Design Creativity 2010 1st Edition by Toshiharu Taura, Yukari Nagai 0857292234 9780857292230

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ISBN 10: 0857292234 

ISBN 13: 9780857292230

Author: Toshiharu Taura, Yukari Nagai

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.

Table of contents:

Discussion on Direction of Design Creativity Research (Part 1) – New Definition of Design and Creativity
1 Introduction
2 Survey of Definitions of Design
2.1 Genealogic View of Definitions of Design
2.2 Genealogic View of Definitions of Creativity
3 New Definition of Design and Creativity
3.1 Classification of Design
3.2 New Definition of Design and Creativity
4 Meaning of New Definition of Design
5 Conclusion
References

Discussion on Direction of Design Creativity Research (Part 2) – Research Issues and Methodologies
1 Introduction
2 Research Issues in Design Theoretics
2.1 Inside-outside Issue in Design Thinking
2.2 Issue of Abstraction Process in Design Thinking
2.3 Back-and-forth Issue in Design Thinking
3 Research Methodologies of Design Theoretics
3.1 Internal Observation of Design Thinking
3.2 Computational Simulations
3.3 Theoretical Modeling
4 Example of Design Pursuing Desirable Figure
5 Conclusion and Open Issues for Future Work
References

Future Directions for Design Creativity Research
1 Introduction
2 Where Can Design Creativity Be?
2.1 Creativity is in the Design
2.2 Creativity is in the Assessor of the Design
2.3 Creativity is in the Design Process that Produced the Design
2.4 Creativity is in the Designer
2.5 Creativity is in the Interaction between the User and the Design
2.6 Creativity is in the Society in which the Design Exists
2.7 Creativity is in the Interaction between the Design, the Users/Assessors and Society
3 What Has Been Researched
3.1 Studying Design Processes
3.2 Studying Cognitive Behavior
3.3 Studying interactions
4 How Design Creativity Has Been Researched
4.1 Computational Modeling
4.2 Cognitive Modeling
5 Future Directions for Design Creativity Research
5.1 Design Processes
5.2 Cognitive Behavior
5.3 Social Interaction
5.4 Cognitive Neuroscience
5.5 Measuring Design Creativity
5.6 Test Suites of Design Tasks
6 Conclusions
Acknowledgements
References

Systematic Procedures Supporting Creativity – A Contradiction?
1 Introduction
2 Modeling Creativity
3 Improve Creative Processes
3.1 New Solutions for Elastic Couplings
3.2 Development of a High Pressure Pump
3.3 Improve Vacuum Cleaner Sucking Device
3.4 Improve the Properties of a Device in Late Development Phases
4 Discussion and Conclusion
References

Better, Not Catchier: Design Creativity Research in the Service of Value
1 Why is Design Creativity Important?
2 Why is Design Creativity Dangerous?
2.1 All That Glitters is Not Gold
2.2 Ethics
3 Applied Research
4 Basic Research
5 A Changing Perception of Creativity
6 Some Concluding Remarks
References

Using Evolved Analogies to Overcome Creative Design Fixation
1 Designers Are People
2 Cognitive Fixation
2.1 Implicit Memory
2.2 Problem Solving
2.3 Creative Idea Generation
2.4 Brainstorming
2.5 Design Fixation
3 Incubation & Insight
3.1 Forgetting Fixation
3.2 Environmental Triggers
4.2 Analogy & Design
5 Well-Tested Analogies
References

Design Creativity Research: From the Individual to the Crowd
1 Introduction
2 Understanding Creativity in Design
2.1 Understanding Creative Processes
2.2 Evaluating Potentially Creative Designs
3 Collective Intelligence in Design
4 Research Directions for Creative Design Emerging from Collective Intelligence
4.1 Technology Development
4.2 Creative Design Process
4.3 Evaluating Creative Design
Acknowledgements
References

Motivation as a Major Direction for Design Creativity Research
1 Introduction
2 Motivation as a Research Direction
2.1 Internal or External Reward or Punishment
2.2 A Preliminary Model of Motivational Cycle
2.3 Research Issues
2.4 Research Approaches
3 Preliminary Explorations
3.1 Creative Lineages
3.2 Creative Milieus
3.3 Creative Individuals
4 Conclusions as Beginnings
References

Design Research and Designing: The Synergy and The Team
1 Introduction
2 Creative Design Institute
3 Types of Design Projects in relation to Research Projects
4 The Synergy between Design Research and Designing
5 The Team of Designers and Researchers
6 Discussions
References

Theories on Design Creativity
Not from Scratch: The DMS Model of Design Creativity
1 Introduction
2 The Components of the DMS Model
2.1 Designer
2.2 Memory
2.3 Stimuli
3 Two-fold Relationships: DM, MS, and SD
3.1 Designer-Memory (DM)
3.2 Memory-Stimuli (MS)
3.3 Stimuli-Designer (SD)
4 Three-fold Interactions: DMS
5 In Conclusion
Acknowledgements
References

Influence of Environmental Information on Expert-perceived Creativity of Ideas
1 Introduction
2 Assessing Creativity
3 Methodological Approach
4 Results
5 Conclusions and Outlook
References

Towards a New Theory for Design Activity Reasoning
1 Introduction
2 A Model for Design Activity
2.1 Product Model
2.2 Satisfying Solution and Problem(s)
2.3 Activity Model
3 A Theory: First Axioms and Theorems
3.1 A Product
3.2 A product that the designer transforms… but he is not alone
3.3 Emergence
4 Discussion
4.1 Refutability
4.2 External Coherence
4.3 Relevance and Utility
5 Conclusions

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Tags: Toshiharu Taura, Yukari Nagai, Design, Creativity