Creativity In Design Education Research Articles

Insights into product design students’ perception of, and engagement with, creativity in design education

Creativity is acknowledged as an essential component of the design process and considered a key design graduate attribute. Despite this assertion, several studies have highlighted that the teaching of creativity in design education is often implicit rather than explicit. Moreover, there is a paucity of research on product design students’ experience of creativity in design education, leaving a gap in knowledge relevant to how creativity may be better fostered in design education. In this study, reflexive thematic analysis was used to analyse the data from online focus groups conducted with product design students. The three themes constructed provide insights into how students perceive and engage with creativity. Theme 1, the influence of social factors on creativity, uncovers the diametric effect students’ social eco-system can have on their creativity. These include an aversion to being associated with it due to weight of expectation and negative perceptions around creativity, as well as the ‘invisible support system’ created by peers. Theme 2, sanctuary seeking tendencies of novice design students, reveals behaviours that oppose essential creative attributes: a freedom from risk and ambiguity and desire for certainty and achievability. Theme 3, tension between passion for and pursuit of creativity, outlines the conflict between participants’ ideologies and actions when pursuing creativity highlighting a reluctance to utilise structured creativity tools while gravitating towards unstructured methods such as ‘relaxed attention’. Together, the three themes form a picture of product design students’ complex relationship with creativity and importance of self-efficacy. The findings of this study make an important contribution to our understanding of design students’ perception of, and engagement with, creativity in design education. As such these findings are relevant for both design education and future creativity tool development.

Gender differences in creative design education: analysis of individual creativity and artefact perception in the first-year design studio

Gender differences in creative design education: analysis of individual creativity and artefact perception in the first-year design studio

Collaborative Creativity in Design Education: A Case Study of the Design Sketch Course

Collaborative Creativity in Design Education: A Case Study of the Design Sketch Course

THE INFLUENCE OF DESIGN BRIEF INFORMATION ON CREATIVE OUTCOMES BY NOVICE AND ADVANCED STUDENTS

AbstractThis study centers on using different types of brief information to support creative outcomes in architectural and engineering design and its relation to design expertise. We explore the influence of design briefs characterized by abstract representations and/or instructions to frame design problems on the creativity of concept sketches produced by novice and advanced students. Abstract representations of problem requirements served as stimuli to encourage associative thinking and knowledge transfer. The Ishikawa/Fishbone Diagram was used to foster design restructuring and to modify viewpoints about the main design drives and goals. The design outcomes generated by novice and advanced engineering/architecture students were assessed for their creativity using a pairwise experimental design. Results indicated that advanced students generated more novel design solutions while also contributing the most useful solutions overall. Implications for creativity in design education and professional practice are presented. Educational programs aimed at promoting creativity in the design studio may find it helpful to consider that the way design briefs are constructed can either promote or inhibit different aspects of design creativity.

Application of Blockchain Technology in Cultural and Creative Design and Education

Blockchain technology can realize the openness, transparency, non tampering, non forgery and traceability of all data information in the system without the endorsement of a third party, which can make up for the old and new problems in the field of cultural creative design and education. This paper first analyzes the technical principles of blockchain and the deficiencies of online teaching and cross regional teaching in cultural and creative design education, and then applies blockchain technology in learning resource management, learning process tracking, learning evaluation, learning path shaping, teaching management and assessment. It is concluded that blockchain technology can effectively optimize the teaching structure and teaching management of cultural and creative design education, and promote the design education field to adapt to the contemporary development. Finally, it puts forward the future prospects.

목재문화체험장 조성에 따른 창의적 디자인교육 프로그램 개발에 관한 연구

지구온난화 방지에 기여하는 목재의 중요성을 홍보하고, 다양한 목재문화체험 기회를 제공할 수 있는 공간 조성의 목적을 두고 전국에 목재문화체험장이 조성되고 있다. 목재문화체험장은 목재문화의 진흥과 목재교육의 활성화 및 주변자연휴양림과 연계한 다양한 체험기회를 제공하고 있다. 기 조성 운영되어지고 있는 목재문화체험장 및 조성 중인 곳 모두 기본계획 및 프로그램등이 교육프로그램에 대해 고려하지 않고 조성되어 지고 있어 개장 후 체험 및 운영에 많은 어려움과 시행착오를 겪고 있는 실정이다. 본 연구는 목재문화체험 운영프로그램 분석 후 디자인과 디자이너의 역할, 그리고 교육방법에 있어 디자인의 사고과정에서 어떤 영감으로 주어지는 개인의 창의적 능력을 차별화된 창의교육 프로그램으로 목재문화체험장에 적합한 합리적 교육프로그램 개발이 필요하다. 목재문화체험장이라는 공간을 고려한 학습자의 활동, 학습자와 공간의 상호작용을 고려하여 구축되어져야 하는 메이커 교육과 같은 창의적 교육 프로그램을 도출하였다. 본 연구결과에 따른 시사점은 목재문화체험관의 설계 및 구축에 있어 창의적 교육 요소에 대한 종합적인 고려가 필요하며 메이커들의 상호작용을 촉진하는 하나의 문화 공간 또는 커뮤니티로 개발되어야 한다.

A Study of the Creative Design Education In View of Convergence Design

The futurist, Daniel H. Pink, characterized the 21st century as an era of "convergence" and "perpetual". In his book, "A Whole New Mind", he proposed that we are transforming from a philosophy that emphasizes logic, order and computer efficiency to the age of innovation, empathy, and inter-disciplinary integration [1]. The integration of traditional business models, technologies, and related processes will become the driving force for next industrial revolution. Toffler & Alvin also argued in his book "The Third Wave" that with the continuous development of the knowledge and information, the partitioned societal structure will become meaningless [2]. Therefore, in the age of perceptivity that emphasizes on the integration, if the country or organization wants to take the lead, the education of integration and perceptivity in the education system will become indispensable. Abraham Maslow said that education is a process of acquiring knowledge, a means that the national and economic development depends on, and a planned change in human behavior. Therefore, developing creative future integrated designers whose minds and talents are consist with the converging markets, and who are sensitive to customers’ needs in a timely manner is an important issue in the field of education today. This study attempts to investigate the current status of convergence design and its education. Based on this study, some new suggestions will be proposed on the necessity of convergence design and convergence design education.

The “Collaboration” of 5C Model in Creative Design Education

The demands in higher education are on the rise. Charged with teaching more content, increased enthusiasm of the students and engaging students, educators face multiple challenges. The 5C model is a theory that developed in an educational context by design thinking, knowledge production, and learning. This model would give students a standard thinking mode to solve a problem, and make a strategy of design. It more looks like a design process, which leads students to follow and do. The process including Collection, Comprehension, Concepts, Creation, and with Collaborate in the middle to illustrate that collaboration is important in each of the categories. In this article, through the undergraduate degree course of interaction design by Changshu Institute of Technology, students are required to collaborate to complete the brief projects, such as results of onsite observations, interviews and analyses of creations. To define how “collaboration” affects design process. The results of this study can be used as basic data for co-design education and can contribute to the expansion of visual communication design educational methods.

중국 디자인 인재양성을 위한 창의적 인성 교육 방안

In terms of design education, majority of education institutions in China have adopted cramming method of education for a long period of time and does not proactively utilize the creative design education method of the West. This study aims to propose creative character education measures based on academic theory consideration concerning character and talented people in order to identify measures for revitalizing creative design education equipped with upright character. Daniel Pink suggested 6 conditions of future-type of talented person and proposed creative character education measures of design education required in the current era by analyzing the arts and culture education in Canada, Finland and UK. In such process, it implies how import the national policies are for creative character education and in addition, demonstrates the effect of design education on a nation's economic effects and cultural status. On the basis of this research, it is urgent to change the stagnation of China design education, which is limited to imitating developed countries' educational models. In order to make full use of the following six theoretical conditions of humanistic creative design education, it is important to apply flexibly the six conditions of Branding, Storytelling, Communication, Thinking, Experience and Value to teaching. This is a showcase of the new methodology of China design education and provide a new methodology of China design education.

Semantic Measures for Enhancing Creativity in Design Education

AbstractAnalysing verbal data produced during the design activity is helpful to gain a better understanding of design creativity. To understand exchange of information in terms of creative outcomes, a semantic analysis approach was used to measure the semantic content of communications between students and teachers. The goal was to use this tool to analyse design conversations, and to investigate their relation to design creativity, assessed in terms of originality, usability, feasibility, aesthetics, elaboration, overall value and overall creativity. Abstraction, Polysemy, Information Content and Semantic Similarity were employed to explore 35 design conversations from the DTRS10 dataset. Main findings suggest that a significant relationship exists between Information Content and Originality, and between Information Content and Overall creativity of the produced design outcomes. Significant relations were also found between Abstraction, Polysemy, Information Content, and Feasibility, as well as between Semantic Similarity and Overall Value of the outcomes. Implications for the use of semantic measures for encouraging creativity in the design studio are discussed.

"창의적 디자인교육을 위한 교육환경 개선방안 - 대학교 학습공간을 중심으로 -"

"창의적 디자인교육을 위한 교육환경 개선방안 - 대학교 학습공간을 중심으로 -"

Design Pedagogy for an Unknown Future: A View from the Expanding Field of Design Scholarship and Professional Practice

AbstractThis article draws on current research investigating the notion of design for an unknown future. It reflects on recent thinking about the role of creativity in design practice and discusses implications for the development and assessment of creativity in the design studio. It begins with a review of literature on the issues and challenges associated with the assessment of creativity in design education. It then discusses and distinguishes three significant assessment models in design and creative arts education and emphasises the importance of opening debate on notions of creativity within the discipline. Following this, the article examines recent developments in the way that creativity is being practised, driven, fostered and implemented in contemporary design practice, and argues that these recent developments must feature in current scholarship about the development and assessment of creativity in design education. The article recommends areas for future research that pay close attention to developments in the rapidly expanding field of design practice.

Investigating the Advantages and Disadvantages of Taiwan’s Cultural Creative Design Education From Department Evaluation Data

Investigating the Advantages and Disadvantages of Taiwan’s Cultural Creative Design Education From Department Evaluation Data

Fostering Creativity in Design Education: Using the Creative Product Analysis Matrix with Chinese Undergraduates in Macau

The purpose of the present study is to explore to what extent the use of a more structured mode of assessing creative products – specifically, the CPAM – could beneficially influence design students’ product creativity and creative processes. For this qualitative inquiry, following our CPAM-based intervention, students wrote’ reflective papers in response to five open-ended questions, and these papers were used as the major source for data analysis. Three major themes were found during the data analysis: (a) creative approaches to generating products; (b) positive and negative experience in the creative and learning process; and (c) the effects of introducing the CPAM model. It is suggested that the CPAM model could be used as a set of criteria with which design educators could objectively assess students’ creative products, as our participants found it easy to understand.

TASARIM EĞİTİMİNDE YARATICILIĞIN GELİŞTİRİLMESİ: PEYZAJ MİMARLIĞI ÇEVRE TASARIMI STÜDYO ÇALIŞMASI

“Developing Creativity in Design Education: Landscape Architecture Environmental Design Studio Work” Landscape architecture is a discipline that creates livable places for the users by designing the environment in line with people’s needs and desires. In landscape discipline, the designs that are user-centered, different from each other and creative designs should be at the forefront when designing these spaces. Therefore, the landscape architecture education should aim at giving design and creative skills to the students. The theoretical and practical studio lessons during which master-apprentice relationship is at the forefront are very important in the landscape architecture education to give design and creative skills to the students. In this study, Environmental Design Project 1(edp1) courses that hold an important place in the education program of Karadeniz Technical University Architectural Design Department was considered. Within this course, the design training that is process-oriented and not result-oriented aiming at developing the design and creative skills of students was evaluated. In this process, firstly the students are given the project title “Coasts and Coastal Activities”. Students are asked to make primarily a literature survey about the coast (abstract-character union, tangible- real coastal examples) and then make a list of coastal activities implemented on the coast. After then, to develop creative skills, they are expected to put forward a function chart by choosing an original activity(main activity) and then identifying the other activities(after-activities) associated with the main activity. They are asked to create their original stylistic approaches in line with their activity lists, an example of emulation as a result of literature survey and the scenario. In this direction, sketches are drawn, and mock-up recommendations are created. One of the suggestions created is selected and spatial configuration, which consists of sizes appropriate to the capacity, reinforcement appropriate to the activity and format, is developed. As a result, with all these process, in addition to the theoretical knowledge, students are taught practically in stages how to organize a space. Within the context of the course, the final product will be that the students will be able to make plasticism in local design in accordance with the design concept and the user activities, and they will be able to identify the human needs and design activity fields and reinforcement based on this knowledge. Keywords: Design, Education, Creativity, Landscape Architecture

Design Record Graph and Axiomatic Design for Creative Design Education

The authors have been offering a graduate level design course at the University of Tokyo. The students form groups of about 5 members to identify their own design goals and construct creative solutions to meet the product functional requirements (FRs). The course teaches Design Record Graph (DRG), a network diagram that starts with the product FR that divides into a number of sub-functions. The division continues until all functional elements are identified, and when every element functional requirement maps to a single element design parameter (DP), the design meets the independence axiom. The projects often start with heavily coupled designs that gradually turn into clean solutions towards their finalized design. The graph expression is easier for design students to get started with functional decomposition without having to work with design matrices.

A study on intersection of sense with problem solving for the creative design education

A study on intersection of sense with problem solving for the creative design education

창의설계교육을 위한 교과과정 및 종합설계실 구축 방안 (전자공학전공을 중심으로)

최근 학습자 중심의 창의설계교육에 대한 관심과 요구가 급속히 높아지고 있으나 대부분의 대학에서는 아직 이를 위한 교과과정 및 창의설계실 등을 충실히 갖추고 있지 못하다. 본 논문에서는 공학교육에서 큰 관심을 모으고 있는 창의설계교육을 위한 설계중심의 교과과정 및 이를 수행하기 위한 종합설계실 구축 방안을 제시한다. 전자공학전공을 중심으로 기존 교과과정을 분석하고 이를 바탕으로 입문설계와 요소설계를 거쳐 종합설계로 이어지는 설계중심의 공학교육을 효과적으로 수행할 수 있는 새로운 교과과정 구성과 이 교과과정을 바탕으로 실무능력을 배양하기에 적합한 종합설계실의 구축 방안을 제시한다. Recently a demand for student-centered creative design education is rapidly growing, but well organized design curriculum and design practice complex are not established properly in most universities. In this paper, we present a scheme for design-centered engineering curriculum and a method to build a design practice complex for creative design education which it is currently attracting a lot of interest in engineering education. Based on the analysis of the conventional curriculum of electronic engineering, a new curriculum and a design practice complex that is suitable for enhancement of professional practice capability and by which an effective engineering education through introductory design, element design and advanced design steps can be performed is described.

A Exploratory research for the study based on the Creative design education of the Multidisciplinary Convergence

A Exploratory research for the study based on the Creative design education of the Multidisciplinary Convergence

Teaching based on augmented reality for a technical creative design course

Student creativity is currently attracting considerable attention. An increasing number of high schools in China are trying to improve the learning motivation and creativity of students, as well as the teaching efficiency of creative design, by introducing augmented reality (AR) technology into creative design courses. However, many teachers have only limited knowledge of AR, and software developers are not familiar with general creative design education, which makes it difficult to incorporate AR in such courses. In many high schools in China, the lack of relevant teaching facilities and creative design equipment means that the environment in which the technology curriculum is applied still has a long way to go to meet the real requirement of curriculum. To address these problems, we present a general technical creative design teaching scheme that includes AR. Our approach is based on the ARCS model of motivational design, social psychology, and a computational model of creativity. Two teaching aids are introduced to support this teaching scheme: “AR Creative-Classroom,” which explains the domain-relevant knowledge of creative design, and “AR Creative-Builder,” which helps students to build actual AR scenes. The results of a pilot study show that the proposed teaching scheme significantly improves learning motivation, student creativity, and the teaching of creative design.