Pub Date : 2021-09-06DOI: 10.1080/21650349.2021.1976677
Vanessa Svihla, Luke Kachelmeier
ABSTRACT Design thinking emphasizes that in addition to being creative, design solutions should be empathetic. Yet, research suggests there may be a tension between these goals, where focusing on empathy comes at a cost to creativity, sometimes by inducing fixation. We investigated this phenomenon through a quasi-experimental design with novice designers, contrasting two structured ideation techniques in which participants (N = 47) generated bad ideas prior to proposing beneficial ideas. Specifically, they used the wrong theory protocol (WTP) to generate harmful and humiliating ideas, and a variant in which they instead generated silly and impossible ideas (SIP). We used qualitative analysis to characterize their bad and beneficial ideas. Across two realistic design challenges, we found students’ initial bad design work was shaped by the technique they used, and that those who generated humiliating ideas were more likely to generate empathetic beneficial ideas afterward. No systematic differences were found in the breadth of solution ideas, suggesting this technique does not come at a cost to creativity. As a quick and easy-to-use technique, generating humiliating ideas prior to generating beneficial ideas holds promise as a means to reach design solutions that are both empathetic and creative.
{"title":"Latent value in humiliation: A design thinking tool to enhance empathy in creative ideation","authors":"Vanessa Svihla, Luke Kachelmeier","doi":"10.1080/21650349.2021.1976677","DOIUrl":"https://doi.org/10.1080/21650349.2021.1976677","url":null,"abstract":"ABSTRACT Design thinking emphasizes that in addition to being creative, design solutions should be empathetic. Yet, research suggests there may be a tension between these goals, where focusing on empathy comes at a cost to creativity, sometimes by inducing fixation. We investigated this phenomenon through a quasi-experimental design with novice designers, contrasting two structured ideation techniques in which participants (N = 47) generated bad ideas prior to proposing beneficial ideas. Specifically, they used the wrong theory protocol (WTP) to generate harmful and humiliating ideas, and a variant in which they instead generated silly and impossible ideas (SIP). We used qualitative analysis to characterize their bad and beneficial ideas. Across two realistic design challenges, we found students’ initial bad design work was shaped by the technique they used, and that those who generated humiliating ideas were more likely to generate empathetic beneficial ideas afterward. No systematic differences were found in the breadth of solution ideas, suggesting this technique does not come at a cost to creativity. As a quick and easy-to-use technique, generating humiliating ideas prior to generating beneficial ideas holds promise as a means to reach design solutions that are both empathetic and creative.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49423397","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 : 2021-08-19DOI: 10.1080/21650349.2021.1960896
Amic G. Ho
ABSTRACT The creative process is a process that includes many elements that provide solutions for problems that occur in everyday life. While the nature of creativity is changing, creative participants are also inevitably required to be problem solvers. They have to interpret and clarify problems by utilizing creative thinking. Therefore, problem-based research is an approach that provides a systematic set of guidelines for junior creative arts students to investigate, examine and execute learned concepts as well as solve problems practically. Although problem-based research is commonly applied, some junior creatives still do not engage with or even perform well with this approach. Their process of understanding and organizing information may be influenced by the inadequate epistemological beliefs of the junior creative arts students. This study aims to investigate the influence of inadequate epistemological beliefs on the learning processes of junior creative arts students. A pilot study was conducted for comparing the junior creative arts students’ performance in an authentic situation.
{"title":"Understanding the influence of epistemological beliefs on the creative learning process","authors":"Amic G. Ho","doi":"10.1080/21650349.2021.1960896","DOIUrl":"https://doi.org/10.1080/21650349.2021.1960896","url":null,"abstract":"ABSTRACT The creative process is a process that includes many elements that provide solutions for problems that occur in everyday life. While the nature of creativity is changing, creative participants are also inevitably required to be problem solvers. They have to interpret and clarify problems by utilizing creative thinking. Therefore, problem-based research is an approach that provides a systematic set of guidelines for junior creative arts students to investigate, examine and execute learned concepts as well as solve problems practically. Although problem-based research is commonly applied, some junior creatives still do not engage with or even perform well with this approach. Their process of understanding and organizing information may be influenced by the inadequate epistemological beliefs of the junior creative arts students. This study aims to investigate the influence of inadequate epistemological beliefs on the learning processes of junior creative arts students. A pilot study was conducted for comparing the junior creative arts students’ performance in an authentic situation.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45421804","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 : 2021-08-18DOI: 10.1080/21650349.2021.1965033
L. Maccioni, Y. Borgianni, D. Pigosso
ABSTRACT To support the transition to sustainable development, eco-design must lead to the development of products that provide additional value when compared to traditional products, ultimately resulting in market success. In this study, creativity principles are explored as leverage points for eco-design implementation, enhancing customer acceptance and market success. The authors have inferred ten eco-design guidelines, which aim to enhance success chances in the development of new products. The proposed guidelines were verified through eco-ideation session and experts’ evaluation. Results support the congruence of objectives between creativity, sustainability, success, and value creation in design. The guidelines represent a promising design tool to be further developed to pursue the objective of making eco-designed products more valuable and successful.
{"title":"Creativity in successful eco-design supported by ten original guidelines","authors":"L. Maccioni, Y. Borgianni, D. Pigosso","doi":"10.1080/21650349.2021.1965033","DOIUrl":"https://doi.org/10.1080/21650349.2021.1965033","url":null,"abstract":"ABSTRACT To support the transition to sustainable development, eco-design must lead to the development of products that provide additional value when compared to traditional products, ultimately resulting in market success. In this study, creativity principles are explored as leverage points for eco-design implementation, enhancing customer acceptance and market success. The authors have inferred ten eco-design guidelines, which aim to enhance success chances in the development of new products. The proposed guidelines were verified through eco-ideation session and experts’ evaluation. Results support the congruence of objectives between creativity, sustainability, success, and value creation in design. The guidelines represent a promising design tool to be further developed to pursue the objective of making eco-designed products more valuable and successful.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42315351","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 : 2021-07-13DOI: 10.1080/21650349.2021.1951359
Angelica Lindwall, Åsa Wikberg Nilsson
ABSTRACT While many argue that Additive Manufacturing (AM) opens up new possibilities in design due to its higher degree of design freedom, it is also suggested that it can increase creativity in product design. It has been further proposed that creative outcomes are limited by the imagination of the designer: designers are often asked to take full advantage of the new design potentials given by AM, yet without having the supports that are needed to increase their creativity. Current literature focuses neither on supporting creative perspectives in Design for AM (DfAM) nor on how to manage the higher degree of design freedom that can be present. As a consequence of this noticeable gap in the literature, this paper continue to explore what areas that need to be considered in creativity management, to fully support designers in utilising their creative abilities in relation to AM in design. The paper proceeds through a literature study on creativity in DfAM and presents a case study with experienced designers who are just starting to work with AM in their design practices. This paper contributes to the field with the notion of a creativity layer laid upon DfAM, visualized by three characteristics of creativity (expertise, creative thinking skills and motivation) drawn from previous research. This results in three concrete propositions of areas that need to be considered in future research on how to include a creativity management perspective in DfAM.
{"title":"Exploring creativity management of design for additive manufacturing","authors":"Angelica Lindwall, Åsa Wikberg Nilsson","doi":"10.1080/21650349.2021.1951359","DOIUrl":"https://doi.org/10.1080/21650349.2021.1951359","url":null,"abstract":"ABSTRACT While many argue that Additive Manufacturing (AM) opens up new possibilities in design due to its higher degree of design freedom, it is also suggested that it can increase creativity in product design. It has been further proposed that creative outcomes are limited by the imagination of the designer: designers are often asked to take full advantage of the new design potentials given by AM, yet without having the supports that are needed to increase their creativity. Current literature focuses neither on supporting creative perspectives in Design for AM (DfAM) nor on how to manage the higher degree of design freedom that can be present. As a consequence of this noticeable gap in the literature, this paper continue to explore what areas that need to be considered in creativity management, to fully support designers in utilising their creative abilities in relation to AM in design. The paper proceeds through a literature study on creativity in DfAM and presents a case study with experienced designers who are just starting to work with AM in their design practices. This paper contributes to the field with the notion of a creativity layer laid upon DfAM, visualized by three characteristics of creativity (expertise, creative thinking skills and motivation) drawn from previous research. This results in three concrete propositions of areas that need to be considered in future research on how to include a creativity management perspective in DfAM.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2021.1951359","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49169779","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 : 2021-07-08DOI: 10.1080/21650349.2021.1951358
A. de Rooij, E. Dekker, K. Slegers, M. M. Biskjaer
ABSTRACT Graphic design is a specialized form of creative practice in which images, typography, texts, shapes and other visual elements are created, selected, developed and integrated to form a coherent whole that conveys an intended message and user experience. Anecdotal evidence suggests that intuition is critical in this practice, but exactly how graphic designers rely on their intuition to support their creative design process is poorly understood. Using cultural probes and semi-structured interviews, this qualitative study evidences how twelve professional graphic designers relied on intuition as what we will call an ephemeral facility. Intuition was discerned as a feeling that briefly enters into consciousness and reinforces ongoing, nonconscious decision making, or causes a shift toward conscious reasoning strategies. The study reports how the graphic designers applied intuition throughout their creative design process––for obtaining and selecting information from clients, filling in informational gaps, envisioning a starting point and guiding subsequent actions and evaluations necessary for developing the design. This offers new empirically based insight into the role and relevance of intuition for progressing the creative graphic design process, including the social and material interactions therein.
{"title":"How graphic designers rely on intuition as an ephemeral facility to support their creative design process","authors":"A. de Rooij, E. Dekker, K. Slegers, M. M. Biskjaer","doi":"10.1080/21650349.2021.1951358","DOIUrl":"https://doi.org/10.1080/21650349.2021.1951358","url":null,"abstract":"ABSTRACT Graphic design is a specialized form of creative practice in which images, typography, texts, shapes and other visual elements are created, selected, developed and integrated to form a coherent whole that conveys an intended message and user experience. Anecdotal evidence suggests that intuition is critical in this practice, but exactly how graphic designers rely on their intuition to support their creative design process is poorly understood. Using cultural probes and semi-structured interviews, this qualitative study evidences how twelve professional graphic designers relied on intuition as what we will call an ephemeral facility. Intuition was discerned as a feeling that briefly enters into consciousness and reinforces ongoing, nonconscious decision making, or causes a shift toward conscious reasoning strategies. The study reports how the graphic designers applied intuition throughout their creative design process––for obtaining and selecting information from clients, filling in informational gaps, envisioning a starting point and guiding subsequent actions and evaluations necessary for developing the design. This offers new empirically based insight into the role and relevance of intuition for progressing the creative graphic design process, including the social and material interactions therein.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2021.1951358","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49505020","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 : 2021-07-03DOI: 10.1080/21650349.2021.1929500
M. Neroni, Alfred Oti, N. Crilly
ABSTRACT Increasing the range of methods available for researching design cognition provides new opportunities for studying the phenomena of interest. Here we propose an approach for observing design activities, using Virtual Reality (VR) design-build-test games with built-in physics simulation. To illustrate this, we report on two exploratory design workshops where two groups of participants worked to solve a technical design problem using such a platform. Participants were asked to sketch ideas to solve the problem, and then to design, test and iterate some of their developed design concepts in a VR game. Researchers were able to obtain continuous and multifaceted recordings of participants’ behavior during the various design activities. This included on-screen design activities, verbal utterances, physical gestures, digital models of design outputs, and records of the test outcomes. Our experiences with the workshops are discussed with respect to the opportunities that similar VR game platforms offer for design cognition research, both in general and specifically in terms of ideation, prototyping, problem reframing, intrinsic motivation and demonstrated vulnerability. VR game platforms not only offer a valuable addition to existing research options, but additionally offer a basis for developing training interventions in design education and practice.
{"title":"Virtual Reality design-build-test games with physics simulation: opportunities for researching design cognition","authors":"M. Neroni, Alfred Oti, N. Crilly","doi":"10.1080/21650349.2021.1929500","DOIUrl":"https://doi.org/10.1080/21650349.2021.1929500","url":null,"abstract":"ABSTRACT Increasing the range of methods available for researching design cognition provides new opportunities for studying the phenomena of interest. Here we propose an approach for observing design activities, using Virtual Reality (VR) design-build-test games with built-in physics simulation. To illustrate this, we report on two exploratory design workshops where two groups of participants worked to solve a technical design problem using such a platform. Participants were asked to sketch ideas to solve the problem, and then to design, test and iterate some of their developed design concepts in a VR game. Researchers were able to obtain continuous and multifaceted recordings of participants’ behavior during the various design activities. This included on-screen design activities, verbal utterances, physical gestures, digital models of design outputs, and records of the test outcomes. Our experiences with the workshops are discussed with respect to the opportunities that similar VR game platforms offer for design cognition research, both in general and specifically in terms of ideation, prototyping, problem reframing, intrinsic motivation and demonstrated vulnerability. VR game platforms not only offer a valuable addition to existing research options, but additionally offer a basis for developing training interventions in design education and practice.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2021.1929500","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44158024","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 : 2021-07-03DOI: 10.1080/21650349.2021.1929501
Ivano Bongiovanni, Cynthea Premala Louis
ABSTRACT The job of designers and business consultants features undeniable commonalities: focus on complex organizational problems, nearly constant exposure to ambiguity, difficulty in measuring performance and need to leverage knowledge and other intangible assets. Synergies between the disciplines of design and business consulting have increased in the last couple of decades. Design Thinking has emerged as an approach to solve business problems by thinking like a designer to leverage creativity and innovation. Despite its success, this has also raised some criticism: a diffused skepticism toward a public relation term that entails expensive invoices to simply apply old-fashioned creative thinking. What do the real protagonists think of Design Thinking and its application in the business world? We explored the perceptions of designers and business consultants on the theory and practice of Design Thinking. We interviewed 11 such professionals and our findings identified significant differences in perceptions around the essence, practicality and value of Design Thinking. Our research supports calls in the literature for establishing stronger connections between the principles of designerly thinking and the practice of Design Thinking in business.
{"title":"Theory and practice of Design Thinking: perspectives of designers and business consultants","authors":"Ivano Bongiovanni, Cynthea Premala Louis","doi":"10.1080/21650349.2021.1929501","DOIUrl":"https://doi.org/10.1080/21650349.2021.1929501","url":null,"abstract":"ABSTRACT The job of designers and business consultants features undeniable commonalities: focus on complex organizational problems, nearly constant exposure to ambiguity, difficulty in measuring performance and need to leverage knowledge and other intangible assets. Synergies between the disciplines of design and business consulting have increased in the last couple of decades. Design Thinking has emerged as an approach to solve business problems by thinking like a designer to leverage creativity and innovation. Despite its success, this has also raised some criticism: a diffused skepticism toward a public relation term that entails expensive invoices to simply apply old-fashioned creative thinking. What do the real protagonists think of Design Thinking and its application in the business world? We explored the perceptions of designers and business consultants on the theory and practice of Design Thinking. We interviewed 11 such professionals and our findings identified significant differences in perceptions around the essence, practicality and value of Design Thinking. Our research supports calls in the literature for establishing stronger connections between the principles of designerly thinking and the practice of Design Thinking in business.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2021.1929501","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47497161","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 : 2021-04-03DOI: 10.1080/21650349.2021.1888807
P. Carmona Marques
ABSTRACT The present paper illustrates a pilot experiment in which a new model for fostering creativity in the product development process is tested with novice engineers. After introducing creativity in the field of product development, the current author presents the new standard. The theoretical background that embodies the new model is presented, based on relevant literature. Making use of the new model, a methodology for testing it, using novice engineers is then proposed. It relies on the comparison between novices that were trained in the model in comparison to other novices that were not trained in the model. Higher results for creativity achieved by novice engineers that have employed the model show the advantages of its application during product development activities.
{"title":"A model for fostering creativity in the product development process","authors":"P. Carmona Marques","doi":"10.1080/21650349.2021.1888807","DOIUrl":"https://doi.org/10.1080/21650349.2021.1888807","url":null,"abstract":"ABSTRACT The present paper illustrates a pilot experiment in which a new model for fostering creativity in the product development process is tested with novice engineers. After introducing creativity in the field of product development, the current author presents the new standard. The theoretical background that embodies the new model is presented, based on relevant literature. Making use of the new model, a methodology for testing it, using novice engineers is then proposed. It relies on the comparison between novices that were trained in the model in comparison to other novices that were not trained in the model. Higher results for creativity achieved by novice engineers that have employed the model show the advantages of its application during product development activities.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2021.1888807","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49618028","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 : 2021-04-03DOI: 10.1080/21650349.2021.1894989
J. Lobbé, F. Bazzaro, J. Sagot
ABSTRACT Collaborative design is the use of design practices which tend to favor the integration of different experts, and to support creativity and innovation. Therefore, in this study, we were particularly interested in the collaborative design tools used in the specific context of a pedagogical hackathon. During this event, 1310 engineering students mentored by professors and industrial experts worked on around 131 industrial projects. In this article, we will present our study of the tools put in place by the participants of these innovative projects according to their training. Our study is based on a collection of project data. We will show that storyboards are often used in projects that tend toward radical innovation. Moreover, these tools are used by groups who have not received specific training on using storyboards.
{"title":"Innovation in collaborative design: an exploratory study in hackathon","authors":"J. Lobbé, F. Bazzaro, J. Sagot","doi":"10.1080/21650349.2021.1894989","DOIUrl":"https://doi.org/10.1080/21650349.2021.1894989","url":null,"abstract":"ABSTRACT Collaborative design is the use of design practices which tend to favor the integration of different experts, and to support creativity and innovation. Therefore, in this study, we were particularly interested in the collaborative design tools used in the specific context of a pedagogical hackathon. During this event, 1310 engineering students mentored by professors and industrial experts worked on around 131 industrial projects. In this article, we will present our study of the tools put in place by the participants of these innovative projects according to their training. Our study is based on a collection of project data. We will show that storyboards are often used in projects that tend toward radical innovation. Moreover, these tools are used by groups who have not received specific training on using storyboards.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2021.1894989","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44320251","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 : 2021-04-03DOI: 10.1080/21650349.2021.1890228
Myela A. Paige, Kenton B. Fillingim, Alexander R. Murphy, H. Song, Catherine J. Reichling, Katherine K. Fu
ABSTRACT This study examines the correlation between quality and feasibility of generated design solutions with mood and rational vs. intuitive thinking. It was hypothesized that positive moods lead to better intuitive thinking, which will result in higher design quality and feasibility. The participants, who were junior and senior level undergraduate students with a design background, were given the 32-point Brunel Mood Scale (BRUMS) before solving nine 7-min design tasks in a manner that cultivated either analytical or intuitive thinking. Cronbach’s alpha was used to confirm the reliability and consistency of the self-reported mood data. Spearman’s correlation was used to illustrate the mood–performance relationship, revealing that high design solution quality is significantly positively correlated with vigor and energetic mood in the Creative Intuition (CI) condition, and downhearted mood in the Problem Solving Intuition condition, while significantly negatively correlated with depression, worn-out and bad-tempered moods in the CI condition. High design solution feasibility was positively correlated with an exhausted mood in the Rational Thinking condition, and negatively correlated with composed and relaxed moods in the CI condition. These findings help further the understanding of how mood impacts design outcomes in intuitive and analytical problem solving, which may have implications design practice.
{"title":"Examining the effects of mood on quality and feasibility of design outcomes","authors":"Myela A. Paige, Kenton B. Fillingim, Alexander R. Murphy, H. Song, Catherine J. Reichling, Katherine K. Fu","doi":"10.1080/21650349.2021.1890228","DOIUrl":"https://doi.org/10.1080/21650349.2021.1890228","url":null,"abstract":"ABSTRACT This study examines the correlation between quality and feasibility of generated design solutions with mood and rational vs. intuitive thinking. It was hypothesized that positive moods lead to better intuitive thinking, which will result in higher design quality and feasibility. The participants, who were junior and senior level undergraduate students with a design background, were given the 32-point Brunel Mood Scale (BRUMS) before solving nine 7-min design tasks in a manner that cultivated either analytical or intuitive thinking. Cronbach’s alpha was used to confirm the reliability and consistency of the self-reported mood data. Spearman’s correlation was used to illustrate the mood–performance relationship, revealing that high design solution quality is significantly positively correlated with vigor and energetic mood in the Creative Intuition (CI) condition, and downhearted mood in the Problem Solving Intuition condition, while significantly negatively correlated with depression, worn-out and bad-tempered moods in the CI condition. High design solution feasibility was positively correlated with an exhausted mood in the Rational Thinking condition, and negatively correlated with composed and relaxed moods in the CI condition. These findings help further the understanding of how mood impacts design outcomes in intuitive and analytical problem solving, which may have implications design practice.","PeriodicalId":43485,"journal":{"name":"International Journal of Design Creativity and Innovation","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/21650349.2021.1890228","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44014432","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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