- 5 Results of the Experiment. - For the role of the external observer, we recruited a female art researcher with an impressive career background.. - The total duration of the experiment was 24 months: 17 months for the first stage (design practice), 3 months for the second stage (report writing), and 4 months for the third stage (analysis).. - Thus, all the relevant information was stored as a record of the entire design practice.. - In the second stage, the designer and the external observer wrote each report separately, after looking at the record prepared in the first stage of the experiment.. - Before we present the results of the quantitative and qualitative analyses, we need to explain the styles of each report. - It is important to mention that the structure of Report F was better than that of the previous report. - We consider Report F to be a result of the creative self-formation process. - Table 3 shows the result of the relationships between Report F and Report S or Report K. - This implies that the designer did not recognize some of the important points that he had made during the design practice, but he was still being supported by the external observer’s perspective. - Table 4 shows the result of the classification of the contents of the report.. - This shows that the frequency of the occurrence of motifs was clearly high.. - The emergence of the 74 sentences, which were newly written in Report F, suggests that the cause is the integration of the inner perspective of the designer and the outer perspective of the external observer. - However, when he read the report, which had been written from the outer perspective of the external observer, he reflected more deeply. - Furthermore, the result that many of the 74 sentences were related to the motif suggests that the designer had developed a new self-formulation when he recognized the difference between the perspectives: the inner and the outer.. - The work (space designing) of the designer Fig. - Example of the sketches. - the time sequence of the. - of the process P-3 Content on. - the motif (theme) of the. - of the process Work W-1 Content. - on the field of the work. - W-3 Content on the materials of the. - W-4 Content on the expressed motif of the. - W-6 Content on the exhibition (display) of the. - He evaluated the contents of the sentences qualitatively. - Finally, he selected the most important sentences on the basis of the development of his design work. - and “a map of the city”. - It has been my theme and my vision of the world.. - (2) ‘I found that the part of the sentence—“the feeling he got from the cool wind”—represents the point at which I understood the expression. - We finally found that the motif of the newly written sentence in the second report of the designer was present in the third stage. - In light of this, we recognized the effectiveness of adopting the outer perspective of the external observer and integrating it with the designer’s inner perspective for internal observation. - The proposed method is expected to develop the methodology further through discussions of the role of language and reflections on creative thinking not only in the field of design but also in other disciplines. - We identified the occurrence of the motif which stimulates the designer’s intrinsic motivation through a practical experiment. - the realization of the living. - the perception of the task, the perception of a new perspective, the perception of new semantic combinations, the perception in prototyping and the perception of users’. - At the end of the paper we will identify some strategies to develop students’ perception in design education.. - This perspective has profound consequences for the interpretation and conceptuali- sation of the creative design process. - In this paper we want to show how the understanding of design creativity is influenced by the dominant methodological paradigm of the moment, and its changes, and describe the important role which the designer’s perceptive capacity has in his creative design processes and how it can be developed in design education.. - The research in design cognition started with the increasing criticism of the rational design metho- dology. - Instead of the development of universal methods, Design Cognition Research is interested in finding the essence of the mental processes of the designer when he is reflecting on a project, with the objective to better understand the attributes which characterize design creativity, both in the process, and in the solution.. - The designer decides what to do and when, on the basis of the personally perceived and reconstructed design task.. - Thus, information about the design project and knowledge of the subject are not enough to develop an innovative design solution, but creative thinking and perception are even more essential.. - It operates both on the personal experience of the designer, and by the recall of design-relevant information from the memory (Eastman 2001). - cit.) sees a close relationship between the experiences of a designer and the recall of relevant information from the memory to respond to the contextual conditions of the project. - What characterizes the expert designer is his capacity to connect in a flexible way his personal and professional experiences with the situational factors of the project.. - To do this, he utilizes creative thinking operations, such as associative thinking, thinking in analogies, visual reasoning and perception with all of the senses.. - This affirmation we can easily stretch to all of the perceptual senses.. - Both operations are applied at several points of the creative design process.. - Although originally it was psychologists who investigated the phenomenon of creativity, it was natural scientists who started to identify and describe the mechanisms and the structure of the creative process. - The first references to a multiphase structure of the creative process go back to Poincaré (1924), who through his thoughts about his own creative thinking process in solving mathematical problems, gave the impulse to Wallas (1926) to divide the creative process into 4 phases: the preparation phase, the incubation, the illumination and the verification phase. - This classification was the starting point of the research movements into creativity (also in design) which looked for new models to best describe the phases of a creative problem solving process. - It was the birth of the classic methodology of design.. - 3.1 The Change of Methodological Paradigms The classification and respective visualization of the different phases of the design process, depends mainly on the methodological paradigm in which we analyse and describe the creative process in design. - The dominant paradigm refers to the scientific and theoretic background of the domain and its applied practical habits. - In doing this, it also forms the interpretation of the scope and characteristics of design methodology itself. - The first design methodology movement in the early 1960’s was mainly composed of engineer-designers and led to the development of a phase-model of the creative process oriented by rationality and systematic proceding (Archer 1965;. - The change from the rational and analytical paradigm to the holistic paradigm of the emergence of design. - the change from the Problem Solving paradigm to the interpretation of the design process, first as a Reflective Practice (described. - in Dorst 1997), then as a Co-Evolution of the Problem- Solution Space (Dorst and Cross, 2001) and finally as a Systemic Process. - This last model (for example described in Jonas 1994) will not be integrated in the following descriptions of the paradigms, because it is not essential for the development of the Perception-in- Action model, which is the subject of this paper.. - This perspective was so embedded in the understanding of the design process, that a lot of designers and design theorist have developed methods to better guide the design process. - At the end of the 1970’s the belief in universal and objective methods, which in a rational way led to. - Since the 1980’s, numerous theorists and methodo- logists have challenged the linearity of the creative process and the positivists’ design methods, in favour to a pluralist and emergent approach (Schön 1983, 1987. - While the designer works on a project, he is reflecting on his actions, which step by step guide the development of the project and the. - Through the realisation of change/testing experiments, the designer actively constructs a view of the world, based on his experiences. - Instead on a well or ill-defined problem, the designer now thinks and works on a task, which is essentially unique and includes the characteristics of the designer, the available time and the subject to work on. - The basic elements of design activities in this paradigm are actions: naming the relevant factors in the project situation, framing the core of the project in a certain way, making moves toward a new formal- aesthetic expression, and evaluating those moves. - An overview of the paradigm of reflective practice is given in Kees Dorst’s PhD work Describing Design. - Parallel to, and as an evolution of, the model of Reflective Practice, the design process is also conceptualized as a Co-Evolution of the Problem- Solution Space (Dorst and Cross 2001). - In this non-linear process, cause and effect are no longer distinguishable because of the constant cross- fertilisation. - Thus, the originality of the solution depends on the framing and reframing process, which means the construction of a personal perspective of the problem- solution space.. - Taking into account the dominant role of a deliberately orientated perception in the creative design process, and in a kind of homophonic and homographic analogy to the Reflection-in-Action process of the Reflective Practice, we consider design as a Perception-in-Action process (PiAp). - The objective is the posterior establishment of a connection between newly perceived impulses and elements of the design task. - Thus, in the use of the term ‘perception’, we include perception through our senses, and also perception as interpretation and meaning giving to a reality. - the perception of the task,. - 4.1.1 The perception of the problem/task. - The first phase of the Perception-in-Action process is the perception of the problem/task (p/t). - This first phase of the PiAp corresponds to the procedure which Schön called naming (1987).. - A sketch of the five procedures of the Perception-in-Action process where at any moment, chance can influence the perception of the problem/task and of the actual design situation.. - 4.1.3 The perception of new semantic combinations In the third phase of the PiAp various versions of the design are developed, since the perception process of the designer is directed by the search for semantic solutions in similar artefacts. - In a comparison of different compositions and versions of the product, the designer is keenly aware of the stimuli which lead to distinct design solutions. - The expectation which a designer has for a project directs his perception and evaluation of the design models, and can still provoke fundamental and surprising revisions. - The construction of numerous different models at a very early stage of the process prevents the designer from getting prematurely attached to an idea, a semantic language, a material or a tecnological solution. - During any of the previous four phases or as the final phase of the PiAp, the new product/image/service/. - The perception and reaction of these consumers contributes to any rethinking and possible modification of the new artefact. - By drawing, the designer expands the problem space of the projected task, to the extent of including and even discovering, new aspects, which he considers relevant, as much as through a subsequent interpretation of his graphic representations. - Expressive representations can expand the over view of the project, but may also. - The activity of sketching is, according to Goldschmidt, a kind of modulation of the problem space.. - So in design education, the development of the expression of ideas by drawing must have a central role.. - With respect to our Perception-in-Action model, we reach the conclusion that the designer, in a perceptive dialogue between his imagination and his graphic representations, identifies, alters, reinterprets and improves situations and elements of the task. - According to a constructivist perspective, in this Perception-in Action process, the designers’ models of reality and personal experience of all sorts, which he relates to the situational factors of the project, support him.. - Learning is a process of the self-development of the cognitive system, which occurs through the perception and construction of meanings. - One of the basic principles of creative perception is the conscious search for new perspectives and fields of knowledge, which can provide facts and information that can be transposed to the context of the problem in hand. - The creation of ambiguous situations or the provocation of internal tensions through contradictions can, especially at the outset of a project, sharpens the perceptive senses of the students.. - With this, emotions are an expression of the way an individual assimilates, interprets and stores experiences. - For this the designer must develop the ability to listen carefully, encourage his partners to express their opinions and to continue, taking into account the point of view of the others. - As well as the increase of verbal perspectives, one of the most frequently used strategies in the development of perception is, as we have seen, the teaching of drawing. - Divergent exploration of the project information and the relevant knowledge to deal with the problem-solution space;. - Introduction of students into the world of design cognition, design interaction and of the learning process itself;
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