Creativity In Design Education Research Articles

3A04 ものづくり創成教育による社会人基礎力の育成((09)ものつくり教育-IV,口頭発表)

3A04 ものづくり創成教育による社会人基礎力の育成((09)ものつくり教育-IV,口頭発表)

As an Approach to Improving Creativity in Design Education; Art of Painting

Not just watched, a work of art can be experienced in transforming spaces. Living in concrete works of abstract art, also strengthens the link between the past and the present. Thus, while the art works are introduced to people, everyone will be informed about the works and the artist. Everyone, including those who can’t afford art Works will be provided spaces transformed into them. This approach is applied for three hours a week in the 14-week Design Detail course at KTU, Department of Landscape Architecture. 16X3 works by Paul Klee, Wassily Kandisky and Johannes Itten were selected by the instructor. Every student selected one of them to study. The basic approach required from the students was to design functionally suitable and sensitive spaces just in accordance with the design elements of these works. Firstly, a space reading was conducted with each student. Later, transitions began from two-dimensional works to three- dimensional spaces. At last, starting with the works of art, the students designed children's play grounds, festival areas, coastal parks, urban open spaces, rural open spaces, labyrinths and walls. The study provided all students useful knowledge about Bauhaus school of art and architecture and philosophy, its three distinguished artists, and their forty-eight works and understanding of art. Therefore, this approach interpreting art works and the art is considered to be important for the education of qualified landscape architectures and the creation of a qualified and liveable environment.

창의적 설계능력을 위한 PBL기반의 요소설계 콘텐츠 개발 - 논리회로설계 교재를 중심으로 -

In this paper, PBL-based design education(PBDE) techniques for effective engineering design education to assess the infrastructure and outcome of creative engineering education which has been recognized as an important target in accreditation system of engineering education and a case of contents development as PBDE application to the logic circuit design that is essential integrant course of IT division of universities is presented. Because integrant design is based on compositional technologies with restricted realistic constraints, design components and the application of realistic constraints are different from those of capstone design. PBL technique must be carefully considered as it is used for creative design education. We applied the developed content to real design classes for validation of its performance and effectiveness.

A Research About Creativity in Design Education

It is highly significant to train freethinking, free-living and free designing individuals in every field; especially in education, design and architecture environments. It is thought that; to be able to train individuals who can express themselves in intellectual, social and cultural fields and who can think freely and create new products, is only impossible with a well and effective design education.In the research, a sample group of third grade students studying in Architecture and Interior Architecture Department of Faculty of Architecture of Karadeniz Technical University were selected. What was wanted from the students is to think over the given problem, design a composition and transform it into a three-dimensional visual. In the study, outcomes which indicate the existence of concept-oriented different approaches were presented.

136 創造設計教育に関する研究(設計教育・CAD教育(II))

136 創造設計教育に関する研究(設計教育・CAD教育(II))

Assessing creativity in design education: Analysis of creativity factors in the first-year design studio

The aim of this study is to explore creativity in design education and identify the creativity assessment indicators in the first-year design studio. A measurement tool of 41 items that consists of the artifact creativity, design elements and assembly of design elements were utilised for the assessment of 210 artifacts. Results of the exploratory and confirmatory factor analysis indicated three main design creativity factors. The primary factor consists of the novelty and affective characteristics of artifact that are associated with its shape. The second factor has the elaboration characteristics that are integrated with its geometric and figure–ground relations and harmony of design elements. The third factor consists of rhythm, repetition, unity, order and number of design elements.

A Case Study on Metaphorming for Creative Design Education

A Case Study on Metaphorming for Creative Design Education

Indirect expression as an approach to improving creativity in design education

Language of expression in sketches which are products of an intellectual model of a design is influential on perception and evaluation of the product. Since figurative art and abstract art use different languages of expression, relayed message in each case has a different effect on the receiver; this is the nexus of figurative art and abstract art discussions. In figurative art, the message desired to be communicated contains no connotation and therefore is direct, it is as it is, i.e. a picture of a vase with flowers in it. In abstract art, the message desired to be conveyed by the designer is meant to contain various secondary connotations - as in Wassily Kandinsky and Kasimir Malevich's studies or as in reflections of abstraction in Constructivism and in De Stijl, etc. In this study the language of abstract art which is supposed to convey multiplicity of meanings is proposed as indirect way of thought process. When a designer initiates the thought process in an indirect way, there is a higher chance that the rich and complex language of resulting product will be more thought provoking and loaded with multiple meanings. This article is based on the assumption that “indirect thinking and expression” may improve creativity in design education. We discuss some exemplary applications of this approach and argue that it may open new horizons for a designer and may inspire a designer for different and novel solutions.

Understanding and Nurturing Creativity in Design Education: A Case Study of Newspaper Perspective in Hong Kong

Understanding and Nurturing Creativity in Design Education: A Case Study of Newspaper Perspective in Hong Kong

Study on the Development of a Fundamental course for Overcoming Blocks to Creativity in Design Education

In the midst of a continued discourse and development concerning design education and its impact on innovation and creativity, I believe that design education still holds the key to enhancing design methodology while increasing creativity by having students take on several creative roles in an interactive and enjoyable studio course. Clearly, there exist impediments that block the creative process in our standard track in design education; however, a course entitled The Creative Worhhop can overcome such obstacles. Through this course, a student can learn the essential skills of a designer: inventive thinking, a sense of aesthetics, and a spirit of collaboration. In addressing each of the three essential elements, this course has devised role-plays in the way of projects. Simply put, students will be required to demonstrate and, therefore, express their unique creativity that may have othenvise gone muted. Such creative expression can take form in a low stakes, open forum that heralds the invaluable attribute in design such as creative freedom. As a result, the true spirit of creativity is fostered rather than mere aesthetics and styling. Moreover, through role plays, the focus shifts its center from design, allowing each student to explore the uncharted areas of one's own creativity which may come naturally to some extend while disconcerting to others. It may prove particularly uncomfortable for Korean students whose ideas about education have been directly connected to the strict and regimented school system that stresses adherence to standardization such as the national college entrance exam. This course, therefore, is aimed stretch the scope and scale of students' creativity as they learn to collaborate on role plays, utilizing diverse skills from various disciplines

Rethinking the creativity training in design education: a study of creativethinking tools for facilitating creativity development of design students

A deliberate design and arrangement of creative learning activities in tertiary design education is crucial in helping design students to release their creative potential. Unfortunately, a systematic and deliberate design of creativity training has not yet been implemented in any higher design education institutes in Hong Kong. This article aims to classify various creative-thinking techniques in order to provide design educators with the chance to rethink the arrangement of creativity training in higher design education. Although this article is unable to provide a pedagogical framework for design educators, the five categories, namely (1) identifying and mapping attributes; (2) making possibilities; (3) changing and shifting perspectives; (4) making associations and analogical thinking; and (5) probing emotion and the subconscious, have been classified and introduced to support the importance of arranging appropriate creative-thinking techniques to learning and teaching of creativity in design education.

Assessing creativity in the creative arts

This paper follows the authors' and their faculty colleagues' experiences in developing an innovative approach to creative design teaching and assessment. Failure to adequately explain to students how they were to be assessed in creative design had led to a formal appeal by students and an inquiry which focused attention on how difficult it was to define creativity and creative ability. The inquiry led to University pressure for objective or transparent assessment that conformed with the University's quality assurance protocols. From the teachers' perspective, however, creative ability was associated with conceptual ideas that were higherorder thinking activities that could not be adequately assessed objectively or transparently in the conventional meanings of these terms. Subsequent investigation showed widespread disagreement among the various design and creative arts disciplines (within the University and beyond) on what constitutes creativity and what constitutes creative ability; whether creative ability is essentially intuitive or essentially rational or procedural; whether creative ability could or should be reduced to quantifiable parameters for assessment; and whether the most important aspects of creative achievement reside in the initial thinking (creative ideas) or in the subsequent process of development of the idea (crafting a work of art, design, etc.) or in the creative work that is the end product (the work of art itself). The paper follows, from the perspective of the authors as teachers, curriculum developers and researchers, how a new approach to the problem unfolded, and how a basic empirical research project tracking the psychological processes of inspiration and complex decision-making (and other applied research) contributed to the evolution of an innovative approach to creative design education that recognized multiple levels of creativity and engaged multiple forms of assessment, and that has satisfied both teachers' pursuit of realistic creative thinking objectives and the University's transparency and accountability agenda.

Possibly of Divergent Thinking and the Creativity in Design Education

Possibly of Divergent Thinking and the Creativity in Design Education

208 ものづくり白書と機械系設計教育に関する考察(2)(設計教育・CAD教育(2))

We assign creative designing to students as assignment work in mechanical design and drafting classes. In creative designing, students are given opportunities to select the target of design by themselves. The purpose of such creative designing is to nurture the ability to solve problems. On the basis of the analysis results of this study, we consider that a practical method for improving creative design education is realized. In the 21^<st> century, technological innovation is advancing rapidly, and the development of creative talent will be an important feature of the education policy.