Concept Blending and Dissimilarity: Factors for Creative Design Process: A Comparison between the Linguistic Interpretation Process and Design Process

This study investigated the design process in order to clarify the characteristics of the essence of the creative design process vis-à-vis the interpretation process, by carrying out design experiments. The authors analyzed the characteristics of the creative design process by comparing it with the linguistic interpretation process, from the viewpoints of thought types (analogy, blending, and thematic relation) and recognition types (commonalities and alignable and nonalignable differences). A new concept can be created by using the noun-noun phrase as the process of synthesizing two concepts—the simplest and most essential process in formulating a new concept from existing ones. Furthermore, the noun-noun phrase can be interpreted in a natural way. In our experiment, the subjects were required to interpret a novel noun-noun phrase, create a design concept from the same noun-noun phrase, and list the similarities and dissimilarities between the two nouns. The authors compare the results of the thought types and recognition types, focusing on the perspective of the manner in which things were viewed, i.e., in terms of similarities and dissimilarities. A comparison of the results reveals that blending and nonalignable differences characterize the creative design process. The findings of this research will contribute a framework of design practice, to enhance both students’ and designers’ creativity for concept formation in design, which relates to the development of innovative design. Keywords: Noun-Noun phrase; Design; Creativity; Blending; Nonalignable difference</p

An exploration of the cognitive processes of design teams to inform design education and practice

While design is associated with novelty and creativity, few studies have explored the cognitive processes employed during team interactions. Design practice is collaborative where designers work in multidisciplinary teams. Along with the cognitive skills involved in designing, designers also need skills to work in teams, share information, and negotiate decisions. The aim of this study is to understand the cognitive processes used by design teams during the early phases of product design.&nbsp; This study uses case studies and applies content analysis to examine the conversations of design teams during the problem definition, ideation, and concept development phases of the design process. Creativity has been described in terms of sudden bursts of ideas described as creative leaps and is associated with creative thinking. The findings in this study shows that while creative thinking is essential to creative teams, other cognitive modes such as knowledge processing, critical thinking, and metacognition are engaged in more frequently.&nbsp; The emphasis of each cognitive process also varies depending on the phase of the design process. These findings have implications for how design students are educated, the skills required and how we promote creativity in design teams

Constructive Interpretation in Design Thinking

This thesis explores the role of interpretation in design activity through the development of a computational model of constructive interpretation. It asks the question: how does the construction of interpretations from expectations within a situation affect design activity? This work hypothesises that designers construct their world from their expectations through interpretation. In interpreting their own work designers are able to make unexpected discoveries and explore the implicit knowledge held within their expectations of the world. These expectations are grounded in experience. A conceptual model for constructive interpretation is described. Knowledge held by designers is represented in a perceptual symbol system, in which knowledge organised in a hierarchy. Within this hierarchy, higher layers represent an increased level of abstraction. Knowledge is learnt through experience in an environment. The topmost layer in this hierarchy is the situation.Interpretation occurs through pull from the expectations. Expectations in a layer are changed by the layer above. The construction of expectations utilises knowledge about the world that the designer gains through experience. A computational framework for this conceptual model is described: (i) based upon conceptual spaces, where expectations within the situation perturb each other; and (ii) based upon a hierarchy of unsupervised learning networks, where prototypes represent convergence zones within conceptual space. Constructive interpretation is implemented in a number of demonstrations utilising modified self-organising maps linked together to represent layers in the conceptual model. Demonstrations show: (i) how situations are changed through construction from implicit expectations; (ii) how situations co-ordinate concepts through expectations that are grounded in experience; (iii) how construction from expectations produces stability in a chang ing environment; and (iv) how useful rather than accurate in! terpreta tions can be produced by constructing from expectations. A model of constructive interpretation in design is developed in which a system iterates through generation of designs from expectations and constructive interpretation. In one experiment an agent has experience with a number of floor plans. It uses its experience to draw in a design medium and interpret its own work. Through constructive interpretation from implicit expectations the situation changes leading to a new space of designs. It provides a model of the way that designers make unexpected discoveries within their work that are useful to the design task, through expectations, and relevant to the source, as the basis for constructing the interpretation. Another experiment uses sets of growth indicators about countries as concepts. The model shows how the space of designs changes through constructive interpretation and explores the effects of salience weighting upon the construction of interpretations. The work looks towards a situated model of design: a model of design that integrates interpretation, expectation and memory into the one cognitive framework. Constructive interpretation has applications for models of analogy and computational creativity. Future work in constructive interpretation is described

Designing online learning for scientific writing: Collaborations, creations and transformations

This thesis is a multilayered approach to understanding the complex processes involved in designing, developing, implementing and evaluating online learning environments for academic writing in discipline contexts. The study is broadly situated in the field of educational design research (EDR). It brings together theories of pedagogical design, including those of multimodality and educational linguistics, with the practical implementation and evaluation of designs in context. From an applied perspective, the research addresses the problem of providing support for students to improve their academic writing, in particular the writing of the laboratory report genre, a key genre in science and engineering disciplines. For teachers and others involved in the design of online teaching and learning, the aim is to provide design principles to support the process of creating effective resources to teach academic writing online. These principles cover all stages of the process from design to evaluation. The thesis comprises three main stages which focus on the processes involved in the development of an online program for supporting students writing a report in Physiology, the Flexible Electronic Report-writing Tool (FLERT). The first focuses on the collaborations of the design team in creating the online learning resources within a ‘communities of practice’ framework. I use discourse analysis, based on the theory of systemic functional linguistics (SFL), to identify knowledge and relationship building among participants. The second draws on both multimodal social semiotics and SFL to examine how network and screen designs created for laboratory report writing programs in science and engineering have evolved over time. The third uses a multi- and mixed methods approach, together with SFL, to examine two cycles of implementation and evaluation of FLERT to assess how students have transformed their learning through their interactions with the program. The relationships among the outcomes from these three stages provides insights into: • the practice of design for learning; • the meaning making characteristics of the products of design for teaching and learning purposes; • the interactions of student users with the designed products and the influence of design features on student learning; • design principles, both general principles for online learning program design and those, at a more local level, for teaching academic writing online

Discovery processes in designing

This thesis describes an interview study of forty five professionally accomplished male and female designers and architects. The study considers how each respondent designs and makes discoveries throughout conceptual design. How they start designing, what they attempt to achieve, the means they employ, how they cope with getting stuck, their breakthroughs and discoveries and the circumstances of these experiences, are the main ingredients of the study. The aim of the research is to estimate the extent to which designing may be regarded as an insightful activity, by investigating experiences of discoveries as reported by the respondents. Throughout the thesis, discoveries or ideas occurring to respondents when they are not actively designing, an apparent outcome of a latent designing or preparation activity, are referred to as cold discoveries. This label is used to distinguish these discoveries from discoveries that emerge in the run of play, when individuals are actively designing. The latter are referred to as hot discoveries. The relative insightfulness of hot and cold discoveries is also investigated. In general, the evidence from the research suggests that designing is significantly insightful. Most respondents (39:45) reported experiences of insights that have contributed to their designing. In addition there is strong evidence that cold discoveries are considerably more important, both quantitatively and qualitatively, than is currently recognized. More than half of the respondents (25:45) reported the experience of cold discoveries, many after disengaging from designing, when they had been stuck. Being stuck means they were experiencing frustration, or had recognised they were not making satisfactory progress in attempts to resolve some aspect of conceptual design. Typically these respondents reported experiencing discoveries while doing other work, performing some physical activity, resting, or very soon after resuming work. They had elected to let ideas come to them, rather than persist in searching and this strategy was successful. Moreover, many respondents (10:45) described positive attributes of cold discoveries using terms such as stronger, more potent, or pushes boundaries, which suggest their cold discoveries are more insightful than their hot discoveries. Many respondents associated their cold discoveries with mental activities such as incubation, a concept identified by Gestalt theorists nearly a century ago. They used a range of informal terms, such as ideas ticking over, or percolating away. These apparently uncontrolled mental experiences, which I refer to generically as latent preparation, varied from one respondent to another in when, where and how they occurred. Latent preparation or its outcomes, in the form of interruptive thoughts, apparently takes place at any time and during different states of consciousness and attentiveness. It appears to be, at different times, unplanned, unintentional, undirected, unnoticed, or unconscious, in combinations, not necessarily all at once. It is clearly not only an unconscious process. This suggests one, or more of the following; 1) that incubation is only a component of latent preparation, or 2) that the conventional view of incubation, as an unconscious process, does not adequately account for the range of insightful experiences of mentally productive people, such as designers, or 3) that the old issue of whether incubation is a conscious, or an unconscious process, is not vital to a systematic investigation of insightful discovery. The thesis concludes by considering prospects for further research and how the research outcomes could influence education. Apart from the findings already described, statements by the respondents about personal attributes, designing, coping with being stuck and discoveries, were wide ranging, resourceful and down-to-earth, suggesting there are many ways for individuals to become proficient, creative designers at the high end of their profession. A major implication for future research is that latent preparation may be found as readily among highly motivated and skilled individuals in other occupations unrelated to architecture or designing. The evidence of the research so far suggests there is much to be learned about latent preparation that can be usefully applied, for the benefit of individuals aiming to be designers, or simply wanting to become more adept at intervening, transforming and managing unexpected and novel situations of any kind

Design as interactions of problem framing and problem solving: a formal and empirical basis for problem framing in design

In this thesis, I present, illustrate and empirically validate a novel approach to modelling and explaining design process. The main outcome of this work is the formal definition of the problem framing, and the formulation of a recursive model of framing in design. The model (code-named RFD), represents a formalisation of a grey area in the science of design, and sees the design process as a recursive interaction of problem framing and problem solving. The proposed approach is based upon a phenomenon introduced in cognitive science and known as (reflective) solution talkback. Previously, there were no formalisations of the knowledge interactions occurring within this complex reasoning operation. The recursive model is thus an attempt to express the existing knowledge in a formal and structured manner. In spite of rather abstract, knowledge level on which the model is defined, it is a firm step in the clarification of design process. The RFD model is applied to the knowledge-level description of the conducted experimental study that is annotated and analysed in the defined terminology. Eventually, several schemas implied by the model are identified, exemplified, and elaborated to reflect the empirical results. The model features the mutual interaction of predicates ‘specifies’ and ‘satisfies’. The first asserts that a certain set of explicit statements is sufficient for expressing relevant desired states the design is aiming to achieve. The validity of predicate ‘specifies’ might not be provable directly in any problem solving theory. A particular specification can be upheld or rejected only by drawing upon the validity of a complementary predicate ‘satisfies’ and the (un-)acceptability of the considered candidate solution (e.g. technological artefact, product). It is the role of the predicate ‘satisfies’ to find and derive such a candidate solution. The predicates ‘specifies’ and ‘satisfies’ are contextually bound and can be evaluated only within a particular conceptual frame. Thus, a solution to the design problem is sound and admissible with respect to an explicit commitment to a particular specification and design frame. The role of the predicate ‘acceptable’ is to compare the admissible solutions and frames against the ‘real’ design problem. As if it answered the question: “Is this solution really what I wanted/intended?” Furthermore, I propose a set of principled schemas on the conceptual (knowledge) level with an aim to make the interactive patterns of the design process explicit. These conceptual schemas are elicited from the rigorous experiments that utilised the structured and principled approach to recording the designer’s conceptual reasoning steps and decisions. They include the refinement of an explicit problem specification within a conceptual frame; the refinement of an explicit problem specification using a re-framed reference; and the conceptual re-framing (i.e. the identification and articulation of new conceptual terms) Since the conceptual schemas reflect the sequence of the ‘typical’ decisions the designer may make during the design process, there is no single, symbol-level method for the implementation of these conceptual patterns. Thus, when one decides to follow the abstract patterns and schemas, this abstract model alone can foster a principled design on the knowledge level. It must be acknowledged that for the purpose of computer-based support, these abstract schemas need to be turned into operational models and consequently suitable methods. However, such operational perspective was beyond the time and resource constraints placed on this research

Inovação auxiliada por computador (CAI): uma análise bibliométrica de artigos publicados entre 2004 e 2013

In recent decades, innovation has come to be seen as a crucial factor for the competitiveness of organizations. From a process little orderly, innovation has come to be systematized, with the establishment of tools, methodologies and theories. A variety of computer programs have been created to support innovation, giving rise to a new category of tools, which is being called Computer Aided Innovation (CAI). This exploratory research seeks to understand more precisely the concept of CAI, as well as identify key publications, authors, institutions and regions in which it has been developed, besides seeking to identify gaps and trends of the topics covered in the area. Given the purpose of the research, it was decided to use bibliometrics, which allows obtaining the information indicated from the analysis of the main databases related to CAI. The research consists of 217 articles, published between 2004-2013. The methodological procedures to develop the research involved the following steps: a) raise the state of the art regarding the Computed Aided Innovation; b) Survey and data collection of scientific papers on CAI; c) categorization and bibliometric analysis and d) classify and analyze the topics covered. The results obtained through the bibliometric analysis revealed that there were 378 different authors, and authors have increased an average of 34.7% from 2004 to 2013. When checking the adhesion of the Lotka´s law to the field of CAI, It was observed that 72.8% of the authors had only one publication, 15% more than proposed by Lotka, than the area of CAI does not adjust to this law. The most productive authors were Runhua Tan (complete count) and Noel Leon (direct counting). The most cited author was Gaetano Cascini. The most productive country in the world is China, with 41% of publications, as well as having the largest number of researchers (42% of total) and the largest number of institutions. However, the country with the greatest relevance is France, because the French articles had 30.4% of the citations. The more productive institution is Hebei Universi ty of Technology, China, with 16% of the articles. The institution most frequently cited is INSA Strasbourg, France. By analyzing the topics covered, it was realized that the "Idea Management" category is more developed and the category "Management Patent" is the one with the least amount of work. It is considered that this research has contributed to give visibility to researchers, institutions and countries that have contributed to the development of CAI, besides recognizing the theoretical core that serves as the foundation of knowledge of the area. The theme CAI is extremely important for the improvement of the innovation process, enabling to innovate more efficiently and effectively.Nas últimas décadas, a inovação passou a ser vista como um fator crucial para a competitividade das organizações. De um processo pouco ordenado, a inovação tem passado a ser sistematizada, com o estabelecimento de ferramentas, metodologias e teorias. Uma variedade de programas computacionais têm sido criadas para apoiar a inovação, dando origem a uma nova categoria de ferramentas, que vem sendo denominada Computer Aided Innovation (CAI), ou Inovação Auxiliada por Computador. Esta pesquisa, de característica exploratória, busca compreender com maior exatidão o conceito de CAI, bem como identificar as principais publicações, autores, instituições e regiões nas quais o assunto tem sido desenvolvido, além de buscar identificar as lacunas e tendências dos temas abordados na área. Dada a finalidade da pesquisa, decidiu-se pelo uso da bibliometria e da análise de conteúdo para alcançar os objetivos estabelecidos. O universo da pesquisa constitui -se de 217 artigos, publicados no período de 2004 a 2013. Os procedimentos metodológicos para desenvolver a pesquisa envolveram os seguintes passos: a) levantar o estado da arte no que se refere a Inovação Auxiliada por Computador; b) levantar e coletar os dados dos artigos científicos em CAI; c) categorizar e fazer análise bibliométrica e d) classificar e analisar os temas abordados. Os resultados obtidos, por meio da análise bibliométrica, revelaram que houve 378 autores diferentes, e que a média de autores aumentou em 30,4% de 2004 a 2013. Ao verificar a aderência da lei de Lotka à área de CAI, observou-se que 72,8% dos autores tiveram apenas uma publicação, sendo 15% a mais do que o proposto por Lotka, ou seja, a área de CAI não se ajusta a esta lei. Os autores mais produtivos foram Runhua Tan (contagem completa) e Noel León (contagem direta). O autor mais citado foi Gaetano Cascini. O país mais produtivo do mundo é a China, com 41% das publicações, além de possuir o maior número de pesquisadores (42% do total) e o maior número de instituições. No entanto, o país com a maior relevância é a França, pois os artigos franceses tiveram 30,4% das citações. A instituição mais produtiva é Hebei University of Technology da China, com 16% dos artigos. A instituição mais citada é INSA Strasbourg, França. Ao analisar os temas abordados, percebeu-se que a categoria “Gestão de Ideias” é mais desenvolvida e a categoria “Gestão de Patentes” é a que possui a menor quantidade de trabalhos. Considera-se que esta pesquisa contribuiu para dar visibilidade aos pesquisadores, instituições e países que tem contribuído para o desenvolvimento do CAI, além de reconhecer o núcleo teórico que serve de alicerce do conhecimento da área. O tema CAI é de suma importância para a melhoria do processo de inovação, possibilitando inovar com mais eficiência e eficácia

Architectural concept formation: transmission of knowledge in the design studio in relation to teaching methods

This Thesis explores learning within the context of architectural studio teaching. It focuses on the way in which teaching and learning takes place in discussions on architectural design among tutors, students and visiting critics in the context of the presentation of student work in interim and final reviews. As reviews are based on an oral presentation and discusslon of students' work(feedback), their verbal content can be analysed to reveal the structure of architectural learning In the design studio. Research was undertaken at two separate locations over two consecutive time periods: first, in the late 1980's at the Bartlett School of Architecture, U. C. L. and then in the early 1990's at the School of Architecture and Landscape at the University of Greenwich. The Thesis therefore examines the shift In architectural education that took place In London during the late 1980's and early 1990's. The research involved recording and transcribing into the form of a text, the content of architectural design reviews which took place at both schools. The text was then analysed in terms of its content, form and structure, at the Bartlett, recordings were made of twenty seven reviews from the first, the third, and the diploma year (nine each), at Greenwich, a comparative sample was recorded of nine first year and nine third year reviews. The aim was twofold: a) to examine how the dialogue in reviews and the students' designs progressively matured over the years, and b) to Identify the extent to which the new pedagogy changed the structure of the learning interaction in the design studio. It was found that reviews at the Bartlett operated mainly at an Intellectual/conceptual level, were analytical and focused on the final building design. The participants drew on background knowledge In the form of theory, technology and precedents. These aspects were found to be used implicitly in the design studio. Reviews at Greenwich, which represent the current London educational scene, were found to be more intuitive and experiential. They operated mainly at a visual level and focused on the design process through explicit teaching methods. The creative activity of constructing new design rules in formal/visual architectural terms ('foregrounding') was dominant. Both educational systems revealed that architectural concepts are formed at the visual and intellectual level simultaneously, by the interaction of the two, despite their different balance (visual/ intellectual) in each pedagogic mode. The clarity of the discussion during the reviews was influenced only by the extent to which the visual/intellectual interaction was explicitly acknowledged as a key component of the teaching method. The Thesis therefore argues that 2-D and 3-D representations are active In Initiating architectural cognition, and perhaps It is only these visual representations that are able to initiate 'foregrounding'. At both schools, at all educational levels, the design students decision making was found to remain stable, and architectural concepts progressed from simple to complex, not in a predictable and linear fashion but in a circular, iterative process. Finally, the Thesis questions the existence of the concept of a 'central Idea' or 'parti' that brings all the design rules together, Among students this was found to be more of an ideal than a reality, as these rules seem to come together in the form of a 'collage' rather than as a rational structure