Taura / Nagai Design Creativity 2010

1. Auflage 2010
ISBN: 978-0-85729-224-7
Verlag: Springer
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 330 Seiten

What is 'design creativity'? It is impossible to answer this question without considering why human beings can - and do - 'design'. Design creativity is instrumental in not only addressing social problems faced across the world,  but also evoking an innate appreciation for beauty and a sense of personal contentment.Design Creativity 2010 comprises advanced research findings on design creativity and perspectives on future directions of design creativity research. The papers included were presented and discussed at the first ICDC (International Conference on Design Creativity), which was held at Kobe, Japan, in 2010. Design Creativity 2010 encourages readers to enhance and expand their activities in the field of design creativity.

Toshiharu Taura is Professor of Graduate School of Engineering at Kobe University.  He received his B.S., M.S., and Dr. Eng. degrees from the University of Tokyo, Japan, in 1977, 1979, and 1991, respectively. In 1992, he joined the University of Tokyo as an Associate Professor, and in 1998, he joined Kobe University as Professor at the Mechanical Engineering Department. He is currently working on several research themes that focus on the creative thought process of both engineering and industrial design, including the interdisciplinary aspects of design science.He is a member of the Advisory Board, is heading the Design Creativity SIG of the Design Society and a Fellow of the DRS (Design Research Society). He is the recipient of the Best Paper Prize at the 2nd International Conference on Design Computing and Cognition (2006), as well as some domestic awards.Yukari Nagai is Associate Professor of Graduate School of Knowledge Science at Japan Advanced Institute of Science and Technology since 2004. She graduated from Musashino Art University, majored in Design (M.A), and researched abroad at Creativity and Cognition Research Studios, Loughborough University (2002). She received PhDs from Chiba University (2003), and University of Technology, Sydney (2009). Best Paper Prize was awarded to her at DESIGN2002 Conference and International Conference on Design Computing and Cognition (2006). She is a member of the Design Society and a co-chair of SIG Design Creativity. She has served as an editorial board member of the Journal of Engineering Design, and contributed as guest editor of special issue of journal 'Artifact' (2008). Her research interests are design creativity, design knowledge and creative cognition.

Autoren/Hrsg.

Taura, Toshiharu

Nagai, Yukari

Inhaltsverzeichnis

1;Preface;5
2;Table of Contents;6
3;List of Referees;9
4;Directions for Design Creativity Research (Invited Papers);10
4.1;Discussion on Direction of Design Creativity Research (Part 1) - New Definition of Design and Creativity: Beyond the Problem-Solving Paradigm;11
4.1.1;1 Introduction;11
4.1.2;2 Survey of Definitions of Design;11
4.1.2.1;2.1 Genealogic View of Definitions of Design;12
4.1.2.2;2.2 Genealogic View of Definitions of Creativity;13
4.1.3;3 New Definition of Design and Creativity;14
4.1.3.1;3.1 Classification of Design;14
4.1.3.2;3.2 New Definition of Design and Creativity;14
4.1.4;4 Meaning of New Definition of Design;15
4.1.5;5 Conclusion;16
4.1.6;References;16
4.2;Discussion on Direction of Design Creativity Research (Part 2) - Research Issues and Methodologies: From the Viewpoint of Deep Feelings and Desirable Figure;17
4.2.1;1 Introduction;17
4.2.2;2 Research Issues in Design Theoretics;17
4.2.2.1;2.1 Inside-outside Issue in Design Thinking;17
4.2.2.2;2.2 Issue of Abstraction Process in Design Thinking;18
4.2.2.3;2.3 Back-and-forth Issue in Design Thinking;18
4.2.3;3 Research Methodologies of Design Theoretics;19
4.2.3.1;3.1 Internal Observation of Design Thinking;19
4.2.3.2;3.2 Computational Simulations;19
4.2.3.3;3.3 Theoretical Modeling;20
4.2.4;4 Example of Design Pursuing Desirable Figure;20
4.2.5;5 Conclusion and Open Issues for Future Work;21
4.2.6;References;21
4.3;Future Directions for Design Creativity Research;23
4.3.1;1 Introduction;23
4.3.2;2 Where Can Design Creativity Be?;23
4.3.2.1;2.1 Creativity is in the Design;23
4.3.2.2;2.2 Creativity is in the Assessor of the Design;24
4.3.2.3;2.3 Creativity is in the Design Process that Produced the Design;24
4.3.2.4;2.4 Creativity is in the Designer;24
4.3.2.5;2.5 Creativity is in the Interaction between the User and the Design;24
4.3.2.6;2.6 Creativity is in the Society in which the Design Exists;24
4.3.2.7;2.7 Creativity is in the Interaction between the Design, the Users/Assessors and Society;24
4.3.3;3 What Has Been Researched;24
4.3.3.1;3.1 Studying Design Processes;24
4.3.3.2;3.2 Studying Cognitive Behavior;25
4.3.3.3;3.3 Studying interactions;25
4.3.4;4 How Design Creativity Has Been Researched;25
4.3.4.1;4.1 Computational Modeling;25
4.3.4.2;4.2 Cognitive Modeling;26
4.3.5;5 Future Directions for Design Creativity Research;26
4.3.5.1;5.1 Design Processes;26
4.3.5.2;5.2 Cognitive Behavior;27
4.3.5.3;5.3 Social Interaction;28
4.3.5.4;5.4 Cognitive Neuroscience;28
4.3.5.5;5.5 Measuring Design Creativity;29
4.3.5.6;5.6 Test Suites of Design Tasks;29
4.3.6;6 Conclusions;29
4.3.7;Acknowledgements;30
4.3.8;References;30
4.4;Systematic Procedures Supporting Creativity - A Contradiction?;31
4.4.1;1 Introduction;31
4.4.2;2 Modeling Creativity;31
4.4.3;3 Improve Creative Processes;33
4.4.3.1;3.1 New Solutions for Elastic Couplings;33
4.4.3.2;3.2 Development of a High Pressure Pump;34
4.4.3.3;3.3 Improve Vacuum Cleaner Sucking Device;34
4.4.3.4;3.4 Improve the Properties of a Device in Late Development Phases;35
4.4.4;4 Discussion and Conclusion;36
4.4.5;References;36
4.5;Better, Not Catchier: Design Creativity Research in the Service of Value;37
4.5.1;1 Why is Design Creativity Important?;37
4.5.2;2 Why is Design Creativity Dangerous?;37
4.5.2.1;2.1 All That Glitters is Not Gold;38
4.5.2.2;2.2 Ethics;38
4.5.3;3 Applied Research;38
4.5.4;4 Basic Research;39
4.5.5;5 A Changing Perception of Creativity;40
4.5.6;6 Some Concluding Remarks;40
4.5.7;References;41
4.6;Using Evolved Analogies to Overcome Creative Design Fixation;42
4.6.1;1 Designers Are People;42
4.6.2;2 Cognitive Fixation;42
4.6.2.1;2.1 Implicit Memory;43
4.6.2.2;2.2 Problem Solving;43
4.6.2.3;2.3 Creative Idea Generation;43
4.6.2.4;2.4 Brainstorming;43
4.6.2.5;2.5 Design Fixation;43
4.6.3;3 Incubation & Insight;44
4.6.3.1;3.1 Forgetting Fixation;44
4.6.3.2;3.2 Environmental Triggers;45
4.6.4;4.2 Analogy & Design;45
4.6.5;5 Well-Tested Analogies;45
4.6.6;References;46
4.7;Design Creativity Research: From the Individual to the Crowd;47
4.7.1;1 Introduction;47
4.7.2;2 Understanding Creativity in Design;48
4.7.2.1;2.1 Understanding Creative Processes;48
4.7.2.2;2.2 Evaluating Potentially Creative Designs;49
4.7.3;3 Collective Intelligence in Design;49
4.7.4;4 Research Directions for Creative Design Emerging from Collective Intelligence;50
4.7.4.1;4.1 Technology Development;50
4.7.4.2;4.2 Creative Design Process;51
4.7.4.3;4.3 Evaluating Creative Design;52
4.7.5;Acknowledgements;52
4.7.6;References;52
4.8;Motivation as a Major Direction for Design Creativity Research;54
4.8.1;1 Introduction;54
4.8.2;2 Motivation as a Research Direction;55
4.8.2.1;2.1 Internal or External Reward or Punishment;55
4.8.2.2;2.2 A Preliminary Model of Motivational Cycle;56
4.8.2.3;2.3 Research Issues;56
4.8.2.4;2.4 Research Approaches;56
4.8.3;3 Preliminary Explorations;56
4.8.3.1;3.1 Creative Lineages;57
4.8.3.2;3.2 Creative Milieus;59
4.8.3.3;3.3 Creative Individuals;59
4.8.4;4 Conclusions as Beginnings;60
4.8.5;References;61
4.9;Design Research and Designing: The Synergy and The Team;62
4.9.1;1 Introduction;62
4.9.2;2 Creative Design Institute;62
4.9.3;3 Types of Design Projects in relation to Research Projects;63
4.9.4;4 The Synergy between Design Research and Designing;64
4.9.5;5 The Team of Designers and Researchers;64
4.9.6;6 Discussions;65
4.9.7;References;65
5;Theories on Design Creativity;66
5.1;Not from Scratch: The DMS Model of Design Creativity;67
5.1.1;1 Introduction;67
5.1.2;2 The Components of the DMS Model;68
5.1.2.1;2.1 Designer;68
5.1.2.2;2.2 Memory;68
5.1.2.3;2.3 Stimuli;69
5.1.3;3 Two-fold Relationships: DM, MS, and SD;70
5.1.3.1;3.1 Designer-Memory (DM);70
5.1.3.2;3.2 Memory-Stimuli (MS);70
5.1.3.3;3.3 Stimuli-Designer (SD);70
5.1.3.4;3.3 Stimuli-Designer (SD);71
5.1.4;4 Three-fold Interactions: DMS;71
5.1.5;5 In Conclusion;72
5.1.6;Acknowledgements;72
5.1.7;References;74
5.2;Influence of Environmental Information on Expert-perceived Creativity of Ideas;75
5.2.1;1 Introduction;75
5.2.2;2 Assessing Creativity;76
5.2.3;3 Methodological Approach;77
5.2.4;4 Results;78
5.2.5;5 Conclusions and Outlook;79
5.2.6;References;81
5.3;Towards a New Theory for Design Activity Reasoning;83
5.3.1;1 Introduction;83
5.3.2;2 A Model for Design Activity;84
5.3.2.1;2.1 Product Model;84
5.3.2.2;2.2 Satisfying Solution and Problem(s);85
5.3.2.3;2.3 Activity Model;85
5.3.3;3 A Theory : First Axioms and Theorems;85
5.3.3.1;3.1 A Product;85
5.3.3.2;3.2 A product that the designer transforms… but he is not alone;86
5.3.3.3;3.3 Emergence;87
5.3.3.4;3.4 Next Axioms and Theorems;88
5.3.4;4 Discussion;88
5.3.4.1;4.1 Refutability;89
5.3.4.2;4.2 External Coherence;89
5.3.4.3;4.3 Relevance and Utility;89
5.3.5;5 Conclusions;89
5.3.6;Acknowledgments;90
5.3.7;References;90
6;Design Process and Cognition 1;91
6.1;An Approach to Measuring Metaphoricity of Creative Design;92
6.1.1;1 Introduction;92
6.1.2;2 Metaphoricity in Design;92
6.1.2.1;2.1 Metaphorical Design;92
6.1.2.2;2.2 Metaphor and Design Creativity;93
6.1.3;3 Measuring Metaphoricity;93
6.1.3.1;3.1 Object Similarity;93
6.1.3.2;3.2 Domain Dissimilarity;94
6.1.3.3;3.3 Salience Imbalance;95
6.1.3.4;3.4 Metaphoricity;96
6.1.4;4 Example and Testing;96
6.1.5;5 Conclusion;98
6.1.6;Acknowledgements;98
6.1.7;References;98
6.2;Interrelations between Motivation, Creativity and Emotions in Design Thinking Processes – An Empirical Study Based on Regulatory Focus Theory;100
6.2.1;1 Introduction;100
6.2.1.1;1.1 Design Thinking Process Model;101
6.2.1.2;1.2 Regulatory Focus Theory and Creative Performance;101
6.2.1.3;1.3 Hypotheses;102
6.2.2;2 Method;103
6.2.3;3 Results;103
6.2.3.1;3.1 Motivation and Creativity in the Design Thinking Process;103
6.2.3.2;3.2 Motivaton and Emotions in the Design Thinking Process;104
6.2.4;4 Discussion;105
6.2.5;5 Outlook;106
6.2.6;References;106
6.3;Conceptual Design and Cognitive Elements of Creativity: Toward Personalized Learning Supports for Design Creativity;108
6.3.1;1 Introduction;108
6.3.2;2 Cognitive Elements of Creativity;109
6.3.3;3 Creativity Exercise Program;109
6.3.4;4 Evaluation of Pre and Post Creativity;111
6.3.4.1;4.1 Conceptual Design Task;111
6.3.4.2;4.2 Evaluation Guideline;111
6.3.5;5 Results and Discussion;112
6.3.5.1;5.1 Enhanced Design Creativity;112
6.3.5.2;5.2 Affective Modeling and its Relation with Enhanced Design Creativity;113
6.3.6;6 Conclusion;114
6.3.7;References;114
7;Analogical Design Computing;115
7.1;DANE: Fostering Creativity in and through Biologically Inspired Design;116
7.1.1;1 Introduction;116
7.1.2;2 Related Work;116
7.1.3;3 The Design By Analogy to Nature Engine;117
7.1.4;4 Application Context;119
7.1.5;5 Training and Deployment;120
7.1.6;6 Results;120
7.1.7;7 Challenges;121
7.1.8;8 Conclusions;122
7.1.9;Acknowledgements;123
7.1.10;References;123
7.2;Development of a Catalogue of Physical Laws and Effects Using SAPPhIRE Model;124
7.2.1;1 Introduction;124
7.2.2;2 Literature Survey;124
7.2.3;3 Objective and Research Approach;126
7.2.4;4 Observations;126
7.2.4.1;4.1 Relationships between effect, input and organs;126
7.2.4.2;4.2 Relationships between organs and parts;127
7.2.4.3;4.3 Relationships between effect and phenomenon;127
7.2.4.4;4.4 Relationships between phenomenon and state change;128
7.2.4.5;4.5 Relationship between action and state change;128
7.2.4.6;4.6 Relationships among SAPPhIRE constructs;128
7.2.4.7;4.7 Catalogue;128
7.2.5;5 Discussion;129
7.2.6;6 Summary and Future Work;130
7.2.7;Acknowledgments;131
7.2.8;References;131
7.3;Measuring Semantic and Emotional Responses to Bio-inspired Design;132
7.3.1;1 Introduction;132
7.3.2;2 Design of Protocol Study;133
7.3.2.1;2.1 Cognitive Mesurement: Questionnaire;133
7.3.2.2;2.2 Physiological Measurement: Galvanic skin Response (GSR);134
7.3.2.3;2.3 Data Gathering;134
7.3.2.4;2.4 Data Analysis;135
7.3.3;3 Results;135
7.3.3.1;3.1 Correlation of Semantic Descriptions;135
7.3.3.2;3.2 Correlation Related to Emotional Terms;136
7.3.4;4 Discussion;137
7.3.4.1;4.1 Various Aspects for Measuring Emotional Impact on Bio-inspired Design;137
7.3.5;5 Towards Modeling the Attitude and Posture of Animals;137
7.3.6;6 Conclusion;137
7.3.7;Acknowledgments;138
7.3.8;References;138
7.4;Design of Emotional and Creative Motion by Focusing on Rhythmic Features;140
7.4.1;1 Introduction;140
7.4.2;2 Purpose;140
7.4.3;3 Method of Designing Emotional and Creative Motion;141
7.4.3.1;3.1 Analogy with Natural Objects;141
7.4.3.2;3.2 Blending of Motions;141
7.4.3.3;3.3 Emphasis on Rhythmic Features;141
7.4.4;4 Procedure to Design an Emotional and Creative Motion Purpose;142
7.4.5;5 Experiment;143
7.4.5.1;5.1 Designing an Emotional and Creative Motion Using the Proposed Method;143
7.4.5.2;5.2 Evaluation of the created Motions;144
7.4.6;6 Discussion;145
7.4.7;7 Conclusion;147
7.4.8;References;147
8;Design Synthesis;148
8.1;Create Adaptive Systems through “DNA” Guided Cellular Formation;149
8.1.1;1 Introduction;149
8.1.2;2 Related Work;149
8.1.3;3 cFORE: Cellular System Formation and Representation;150
8.1.4;4 Case Example and Discussion;152
8.1.5;5 Concluding Remarks;156
8.1.6;References;156
8.2;Developing a Coding Scheme to Analyse Creativity in Highly-constrained Design Activities;157
8.2.1;1 Introduction;157
8.2.1.1;1.1 Modes of Change in Design;157
8.2.2;2 Methodology;158
8.2.3;3 Results;159
8.2.3.1;3.1 Introducing the 2nd coding scheme;161
8.2.3.2;3.2 Reviewing the coded concepts on a timeline;162
8.2.4;4 Discussion;162
8.2.4.1;4.1 Discussion of the 2nd coding scheme;162
8.2.4.2;4.2 Patterns in Modes of Change;163
8.2.5;5 Conclusions;164
8.2.6;References;164
8.3;Effectiveness of Brainwriting Techniques: Comparing Nominal Groups to Real Teams;165
8.3.1;1 Introduction and Background;165
8.3.1.1;1.1 Osborn’s Brainstorming;165
8.3.1.2;1.2 Brainsketching;166
8.3.1.3;1.3 Gallery;166
8.3.1.4;1.4 C-Sketch / 6-3-5;166
8.3.2;2 Experimental Approach and Research Questions;167
8.3.3;3 Experimental Method;167
8.3.3.1;3.1 Factor 1: Display of Ideas;167
8.3.3.2;3.2 Factor 2: Representation;168
8.3.4;4 Metrics;169
8.3.5;5 Results and Discussion;169
8.3.5.1;5.1 Quality;169
8.3.6;6 Conclusions;170
8.3.7;References;171
9;Methods and Tools for Design Creativity;172
9.1;Front End Industrial Design (FE-ID) - Developing New Tools and Models for Industrial Designers to Operate at the Front End of New Product Development;173
9.1.1;1 Introduction;173
9.1.2;2 The Front End of NPD;173
9.1.3;3 A Process Model for Front End Industrial Design (FE-ID);174
9.1.4;4 Evaluation of the FE-ID Process;178
9.1.5;5 Discussion;178
9.1.6;6 Conclusions;179
9.1.7;7 Acknowledgements;180
9.1.8;References;180
9.2;Virtuality – Offering Opportunities for Creativity?;181
9.2.1;1 Introduction;181
9.2.2;2 3DVW as a Pedagogical Tool;181
9.2.2.1;2.1 Constructivism, design education and 3DVW;182
9.2.2.2;2.2 Designing 3D Virtual Worlds;183
9.2.3;3 Creativity and 3DVW;184
9.2.4;4 Conclusion;187
9.2.5;References;188
9.3;Thinking Inside the Box: Model, Tool, Team and Setting for Building Design;189
9.3.1;1 Introduction;189
9.3.2;2 Methodology: Team Mental Models and Integral Design Tools;190
9.3.2.1;2.1 Mental Models in Design Teams;190
9.3.2.2;2.2 Integral Design method;191
9.3.3;3 Workshops;192
9.3.4;4 Results integral design workshops;193
9.3.5;5 Discussion;194
9.3.6;6 Conclusion;195
9.3.7;7 Limitations and future directions;195
9.3.8;Acknowledgements;195
9.3.9;References;195
9.4;Signs of Collaborative Ideation and the Hybrid Ideation Space;197
9.4.1;1 Introduction;197
9.4.2;2 Collaborative Ideation;198
9.4.2.1;2.1 Assessing Collaborative Ideation;198
9.4.3;3 The Hybrid Ideation Space (HIS);199
9.4.4;4 The Experiment;200
9.4.4.1;4.1 Sampling;200
9.4.4.2;4.2 Experimental Setting;200
9.4.4.3;4.3 Data Collection Techniques;201
9.4.5;5 Results;201
9.4.5.1;5.1 Design Flow Pattern;201
9.4.5.2;5.2 The CI Loop;202
9.4.6;6 Conclusions;203
9.4.7;References;204
10;Design Process and Cognition 2;205
10.1;Creativity: Depth and Breadth;206
10.1.1;1 Design as Problem Solving;206
10.1.1.1;1.1 Insight and Incremental Problems;206
10.1.1.2;1.2 Divergent and Convergent Thinking;207
10.1.1.3;1.3 Fixation: Convergent Thinking?;207
10.1.2;2 Study: Generating Ideas;208
10.1.2.1;2.1 Thinking With Sketches;208
10.1.2.2;2.2 Method;209
10.1.2.3;2.3 Results and Discussion;209
10.1.3;3 Breadth and Depth: Divergent and Convergent Thinking;211
10.1.4;References;211
10.2;Research Methodology for the Internal Observation of Design Thinking through the Creative Self-formation Process;212
10.2.1;1 Introduction;212
10.2.2;2 Aims;213
10.2.3;3 Framework of the Method of Internal Observation;213
10.2.4;4 Detailed Procedure of Internal Observation;214
10.2.4.1;4.1 Organization of the Practical Experiment;214
10.2.4.2;4.2 Procedure of the Practical Experiment;215
10.2.5;5 Results of the Experiment;216
10.2.6;6 Analysis and Discussion;216
10.2.6.1;6.1 Quantitative Analysis;216
10.2.6.2;6.2 Qualitative Analysis;218
10.2.7;7 Conclusion;219
10.2.8;References;219
10.3;Design as a Perception-in-Action Process;220
10.3.1;1 Introduction;220
10.3.2;2 Design Cognition;220
10.3.2.1;2.1 Design Thinking in Constructivist Perspective;220
10.3.2.2;2.2 The Role of Perception;221
10.3.3;3 The Creative Process in Design;221
10.3.3.1;3.1 The Change of Methodological Paradigms;221
10.3.4;4 The Perception-in-Action Model;222
10.3.4.1;4.1 The Process and its Phases;223
10.3.4.2;4.2 Perception in and through images;224
10.3.5;5 Design Education;224
10.3.5.1;5.1 Principles and strategies for training perception;225
10.3.5.2;5.2 Perception-in-Action in the Project Classes or Design Studios;226
10.3.6;6 Conclusions;226
10.3.7;References;226
10.4;Verbal Stimuli in Design Creativity: A Case-study with Japanese Sound symbolic Words;228
10.4.1;1 Introduction;228
10.4.2;2 Roles of Language in Design;228
10.4.2.1;2.1 Language as an Inspirational Stimulus;229
10.4.2.2;2.2 Language as a Support for Communication;229
10.4.3;3 Words Expressing Emotions: Japanese Sound-symbolic Words;229
10.4.3.1;3.1 Japanese Sound-symbolic Words can Describe States and Emotions;229
10.4.3.2;3.2 Studies on/with Japanese Sound-symbolic Words;230
10.4.4;4 Experimentation;230
10.4.4.1;4.1 Study 1: Sound-symbolic Words in Design Communication;231
10.4.4.2;4.2 Study 2: Sound-symbolic Words as Inspirational Sources;232
10.4.5;5 Conclusion and Perspectives;234
10.4.6;Acknowledgements;234
10.4.7;References;234
11;Visual Representation in Design;236
11.1;Creative Collaborative Strategies of Remote Sketching on Design;237
11.1.1;1 Introduction;237
11.1.1.1;1.1 Analysis of the Generation of Ideas in a Team;237
11.1.1.2;1.2 Sketching in a Team;237
11.1.1.3;1.3 Sketching in a Team;238
11.1.2;2 Case Study;239
11.1.2.1;2.1 Method;240
11.1.3;3 Analysis of Collaborative Sketching Production;240
11.1.3.1;3.1 Analysis of the Production of Work Ideas;241
11.1.4;4 Discussion and Future Investigation;242
11.1.5;Acknowledgements;243
11.1.6;References;243
11.2;Creation of New Fashion Illustration Painting Techniques by Use of India-ink Painting Techniques: Research into Line Drawing Techniques of Expression in Fashion Illustrations;245
11.2.1;1 Preface;245
11.2.2;2 Research Methodology;245
11.2.3;3 Investigation into and Consideration of India-ink Painting Research Methodology;245
11.2.3.1;3.1 The History and Appeal of India-ink Painting;246
11.2.3.2;3.2 The Pinpointing the Basic Techniques of India-ink Painting The History and Appeal of India-ink Painting;246
11.2.3.3;3.3 Consideration of the Essence and Expressiveness of India-ink Painting;247
11.2.4;4 Application to Fashion Illustration Painting Techniques;247
11.2.4.1;4.1 The Essence and Expressiveness of India-ink Paintings;248
11.2.4.2;4.2 Expression of Shapes;248
11.2.4.3;4.3 Coloring Techniques;248
11.2.5;5 Samples of Trial Creation of Fashion Illustrations;249
11.2.5.1;5.1 Line Drawing Expressiveness;249
11.2.5.2;5.2 Boneless Expression;249
11.2.5.3;5.3 Upright Brush Expression;249
11.2.5.4;5.4 Angled Brush Expression;249
11.2.5.5;5.5 Wet Brush Expression;249
11.2.5.6;5.6 Dry Friction Brush, Nomal brush, Reverse Brush Expression;250
11.2.5.7;5.7 Summary of validity of examples created;250
11.2.6;6 Comprehensive Fashion Illustration Expressions by Hand-painting;250
11.2.7;7 Development using CG;250
11.2.8;8 Observations and Summary;251
11.2.9;9 Conclusion;252
11.2.10;Acknowledgements;252
11.2.11;References;252
11.3;How Uncertainty Helps Sketch Interpretation in a Design Task;253
11.3.1;1 Introduction;253
11.3.2;2 The Uncertain Information Process;253
11.3.3;3 The Uncertain Properties of Sketches;254
11.3.4;4 Sketch Interpretation and Uncertainty;255
11.3.5;5 Methods;255
11.3.5.1;5.1 Participants;255
11.3.5.2;5.2 Pre-Experiment Session;255
11.3.5.3;5.3 Main Experiment;256
11.3.5.4;5.4 Procedure;256
11.3.5.5;5.5 Measurement;257
11.3.6;6 Results;257
11.3.6.1;6.1 Total Number of Design Ideas Produced;257
11.3.6.2;6.2 V --> S transformations;258
11.3.6.3;6.3 V --> F transformations;259
11.3.7;7 Conclusion and Discussion;259
11.3.8;Acknowledgement;260
11.3.9;References;260
11.4;The Complementary Role of Representations in Design Creativity: Sketches and Models;261
11.4.1;1 Introduction;261
11.4.2;2 Pilot Study;262
11.4.3;3 Results;263
11.4.4;4 Discussion;264
11.4.5;References;266
12;Design Education;267
12.1;A Creativity Environment for Educational Engineering Projects when Developing an Innovative Product: A Case Study;268
12.1.1;1 Design Methodology / TRIZ;268
12.1.2;2 Design Projects in Education;269
12.1.3;3 Case Study – An Innovative Product;270
12.1.3.1;3.1 The Overall Concept;270
12.1.3.2;3.2 Working Out a Specific Subfunction;272
12.1.4;4 Conclusion;275
12.1.5;References;275
12.2;The Metaphor of an Ensemble: Design Creativity as Skill Integration;276
12.2.1;1 Creativity as an Ensemble of Design Skills;276
12.2.2;2 Integration as a Construct in Creativity Research;277
12.2.3;3 Skill Integration as a Basis for Design Creativity;277
12.2.4;4 The Multiple Skill Framework and Skill Integration in Design;278
12.2.5;5 Analyzing Skill Integration in the Architectural Design Studio;278
12.2.5.1;5.1 Analyzing Skill Integration at a Domain Level in Design;278
12.2.5.2;5.2 Analyzing Skill Integration at a Task Level in Design;279
12.2.5.2.1;5.2.1 The Case of Laura and Jared;280
12.2.6;6 Conclusions;282
12.2.7;References;283
12.3;Coaching the Cognitive Processes of Inventive Problem Solving with a Computer;284
12.3.1;1 Introduction;284
12.3.2;2 Related Art;284
12.3.2.1;2.1 Problem Solving Approaches;285
12.3.2.2;2.2 Computer-Aided Systems for Problem Solving;286
12.3.3;3 Dialogue-based System to Support the Analysis of an Inventive Problem;286
12.3.3.1;3.1 System Requirements;286
12.3.3.2;3.2 OTSM-TRIZ Models as a Meta-cognition Framework for Inventive Problem Solving;287
12.3.3.3;3.3 Description of the Algorithm;287
12.3.4;4 Testing Activity and Discussion;289
12.3.4.1;4.1 Test Group and Test Cases;289
12.3.4.2;4.2 Overview of the Results and Discussion;289
12.3.5;5 Conclusions and Future Activities;291
12.3.6;References;291
12.3.7;Acknowledgements;291
12.4;Creative Engineering Design Aspects given in a Creativity Training Course;292
12.4.1;1 Introduction;292
12.4.2;2 Creativity-training Course Modules;292
12.4.2.1;2.1 Methods and Techniques of Creativity (Module A);293
12.4.2.2;2.2 Creativity and Innovation Inside Companies (Module B);293
12.4.2.3;2.3 Exercise of Exchange of Mental Schemes (EMS);295
12.4.3;3 Mental Processes for Creativity Used in This Course;295
12.4.3.1;3.1 Based on Existing Solutions;296
12.4.3.2;3.2 Based on the ordenation and combination of concepts and ideas;296
12.4.3.3;3.3 Based on Ample Objectives to Think;296
12.4.3.4;3.4 Based to Find Relations between Unconnected Concepts;296
12.4.3.5;3.5 Based on a Better Expression of Subconscious;297
12.4.4;4 Discussion and Conclusions;297
12.4.4.1;4.1 Creativity-training Course;297
12.4.4.2;4.2 Aspects of Mental Processes Involved;298
12.4.5;References;298
13;Design Image and Inspiration;299
13.1;Differential Approach of Design Image and Similarity Cognition;300
13.1.1;1 Introduction: The Cognitive Perspective through Similarity Experiments;300
13.1.2;2 Literatures Review;300
13.1.2.1;2.1 Studies of Similarity;300
13.1.2.2;2.2 Product Identity and Image of Design;301
13.1.2.3;2.3 Difference of Identification for the Product Image in 2D and 3D Designers;301
13.1.3;3 Approaching Methods;302
13.1.3.1;3.1 Hypothesis;302
13.1.3.2;3.2 Survey Approaches and Steps;302
13.1.4;4 Survey Results and Analysis;303
13.1.4.1;4.1 Analysis of Connection between the Harmony and Similarity of Different Products;303
13.1.4.2;4.2 Difference of similarity identifying to a pair of product between different education background subjects;304
13.1.4.3;4.3 Difference of identifying specific image (harmony or imagination) to a pair of product between different education background subjects;304
13.1.5;5 Conclusion and Suggestion;305
13.1.5.1;5.1 Conclusion;305
13.1.5.2;5.2 Suggestion;306
13.1.6;References;306
13.1.7;Appendix;307
13.1.7.1;Questionnaire example of Study3 (Tversky, 1978);307
13.2;Poetry and Design: Disparate Domains but Similar Processes;308
13.2.1;1 Introduction;308
13.2.1.1;1.1 Sources of Inspiration;309
13.2.1.2;1.2 Solution-Focus and Primary Generators;309
13.2.1.3;1.3 Co-Evolution of Problem and Solution Spaces;310
13.2.2;2 Method;310
13.2.2.1;2.1 Participants;310
13.2.2.2;2.2 Materials and Procedure;310
13.2.3;3 Results;310
13.2.3.1;3.1 Inspiration;310
13.2.3.2;3.2 Writing Process;311
13.2.3.3;3.3 Revision;312
13.2.4;4 Discussion;313
13.2.5;Acknowledgements;315
13.2.6;References;315
13.3;Design by Customer: A Management of Flexibilities;316
13.3.1;1 Introduction;316
13.3.2;2 Design Dimensions;317
13.3.3;3 Design by Customer as a Management of Flexibilities;318
13.3.4;4 Practical Implementation;319
13.3.4.1;4.1 Customer need investigation;319
13.3.4.2;4.2 Manufacturing Capability;319
13.3.4.3;4.3 Engineering Constraints;320
13.3.5;5 Conclusion;321
13.3.6;References;321
14;Author Index;322