Cognitive Phenomena of Style and Creativity

This paper explains a cognitive notion of style and creativity approached from reviewing the general concepts of design thinking and cognition, exploring patterns of cognitive operations conducted in the design processes, elaborating how style and creativity are coming from executing these cognitive operations. In fact, style and creativity are the resulting phenomena, or byproducts, coming from design cognition. Thus, based on the concept of resulting phenomena from cognition as the premise, this paper itemized the theories of “changing or modifying our ways of executing our design cognition, our style and creativity would be improved.” Especially, style and creativity, as defined by features appearing in design products, should be treated as physical entities that they could be identified, recognized, and measured instead of abstract notions of intangible elements. Finally, the correlations between style and creativity are summarized to conclude the impact of design cognition. Hopefully, this paper will provide an outline for the ways to improve our style and creativity in design

The relationship between tolerance of ambiguity and creativity in architectural design studio

Creativity is a cognitive ability that enables individuals to come up with both original and functional ideas and products. As architectural design requires producing aesthetic and practically useful solutions, it is a primary concern to enhance creativity in design disciplines. Many theorists argued that design is a non-linear process and many components of design problems are not clear at the beginning. At the start of the process, designers are always working at the periphery of a solution space where there is less coherence and more ambiguity. Thus, they must deal with a lot of ambiguity in every design situation. These states of uncertainty and confusion can be annoying for architecture students. On the other hand, tolerance of ambiguity is a personality trait that has been linked to creative thinking. Therefore, this paper attempts to investigate the correlation between tolerance of ambiguity of architectural students and their creativity via a qualitative study. The researchers implemented a mixed-method approach and recruited 18 architecture students. The results from this study revealed that there is a significant correlation between students’ creative thinking abilities and their tolerance for ambiguity. Our results also indicated that there is no statistically significant correlation between students’ tolerance of ambiguity and their design creativity. Article in English. Santykis tarp tolerancijos dviprasmiškumui ir kūrybiškumo architektūrinio projektavimo studijoje Santrauka Kūrybiškumas kaip kognityvinis gebėjimas sudaro sąlygas asmenims sukurti originalių ir funkcionalių idėjų bei produktų. Kadangi architektūrinis projektavimas reikalauja priimti estetinius ir praktine prasme naudingus sprendimus, todėl pirmiausia reikia rūpintis kūrybiškumo stiprinimu su projektavimu susijusiose disciplinose. Dauguma teoretikų įrodinėja, kad projektavimas yra nelinijinis procesas, o didžioji dalis projektavimo problemų sudedamųjų dalių nuo pat pradžių sudaro neaiškumų. Prasidedant procesui, projektuotojai bet kuriuo atveju darbuojasi sprendimo erdvės paribyje, kuriame yra mažai darnumo, tačiau kur kas daugiau – dviprasmiškumo. Tad jiems tenka spręsti klausimus, susijusius su dideliu dviprasmiškumu bet kurioje projektavimo situacijoje. Šios netikrumo ir painiavos būsenos gali erzinti architektūros studentus. Kita vertus, tolerancija dviprasmiškumui – tai asmenybės bruožas, siejamas su kūrybiniu mąstymu. Todėl šiame straipsnyje siekiama išnagrinėti koreliaciją tarp architektūros studentų tolerancijos dviprasmiškumui ir jų kūrybiškumo, atliekant kokybinį tyrimą. Tyrėjai taikė mišrų metodą, o jų tyrimo objektu tapo 18 architektūros studentų. Šio tyrimo rezultatai atskleidė, kad yra reikšminga koreliacija tarp studentų kūrybinio mąstymo gebėjimų ir jų tolerancijos dviprasmiškumui. Rezultatai, kuriuos gavome, taip pat parodė, kad nėra statistiškai reikšmingos koreliacijos tarp studentų tolerancijos dviprasmiškumui ir to, ar jų atliekamas projektavimas yra kūrybiškas. Reikšminiai žodžiai: architektūros studentai, kūrybiškumas, projektavimo problemos, projektavimo procesas, tolerancija dviprasmiškumui

When is Architecture Not Design?

If there?s nothing more to architecture than design, and to its attendant thinking processes than design thinking, then core dimensions of the enterprise from production and use angles have no special character over and above their counterparts in general design.  Yet that does not appear to be true by the lights of architects or design specialists or the public at large.  So what is it, at the core or periphery of the discipline or its objects, that makes architecture not design?  The ways in which architecture and design constitute artistic enterprises, drawing on and promoting aesthetic interest, differ such that architecture is not, or at least not only, a branch of or variation on design generally construed

Fostering Creative Cognition In Design Education: A Comparative Analysis Of Algorithmic And Heuristic Educational Methods In Basic Design Education

Publisher's Versio

Analogical creative thinking and its application to engineering design and enterprise

Analogical thinking is valuable to creative design as it assists generation of new knowledge by mapping analogically from source domain to target domain. This study endeavours to enhance the value of analogical thinking in creative design by the development of Analogical Creative Process (ACP), and evaluation of its application in projects of engineering design and enterprise design. ACP is a systematic step-by-step tool to enable analogical thinking in design, and is derived from the fundamental cognitive process of key theories for analogy establishment. It analyses the given design problem as a complex of sub-systems and identifies their functions, before analogically mapping over the relations among the sub-systems between different domains. With these features, ACP is capable of providing tangible guidance on analogical thinking for designers without requirement of their existing experience in use of analogy. The effectiveness of ACP in creative ideation is examined with positive outcome observed in a real-life engineering design project compared to non-analogical approaches. The interrelations between creativity, analogy and design are identified featuring ACP and analogical thinking through a prescriptive study. As a result, a novel analogy-empowered creative design process is proposed and applied in an enterprise design project as a new field of application for analogical thinking in design. Initial evaluation supports the application success of the creative design process and analogical thinking is proven valuable in assisting enterprise design practices. The outcomes of this study include development of ACP based on the cognitive model of analogy, establishment of a new connection between creativity, analogy and design by the analogy-embedded creative design process, and a new design application of analogical thinking in enterprise. The identification of the value of analogical thinking in the context of enterprise design provides the researchers and entrepreneurs with a new tool to enhance enterprise design and business progress.Open Acces

Cognitive processes in Design Thinking: Optimization of perception, processing and reasoning

This dissertation documents a research endeavour into the cognitive processes in Design Thinking. The goal was to identify the optimal way to think in the various phases of a Design Thinking project. The research draws on the findings in design, positive psychology, cognitive psychology, and neuroscience to analyse the Design Thinking process and tomap and match thinking modes with the phases of the process. The fundamental literature review covers three topics: The research into Design Thinking provides a comprehensive insight into the method and its scientific fundament. Then, creativity as a social product and the cognitive processes relevant to creativity are documented. Thirdly, emotion and its relation to creativity and the Limbic® Map approach are presented. Finally, automatic emotion recognition with deep learning based artificial intelligence algorithms are introduced. The first stages of empirical research revealed that emotions and other affective states are unworkable for reliable research results. Similarly, it could be shown that “mindset” has no scientifically approved definition, making the concept unsuitable for robust research. Further research identified five pairs of cognitive functions needed in Design Thinking. Three pairs address information processing (Acquisition of Data, Alignment of Perception, and Assessment of Information and Ideas), and two address flow control of cognition (Attention to a specific task and Awareness of the Cognitive Process). The research further investigated methods to activate and guide the cognitive functions in a project. Moreover, the importance of including creative professionals in a Design Thinking process was revealed. Research in neuroscience indicates specific abilities of creative people identifiable in the very brain network connections. The research also discovered new insights into the “Groan Zone”. The findings indicate that a change in the attitude and approach to the “Groan Zone” could considerably change the outcome of a Design Thinking project.Esta dissertação documenta um esforço de pesquisa sobre os processos cognitivos em Design Thinking. Teve como objetivo identificar a forma ideal de pensar, nas várias fases de um projeto de Design Thinking. O design, a neurociência, as psicologias positiva e cognitiva, servem de base para analisar o processo de Design Thinking, mapeando e relacionando modos de pensamento com fases do processo. A revisão da literatura cobre: Uma visão mais abrangente do método do Design Thinking, suas origens e fundamentação científica. A criatividade como um produto social e os seus processos cognitivos mais relevantes. A relação entre emoção e criatividade e a abordagem Limbic® Map. Finalmente, são introduzidos métodos de reconhecimento automático da emoção com algoritmos de inteligência artificial, baseados em deep learning. Uma fase de investigação empírica, revelou que as emoções e os outros estados afetivos não são adequados para esta investigação. Pode demonstrar-se ainda que “mentalidade” não possui uma definição cientificamente consensual, tornando o conceito incredível para a investigação. Investigações semelhantes, identificam cinco pares de funções cognitivas necessárias. Três deles, abordam o processamento de informações (Aquisição de Dados, Alinhamento da Perceção e Avaliação de Informações e Ideias) e dois abordam o controle do fluxo cognitivo (Atenção a uma tarefa específica e Consciência do Processo Cognitivo). Aplicaram-se métodos para ativar e guiar as funções cognitivas, num projeto de Design Thinking. Revelou-se a importância de incluir profissionais criativos no processo, pois uma pesquisa em neurociência indica habilitações específicas de pessoas criativas, nas conexões neuronais do seu cérebro. Novos contributos na “Groan Zone”, indicaram que uma mudança de atitude no momento “Groan Zone”, poderá alterar consideravelmente o resultado de um projeto de Design Thinking

Pengantar Konsep Desain Interior

KATA PENGANTAR The Journey of a Thousand Miles Begins With One Step (Lao Tzu) Buku yang berada di tangan Anda sekarang ini adalah BRUSLI 01 yang berjudul Pengantar Konsep Desain Interior. BRUSLIâ adalah akronim dari Buku RUmuSan Literatur Interior, yaitu buku yang merangkum dan merumuskan literatur-literatur desain interior agar mudah dibaca dan memperoleh pemahaman teoritis secara singkat. Penelusuran literatur menggunakan sumber primer untuk literatur utama dan beberapa sumber sekunder dan tersier sebagai pengayaan. Rencananya BRUSLI akan hadir dalam edisi yang berbeda sesuai dengan topik pembahasannya. Literatur khusus tentang konsep desain interior, belum banyak dapat ditemukan. Pembahasan konsep masih menjadi sub bagian dari literatur desain interior, seakan-akan mengecilkan posisinya yang sangat penting dalam desain interior. Dalam desain interior pembahasan konsep yang bersifat intrinsik yang intangible, masih bias dengan entitas ekstrinsiknya yang tangible seperti gaya, tema atau suasana interior. Buku ini ditujukan pada pihak-pihak yang melatarbelakangi menulis buku ini yaitu: Mahasiswa, Akademisi, Praktisi dan Para Pemerhati serta Masyarakat umum yang tertarik pada dunia kreatif khususnya desain interior. Penulis mengucapkan banyak terima kasih kepada beberapa pihak yang telah membantu proses penyelesaian buku ini. Pertama kepada Pusat Penerbitan LP2MPP ISI Denpasar atas arahan dan dukungannya. Kedua bagi Dr. Drs. I Gusti Ngurah Ardana, M.Erg sebagai kolega penulis dalam mengajar mata kuliah “Dasar-Dasar Konsep Desain Interior’. Ketiga kepada Dr. Drs. Anak Agung Gede Rai Remawa, M.Sn teman diskusi, guru dan pembimbing atas diskusi serta arahannya. Selanjutnya bagi seluruh kolega Dosen di Jurusan/Program Studi Desain Interior atas diskusi dan masukannya. Praktisi, Alumni dan Organisasi Profesi HDII (Himpunan Desainer Interior Indonesia) cabang Bali-NTB, atas informasi dan kontekstualisasinya di lapangan. Mahasiswa Jurusan/Program Studi Desain Interior sebagai ‘sampel’ penelitian dan objek studi bagi pemahaman dan pembelajaran konsep. Dari perspektif mereka, materi dan penjelasan konsep disusun dan dibukukan. Akhir kata, selama proses penulisan sampai diselesaikannya buku ini, penulis masih merasa masih jauh dari kata sempurna dan ideal untuk dijadikan suatu literatur rujukan. Untuk proses penyempurnaan, penulis membutuhkan banyak saran dan kritikan membangun demi kesempurnaan buku ini. Semoga buku yang telah dibuat dengan niat mulia ini, dapat bermanfaat bagi seluruh civitas akademika Jurusan/Program Studi Desain Interior FSRD ISI Denpasar pada khususnya dan dunia kreatif Indonesia pada umumnya. Denpasar, Januari 2018 Penuli

Creative Cooperation in Distributed Working Situations: Towards a Design-Process-Based Cooperation System

Due to the present developments of the Internet and its technical components, the skills of the web experts have to be more and more complex and specific. The Internet experts in the creative field are located distributedly around the whole world. As a result, many companies have problems to find the needed experts on site and are dependent on creative cooperations and virtual teams with the help of technical tools. The virtual working place is an important issue, particularly in modern times and the market offers more and more cooperation systems for exactly this purpose: Creative cooperation in distributed working situations. This thesis examines the approaches of creative cooperation and cooperation technologies with an analysis about existing cooperation systems with a creative context. It spans a wide range of tools. On the one hand, there are approaches which offer only straightforward solutions for single design tasks. On the other hand, there are providers which recognised the great need of creative cooperation systems and working at full speed to extend their systems. The examined areas of this work lead to a design process oriented approach with flexible frames and enough space for the creative development of every single user. The cooperation in a creative context stays in the foreground and is the base for future approaches for the web design sector

La metáfora de la metamorfosis en el desarrollo del videoclip animado “Deseos” de la artista La Bicha

305 páginasDeseos es un proyecto creativo audiovisual en el que se desarrolla una narrativa a partir de la metáfora de la metamorfosis uniendo conceptos como la transformación personal, la autoafirmación y la construcción de identidad, representados en el viaje de la protagonista del videoclip. Este proyecto fue realizado a través de la técnica de animación 2D digital experimentando desde el simbolismo planteado, con elementos como la mariposa y el signo zodiacal sagitario. Para fortalecer la narrativa se utilizaron aspectos compositivos y estéticos ligados al arte surrealista y sus características fantásticas para la creación de los mundos o escenarios. Aquí presentamos el proceso de creación de la obra audiovisual en tres fases: La investigación, el desarrollo de la idea y las propuestas desde los diferentes departamentos. Nuestro videoclip “Deseos” muestra una historia fantástica en donde una joven llamada Bicha se transporta a una nueva realidad guiada por una mariposa mágica, allí vive una emocionante aventura en la que viaja a través de diferentes mundos experimentando un proceso de transformación personal o metamorfosis y cumpliendo su deseo de descubrirse a sí misma en el camino.Deseos is a creative audiovisual project in which a narrative is developed based on the metaphor of metamorphosis, putting together concepts such as personal transformation, self-affirmation and identity construction, represented in the journey of the protagonist in the videoclip. This project was carried out through the digital 2D animation technique, experimenting from the proposed symbolism, with elements such as the butterfly and the sagittarius zodiac sign. To strengthen the narrative, compositional and aesthetic aspects related to surreal art and its fantastic characteristics were used for the creation of worlds or scenarios. In this document, we show the process of creating the audiovisual work in three phases: Research, development of the idea and proposals from the different departments. Our video clip "Wishes" tells a fantastic story where a young woman named Bicha is transported to a new reality guided by a magical butterfly, there she lives an exciting adventure in which she travels through different worlds experiencing a process of personal transformation or metamorphosis and fulfilling her desire to discover herself along the wayComunicación Audiovisual y MultimediosComunicador Audiovisual y Multimedio