of connectivity and interaction in classroom space design, (c) roundness is a measure of classroom style and the space of connectivity usage, and (d) plugs-in creativity is a measure of technology consolidation. This study attempted to fill the gap in the literature on creativity and classroom design by explaining the role of non-human actors in shaping the creative climate in the classroom, especially the role of the classroom space itself as an actor. The implication of this study in art education opens a new opportunity for research in designing innovative classrooms. Also, it will allow future investigation of the phenomenon of creativity as a climate system based on the interaction between human and non-human actors.
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Camara, Del. "Visual arts: Teaching creativity from within." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3628.
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In the ever-changing world of visual arts education, there is a gap in the literature about the incorporation of creativity, risk-taking, and play in the curriculum. The purpose of this study was to understand how high school visual arts educators teach visual arts and creativity in the age of digital media, including the practices art teachers use to engage their students in their development of art-making and ways teachers encourage students to take risks in art-making practices. Utilizing an arts-based research method focusing on four case studies in the Central Valley of California, this inquiry examined the way visual arts educators teach the arts at the high school level. Further, this study used data sources of classroom observations, surveys, and one-on-one interviews. Data analysis utilized the theoretical lens of multiple intelligences to examine the different ways each visual arts teacher teaches visual arts. Findings indicated that there is a need for a common definition of creativity, student-teacher relationships are critical for improving students’ efforts in the arts, learning about the visual arts develops skills that students can use throughout their lifetime, and students from lower socioeconomic backgrounds tend to be more willing to take risks in their artwork. Recommendations for further research and policy for school leaders conclude this study.
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Ruppert-Stroescu, Mary. "Technology and Creativity| Fashion Design in the 21 st Century." Thesis, University of Missouri - Columbia, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13877166.
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Alhajri, Salman. "Developing a pedagogical model to enhance and assess creativity in Omani graphic design education." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/12357.
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This research investigates the position of creativity within graphic design education in general, and within the Omani educational context specifically. It situates itself among three realms: education, design, and creativity, investigating the relationships, effectiveness, and interrogations among these three topics. Creativity is defined within this research and in relation to graphic design education as problem solving , which is explained also as a cultural activity, or a cultural production. Graphic designers can involve themselves effectively in solving communication, social, and cultural problems that are classified as wicked problems , which usually require creative solutions. It is argued that Omani graphic designers should be creative problem solvers and able to find effective solutions for these problems. Yet this is not the case in Oman, at least from an educational point of view. The research problem is that the Omani design education system lacks a framework that recognises creativity as an important concept in education. Such a lack creates a twofold problem: 1) underestimating the importance of creativity in Omani design education; and 2) a shortage of pedagogical structured programmes that can enhance students creativity. It is argued that this problem is a result of the neglected situation of creativity in Arabic traditional education in general. Traditional education usually does not support creative thinking in design students, which consequently minimises their roles in social and cultural change. Based on the above, this research aims to develop a pedagogical model that can enhance and promote creative potential within Omani graphic design students. This aim can be achieved through re-establishing the position of creativity within Omani design education and valuing creativity as integrated part of graphic design. It proposes that the pedagogical model can offer a systematic approach for lecturers, to guide them into the best practice to enhance the creative potential of their students. Therefore, this research, and the proposed model, is the first step towards improving the position of creativity in Omani design educational systems in general. The model would propose to help Omani graphic design students to develop their creative problem solving abilities, which can allow them to effectively find solutions for several social and cultural wicked problems faced in Oman, such as the increased rate of car accidents nationally). The model will contain some creative-thinking techniques, and some pedagogical strategies that are already used internationally in education to improve creativity. The relevant literature has been reviewed to study the techniques and strategies used internationally to improve the creative potential of graphic design students. A qualitative interpretative methodology was used to answer the research questions and fulfil the aims. A survey approach was used for this research, implementing two methods: questionnaires and interviews. The online questionnaire was conducted with 33 international participants. It investigated how creativity is defined within graphic design contexts; whether creativity can be taught or enhanced; if yes, How, and by which techniques and strategies? Which curriculum contents are most suitable and effective? And how to assess creativity within graphic design education?. The same set of questions was asked in face-to-face interviews conducted with 39 design lecturers. The participants in these interviews were local lecturers who teach graphic design courses at six Omani institutions. All of the collected data were analysed by a thematic analysis method, by coding and categorising them according to different themes that had been extracted earlier from the literature. The contribution of this research is in defining the concept of creativity through scientific research; more specifically by practical research conducting an international survey and local interviews. Through this approach, this research has collected ideas, insights and trends about creativity in graphic design and how it can be developed. Also, this research has advanced knowledge of the relationships among graphic design, creativity, and education, specifically in the Arabic region. It is an attempt to emphasise this new field. Moreover, this research has given a snapshot of differing views regarding creativity in design education as perceived by international lecturers versus Omani lecturers, through conducting a cross-cultural study by asking these two groups the same questions, which was an interesting comparison. Finally, the collected data were utilised to develop the proposed pedagogical model designed for graphic design lecturers who teach design courses within Omani design education. The pedagogical model is the main contribution of this research. It would be suggested to the Omani Ministry of Higher Education that the model should be part of the Omani undergraduate graphic design curriculum.
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Bryant, Molly E. "Physical Environments Conducive To Creativity and Collaboration Within the Work Environment." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338474660.
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Maksić, Predrag. "The effects of music on creativity in the design process." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/p_maksic_042110.pdf.
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Thesis (M.A. in interior design)--Washington State University, May 2010.Title from PDF title page (viewed on July 13, 2010). "Department of Interior Design." Includes bibliographical references (p. 47-51).
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Park, Yongseok. "Theory and Methodology for Forming Creative Design Teams in a Globally Distributed and Culturally Diverse Environment." Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/50512.
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With increased globalization, Internet connectivity, and competitive economic conditions, global organizations are increasingly recognizing the importance of effective global collaborations. Hence, there is a need to extend the use of psychological teaming strategies for domestic team-formations to also accommodate teams that are globally distributed. Previous research efforts have investigated psychological factors for design creativity and effective global collaboration; however, few have addressed these factors concurrently. The focus of this dissertation is therefore on the formation of creative design teams in a globally distributed and culturally diverse environment.
This dissertation provides a theoretical foundation for teaming methodologies for globally distributed and culturally diverse teams. It also presents a new global collaborative and creative design team formation method: the Global Design Team Formation (GDTF) method. This is a novel computational method that uses potential team members' psychological and cultural traits, in an attempt to form effective teams that are psychologically and culturally cohesive. The method is based upon and merges Jung's theory with the theoretical frameworks of (a) Teamology and (b) Global Leadership and Organizational Behavior Effectiveness (GLOBE), and it provides a quantitative representation scheme combining scores from the Meyers-Briggs Test Indicator (MBTI) and the Kogut and Singh index (KS index) using the GLOBE dataset.
The GDTF method has been applied to three populations. The control group consisted of 42 three-person teams in a sophomore-level mechanical engineering design course at a US university, to validate the Teamology framework, which is based on Jung's and Belbin's theories. The GDTF method was then applied to two international teaming situations: a globally team-taught course on engineering design at the senior and graduate levels with 8 globally distributed teams across the US, Germany, Mexico, and China; and 23 dyadic teams of US undergraduate students performing automotive research with German graduate students in Germany.
Results of this research shows that psychologically balanced and cohesive teams provide improved design creativity, and that this performance difference can be predicted using the team members' psychological traits. Statistical analysis indicates that creativity in engineering design depends on the presence of Te, Fe, Fi, and Si psychological traits, in decreasing order of importance, within the teams. The importance of these traits remains dominant in global teams, though global diversity negatively impacts team cohesiveness and hence their effectiveness, though not their creativity.Ph. D.
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Birnudóttir, Sigurðardóttir Júlía. "Practicing creativity : Landscape architects make future Stockholm." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-147539.
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Green urban spaces are a vigorous part in cities development, all over the world (Swanwick, Dunnet, & Wooley, 2003). These spaces are persistently constructed and negotiated over a creative process, which includes a network of actors, such as clients, designers, constructors, and users. This thesis addresses this process - with a case study of landscape architects in Stockholm, and their practice of creativity. The landscape architects present one group of actors involved in the process, where they design urban spaces for the future through their creative work. It begins with a mental image, an idea, and ends with a built site, a designed space. In reference to practice theory (Ortner, 1984 and 2006) and the biosocial becomings approach (Ingold, 2013), I analyze how creativity as a practice is socially produced by history, culture and power, through the biosocial growth of the creative agent, the landscape architect. Referring to Hallam and Ingold ́s definition (2007, p. 3), I understand creative practice as an improvisational process. I argue that creativity is accumulated, i.e. a becoming practice amongst becoming creative agents. While investigating the practice of creativity through a traditional participant observation, I primarily focus on sounds, where I listen to the practice, and use it as a method of collecting empirical data. With that method, I enrich the registration of sensor impressions (Borneman & Hammoudi, 2009, p. 19) during my fieldwork, providing a sonic dimension to the knowledge of creative practice amongst landscape architects.
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Hayes, Marion. "Creativity in consulting engineering: how civil engineers talk about design." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16263/.
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An appropriate civil infrastructure is vital to the wealth and wellbeing of cultures. Appropriateness is increasingly defined in terms of sustainability, aesthetics, innovation and cultural suitability. These expectations pose challenges for engineers to use their creativity, aesthetic appreciation, knowledge and character to predict and respond creatively with their designs. However, a treadmill of cost innovation in construction projects makes improved design challenging. This tends to reinforce the misconception that engineers are dull and uncreative, even though historically they have displayed considerable imagination and ingenuity. This thesis is based on an in-depth study conducted at the Brisbane office of Kellogg Brown & Root P/L (a large consulting engineering firm). A contemporary qualitative approach is used to explore how creativity is manifested in an engineering design context, and how it relates to phenomena such as knowledge, innovation, project culture and organizational environment. In-depth interviews reveal the authentic meaning of design and creativity for engineers and other company staff. The study highlights an important distinction between design-based and cost-driven innovation and unveils multiple influences that can stifle or nurture personal and group creativity.
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Ferguson, Morag Young. "Creativity in design education : investigating the role of knowledge sharing." Thesis, Glasgow Caledonian University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572822.
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Creativity can be described as the ability to generate new ideas and to combine existing ideas in new ways in order to find novel solutions to problems. Creativity is enhanced by a free flow of knowledge and through social contact. On this basis, it can be argued that knowledge sharing is central to creativity in design, and this thesis presents evidence which supports this view. Design education should therefore include learning and teaching approaches which encourage knowledge sharing and these approaches should be based on the patterns of knowledge sharing of designers from the creative industries in order to prepare students for future employment. In this thesis, an analysis of the practices of designers in the creative industries in Scotland is presented. The methodology of this study is design-based research; this approach advocates a rigorous framework, with cycles of design and triangulation in evaluation, which by demonstrating objectivity, reliability and validity, strengthens the validity of the outcomes. The data has been gathered by structured ~~ questionnaire and in-depth interviews which have been conducted with participants from a wide range of design companies. Data has also been gathered from final year students in design programmes and a comparison drawn. In practice, employees in the creative industries consume and create knowledge by making use of a wide range of distributed resources. Creativity is an important aspect of practice for both novices (students) and experts. All respondents in this study believe that creativity is enhanced by knowledge-sharing collaborative practices. .", However differences between the practices and knowledge-sharing patterns of students and experts have been identified. This evidence has been used to develop an authentic industry-based learning and teaching intervention which supports creative design. The learning and teaching outcomes have been evaluated and the evidence suggests that authentic knowledge-sharing interventions support the development of creative solutions t-o design problems. A number of key principles have been deduced that are considered central to this outcome. The findings, and the key educational principles presented here, together provide new knowledge in design practice and education.
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Zheng, Su. "Promoting children's creativity : a design method for interactive museum exhibits." Thesis, Coventry University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492365.
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This thesis concerns the development ofa design method for interactive museum exhibit with the aim ofpromoting children's creativity. Key to the originality of this research is the development of the Creativity Surprise Model (CSM): a conceptual cognitive framework for the design of interactive museum exhibits. The model is unique in the way it combines areas oftheoretical discourse from a range of perspectives: constructivist learning theory, the philosophy of interactivity and developmental psychology and associated cognitive theories of creativity and motivational drives, into a unified multidisciplinary design approach. This synthesis as a design method to support interactive exhibit design has not been previously explored or attempted. The usability and effectiveness ofthe CSM as a design method to support designers ofinteractive designs that stimulate children's creativity is evaluated by constructing and developing a novel interactive prototype. It . demonstrates how the CSM can be applied as a method in a real life design scenario. The model is further subjected to a practical validation through a process of iterative . design stages and tested in a series ofexperimental trials. Interactive exhibits in museums are providing exciting and dynamic learning experiences with significant potential to stimulate children's creativity. However, many interactive exhibit designs with incorporated new technologies can be distractive or misleading rather than supportive to creative learning. Moreover, sophisticated intuitive interfaces designed to deliver easily accessible information are not teaching children the fundamental skills necessarily to Joster genuine creative outcomes. Certainly, incorporating a diverse range ofcommunication tools is the future of museum interactive exhibit design, including the use ofnew technology. However, these tools should be selectively and appropriately applied for the right purpose to maximise the educational value as well as providing enjoyable interactive learning experiences. The key to communication success lies not merely in the ability to construct an educational experience or make things interactive per se, but in the creativity of designer applying a considered multidisciplinary approach. However, exhibit designers who are skilled in their own design practice are not necessarily experienced in other specialist fields. Therefore, this requires a method which draws on conceptual resources frolll multidisciplinary perspectives to assist these designers in developing and evaluating interactive exhibits to effectively stimulate creativity in the target group. Given these arguments, this research is located in the following interrelated . . theoretic~1 frameworks: constructivist learning theory, the philosophy of interactivity and developmental psychology and associate.d cognitive theories of creativity and motivational drives. Collectively, these perspectives support the developmentand construction of the Creativity Surprise Model (CSM): a cognitive framework that informs a ~esign method for the design of interactive museum exhibits to stimulate creativity in children. Findings reported from the evaluation of the prototype with 118 Primary school children, have validated the effectiveness ofthe CSM guided artefact in producing creative outcomes within a user defined group. The feedback from primary educators was genuinely supportive. Comme~ts from design professional and museum exhibit developer have been variously favourable with theconceptual framework being complimentary to their practice; moreover, it can be seen to formalize their aspirations providing clear insights into multidisciplinary practice. This practical value ofthe CSM model for designers lies in its identification of a motivational link between the emotion of surprise and the generation ofcreative thinking. It targets the user group at the concrete operational stage and directly addresses how to break down the rigid processing associated with this stage of cognitive development, thus it is likely to accelerate their transition to formal -operational thinking in a lasting and positive manner. As a result ofthis research and evaluation, a process ofhow to monitor the design process and assess the effectiveness ofthe artifact was developed from the key finding ofthe conceptual model - the dynamic relationship between creativity and surprise.
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Watt, Cameron J. S. "Creativity in modern business : stakeholders, trust and the design process." Thesis, University of the West of England, Bristol, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409871.
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Mohanani, R. P. (Rahul Prem). "Requirements fixation: the effect of specification formality on design creativity." Doctoral thesis, Oulun yliopisto, 2019. http://urn.fi/urn:isbn:9789526224381.
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Abstract There is a broad consensus in the software engineering (SE) research community that understanding system desiderata and design creativity is critical for the success of software projects. This has motivated a plethora of research in SE to improve requirements engineering (RE) processes. However, little research has investigated the relationship between the way desiderata are presented (i.e., framed) and creative design performance. This dissertation, therefore, examines the effects of more formal presentations of desiderata on design creativity. The research was conducted in three phases. The first consisted of summarizing the available literature on cognitive biases in SE to build a comprehensive body of knowledge, understand the current state of research, and identify the relevant literature to position and delineate subsequent investigations involving the framing effect and fixation. This research phase also investigated how creativity is conceptualized (i.e., understood, assessed and improved) in SE by exploring the perceptual differences and similarities between SE researchers and practitioners. In the second phase, two controlled experiments were conducted to investigate the impact of framing desiderata first as requirements (in general) and then as prioritized requirements on design creativity (i.e., the originality and practicality of a design). The third phase involved a protocol study to explore the underlying cognitive mechanisms that may explain why framing desiderata as formal requirements affects creativity. The empirical evidence from the second and third phases was interpreted together to propose a theoretical framework that explains the effect of specification formality on design creativity. While the results of the experiments show that specification formality is negatively related to design creativity (i.e., desiderata framed as requirements or prioritized requirements result in designs that are less creative), the findings from the protocol study indicate that the negative relationship between specification formality and design creativity is mediated by fixation (i.e., more formal presentation of desiderata induces fixation and hinders critical thinking). Overall, the results of this dissertation suggest that more formal and structured presentations of desiderata cause requirements fixation—the tendency to attribute undue confidence and importance to desiderata presented as formal requirements statements—that affects design creativity, and thus undermines software engineering successTiivistelmä Ohjelmistotuotannon tutkijoiden keskuudessa on laaja yksimielisyys järjestelmän tarpeiden ja suunnittelun luovuuden ymmärtämisen kriittisyydestä ohjelmistoprojektien menestyksessä. Tämä on motivoinut monia ohjelmistotuotannon vaatimusmäärittelyprosessien parantamiseen liittyviä tutkimuksia. Harvassa on tarkasteltu tarpeiden esitystavan (eli muotoilun) ja luovan suunnittelun lopputuloksen välistä yhteyttä. Tässä väitöskirjassa tarkastellaan tarpeiden muodollisempien esitystapojen vaikutuksia suunnittelun luovuuteen. Tutkimus oli kolmivaiheinen. Ensin referoitiin ohjelmistotuotannossa kognitiivisiin harhoihin liittyvä kirjallisuus kartoittamaan nykytutkimuksen tila ja merkityksellinen kirjallisuus myöhempien, kehysvaikutuksen ja fiksaation sisältävien tutkimusten sijoittamiseen ja rajaamiseen. Lisäksi tarkasteltiin luovuuden käsitteellistämistä (eli ymmärrettävyyttä, arviointia ja parantamista) tutkimalla katsannollisia eroja ja yhtäläisyyksiä tutkijoiden ja ammattilaisten välillä. Toisessa vaiheessa tehtiin kaksi kontrolloitua koetta tarpeiden muotoilun vaikutuksien tutkimiseksi, ensin vaatimuksina (yleisesti) ja sitten tärkeysjärjestykseen laitettuina vaatimuksina suhteessa suunnittelun luovuuteen (eli omaperäisyyteen ja käytännöllisyyteen). Lopuksi, protokollatutkimuksella selvitettiin taustalla olevia kognitiivisia mekanismeja selittämään syitä muodollisina vaatimuksina esitettyjen tarpeiden vaikutuksista luovuuteen. Toisesta ja kolmannesta vaiheesta saatujen empiiristen aineistojen tulkittiin yhdessä muodostavan teoreettisen viitekehyksen, joka selittää määrittelyn muodollisuuden vaikutusta suunnittelun luovuuteen. Vaikka kokeiden tulokset osoittavat määrittelyjen muodollisuuden vaikuttavan negatiivisesti suunnittelun luovuuteen (eli tarpeiden muotoilu vaatimuksina tai priorisoituina vaatimuksina vähentää suunnitelmien luovuutta), protokollatutkimuksen tulokset viittaavat fiksaation vaikuttavan negatiiviseen yhteyteen määrittelyjen muodollisuuden ja suunnittelun luovuuden välillä (eli tarpeiden muodollisempi esitystapa aiheuttaa fiksaatiota ja vaikeuttaa kriittistä ajattelua). Kaiken kaikkiaan, väitöskirjan tulokset esittävät muodollisempien ja strukturoidumpien tarpeiden esitystapojen aiheuttavan vaatimusten fiksaatiota, taipumusta pitää luottamusta ja tärkeyttä tarpeiden muodollisten vaatimusten ilmaisun ansioina, joka vaikuttaa suunnittelun luovuuteen heikentäen ohjelmistotuotannon menestymisen mahdollisuutta
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Goodman, Allan Paul. "Creativity-enhancement techniques for professional design students : an integrated approach." Thesis, Kansas State University, 1988. http://hdl.handle.net/2097/16724.
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Khan, Zayera. "Inferno and exaltation - How to design Creativity and support Interaction Designers." Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23929.
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This masters thesis is about how to enhance creativity and investigates the design process of interaction designers, in terms of the creative process, design support tools and especcially through a concept presented in this thesis. The concept is called DSTZ (Design Support Tool Z) and suggests ways in how to support a designer in the creative process. An empirical study was carried out in the thesis that consisted of a survey conducted on 8 "interaction designers" investigating how interaction designers work and if they require or need any design support. A design survey was later conducted on 18 "interaction designers" of which 9 were professionals and 9 were students, to investigate the concept DSTZ and the creativity enhancing aspect. The resuls from the empirical studies show that a design support tool is desired and DSTZ has features that are useful and can enhance creativity. The features consist of 8 palettes and 3 funtions that are manifested in DSTZ. Further investigation is required in order to find data that support the statement that creativity can be enhanced through a design support tool.
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Chamakiotis, Petros. "Exploring creativity in temporary virtual teams : the case of engineering design." Thesis, University of Bath, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619239.
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The prevalence of Virtual Team (VT) configurations in organizations has come to challenge the relevance of traditional management practices based on traditional, physically collocated teams. Creativity—a topical and multidisciplinary issue—has been under-researched within the context of virtuality. Predicated on the premise that creativity may be expressed differently in the context of VTs, I draw the conceptual foundations for this research from the fields of virtuality (i.e. VTs) and creativity, and use engineering design as the empirical context, with the aim of pursuing a better understanding of creativity in relationship with virtuality in the context of Virtual Design Teams (VDTs). Design constitutes a pertinent empirical context because (a) designers have to deliver outputs requiring creativity; and (b) their work is increasingly accomplished in VDT environments. I report on the findings from three case studies involving temporary VDTs. Studies 1 and 2 comprised student engineers. Study 3 was a comparative case study focusing on a team of professional engineers, who completed one design task while physically collocated (face-to-face, F2F) and another one while geographically dispersed (virtually), with the aim of isolating factors that are unique to virtuality. With an interpretive stance guiding this research, the same analytical approach for each case study, and with the team serving as the unit of analysis, I analysed the collected data (interview data, observations, video recordings, photographic material, documents, communication extracts, design and other outputs) qualitatively with the use of visual and thematic analysis. The thesis makes the following theoretical contributions: (a) it advances understanding of creativity within the VDT lifecycle; (b) it elicits factors influencing creativity in the temporary VDT context; and (c) it explains how the unique characteristics of virtuality influence creativity within this context. The thesis’ limitations as well as implications for research and practice are also discussed.
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Bakhteyeva, L. A. "Design as a tool for facilitation of pupils´ creativity in the technology lessons." 名古屋大学大学院教育発達科学研究科 技術・職業教育学研究室, 2011. http://hdl.handle.net/2237/15863.
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van, Morgen Karlijn. "Designing Artefacts Based on Triggers to Support Innovation and Creativity." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-40154.
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This master’s thesis aims to identify triggers for innovation and creativity both from theory and from practise in the context of an automotive manufacturing company. The identified triggers are then re-interpreted and used to design prototypes which aim to visualise, support, and stimulate incremental innovation. Through a design process, the prototypes are co-designed together with a group of participants from the automotive manufacturing company to explore and understand how to create prototypes that are relevant to the context. The result indicates that the prototypes do not only visualise, support, and stimulate incremental innovation but that they can also function as a foundation for radically design and develop new approaches to work; such as incorporating design thinking and a more diverse, inclusive, and creative approach to idea generation. Ultimately, the prototypes can be incentives for changing the organisation in the way the employees work and approach tasks, but the employees must learn how to use the prototypes to utilize them in the most efficient way.Den här mastersuppsatsen har som mål att identifiera triggers av innovation och kreativitet, både hämtade ur teorin men också praktiken inom fordonstillverkningskontexten. Dessa triggers används sedan i designprocessen för att designa prototyper för ändamålet att visualisera, stötta och stimulera inkrementell innovation. Designprocessen involverar co-design tillsammans med en grupp från företaget för att utforska och bättre förstå hur vi kunnat skapa prototyper som är relevanta för kontexten. Resultatet indikerar att prototyperna inte enbart visualiserar, stöttar och stimulerar inkrementell innovation utan också kan fungera som en grund att designa och utveckla nya, radikala tillvägagångssätt att arbeta på inom organisationen; exempelvis genom att införliva design thinking och i högre grad mångfaldiga, inkluderade och kreativa sätt att ta sig an ide generering. Prototyperna kan vara drivsporrar till att förändra organisationen i det sätt de anställda arbetar på och tar sig an uppgifter men de anställda måste lära sig att använda prototyperna för att kunna dra nytta av dem på bästa sätt.
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Saltsman, Benjamin 1969. "Creativity and problem solving skills as a function of learning transfer." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/91751.
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Olson, Stephanie E. "Igniting my Creative Process." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/87.
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This art-based research study will examine creativity and the creative process during the production of a cohesive body of work. The author’s auto-ethnographic reflections of her creative process were recorded, and analyzed. The artist/teacher/researcher will provide conclusions based on her art production and self-reflection.