Creative Thinking, Values and Design and Technology Education

The development of Design and Technology curricula has always been premised on the importance of the act of designing and of the value of the contingent activity of creative thinking. Despite this, there has been a great deal of uncertainty about methods for developing creative thinking abilities in design and technology students. However, the results of research from cognitive psychology, engineering and invention suggest some promising strategies for application in design and technology classes. Moreover, these strategies are emerging during a time when issues concerning ethics and values are also being raised. This paper presents a brief summary of the research into problem-solving and design. It then explores a range of creative thinking strategies, and of their possible applications in design, and goes on to argue that the strategies and settings that promote creative thinking in design and technology make the area not only one that is suitable for addressing ethics and values, but that it may be one of the major reasons for including design and technology programs in school curricula.     

Creativity in technology education: providing children with glimpses of their inventive potential

This article examines the claims of the school subject technology education (called Design and Technology in some countries) as a vehicle for inculcating creativity in the curriculum, by introducing children to the world of problem solving and invention. Core foundational underpinnings of the subject are explored, including its hands-on nature, its open-endedness, and its encouragement of generative cognitive processes. Issues relating to the teaching of problem solving are discussed. Examples of curricular approaches to the subject are set forth and their merits as bases for encouraging creative thinking are examined. Research on creativity in the subject is reflected upon briefly. The paper concludes by offering problem solving; and analogical, metaphorical, combination, and divergent thinking, as possible bases for pedagogy in technology education, and calls attention to the subject as a possible fruitful area of research based on creativity in the school curriculum.     

Does the Need for High Levels of Performance Curtail the Development of Creativity in Design and Technology Project Work?

This article seeks to examine the relationship that exists between the development of high order thinking such as creative and problem solving skills and the need for pupils to achieve high levels of performance in their design and technology public examinations during the final year of compulsory education in the UK.The data under discussion were collected during the final year of a four year research project when a sample of fifty 15–16 year old pupils was chosen from eight schools in the north-east of England.For the purpose of this article a further sub-sample of twenty-seven pupils [twelve pupils who achieved high marks for their project work (sixty-five percent and above) and the fifteen pupils who achieved low marks in their project work (forty percent and below) was selected.In discussing the findings, the relationship between levels of creativity, performance, personal goal characteristics, motivation and design procedures used by the pupils will be highlighted. Conclusions will then be drawn concerning the part played by GCSE Design and Technology examination project work in enhancing the development of creative, innovative thinking and problem solving skills.     

Learning creativity and design for innovation

This paper puts the case for using a pedagogical framework based on the principles of grammatical design in conjunction with conventional creative problem solving strategies in higher education to foster learning for innovation and creativity. It explores the design and delivery of an inaugural creativity and innovation course that used a combination of individual and group projects to explore the combinatorial use of creative problem solving strategies and grammatical design schemas. Using established creative thinking evaluation techniques and reflective practice journals offers a powerful path for the creative development of innovative ideas. Testing (Torrance, Creativity in the classroom, 1977) found that the figurative based creative thinking scores of an experimental group of non-designer undergraduate students significantly improved according to pre and post course tests. Two dimensional and three dimensional design assessment tasks were completed in conjunction with a series of creative problem solving teamwork sessions. Standard SELTS course evaluation also strongly suggests there is value in the active teaching of creativity strategies for the recognition of valuable problems and the development of innovative solutions.     

Fostering creativity from an emotional perspective: Do teachers recognise and handle students’ emotions?

Emotions have a significant effect on the processes of designing and creative thinking. In an educational context, some emotions may even be detrimental to creativity. To further explore the link between creativity and emotion, a series of interviews were conducted with design and technology (D&T) teachers in Singapore, Hong Kong and Beijing concerning their experiences of working with students on design projects. The intent was to investigate how these teachers understood and managed their students’ emotions while teaching creative design skills. Some teachers indicated that they understood their students’ emotions through observing their behaviour, connecting with them by synchronising emotions or by evaluating student performance. The teachers also reported using various other methods to handle their students’ emotions. This study highlights the importance of equipping D&T teachers with skills for awareness and regulation of emotions so that they can better enable students to cultivate creativity in the design process.     

Consequential creativity

Creativity is an original cognitive ability and problem solving process which enables individuals to use their intelligence in a way that is unique and directed toward coming up with a product. Architectural education is one of the fields in which human creativity has been exhibited; because, it can be defined as a design study that correlates with other disciplines: social sciences, management, history, operational research, philosophy, graphic design, math and etc. These features which distinguish architecture from other disciplines ascribe different kind of responsibilities for architectural education; since beside technical and professional skills, an architect must have imagination and to be creative at many levels. Thus, this research aims at proving that students can be trained in creative thinking via acquiring specific skills and systematic techniques, which directly acts on design product. The study methodology depends on the concept of experimental research that targets at exposing students to creative problem solving experience via carrying out a creative training course that concerns “Consequential Creativity”. That experiment examined the potentiality of enhancing the students’ ability of viewing problems in non-traditional perspectives that counts on the systematic procedures of problem solving. Tools for assessment before and after training have been implemented. The Experiment findings proved that the students’ creative thinking skill has been clearly improved after attending the course. Therefore, training in creative thinking can be considered as independent courses or within specific architectural curricula.     

A model of creative design process for fostering creativity of students in design education

Creativity, which is concerned with problem solving, is essential if we are to generate new solutions to the massive and complex problems in the unknown future. Our next generation needs an educational platform where they can be taught to possess creativity. Design education is such a way to foster students’ creativity. Therefore, it is essential to understand the creative design process and its routine in order to show how students can generate creative output and how teachers can guide students in the design process. Consequently, the aim of this paper is to investigate the creative design process as it is employed in producing creative designs, and further recommend how students can practise and learn to be creative based on the model process developed in this paper. The model is expected to provide a guideline for teachers to facilitate students along the creative thinking process.     

Hotspots and trends of technology education in the International Journal of Technology and Design Education: 2000–2018

Using visualized bibliographic data and a range of quantitative research methods, the analysis of the International Journal of Technology and Design Education (IJTDE), which is included in the core collection of Social Science Citation Index, reached a number of conclusions. Firstly, IJTDE is an important platform for the exchange of research results in the field of technology education, and has a significant influence. Secondly, De Vries, Williams, Ankiewicz and a number of others are influential and prolific authors in the IJTDE. Authors from the USA, England, New Zealand, Taiwan and Australia make most contributions to the IJTDE, Delft University of Technology, University of Auckland and the University of Waikato are the more prolific institutions in the IJTDE. Thirdly, technology education, education, design, science, creativity, technology, design education, knowledge, student, technological literacy and problem solving are the most frequency keywords in the IJTDE. Creativity, design education, problem solving, curriculum development, design and critical thinking, practice, engineering education, and STEM education are research trends in the IJTDE between 2000 and 2018. Fourthly, the discipline knowledge base mainly focuses on teaching and design methods in the technological environment, and the definitions of technology-related concepts. The results enable a deeper understanding and consideration of the content and influence of IJTDE, and the research hotspots in the field of technology education.

     

The experiential domain: developing a model for enhancing practice in D&T education

Creativity and innovation are leading topics for the twenty-first century, not only in individual, cultural or social contexts but also within a wider perspective in business or economic development. For that reason, creative and innovative activities have started to feature in many design-based programs in second level education. Design and Technology (D&T) education has a special importance in promoting creativity and innovation, particularly when conceptual and material aspects of the design process reciprocally support one another. In the classroom, it is common for pupils to take part in creative and innovative activities in pairs or small groups. However, the complex and non-linear nature of these design-based activities calls for dynamic, collaborative problem solving. While collaborative settings and virtual learning environments in D&T education are receiving considerable attention in current research literature, we know very little about shared interactions in design-based activity. Accordingly, there is a need to examine both the collaborative and individual evidence of design-based activity by turning our attention to the interactions around that evidence as teachers and pupils engage in these activities. The purpose of this paper is to examine a pedagogical approach focusing on the social and cognitive interaction of teachers and pupils which is supported by technology and situated in the context of design-based activity. This research found that such interactions not only augmented the design process but led to a conceptual model which demonstrates evidence-based progress through the active configuration of knowledge and understanding.     

Assessing the long-term impact of a metacognitive approach to creative skill development

The goal of this research was to determine the long-term impact that selected instructional interventions, based on research in metacognition and learning theory, have on students’ creativity. The study builds off research that has been conducted documenting the impact of creative thinking based instructional interventions. The study tracked design students beginning their freshman year to determine if observed improvements have been maintained throughout 4 years of undergraduate study. Preliminary research statistically tested the introduction of structured metacognitive skills on the development of creative thinking ability for a diverse population of undergraduate design students. This research indicated that an approach to education influenced by research in learning theory and metacognition does, in the short-term, result in students who are more creative. By continuing testing throughout students’ education an equally important question was answered. To what degree do students maintain or improve this level of enhanced creative thinking ability over an extended period of time? The findings showed that students who participated in one or both interventions finished with significantly higher levels of creative thinking. The knowledge gained also demonstrated how newly structured educational interventions utilizing online blogs and other Internet based technologies were successful in enhancing and maintaining students’ creative thinking abilities. The goal was to provide educators with insight and guidance in the application of a metacognitive approach and to introduce available technologies to aid in this process. This study provides educators with a plan of action consisting of a toolbox of creative strategies and a framework for a reflective approach.     

“If I was going to design a chair,the last thing I would look at is a chair”: product analysis and the causes of fixation in students’ design work 11–16 years

Creativity is acknowledged to be important for economic growth and as an everyday life-skill, however several influential reports have suggested that education could do more to harness creative talent. Creative cognition literature suggests the lack of creativity is at least partly the result of ‘fixation’ (difficulty in generating novel ideas due to imagination being ‘structured’ by existing knowledge). This paper focuses on the secondary (students aged 11–16 years) design and technology (D&T) context in the UK. Here we examine whether teacher practice can contribute to fixation by focusing on one specific facet of teacher practice in D&T; the use of product analysis to inform the generation of creative design ideas. Data is drawn from the preliminary phase of a research and intervention project from interviews with D&T teachers (N = 14), students (N = 126) and lesson observations (N = 10) and an analysis of documents and student work. Product analysis is widely used at different points in design projects but, as is shown, in all cases current practice can lead to fixation, as thinking is constrained down specific paths and tasks are at best at procedural rather than comprehension level. The implications of these findings and tentative ways forward for practitioners are discussed.     

‘Enhancing the Creative Process for Learning in Primary Technology Education’

When undertaking design and technology activities, children are provided with opportunities to create solutions to problems in new and innovative ways. The mental processes involved in the generation of new ideas may be enhanced when children’s attention is not focussed and is allowed to wander in a relaxed and uncompetitive environment. Research indicates that the two mental states, generative and non-generative, cannot exist simultaneously. This paper reports on a research project which investigated the impact on children’s thinking when a period of non-focussed thinking became part of the technology process. The results support the previous proposition that a child’s non-generative/analytical mental state needs to give way to a generative state so that a child can be more fully creative. Moreover, from this study that documented children’s ideas during their involvement in a design and technology activity, teachers are urged to provide an incubation period as part of the technological process in the classroom, so that children’s creativity can be fostered.     

Fostering Systematic Innovative Thinking and Problem Solving: Lessons Education Can Learn From Industry

This article aims to illuminate different means of nurturing creativity in the high-tech industry and in modern organizations, particularly in the context of problem solving and product development, and to examine the potential implications for technology education. There is a large gap between conventional wisdom, which maintains that technology education is intended to foster creative thinking among pupils, and reality in the field. The case study presented is that of a mid-sized Israeli industrial plant, dealing with the design and production of construction tools for professionals and domestic use, such as spirit levels, measuring tapes, squares and rulers. This plant utilized innovation, uniqueness and quality as the main instruments in the battle for the market. A series of workshops for the plant's staff, entitled ‘Systematic Inventive Thinking’, resulted in the development of a range of new, original and successful products. The cumulative experience indicated that people can learn efficient techniques for solving a problem, or developing a new product, by breaking it down to its basic components, by ‘playing' systematically with ideas, in order to achieve new results. The notion that methodical courses can trigger pupils' incentive to be innovative and original, and can foster teamwork is almost absent from the field of education. Educators and scholars in technology education pay little regard to teaching and exploiting methods to fostering systematic original thinking and problem-solving. The challenge in education is to find an optimal combination and balance between fostering activity based on openness and ‘disorder’, on the one hand, and imparting systematic methods for innovative thinking and problem-solving, on the other. This revised version was published online in July 2006 with corrections to the Cover Date.     

Perspectives on pupil creativity in design and technology in the lower secondary curriculum in England

This paper is based on work carried out as part of a research study into the professional practices of secondary design and technology teachers in England. It focused on fostering creativity or teaching for creativity as defined by the Robinson Report (1999, All our futures: creativity, culture and education. London: Department for Education and Employment (DfEE)) for pupils aged 11–14 years. The overall research question that drove this study was “to what extent can teachers influence the creativity of pupils aged 11–14 years in design and technology lessons?” The paper provides the basis used to generate a unique theoretical three-feature model or framework that can be used to explore creativity within an educational context.The findings of three investigations in the study are presented in this paper. The first and second investigations looked at what could be learnt from the professional practices of art and design and design and technology teachers and the views of four ‘expert’ teachers known for their ability to develop the creative potential of their pupils. The data is discussed under emerging themes and it is used to inform specific criteria in the evolving theoretical three-feature model for creativity. The model is then used to analyse the data from the third classroom based investigation and the findings are discussed under the emerging themes to help identify the issues related to fostering creativity within the design and technology classroom.This paper discusses the implications of the research for classroom practice and suggests that, as creativity is a complex, multi-faceted concept and process, the theoretical three-feature model and related criteria evolved in the study provides a sound framework to explore creativity within an educational context. As a tool it helps identify examples of good practice and highlight areas that require further attention by teachers aiming to foster their pupils’ creativity. It is suggested that design and technology teachers have lessons to learn from the practices of their art and design colleagues and ‘expert’ design and technology teachers. It is concluded that there is a need for greater understanding by teachers of their implicit theories regarding teaching, learning and creativity. A wider use could be made of the breadth of strategies outlined by the ‘expert’ teachers. This would help address the weakness identified in the school based study and strengthen classroom practice when teaching for creativity.     

The locating of emotion within a creative, learning and product orientated design and technology experience: person, process, product

Within this paper, a conceptualised triadic schema is hypothesised for locating emotion within a creative, learning and product orientated Design and Technology experience. The research is based upon an extensive literature review that has been synthesised and juxtaposed with the broad aspirational aims of the subject. The schema, based upon abductive reasoning and grounded theory, ultimately conceptualises the overarching theme of emotion within a creative, learning and product orientated Design and Technology experience within the Primary and Secondary stages of England’s education system. The triadic schema offers an additional opportunity in meta-theorising how the broad aspirational aims of the subject, as outlined in the English national curriculum statement of importance for Design and Technology, can be achieved through recognising the powerful overarching concept of emotion within three emerging domains: Person, Process and Product. The central tenet of this paper is the recognition of emotion within a triadic schema for meta-theorising the place of emotion within a creative, learning and product orientated Design and Technology experience. David Spendlove was previously a senior teacher in secondary education before moving into Higher Education and is now the subject leader for Design and Technology at the University of Manchester. He co-edits both Design and Technology Education: An international Journal and the DATA international research conference proceedings. He is a director of the Design and Technology Association and his research interests are broadly based around learning, pedagogy, creativity, emotion and gender.     

Educating for environmental sustainability and educating for creativity: actively compatible or missed opportunities?

This paper identifies the importance of both creativity and environmental sustainability for developing individual learners and society as a whole. It suggests that sometimes these two concepts appear to be in tension and that, politically, each is often championed by different communities. The relationship between creativity and environmental sustainability is explored in three separate contexts: in a design and technology schools context where teenage learners are being facilitated to develop creative responses within design briefs that include environmental considerations; through interviewing student teachers who have undertaken an ecodesign project; and through interviews with professional ecodesign practitioners. The tensions, compromises and contradictions evident where there is limited experience of environmental issues is contrasted with the level of optimisation and creativity engaged when designers have more maturity in this area. Finally, some suggestions are made for taking forward creativity and environmental sustainability in technology education through an ecodesign capability approach.

Interactive effects of environmental experience and innovative cognitive style on student creativity in product design

Environmental experience can enhance the ideas of design students. Thus, this type of experience may interfere with the influence of design students’ cognitive style on creativity. The aim of this study was to examine the influence of environmental experience on the relationship between innovative cognitive style and industrial design students’ creative outcomes. The environmental experience was measured according to the total scores of the five components of sense, feel, think, act, and relate on the basis of Schmitt’s strategic experience modules. The cognitive styles were measured using Kirton’s adaption–innovation inventory, and creative works were assessed through the consensus assessment technique, which was employed by three experts. Through a field experiment and survey investigation, the analysis indicated that innovative cognitive style significantly and positively influenced creativity, but this only occurred when student was accompanied with a low degree of environmental experience (i.e., a student had a low score for environmental experience); as the student attained a high degree of environmental experience, the influence of innovative cognitive style on creativity became weakened. The experiential media suggested that the natural elements, cultural history, group travel, and narrator effectively diversified the experiences of the students and enhanced creative thinking. This paper suggests providing increased stimulation of environmental experience prior to instructing design students to engage in creative activity. Environmental experience can benefit students by enhancing their creativity.     

Methods that may stimulate creativity and their use in architectural design education

The architectural design process is based on a creative phase where creativity is highly valued. Although the literature on creativity is rich in ways to stimulate the decision-making process, these tools are rarely formally present in the building design process. To further the discussion on creativity and design education this paper presents a study on methods that may enhance the creative process and their application in architecture courses around the world. The results of this inquiry indicate that design instructors apply methods that may stimulate creativity mostly informally, with some positive results. To explore more fully the richness of the literature on the enhancement of creativity, structured applications of methods are recommended in controlled experiments to analyze results.     

The design and development of creative instructional materials: the role of domain familiarity for creative solutions

The design and development processes of instructional materials might be considered simple and clear because the pre-established instructional goals can lead the way. However, in practice, there are lots of issues to be considered during these processes. The quality of the material, appropriate visual design, usability, and acceptable amount of cognitive load are some of these issues. On the other hand, an instructional material needs to be as original as possible. In this study, we focused on the creativity of the instructional materials designed and developed by second year students from the Computer Education and Instructional Technologies (CEIT) department. We divided students into two groups: (1) CEIT students designing and developing materials about Information Technology (IT); (2) CEIT students designing and developing materials about Math. The main aim of this study is to understand how CEIT students’ instructional materials differ when they design and develop materials, which are out of their field of experience. In other words, we tried to compare how the creativity of materials change when students create materials with familiar domain (IT) in comparison to unfamiliar domain (Math). Students worked on ten instructional materials such as digital story, animation, and worksheet for 14 weeks. The materials of students were evaluated in terms of creativity, and then they were interviewed. The students worked in groups of 4–5, and during the material development period, we as researchers observed and took notes about the whole process. The findings indicated that materials developed in familiar domain were higher in creativity than those of the unfamiliar. Students’ explanations of creativity and their evaluations about the process helped us to understand the reasons of the produced materials’ creativeness. Technical skills, authentic contributions, material type, and the boundaries of the content or familiarity were found as the primary factors affecting the design and development of creative instructional materials.     

A review of Technology Education in Ireland; a changing technological environment promoting design activity

In Ireland, Technology Education’s structure and organisation across the levels of education is not delivered or governed in a coherent manner. Technology Education in primary level education, for students between 5 and 12 years of age, does not explicitly exist as a separate subject. In primary level education, Social, Environmental and Scientific Education (Science), encourages a child to examine and appreciate how technology and science impacts on their lives and the environment. It supports children developing design and make skills, and to apply scientific ideas to everyday situations and practical problems (DES in Primary school curriculum, science. Social, environmental and scientific education curriculum, 1999). In addition, various initiatives such as the Junior Lego League, supported by the Galway Education Centre, facilitate various perspectives of Technology Education. In second level education, which this paper primarily focuses on, Technology Education exists as a suite of eight subjects, for students of 12–18 years of age. In third level education students can choose from a wide range of bachelor degree programmes in science, technology, engineering or maths. The degree programmes available at third level also include programmes in initial teacher education (ITE). These programmes in initial teacher education are offered by two institutions, and graduate second level teachers to service the second level system. Technology Education in second level education was first introduced to Ireland in 1885. Since this introduction, revisions and changes have occurred, in both the Irish economy and syllabi. In 2006, Technology Education syllabi were revised to include more design activity at senior cycle. These changes reflect the forward thinking of policy makers in reflection of the progression from the industrial era to the information era to the conceptual era. The scope of second level Technology Education in an Irish context is still perceived by many as vocational, though progressive reformations are advancing towards a design-driven framework, grounded in a strong craft practice. This changing technological environment has resulted in the promotion of design activity in second level Technology Education in Ireland. This paper reviews the establishment of design education in Technology Education in the Irish second level education context, where an epistemological shift towards design activity has occurred.