- Design Research and Designing: The Synergy and The Team 59. - In both of the example projects, tight collaborations between the CDI research team and medical care experts are being made.. - In this kind of projects, the project team can be composed of design consultancies and research institutions where designing tasks are mainly conducted by design agencies with strong collaboration with research institutions.. - 4 The Synergy between Design Research and Designing. - This designing project was conducted by the research team who developed the E3 value concept (Cho et al, 2010) and the PSS design methods including context-based activitiy modeling method. - of the TakeIN project, the research outcome has become matured while this totally new methods would have been applied only by the research team themselves.. - In other words, design creativity would require diverse characteristics as discussed in (Kim et al, 2010-a).. - As applied in real world scale problems, methods from design research become scaled up and the contributions of tools are appreciated.. - There exists critical role in the overall direction of the project as such team would require proper balancing in designing and research association. - Also those team members who are confident about the methodologies and tools that are developed in research and used in designing must be included in the team. - On the other hand, implementers who will generate and test many possibilities, rather typical designerly thinkers, would also be needed to prevent the team from remaining as research team, not designing team.. - In the case of recent CDI experiences, those team members of the third characteristics come from different sources. - Would a designer good at the visual reasoning model be a better visual reasoner? Would a designer who reflects often on the processes be a more confident designer? Would a confident designer be more creative? These questions would bring about some discussions at the panel session.. - This panel discussion position paper intends to promote discussion on the association of designing projects and design research. - Horváth I, (2007) Comparison of Three Methodological Approaches of Design Research. - Kim MH, Kim YS, Lee HS, Park JA, (2007) An Underlying Cognitive Aspect of Design Creativity: Limited Commitment Mode Control Strategy. - Theories on Design Creativity. - Not from Scratch: The DMS Model of Design Creativity Gabriela Goldschmidt. - Not from Scratch: The DMS Model of Design Creativity. - Visual stimuli have been shown to have a considerable impact on design creativity, but their crucial role is not reflected in most current design creativity models.. - Likewise, although there is ample knowledge today about memory activation while processing stimuli and the difference between processing during creative thinking and ordinary processing, this is not echoed in models of design creativity. - In this paper a model of design creativity is proposed that links among three very different entities, namely Designer, Memory and Stimuli (DMS), to account for what is believed to illuminate design creativity.. - The scientific research of creativity is relatively recent, although creativity as an extraordinary gift of the human mind has attracted the attention of thinkers for many centuries. - Wallas (1926) proposed the still popular notion of 'incubation' as a must in the creative process. - More recently the study of creativity has been divided into separate examinations of the creative person, the creative process and the creative product (e.g., Gardner, 1988), to which some have added the creative environment (Amabile et al., 1996). - today's Design Thinking method prizes itself for promoting creative thinking in the service of corporate success. - In this paper we propose a new model of design creativity, one that capitalizes on the fact that designers, who are inherently visual thinkers, make extensive use of visual images in the process of designing (we focus here on design of physical two and three-dimensional entities). - We claim that visual thinking concerns input as well as output: on the one hand it entails the 'consumption' of visual images of all sorts, and on the other it rests on the production of visual representations as thinking aids such as sketches (e.g., Do and Gross, 1995. - In this paper we do not address the generation of visual representations but center on the role of visual displays, which we aggregate under the term stimuli, in creative design thinking. - The model also dwells on the architecture of memory and its activation when processing stimuli. - Neuroscience teaches us enough about these processes to be able to integrate them into a proposed model of design creativity.. - Under Designer we list the main attributes we expect to find in the creative designer. - under Memory we describe the memory activation patterns that have been found to distinguish creative thinking from ordinary thinking, and under Stimuli we discuss the potential affects of different types of stimuli on design creativity. - In section 2 we briefly discuss the three components of the DMS model. - In Section 3 we lay out dual relationships between each pair of the model's components. - We then proceed to an integrated model of the three components in section 4. - 2 The Components of the DMS Model. - This section outlines the components of the DMS model: Designer, Memory, and Stimuli. - Design creativity is not either present or not present, and designers are not creative or non-creative. - For the sake of the current discussion we shall refer to the 'creative designer', by which we mean a designer who is considered to be more creative than average, without going into detail or attempting to measure creativity.. - Figure 1 describes the designer's attributes which we take to be related to creativity. - We disregard most generic 'personality' (and other) attributes and concentrate on the ones related to handling stimuli.. - Designer attributes of creativity. - The first and possibly most important attribute of the creative designer is flexibility, which pertains to the ability to switch back and forth between associative, divergent thinking, and analytic, convergent thinking.. - Theories of creativity tend to over- emphasize the role of divergent thinking in creativity, but as important as it is, it is not enough and the flexible shifts between the two modes of thinking are of the essential in creativity (Mednick, 1962;. - The second important attribute of the creative designer is his or her sensitivity. - Stimuli serve the designer as examples and sources of analogy, for a current target task or for storage in memory, where they remain until they are retrieved when an appropriate occasion presents itself. - Many designers are in the habit of surrounding themselves with stimuli as potential sources of inspiration, and some have physical or, today, digital archives of various images and objects that await an opportunity to play a role in generating design ideas (Curtis, 1986. - Further, a creative designer must be in possession of visual literacy, which "is the ability to interpret, negotiate, and make meaning from information presented in the form of an image. - Visual literacy is based on the idea that pictures can be “read” and that meaning can be communicated through a process of reading” (Wikipedia March 2010). - Combined with sensitive attention to stimuli, this allows a designer to engage in two very important cognitive acts: the act of abstraction and the act of transformation. - Abstraction and transformation allow one to connect between a stimulus, which may be random, and a problem at hand, by focusing on relations among elements of the stimulus rather than on its properties alone, and by imagining transformations of those elements.. - In divergent thinking, the possibility to abstract and transform, combined with the ability to pay attention to a large and sometimes random array of stimuli, all contribute to streams of thought and conceptual fluidity, which is the antithesis of fixation and an important ingredient of creativity.. - Meaningful alternative interpretation of stimuli. - Attention to details/wholes Conceptual fluidity Designer. - Attention to details/wholes Conceptual fluidity. - Not from Scratch: The DMS Model of Design Creativity 65 design activities, as compared to other activities.. - However, since we stress the role of stimuli in design creativity, we consider it essential to outline how stimuli are processed in memory (see Figure 2).. - Attention to a stimulus causes activation. - the pattern of activation may be flat, or spiky, according to the type of attention we pay to the stimulus and the kind of thinking it evokes. - A flat activation corresponds to a high level of activation, which results from de-focused attention to a stimulus or stimuli. - In this case more overlapping memory locations are activated in the relevant region. - This is one aspect of memory activation that is controllable, and the ability to spontaneously widen and shrink the scope of attention and therefore the activation function, is indispensible in creative thinking (Gabora, 2010;. - Anything may be a stimulus. - Visual stimuli can be purposefully and carefully selected as sources of inspiration, as is practiced routinely in e.g., the fashion design industry (Eckert and Stacey, 2000). - But stimuli may also be random images the designer chances upon, and is sensitive enough to pay attention to, either because an association is perceived between the stimulus and a current problem the designer is preoccupied with, or because something in the stimulus is attractive or interesting enough for the designer to want to store it in memory for potential use later in time. - Stimuli may be related to the domain in which the designer (or other problem-solver) works, in which case they are referred to as within-domain. - A stimulus may be perceived in the real world, as an object or a pictorial image, or it may be an inner representation the designer evokes using mental imagery. - There is anecdotal (Curtis, 1986) as well as experimental evidence (Casakin and Goldschmidt, 1999) that exposure to stimuli and their usage affects design creativity. - Examples of solutions have been shown to actually be detrimental to creativity, as designers find it very hard to divorce themselves from properties of such images shown to them at the outset of a design search (e.g., Cardoso and Badke-Schaub, 2009). - Figure 3 is a schematic depiction of the different types of stimuli and what they afford.. - Attention to more aspects of stimuli – more retrieval opportunities Attention to fewer aspects. - of stimuli – less retrieval opportunities. - In this section we outline the main relationships between each pair of the DMS design creativity model components.. - The designer's flexibility to oscillate between associative and analytic thinking (roughly divergent and convergent, respectively) is responsible for shifts between flat and spiky activation functions in memory.. - High visual literacy is conducive to attention to more aspects of a stimulus, thereby causing more activation and more overlaps, and eventually a flat activation pattern, which allows for more retrieval opportunities. - This in turn helps generate conceptual fluency in the designer's search for novel ideas. - Same task examples, and to a lesser degree other within-domain stimuli, tend to restrict attention only to certain features of a stimulus that are closely related to the problem the designer is in the course of solving. - more aspects of the stimulus are encoded and therefore a flat activation pattern results, and more retrieval opportunities from a wider range present themselves.. - Finally, there are links between stimuli types and the way in which the designer acts on them, as shown in Figure 6. - The more the designer is in the habit of constantly 'hunting' for stimuli as sources of inspiration, the greater the chance that random searches would lead to wide-ranging, even unexpected and possibly surprising associations between images that may emerge as sources of inspiration and aspects. - address is determined by activation pattern Attention to more aspects of stimuli –more retrieval opportunities. - Attention to fewer aspects of stimuli –less retrieval opportunities Memory. - Attention to fewer aspects of stimuli –less retrieval opportunities Designer. - Not from Scratch: The DMS Model of Design Creativity 67 of the current task. - The more the designer is in the habit of constantly 'hunting' for stimuli as sources of inspiration, the greater the chance that random searches would lead to wide-ranging, even unexpected and possibly surprising associations between images that may emerge as sources of inspiration and aspects of the current task. - a sketchy and simplified portrayal of a very complex network of links, in which small variations may result in considerable differences in the overall picture. - The components, sub-components and links proposed here are also devoid of any quantitative values indicative of their power: the strength of links among components may have significant effects on the overall system, but at present we are not in a position to attach weights to components or links. - Clearly, many of the components of the model, and links among them, are not unique to design activities. - However, the introduction of stimuli as a major component of creativity is not typical of generic creativity descriptions. - It is the strong influence of this component in various physical design disciplines, and possibly in other fields such as the visual arts and possibly also certain scientific disciplines, that prompted its status as a core component of creativity in this model. - A ttent ion t o m ore a spe ct s of stimuli –more retrieva l opportunities Attention to fewer aspectsof stimuli –less retrieval opportunities Memory. - A ttent ion t o m ore a spe ct s of stimuli –more retrieva l opportunities Attention to fewer aspectsof stimuli –less retrieval opportunities. - In recent years, with a growing reverence for design creativity, considerable efforts have been made to study design creativity. - That stimuli are recognized as potential influences on design creativity is evident from the growing body of research about the use of stimuli and other visual primers as a method to increase creativity (as judges by design experts). - The purpose of this paper is to offer a preliminary conceptual framework that gives center-stage to stimuli as components of design creativity. - It is here that stimuli come into the picture: a suitable stimulus in the hands of a designer with a well prepared mind (which is a mixed bag, of course) activates memory such that new associations with items stored in memory may suggest the hoped-for solution. - The writing of the paper was partially supported by VPR grant #1007883 from the Fund for the Promotion of Research at the Technion, herewith gratefully acknowledged.. - random search‘Hunt’for stimuli Meaningful alternative interpretation of stimuli Ability to abstract and transform Current use. - Expanded memory in domain Long chain of associations Attention to details/wholes Conceptual fluidity
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