Pub Date : 2018-10-02DOI: 10.1080/21650349.2017.1381042
D. Ozkaramanli, P. Desmet, E. Özcan
Abstract Users often have conflicting concerns (i.e., dilemmas), such as ‘embracing change vs. following tradition.’ Design can resolve these dilemmas through simultaneously fulfilling conflicting user concerns. This paper proposes three abstraction levels for framing user concerns when formulating dilemmas. In a large-scale industry project, we identified that dilemmas can be formulated and resolved at different abstraction levels. Based on these preliminary findings, we developed a structured way to formulate dilemmas, which involves using three different types of concerns (i.e., product-, activity-, and identity-focused concerns). In this framework, product-focused concerns represent the most concrete concern level and identity-focused concerns represent the most abstract level. Sixty master-level design students were asked to formulate a dilemma evoked by a product of their own choice and to create design ideas to resolve this dilemma. The results showed that dilemmas involving all concern levels can be an input for ideation, with the ‘most abstract yet informative’ dilemma being the most inspiring. In addition, we found that design can resolve dilemmas in several distinct ways, where each dilemma-resolving strategy comes with opportunities and challenges. Consciously formulating and examining alternative dilemma formulations can create opportunities that might otherwise not be considered as input for ideation.
{"title":"From teatime cookies to rain-pants: resolving dilemmas through design using concerns at three abstraction levels","authors":"D. Ozkaramanli, P. Desmet, E. Özcan","doi":"10.1080/21650349.2017.1381042","DOIUrl":"https://doi.org/10.1080/21650349.2017.1381042","url":null,"abstract":"Abstract Users often have conflicting concerns (i.e., dilemmas), such as ‘embracing change vs. following tradition.’ Design can resolve these dilemmas through simultaneously fulfilling conflicting user concerns. This paper proposes three abstraction levels for framing user concerns when formulating dilemmas. In a large-scale industry project, we identified that dilemmas can be formulated and resolved at different abstraction levels. Based on these preliminary findings, we developed a structured way to formulate dilemmas, which involves using three different types of concerns (i.e., product-, activity-, and identity-focused concerns). In this framework, product-focused concerns represent the most concrete concern level and identity-focused concerns represent the most abstract level. Sixty master-level design students were asked to formulate a dilemma evoked by a product of their own choice and to create design ideas to resolve this dilemma. The results showed that dilemmas involving all concern levels can be an input for ideation, with the ‘most abstract yet informative’ dilemma being the most inspiring. In addition, we found that design can resolve dilemmas in several distinct ways, where each dilemma-resolving strategy comes with opportunities and challenges. Consciously formulating and examining alternative dilemma formulations can create opportunities that might otherwise not be considered as input for ideation.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2017.1381042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44014267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-02DOI: 10.1080/21650349.2018.1468533
G. Cascini, Y. Nagai, G. V. Georgiev, J. Zelaya
The editorial board of the International Journal of Design Creativity and Innovation (IJDCI) is glad to provide visibility to valuable research contributions presented in reputable international conferences on topics that fall within its aims and scope. Among such conferences is the International Conference on Design Creativity (ICDC), an official conference of the Special Interest Group of the Design Society, whose fourth edition was organized by Julie Linsey at Georgia Institute of Technology, U.S.A. on 2–4 November 2016. The International Program Committee of ICDC 2016, chaired by Maria Yang from Massachusetts Institute of Technology, recommended a number of papers as suitable candidates to be further developed into a journal publication. After significant elaboration by the authors and a review according to the policy of IJDCI, the following papers have been accepted for publication by the time this editorial was written:
{"title":"Editorial","authors":"G. Cascini, Y. Nagai, G. V. Georgiev, J. Zelaya","doi":"10.1080/21650349.2018.1468533","DOIUrl":"https://doi.org/10.1080/21650349.2018.1468533","url":null,"abstract":"The editorial board of the International Journal of Design Creativity and Innovation (IJDCI) is glad to provide visibility to valuable research contributions presented in reputable international conferences on topics that fall within its aims and scope. Among such conferences is the International Conference on Design Creativity (ICDC), an official conference of the Special Interest Group of the Design Society, whose fourth edition was organized by Julie Linsey at Georgia Institute of Technology, U.S.A. on 2–4 November 2016. The International Program Committee of ICDC 2016, chaired by Maria Yang from Massachusetts Institute of Technology, recommended a number of papers as suitable candidates to be further developed into a journal publication. After significant elaboration by the authors and a review according to the policy of IJDCI, the following papers have been accepted for publication by the time this editorial was written:","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2018.1468533","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49226208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-27DOI: 10.1080/21650349.2018.1501281
L. Knudsen, L. M. Haase
ABSTRACT In a world of ever-increasing products and services, companies are forced to think differently and find new approaches to bring meaningful and differentiating products to the market. In many cases, they have to go beyond the functional features in order to win the customers’ hearts and attention. Design-driven innovation is acknowledged as a way to create new meaningful experiences to the users – not driven by market demands or technology development but by experience and the emotional parameters of the solution-to-be. Despite an increasing interest in design-driven innovation, the process of how new meanings are constructed is still a neglected area in existing design research. This paper explores how five Danish companies in diverse industries constructed new product meanings. The study indicates that 1) innovation of meaning starts from a paradox in an existing product-user relationship – often experienced by the designer 2) the central point for meanings’ construction is the user’s experience of the product, and 3) meaning is constructed in respect to a number of different product aspects including e.g. experience, interaction and expression.
{"title":"The construction of meaning in design-driven projects: a paradox initiated process","authors":"L. Knudsen, L. M. Haase","doi":"10.1080/21650349.2018.1501281","DOIUrl":"https://doi.org/10.1080/21650349.2018.1501281","url":null,"abstract":"ABSTRACT In a world of ever-increasing products and services, companies are forced to think differently and find new approaches to bring meaningful and differentiating products to the market. In many cases, they have to go beyond the functional features in order to win the customers’ hearts and attention. Design-driven innovation is acknowledged as a way to create new meaningful experiences to the users – not driven by market demands or technology development but by experience and the emotional parameters of the solution-to-be. Despite an increasing interest in design-driven innovation, the process of how new meanings are constructed is still a neglected area in existing design research. This paper explores how five Danish companies in diverse industries constructed new product meanings. The study indicates that 1) innovation of meaning starts from a paradox in an existing product-user relationship – often experienced by the designer 2) the central point for meanings’ construction is the user’s experience of the product, and 3) meaning is constructed in respect to a number of different product aspects including e.g. experience, interaction and expression.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2018.1501281","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60298860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-23DOI: 10.1080/21650349.2018.1501280
C. Treadaway, Aidan Taylor, Jac Fennell
ABSTRACT One of the most pressing challenges facing designers today is how to create appropriate, useful and safe designs for people living with advanced dementia. Dementia is a complex disease that presents and progresses differently for each individual. This paper contends that co-design with experts, including people living with dementia and their carers, is essential to inform design. Compassionate Design principles are useful to guide the creative process and ensure that concepts are developed that maintain the dignity, personhood and wellbeing of the person living with dementia. The key themes of Compassionate Design are presented through examples of designs for playful objects created as part of the LAUGH design for dementia research. A qualitative participatory co-design research methodology is described along with findings informed by a Live Lab evaluation of the objects with people living with advanced dementia living in residential care.
{"title":"Compassionate design for dementia care","authors":"C. Treadaway, Aidan Taylor, Jac Fennell","doi":"10.1080/21650349.2018.1501280","DOIUrl":"https://doi.org/10.1080/21650349.2018.1501280","url":null,"abstract":"ABSTRACT One of the most pressing challenges facing designers today is how to create appropriate, useful and safe designs for people living with advanced dementia. Dementia is a complex disease that presents and progresses differently for each individual. This paper contends that co-design with experts, including people living with dementia and their carers, is essential to inform design. Compassionate Design principles are useful to guide the creative process and ensure that concepts are developed that maintain the dignity, personhood and wellbeing of the person living with dementia. The key themes of Compassionate Design are presented through examples of designs for playful objects created as part of the LAUGH design for dementia research. A qualitative participatory co-design research methodology is described along with findings informed by a Live Lab evaluation of the objects with people living with advanced dementia living in residential care.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2018.1501280","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41900801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-29DOI: 10.1080/21650349.2018.1473809
S. Jang, Byungkeun Oh, Suk-il Hong, Jinwoo Kim
ABSTRACT The purpose of the present study is to investigate the effect of visual stimuli on creativity for generating ideas among designers. A survey with design students was conducted in this investigation to extract visual stimuli from the sub-symbolic domain (vague stimuli), visual stimuli from the symbolic domain (definite stimuli), and visual stimuli between the two domains (ambiguous stimuli). Subsequently, a conceptual combination experiment was conducted using selected stimuli to examine the effects of ambiguous visual stimuli on creativity to generate ideas among designers. The results suggest that in individual working environments, dissimilar concept pairs fostered higher elaboration when ambiguous stimuli were present, whereas similar concept pairs fostered higher elaboration when vague stimuli were presented. It was further suggested that in group working environments, vague stimuli result in higher abstractness when dissimilar concept pairs are used, whereas ambiguous stimuli result in higher abstractness when similar concept pairs were used.
{"title":"The effect of ambiguous visual stimuli on creativity in design idea generation","authors":"S. Jang, Byungkeun Oh, Suk-il Hong, Jinwoo Kim","doi":"10.1080/21650349.2018.1473809","DOIUrl":"https://doi.org/10.1080/21650349.2018.1473809","url":null,"abstract":"ABSTRACT The purpose of the present study is to investigate the effect of visual stimuli on creativity for generating ideas among designers. A survey with design students was conducted in this investigation to extract visual stimuli from the sub-symbolic domain (vague stimuli), visual stimuli from the symbolic domain (definite stimuli), and visual stimuli between the two domains (ambiguous stimuli). Subsequently, a conceptual combination experiment was conducted using selected stimuli to examine the effects of ambiguous visual stimuli on creativity to generate ideas among designers. The results suggest that in individual working environments, dissimilar concept pairs fostered higher elaboration when ambiguous stimuli were present, whereas similar concept pairs fostered higher elaboration when vague stimuli were presented. It was further suggested that in group working environments, vague stimuli result in higher abstractness when dissimilar concept pairs are used, whereas ambiguous stimuli result in higher abstractness when similar concept pairs were used.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2018.1473809","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46939819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-03DOI: 10.1080/21650349.2017.1362359
N. Crilly
Abstract ‘Design fixation’ occurs when exploration of the solution space is unintentionally constrained by designers’ knowledge of prior solutions. The study of fixation is well established in design research but there has been little discussion of what might be learned about fixation from studying related phenomena in other creative practices. To address this, a series of interviews were conducted with technology entrepreneurs and the advisors who guide them. Analysis of the interview data was informed by concepts of creative fixation, cognitive entrenchment and psychological ownership, but also concepts of entrepreneurial pivoting, strategic change and business model innovation. The study shows that entrepreneurs must actively balance persistence with flexibility, a task that is influenced by (i) the entrepreneurs’ commitment to their ideas, (ii) the expertise that they have developed, (iii) the information that they seek or are exposed to, (iv) the resources available to them, and (v) their orientation towards either the product or the market. Collectively, these findings can be applied to design research as proposals for new topics to study when investigating fixation. They also hold implications for design practice by suggesting what designers (and their managers) should reflect on when identifying opportunities to change design direction.
{"title":"‘Fixation’ and ‘the pivot’: balancing persistence with flexibility in design and entrepreneurship","authors":"N. Crilly","doi":"10.1080/21650349.2017.1362359","DOIUrl":"https://doi.org/10.1080/21650349.2017.1362359","url":null,"abstract":"Abstract ‘Design fixation’ occurs when exploration of the solution space is unintentionally constrained by designers’ knowledge of prior solutions. The study of fixation is well established in design research but there has been little discussion of what might be learned about fixation from studying related phenomena in other creative practices. To address this, a series of interviews were conducted with technology entrepreneurs and the advisors who guide them. Analysis of the interview data was informed by concepts of creative fixation, cognitive entrenchment and psychological ownership, but also concepts of entrepreneurial pivoting, strategic change and business model innovation. The study shows that entrepreneurs must actively balance persistence with flexibility, a task that is influenced by (i) the entrepreneurs’ commitment to their ideas, (ii) the expertise that they have developed, (iii) the information that they seek or are exposed to, (iv) the resources available to them, and (v) their orientation towards either the product or the market. Collectively, these findings can be applied to design research as proposals for new topics to study when investigating fixation. They also hold implications for design practice by suggesting what designers (and their managers) should reflect on when identifying opportunities to change design direction.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2017.1362359","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48835491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-03DOI: 10.1080/21650349.2017.1362360
L. A. Vasconcelos, M. Neroni, Carlos Cardoso, N. Crilly
Abstract Design fixation experiments often report that participants exposed to an example solution generate fewer ideas than those who were not. This reduced ‘idea fluency’ is generally explained as participants’ creativity being constrained by the example they have seen. However, the inclusion of an example also introduces other factors that might affect idea fluency in the experiments. We here offer an additional explanation for these results: participants not exposed to the example tend to generate ideas with little elaboration, while the level of detail in the example encourages a similar level of elaboration among stimulated participants. Because idea elaboration is time consuming, non-stimulated participants record more ideas overall. We investigated this hypothesis by reanalyzing data from three different studies; in two of them we found that non-stimulated participants generated more ideas and more ideas containing only text, whilst stimulated participants generated ideas that were more elaborated. Based on the creativity literature, we provide several explanations for the differences in results found across studies. Our findings and explanations have implications for the interpretation of creativity experiments reported to date and for the design of future studies.
{"title":"Idea representation and elaboration in design inspiration and fixation experiments","authors":"L. A. Vasconcelos, M. Neroni, Carlos Cardoso, N. Crilly","doi":"10.1080/21650349.2017.1362360","DOIUrl":"https://doi.org/10.1080/21650349.2017.1362360","url":null,"abstract":"Abstract Design fixation experiments often report that participants exposed to an example solution generate fewer ideas than those who were not. This reduced ‘idea fluency’ is generally explained as participants’ creativity being constrained by the example they have seen. However, the inclusion of an example also introduces other factors that might affect idea fluency in the experiments. We here offer an additional explanation for these results: participants not exposed to the example tend to generate ideas with little elaboration, while the level of detail in the example encourages a similar level of elaboration among stimulated participants. Because idea elaboration is time consuming, non-stimulated participants record more ideas overall. We investigated this hypothesis by reanalyzing data from three different studies; in two of them we found that non-stimulated participants generated more ideas and more ideas containing only text, whilst stimulated participants generated ideas that were more elaborated. Based on the creativity literature, we provide several explanations for the differences in results found across studies. Our findings and explanations have implications for the interpretation of creativity experiments reported to date and for the design of future studies.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2017.1362360","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41712871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-03DOI: 10.1080/21650349.2017.1320232
L. Alipour, Mohsen Faizi, A. Moradi, Gholamreza Akrami
Abstract Design fixation refers to designing under the influence of precedents with the inappropriate reuse of their features. With the aim of better understanding of design fixation and create a compendious framework, this paper reviewed 50 new empirical studies in this area. Design fixation studies are classified into (a) investigating conditions that affect design fixation occurrence, (b) proposing affordance sources, and (c) suggesting overcome instructions and methods. Results indicated that there exist eight key factors, namely designer, design problem, sources, design process, design outcome, designers’ goal, distance between source and problem, and similarity between source and design outcome. Finally, a new framework was developed on the basis of the key factors and variables. By synthesizing the variables and the findings of these papers, future research directions are proposed.
{"title":"A review of design fixation: research directions and key factors","authors":"L. Alipour, Mohsen Faizi, A. Moradi, Gholamreza Akrami","doi":"10.1080/21650349.2017.1320232","DOIUrl":"https://doi.org/10.1080/21650349.2017.1320232","url":null,"abstract":"Abstract Design fixation refers to designing under the influence of precedents with the inappropriate reuse of their features. With the aim of better understanding of design fixation and create a compendious framework, this paper reviewed 50 new empirical studies in this area. Design fixation studies are classified into (a) investigating conditions that affect design fixation occurrence, (b) proposing affordance sources, and (c) suggesting overcome instructions and methods. Results indicated that there exist eight key factors, namely designer, design problem, sources, design process, design outcome, designers’ goal, distance between source and problem, and similarity between source and design outcome. Finally, a new framework was developed on the basis of the key factors and variables. By synthesizing the variables and the findings of these papers, future research directions are proposed.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2017.1320232","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42203023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-03DOI: 10.1080/21650349.2016.1246204
B. Young, A. Wodehouse
Abstract Natural reoccurring patterns arise from chaos and are prevalent throughout nature. The formation of these patterns is controlled by, or produces, underlying geometrical structures. Biomimicry is the study of nature’s structure, processes and systems, as models and solutions for design challenges and is being widely utilized in order to address many issues of contemporary engineering. Many academics now believe that esthetics stem from pattern recognition, consequently, esthetic preference may be a result of individuals recognizing, and interacting with, natural patterns. The goal of this research was to investigate the impact of specific naturally occurring pattern types (spiral, branching, and fractal patterns) on user behavior; investigating the potential of such patterns to control and influence how individuals interact with their surrounding environment. The results showed that the underlying geometry of natural patterns has the potential to induce attention responses to a statistically significant level.
{"title":"Non-functional biomimicry: utilizing natural patterns in order to provoke attention responses","authors":"B. Young, A. Wodehouse","doi":"10.1080/21650349.2016.1246204","DOIUrl":"https://doi.org/10.1080/21650349.2016.1246204","url":null,"abstract":"Abstract Natural reoccurring patterns arise from chaos and are prevalent throughout nature. The formation of these patterns is controlled by, or produces, underlying geometrical structures. Biomimicry is the study of nature’s structure, processes and systems, as models and solutions for design challenges and is being widely utilized in order to address many issues of contemporary engineering. Many academics now believe that esthetics stem from pattern recognition, consequently, esthetic preference may be a result of individuals recognizing, and interacting with, natural patterns. The goal of this research was to investigate the impact of specific naturally occurring pattern types (spiral, branching, and fractal patterns) on user behavior; investigating the potential of such patterns to control and influence how individuals interact with their surrounding environment. The results showed that the underlying geometry of natural patterns has the potential to induce attention responses to a statistically significant level.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2016.1246204","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41914855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-04-03DOI: 10.1080/21650349.2017.1400152
G. Cascini, Y. Nagai, G. V. Georgiev, J. Zelaya
Creativity alone does not necessarily imply good Design, and apparently-well-designed products may not result in Innovation. This consideration alone constitutes a good reason for sharing a space to discuss how creativity, design and innovation interact. The International Journal of Design Creativity and Innovation (IJDCI) represents a unique scientific resource where such discussion can take place: after 5 years and 20 issues, IJDCI is entering its maturity stage being now indexed by two major scientific databases, thus increasing its visibility and offering to young researchers and expert scholars from different fields the opportunity to present their research outcomes and share new challenges they intend to face. Without any ambition to formally define ‘Innovation,’ a topic debated too much already, we would like to stress the importance of considering two essential dimensions of innovation: novelty and adoption. Clearly, any innovation requires some degree of novelty. However, there is no real innovation if that novelty is not adopted by some target community. Both dimensions offer many opportunities for studying the role that design creativity can play in promoting innovation. How to creatively explore new needs to satisfy? How to designerly identify new ways to face emerging social challenges? How to recognize and even anticipate value changes that could open innovation opportunities? These are just exemplary questions that might expand the discussion on design creativity when dealing with innovation and its multiple perspectives. At the same time, even more space for research emerges when referring to adoption issues. Can design creativity help identify new target communities at whom aim innovation? What actors have a stake in the adoption process? What factors affect the adoption process? It is important to notice that these issues do not necessarily refer to purchase decision mechanisms, but to any process that brings a certain community to accept a new solution in order to fulfill their expectations or to satisfy their exigencies. We hope these and more questions will be addressed by IJDCI authors with contributions capable of enriching the collective knowledge on design creativity and its role in the production of sustainable innovation of real value for society. This will require both qualitative and quantitative studies, characterized by scientific rigor and intellectual honesty. We certainly need models suitable for representing all stages, activities and objects of innovation processes, so as to increase our capacity to connect human needs and values with utility and functionality of artefacts and to elicit all related transformations. At the same time, we recognize the grounding value of the old quote ‘If You Can’t Measure It, You Can’t Improve It.’ Therefore, we welcome original contributions with proposals of comparison means to measure and analyse successful innovations and failures and the processes that characterize them from
{"title":"Editorial","authors":"G. Cascini, Y. Nagai, G. V. Georgiev, J. Zelaya","doi":"10.1080/21650349.2017.1400152","DOIUrl":"https://doi.org/10.1080/21650349.2017.1400152","url":null,"abstract":"Creativity alone does not necessarily imply good Design, and apparently-well-designed products may not result in Innovation. This consideration alone constitutes a good reason for sharing a space to discuss how creativity, design and innovation interact. The International Journal of Design Creativity and Innovation (IJDCI) represents a unique scientific resource where such discussion can take place: after 5 years and 20 issues, IJDCI is entering its maturity stage being now indexed by two major scientific databases, thus increasing its visibility and offering to young researchers and expert scholars from different fields the opportunity to present their research outcomes and share new challenges they intend to face. Without any ambition to formally define ‘Innovation,’ a topic debated too much already, we would like to stress the importance of considering two essential dimensions of innovation: novelty and adoption. Clearly, any innovation requires some degree of novelty. However, there is no real innovation if that novelty is not adopted by some target community. Both dimensions offer many opportunities for studying the role that design creativity can play in promoting innovation. How to creatively explore new needs to satisfy? How to designerly identify new ways to face emerging social challenges? How to recognize and even anticipate value changes that could open innovation opportunities? These are just exemplary questions that might expand the discussion on design creativity when dealing with innovation and its multiple perspectives. At the same time, even more space for research emerges when referring to adoption issues. Can design creativity help identify new target communities at whom aim innovation? What actors have a stake in the adoption process? What factors affect the adoption process? It is important to notice that these issues do not necessarily refer to purchase decision mechanisms, but to any process that brings a certain community to accept a new solution in order to fulfill their expectations or to satisfy their exigencies. We hope these and more questions will be addressed by IJDCI authors with contributions capable of enriching the collective knowledge on design creativity and its role in the production of sustainable innovation of real value for society. This will require both qualitative and quantitative studies, characterized by scientific rigor and intellectual honesty. We certainly need models suitable for representing all stages, activities and objects of innovation processes, so as to increase our capacity to connect human needs and values with utility and functionality of artefacts and to elicit all related transformations. At the same time, we recognize the grounding value of the old quote ‘If You Can’t Measure It, You Can’t Improve It.’ Therefore, we welcome original contributions with proposals of comparison means to measure and analyse successful innovations and failures and the processes that characterize them from","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2017.1400152","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42903047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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