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IFIP The International Federation for Information Processing, 2000
This paper focuses on creativity in the process of designing as the foundation of potential innovations resulting from that process. Using an ontological framework that defines distinct stages in designing, it identifies the locations for creativity independently of their embodiment in human designers or computational tools. The paper shows that innovation, a consequence of creativity, can arise from a large variety of processes in designing. 2 Activities in Creative Designing Research in creative designing can be separated into two strands. One strand of research is concerned with developing computational processes that can extend the design state space. Here, five classes of processes have been suggested [3]:
Nascent directions for design creativity research
International Journal of Design Creativity and Innovation
Design is recognized as one of the creative professions but that does not mean that design equals creativity. Much of design is not creative, rather it is routine in the sense that the designs produced are those that are similar to existing designs and are only unique in terms of the situation they are in. However, there is value in producing designs that are considered creative in that they add significant value and change people's perceptions and, in doing so, have the potential to change society by changing its value system. A search for the terms 'design' and 'creativity' in books over the last 200 years (using Google's Ngram) shows that the term "design' was well established by 1800 and its use dropped between 1800 and 1900, after which its use increased to 2000. The term 'creativity' only came into noticeable use from 1940 on (Figure 1). It is, therefore, not surprising that creativity research is a young field. Much of early design creativity research has focused on distinguishing design creativity from designing; typically, by attempting to determine when and how a designer was being creative while they were designing. This still remains an important area of design creativity research that deserves considerable attention. Much of the design creativity research over the last 30-40 years has focused on either cognitive studies of designers or on building computational models of creative processes, generally using artificial intelligence or cognitive models. As in other areas of design research, there has been interest in developing cognitive creativity support tools. These two paradigmatic approaches have yielded interesting and important results. Tools can be categorized along a spectrum from passive through responsive to active. Passive tools need to be directly invoked by the designer and remain unchanged by their use. A spreadsheet is an exemplary example of a general passive tool. Passive tools that support design creativity include, for example, morphological analysis and TRIZ. Responsive tools need to be directly invoked by the designer but are changed by their use and do so by learning (Gero, 1996). They aim to tailor their response to the user over time. They tend to be developed for a specific purpose and are often proprietary. Active tools interact with the designer, i.e., they respond to what the designer is doing and make proposals. More recently, there has been interest in studying creativity when the designer is using responsive and active creativity aids. These aids cover a wide spectrum. Here two new categories will be considered: artificial intelligence that supports co-creation and neuro-based creativity enhancement. These two approaches form the basis of two nascent directions that are fundamentally different to the current directions of cognitive studies and passive cognitive support tools. In addition, there have been studies with drugs that affect the brain and that anecdotally enhance creativity. Alcohol has been shown to have a mild positive effect on the remote association creativity test but impairs divergent thinking, which is involved in design creativity (Norlander, 1999). However, controlled studies with Ritalin (methylphenidate) (Baas et al., 2020), cannabis (tetrahydrocannabinol) (Kowal et al., 2015) and LSD (lysergic acid diethylamide) Figure 1. Google's Ngram on the appearance of the terms "design" (blue line) and "creativity" (red line) in books since 1800.
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The 54th International Conference of the Architectural Science Association, 2020
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Fifth International Congress of International Association of Societies of Design Research IASDR, 2013
This paper investigates the emergence of creative insights in architectural design processes with an aim to investigate whether there is a recurring pattern between design creativity and cognition. In the design process, paradigm shifts and sudden changes in the flow of prevailing thoughts are venues of interest to search for creative insights. Our question is: What is the cognitive context of which the sudden emergence of insights occur in absence of, convergence with, or in conflict with, the preceding established stimulus-responses? A design case study is analysed using a descriptive model; linkography protocol is constructed and the gleams of sudden insights (creative notions) are demarcated. Two major recurring patterns of the emergence of insights are perceived: 1) insights appearing in dense linkograph networks with significance to one chief prevailing idea reflects "incremental" thinking process; the concept evolves through accumulative gradual moves of design), while 2) sudden stimulations appear often in the transferral (bridging) nodes between different sub-networks, with high probability to emerge with multiple exchanges of ideas between sketching media. This outcome supports the argument that breakthrough ideas result in the collision between two different hunches of thought (i.e. early preceding and late ones) and that no ideas come from nowhere.