Do emotions matter in creative design? (original) (raw)
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Investigating emotions in creative design
2010
Abstract A wealth of research has suggested that emotions play a significant role in the creative problem solving process, but less work has focused on investigating the role of emotions in the design process. This is surprising given that creative problem solving lies at the heart of the design processes. In an exploratory study we interviewed 9 expert designers about their emotions during the design process.
Designer’s Emotions in the Design Process
DRS2018: Catalyst, 2018
This is a position paper towards the establishment of a research network to address the impact of tacit experiential knowledge, emotion, and cultural perspective on a designer's decision-making during a design process. With this network, we are aiming to start a focused discussion across geographies and cultures regarding the role and impact of designers' emotions within their own design process. The function of this is to foreground the experiential and emotional domain of designers' practice and examine the role of tacit experiential knowledge in design decision-making. The paper sets up the basis and context of discussion, exploring the three key areas to be addressed by the network: designers' emotions as key drivers in decisionmaking; tacit experiential knowledge; and addressing emotion in culturally-situated design practice. This is followed by our proposed methodology and network objectives and expected impact and outcomes.
The influence of design methodology on a designer’s emotional parameters and on design results
This paper presents the results of an experiment carried out on 21 subjects, all of whom had an engineering background, with the aim of determining the influence of the designer’s attitude on the design process and on the finished design. The participants were asked to solve a range of design problems by employing different methods while their emotional response parameters were being registered by a noninvasive neuroheadset. The recorded data was used firstly to compare the different reactions of the subjects when using different design methods. A second analysis was carried out to determine whether the variations in the emotional parameters bore any direct relation to the creativity of the outcomes. The results obtained indicate a relation between emotional parameters, individuals and the design method used. However, there does not appear to be any direct association between emotional parameters and the creativity of the results.
Managing Emotion in Design Innovation
2013
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This paper discusses an on-going at the time research, and investigates how memory of emotional experience is reflected in ideation of design solutions. It argues that memory of emotional experience is one of the sources for development of conceptual images during the initial stage of the design process. Memory of emotional experience is a distinct kind of memory different from the memory of events or knowledge. Memory of emotional experience triggers emotions that influence decision-making, it influences the formation of the belief and value system of a designer. Memories of emotional experience along with other kinds of experience and knowledge contribute to the construction of the image-banks that serve as a source of design ideas. The study discussed here hypothesizes that the level of creativity of design solutions is associated with thematic impulses triggered during the design process via memories of emotional experiences. A farreaching goal of this research is the enhancement of teaching methods to help architecture students learn to use autobiographical memories as a source of design ideas. Study has been long completed, results to be published soon.
DESIGNERS AND USERS: TWO PERSPECTIVES ON EMOTION AND DESIGN1
We take as our starting point the distinction between two perspectives on products: designer and user. There is often a mismatch between these two perspectives, but both matches and mismatches constitute a major source of the affective reactions that people have to products and their interactions with them. These reactions extend over a wide range and include not only (relatively short-term) emotions, but also longer term reactions such as moods, preferences, and attitudes. 2
INGREDIENTS OF THE DESIGN PROCESS: GOING THROUGH EMOTIONAL PASSAGE
… of the 18th International Conference on …, 2011
abstract: Conventional design processes have been successful the past decades. As our society becomes faster and more complicated, so customers' needs are becoming more complex. Discovering insights about those customers has been challengers because ...
Design and Emotion: Time for a New Direction?
2009
This paper describes research investigating why the extensive effort in Design and Emotion research and publications has not had more significant effect in improving design theory and practice in spite of the large amounts of funding expended, the number of research projects and research centers and the large number of publications. The analyses point to two foundational research issues that appear to have been overlooked and which point to why Design and Emotion research culture is failing to make radical and significant impacts on design theory, design research, design practice and design education across all the major fields of design in the art and design, technical design and other design sectors. The paper concludes with a brief outline of the changes likely to make the Design and Emotion field more effective in improving design outcomes, design practice, design research and design theory.
Designers and users: Two perspectives on emotion and design
2003
We take as our starting point the distinction between two perspectives on products: designer and user. There is often a mismatch between these two perspectives, but both matches and mismatches constitute a major source of the affective reactions that people have to products and their interactions with them. These reactions extend over a wide range and include not only (relatively short-term) emotions, but also longer term reactions such as moods, preferences, and attitudes. 2
Thinkering for Design and Emotions Research
2019
Prototyping not only helps demonstrate new concepts and show design vision but also aids quick turn-around concept validation and usability tests. This workshop is about investigating "Thinkering" as a methodology to support design research in emotions. As we all know, designers generally <em>think </em>while <em>doing </em>and <em>talk</em> through their <em>concepts</em> - be it sketches, physical models or virtual interaction visualizations. So Thinkering (tinkering while thinking) is a method that suggests using this innate as well as learned aptitude of designers for design research. This workshop proposes use of Thinkering as a possible method to explore the opportunities and challenges.