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Journal articles on the topic 'Creativity in design'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Fu, Katherine, Mark Fuge, and David C. Brown. "Design creativity." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 32, no. 4 (October 5, 2018): 363–64. http://dx.doi.org/10.1017/s089006041800015x.

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2

Nagai, Yukari, and John Gero. "Design Creativity." Journal of Engineering Design 23, no. 4 (April 2012): 237–39. http://dx.doi.org/10.1080/09544828.2011.642495.

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3

No authorship indicated. "Review of Vision, Dessin, Creativité (Vision, Design, Creativity)." Contemporary Psychology: A Journal of Reviews 35, no. 10 (October 1990): 1007. http://dx.doi.org/10.1037/029170.

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4

Strzalecki, Andrzej. "Creativity in Design." Technological Forecasting and Social Change 64, no. 2-3 (June 2000): 241–60. http://dx.doi.org/10.1016/s0040-1625(00)00077-9.

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5

Akin, Ömer. "Creativity in Design." Performance Improvement Quarterly 7, no. 3 (October 22, 2008): 9–21. http://dx.doi.org/10.1111/j.1937-8327.1994.tb00633.x.

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6

Sarkar, Prabir, and Amaresh Chakrabarti. "Assessing design creativity." Design Studies 32, no. 4 (July 2011): 348–83. http://dx.doi.org/10.1016/j.destud.2011.01.002.

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7

Brougher, Samuel J., and Esa M. Rantanen. "Creativity and Design: Creativity's New Definition and Its Relationship to Design." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 53, no. 10 (October 2009): 605–9. http://dx.doi.org/10.1177/154193120905301005.

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8

Glass, Robert L. "CREATIVITY AND SOFTWARE DESIGN." Information Systems Management 9, no. 3 (January 1992): 38–43. http://dx.doi.org/10.1080/10580539208906880.

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9

Kim, Dong-ha. "What is Design Creativity?" Archives of Design Research 112, no. 4 (November 30, 2014): 103. http://dx.doi.org/10.15187/adr.2014.11.112.4.103.

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10

Scott, Ron. "Stimulating Students' Design Creativity." Journal of Engineering Design 1, no. 3 (January 1990): 279–88. http://dx.doi.org/10.1080/09544829008901658.

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11

Gael, A. K. "Design, analogy, and creativity." IEEE Expert 12, no. 3 (May 1997): 62–70. http://dx.doi.org/10.1109/64.590078.

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12

KAWENSKI, MARY. "Encouraging Creativity in Design." Journal of Creative Behavior 25, no. 3 (September 1991): 263–66. http://dx.doi.org/10.1002/j.2162-6057.1991.tb01379.x.

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13

Khandwalla, Pradip N., and Kandarp Mehta. "Design of Corporate Creativity." Vikalpa: The Journal for Decision Makers 29, no. 1 (January 2004): 13–28. http://dx.doi.org/10.1177/0256090920040102.

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Globalization has created immense competitive pressures on corporates. In order to survive and prosper, organizations in the Third World need to redesign themselves for corporate creativity, i.e., for high rates of sustained and successful technological as well as non-technological innovations. This paper provides several examples of how deregulation of the West's airlines industry in the decade of the 1980s stimulated its corporate creativity. It then reviews the literature on the organizational design for corporate creativity to derive a model of the corporate's organizational design requirements for copious and successful innovations. The model proposes that, for superior corporate creativity in a regime of intensifying environmental pressures, the organization needs to choose the following: i) innovation-friendly business strategies; ii) organizational structure; iii) top management style; iv) middle management practices; and v) effective modes of managing innovations. These choices would lead to innovational success, which, in turn, would confer competitive excellence on the organization. This paper reports a test of the model through questionnaire-based data on 65 Indian corporates collected from late 1999 to early 2003. Data were gathered from an average of five top and senior level executives from each corporate on 6-point scales, and each scale was anchored by a statement at each extreme. All the responses from each organization were averaged for each rated scale and converted into a percentage score for the organization. The scales were grouped for aggregation into: i) environmental pressure; ii) innovations-supportive strategic management; iii) innovations-supportive top management style; iv) innovations-supportive organizational structure; v) innovations- supportive managerial practices and culture; vi) effective management of innovations; vii) corporate innovational success; and viii) corporate competitive excellence. The data were secured for the situation ‘now’ and three years earlier and this enabled the computing of changes in each study variable. The data indicated that change in effective mangement of innovations was the strongest predictor of change in innovational success which, in turn, was the greatest predictor of change in competitive corporate excellence. In order to identify the major strategic choices in the face of high versus low environmental pressure, cluster analysis was performed on the data from the 30 highest scoring corporates on environmental pressure and the 30 lowest scoring corporates on environmental pressure. It revealed that, regardless of environmental pressure, organizations that chose to adopt an organizational design compatible with high corporate creativity outscored those organizations that did not choose such a design in terms of both innovational success and competitive excellence. The data also indicated that organizational design for corporate creativity may yield far better performance when change in environmental pressure is modest than when it is large. The reason may lie in differential rates of the diffusion of innovations in high versus low pressure environments. High pressure environments may induce a more rapid diffusion of innovations. The faster the institution-alization of innovations in an industry, the lower, or less durable, may be the competitive advantage conferred on the innovating organization. This paper strongly recommends the following: Managers should redesign their organizations for higher corporate creativity. The core curriculum of MBA programmes needs to incorporate values, competencies, and management concepts that can nurture organizational creativity. Specifically, this paper provides suggestions to practising managers for enhancing corporate creativity which are as follows: Conduct a diagnosis of the design of your organization and identify the items where the gaps with the model are large. Form a cross-functional team to tackle each major gap area. Review the recommendations of the team and identify action points for implementation. Institutionalize a culture of brainstorming for novel and effective solutions and a number of specific innovation-friendly practices.

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14

Penaluna, Andrew, and Kathryn Penaluna. "Creativity in Business/Business in Creativity." Industry and Higher Education 23, no. 3 (June 2009): 209–19. http://dx.doi.org/10.5367/000000009788640314.

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Recent guidance for UK government policy makers has warned that HEIs face an uncertain future and has advocated transdisciplinary curricula. Earlier, in 2005, two other UK government papers highlighted the advantages of integrating design-related strategies into business environments and addressed the impact creativity could have on business performance. A key recommendation was to strengthen the relationships between businesses, in particular small and medium-sized enterprises (SMEs), and creative professionals from design disciplines who could positively affect business performance and provide digital media, industrial design, packaging, graphic design, branding and advertising. If the successful entrepreneur has personal skills, attributes and behaviours that extend beyond the purely commercial, HEIs need to develop students with capabilities that meet the entrepreneurial challenges of the knowledge economy. This paper draws on entrepreneurship and business education strategies that have evolved out of art and design disciplines at Swansea Metropolitan University in the UK. The authors argue that curriculum development should incorporate ‘business’ acumen in all programmes outside business schools and should develop the fundamental skills for developing and exploiting ‘creativity’ in programmes within them. The provision of a symbiotic experience of business and creativity across the curriculum has many benefits, not least because it responds to calls from entrepreneurship educators for a paradigm shift to develop right-brain entrepreneurial capabilities as well as left-brain analytical skills. Such pedagogies are well-established in the design disciplines and the evidence suggests that they are important as a wide-reaching, cross-disciplinary enabling strategy.

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15

Hokanson, Brad. "By Measure: Creativity in Design." Industry and Higher Education 21, no. 5 (October 2007): 353–59. http://dx.doi.org/10.5367/000000007782311830.

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Specific training may be required to develop creativity in design students. At the very least, training is valuable in developing creativity in first-year students. Creativity is a skill that can be examined, used and taught - and it is one that is central to designing. This paper presents the results of empirical research from a class in creative problem solving for design students. The nature of creativity and the structure of the class are described, and this is followed by an outline of the research methodology and the use of the verbal Torrance Test of Creative Thinking. Creativity, as measured through the test, significantly increased.

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16

García Díaz, Vanessa. "Design creativity: a sociocultural contribution." Athenea Digital. Revista de pensamiento e investigación social 20, no. 1 (January 12, 2020): 2168. http://dx.doi.org/10.5565/rev/athenea.2168.

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17

Kim, Dong-ha. "The Barriers to Design Creativity." Archives of Design Research 29, no. 3 (August 31, 2016): 77. http://dx.doi.org/10.15187/adr.2016.08.29.3.77.

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18

Christiaans, Henri H. C. M. "Creativity as a Design Criterion." Creativity Research Journal 14, no. 1 (January 2002): 41–54. http://dx.doi.org/10.1207/s15326934crj1401_4.

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19

Brown, D. C. "Developing computational design creativity systems." International Journal of Design Creativity and Innovation 1, no. 1 (January 2013): 43–55. http://dx.doi.org/10.1080/21650349.2013.754651.

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20

Lloyd, Peter, and Derek Jones. "Everyday creativity in design process." Art, Design & Communication in Higher Education 12, no. 2 (December 1, 2013): 247–63. http://dx.doi.org/10.1386/adch.12.2.247_1.

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21

Sutcliffe, Alistair. "Juxtaposing Design Representations for Creativity." Human Technology: An Interdisciplinary Journal on Humans in ICT Environments 6, no. 1 (May 31, 2010): 38–54. http://dx.doi.org/10.17011/ht/urn.20105241906.

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22

Wang, Jing, Umer Farooq, and John M. Carroll. "Does Design Rationale Enhance Creativity?" Human Technology: An Interdisciplinary Journal on Humans in ICT Environments 6, no. 1 (May 31, 2010): 129–49. http://dx.doi.org/10.17011/ht/urn.20105241910.

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23

Korth, Sharon J. "Creativity and the Design Process." Performance Improvement Quarterly 13, no. 1 (October 22, 2008): 30–45. http://dx.doi.org/10.1111/j.1937-8327.2000.tb00155.x.

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24

Hokanson, Brad. "Creativity in the Design Curriculum." Journal of Visual Literacy 26, no. 1 (January 2006): 41–52. http://dx.doi.org/10.1080/23796529.2006.11674631.

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25

Li, Yan, Jian Wang, Xianglong Li, and Wu Zhao. "Design creativity in product innovation." International Journal of Advanced Manufacturing Technology 33, no. 3-4 (May 9, 2006): 213–22. http://dx.doi.org/10.1007/s00170-006-0457-y.

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26

Schmitt, Gerhard. "Case-based design and creativity." Automation in Construction 2, no. 1 (June 1993): 11–19. http://dx.doi.org/10.1016/0926-5805(93)90031-r.

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27

Nguyen, Thanh An, and Yong Zeng. "A Theoretical Model of Design Creativity: Nonlinear Design Dynamics and Mental Stress-Creativity Relation." Journal of Integrated Design & Process Science 16, no. 3 (2012): 65–88. http://dx.doi.org/10.3233/jid-2012-0007.

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28

Kim, Yong Se, Myung Sook Kim, and Douglass J. Wilde. "Toward the Management of Design Creativity: Personal Creativity Modes, Design Activity, and Team Interaction." Design Management Journal 3, no. 2 (June 14, 2010): 45–52. http://dx.doi.org/10.1111/j.1948-7177.2008.tb00013.x.

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29

Kreitler, Shulamith, and Hernan Casakin. "Self-Perceived Creativity." European Journal of Psychological Assessment 25, no. 3 (January 2009): 194–203. http://dx.doi.org/10.1027/1015-5759.25.3.194.

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In view of unclear previous findings about the validity of self-assessed creativity, the hypothesis guiding the present study was that validity would be proven if self-assessed creativity was examined with respect to a specific domain, specific product, specific aspects of creativity, and in terms of specific criteria. The participants were 52 architecture students. The experimental task was to design a small museum in a described context. After completing the task, the students self-assessed their creativity in designing with seven open-ended questions, the Self-Assessment of Creative Design questionnaire, and a list of seven items tapping affective metacognitive aspects of the designing process. Thus, 21 creativity indicators were formed. Four expert architects, working independently, assessed the designs on nine creativity indicators: fluency, flexibility, elaboration, functionality, innovation, fulfilling specified design requirements, considering context, mastery of skills concerning the esthetics of the design representation, and overall creativity. The agreement among the architects’ evaluations was very high. The correlations between the nine corresponding indicators in students’ assessment of their design and those of the experts were positive and significant with respect to three indicators: fluency, flexibility, and overall creativity. On the contrary, the correlations of the rest noncorresponding indicators with those of the experts were not significant. The findings support the validity of self-assessed creativity with specific restrictions.

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30

Suyidno, Suyidno, Mohamad Nur, Leny Yuanita, Binar Kurnia Prahani, and Budi Jatmiko. "EFFECTIVENESS OF CREATIVE RESPONSIBILITY BASED TEACHING (CRBT) MODEL ON BASIC PHYSICS LEARNING TO INCREASE STUDENT’S SCIENTIFIC CREATIVITY AND RESPONSIBILITY." Journal of Baltic Science Education 17, no. 1 (February 20, 2018): 136–51. http://dx.doi.org/10.33225/jbse/18.17.136.

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The Creative Responsibility Based Teaching (CRBT) model is an innovative physics-teaching model designed to enhance students’ scientific creativity and responsibility. Therefore, this research aims to analyze the effectiveness of CRBT model to improve scientific creativity and first year students’ responsibility on Basic Physics learning in academic year 2016/2017. This research used one group pre-test and post-test design on 144 students divided into 4 groups at University of Lambung Mangkurat, South Kalimantan (Indonesia). The data collection methods were conducted by using: scientific creativity tests emphasized on unusual uses indicator, problem finding, product improvement, creatively science problem solving, creatively experiment designing, and creatively product design; questionnaire of responsibility emphasized on: participatory indicator, respecting others, cooperation, leadership, and delivering opinion; and interviews. The data analysis technique was done by using paired t-test / Wilcoxon test, n-gain, and ANOVA / Kruskal-Wallis test. The results showed that there was a significant increase in students’ scientific creativity and responsibility at α = 5%, with n-gain average of moderate category, and both were not different (consistent) for all four groups. Thus, the CRBT model is effective for enhancing students’ scientific creativity and responsibility. Keywords: creative responsibility based teaching, physics learning, responsibility attitude, scientific creativity, first year students.

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31

Breedon, Philip, Phillipa Marsh, and Leslie Arthur. "Inspiring Creativity and Design Innovation: Multidisciplinary Embedded Design." Design Principles and Practices: An International Journal—Annual Review 4, no. 1 (2010): 443–52. http://dx.doi.org/10.18848/1833-1874/cgp/v04i01/37815.

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32

Demirkan, Halime, and Yasemin Afacan. "Assessing creativity in design education: Analysis of creativity factors in the first-year design studio." Design Studies 33, no. 3 (May 2012): 262–78. http://dx.doi.org/10.1016/j.destud.2011.11.005.

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33

Tekmen-Araci, Yasemin, and Llewellyn Mann. "Instructor approaches to creativity in engineering design education." Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 233, no. 2 (March 2, 2018): 395–402. http://dx.doi.org/10.1177/0954406218758795.

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Creativity is essential in the engineering design process. Researchers, academics, educators, and engineering organisations all agree that further improvement is necessary in training methods for fostering creativity in engineering education. Even though studies exist about how creativity should be taught in engineering education, there is still limited research about the challenges of practical implementation. To address this gap, an action research project has been conducted in two undergraduate Mechanical Engineering design subjects at a prominent university in Australia with the aim of enhancing creativity during the problem-solving process. The study shows the many challenges that arose when enhancing creativity in engineering design education, and the issues that surrounded this implementation. Although teaching creativity to engineering students is a challenge, this study illuminates the difficulties of convincing the engineering instructors to embed creativity in the subjects they teach. Overall, the study found that instructors' understandings and beliefs about creativity influence their teaching approach and what they value. These influences were around four main areas: the instructors' focus on the design product being produced, their educational backgrounds and training, the subjective nature of creativity and their beliefs about it, and the performance mindset of the instructors. These findings suggest that enhancing creativity among engineering students is not possible until the engineering educators and practitioners understand and value creativity practice.

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34

Helander, Martin G., and Dag Caldenfors. "Creativity Increases through Top-Down Design Procedures." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 46, no. 6 (September 2002): 725–29. http://dx.doi.org/10.1177/154193120204600609.

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Finke's notion of preinventive structure in top-down design was tested using Suh's methodology for top-down axiomatic design. Two groups of experimental subjects designed controls and displays for an “intelligent” automobile. One group was instructed to consider functional requirements and derive their design in a top-down fashion. The other group was also informed about functional requirements, and design methodology but was not instructed to use any particular design procedure. The first group produced significantly better designs than the second group - they were more creative, more practical and fulfilled design goals better. Top-down reasoning with careful consideration of functional requirements generated better design. Suh's methodology has an extra bonus, which is in agreement with Finke; it forces a slow deliberation of design features.

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35

Smith, Jeffrey S. "Assessing Creativity." Journalism & Mass Communication Educator 72, no. 1 (July 27, 2016): 24–36. http://dx.doi.org/10.1177/1077695816648866.

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Objectively assessing student creative work in the fields associated with mass media can be problematic. Communicating expectations to students, as well as providing them with a clear yet flexible rubric for evaluation of copywriting, newswriting, audio production, video production, and web-design, requires examination of the relevant student learning outcomes. This article explores the process of rubric design for digital portfolio evaluation, including the areas mentioned, with a goal of finding appropriate measures that will be effective for conveying the expectations for each area to students and providing precise evaluation and feedback for both grading and assessment purposes.

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36

Zamberlan, Lisa, and Stephanie Wilson. "Reconceiving Creativity in Design Studio Education." International Journal of Design Education 11, no. 3 (2017): 1–16. http://dx.doi.org/10.18848/2325-128x/cgp/v11i03/1-16.

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37

Ayala Pérez, José Luis. "To measure Creativity in Graphic Design." grafica 1, no. 1 (February 13, 2013): 23. http://dx.doi.org/10.5565/rev/grafica.6.

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38

Nguyen, Thanh An. "Design Creativity: Mechanism, Tools and Applications." Journal of Integrated Design and Process Science 17, no. 4 (2013): 1–2. http://dx.doi.org/10.3233/jid-2013-0030.

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39

Gero, John S. "Creativity, emergence and evolution in design." Knowledge-Based Systems 9, no. 7 (November 1996): 435–48. http://dx.doi.org/10.1016/s0950-7051(96)01054-4.

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40

Nagai, Yukari, Akio Shimogoori, Minatsu Ariga, and Georgi V. Georgiev. "Future Learning and Design Creativity Competency." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 499–508. http://dx.doi.org/10.1017/dsi.2019.54.

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AbstractIn this study, we discuss a structure for developing the skills and competencies required by the learning framework of the Organisation for Economic Co-operation and Development (OECD) for future education. Given the broad range of skills and the numerous competencies required to meet the demands of future society, the proposed wider and higher-level framework is based on STEAM (science, technology, engineering, art and design, and mathematics) and addresses the limitations of conventional computational thinking by tackling some of the skills and competencies. This is done by proposing the enrichment of STEAM educational approach with art thinking, which may be defined as a creative human-centred discovery process. To explore such enrichment, we conducted a workshop on art thinking. The motivation of the workshop was to explore whether art thinking can overcome some of the limitations of computational thinking regarding future education in the OECD learning framework. We discuss STEAM as focusing on design creativity competency, and we outline the development of educational activities such as workshops to promote competencies in the perspective of OECD framework.

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41

Cucuzzella, Carmela. "Creativity, sustainable design and risk management." Journal of Cleaner Production 135 (November 2016): 1548–58. http://dx.doi.org/10.1016/j.jclepro.2015.12.076.

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42

Lazar, Leslee. "The Cognitive Neuroscience of Design Creativity." Journal of Experimental Neuroscience 12 (January 2018): 117906951880966. http://dx.doi.org/10.1177/1179069518809664.

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43

Kreitler, Shulamith, and Hernan Casakin. "Motivation for Creativity in Design Students." Creativity Research Journal 21, no. 2-3 (May 7, 2009): 282–93. http://dx.doi.org/10.1080/10400410902861471.

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44

Sawyers, Janet K., and Nancy C. Canestaro. "Creativity and achievement in design coursework." Creativity Research Journal 2, no. 1-2 (March 1989): 126–33. http://dx.doi.org/10.1080/10400418909534306.

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45

Daughtry, John, Janet Burge, John M. Carroll, and Colin Potts. "Creativity and rationale in software design." ACM SIGSOFT Software Engineering Notes 34, no. 1 (January 31, 2009): 27–29. http://dx.doi.org/10.1145/1457516.1460354.

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46

Azadegan, Arash, David Bush, and Kevin J. Dooley. "Design creativity: static or dynamic capability?" International Journal of Operations & Production Management 28, no. 7 (June 19, 2008): 636–62. http://dx.doi.org/10.1108/01443570810881794.

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47

COURT, ANDREW W. "Improving Creativity in Engineering Design Education." European Journal of Engineering Education 23, no. 2 (June 1998): 141–54. http://dx.doi.org/10.1080/03043799808923493.

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48

Orr, Susan. "Researching design pedagogies that enhance creativity." Art, Design & Communication in Higher Education 19, no. 1 (April 1, 2020): 3–7. http://dx.doi.org/10.1386/adch_00009_2.

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49

HOLT, K. "Computer-aided Creativity in Engineering Design." Journal of Engineering Design 4, no. 4 (January 1993): 371–76. http://dx.doi.org/10.1080/09544829308914792.

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50

Rickards, Tudor. "CREATIVITY AND DESIGN: Partners in Excellence." Design Management Journal (Former Series) 3, no. 4 (June 10, 2010): 66–70. http://dx.doi.org/10.1111/j.1948-7169.1992.tb00607.x.

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