Effects of cognitive styles on 2D drafting and design performance in digital media

This paper investigates the interactions between design students’ cognitive styles, as measured by Riding’s Cognitive Styles Analysis, and performance in 2D drafting and design tasks in digital media. An empirical research revealed that Imager students outperformed Verbalisers in both drafting and creativity scores. Wholist–Analytic cognitive style dimension was found to be independent from drafting and design performance. The study suggests that examining the cognitive styles of students in Computer Aided Design (CAD) education deserves further attention and may facilitate for improvements in learning processes.     

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.     

Effects of spatial experiences & cognitive styles in the solution process of space-based design problems in the first year of architectural design education

There are many factors that influence designers in the architectural design process. Cognitive style, which varies according to the cognitive structure of persons, and spatial experience, which is created with spatial data acquired during life are two of these factors. Designers usually refer to their spatial experiences in order to find solutions to design problems. Information recalled from past spatial experiences lay the ground for creating the conceptual framework when solving a design problem. In addition, the person’s cognitive style, which develops through factors such as education, environment, genetics and family, can also be effective in solving design problems. In this line, an empirical study was conducted to research the effects of spatial experiences and cognitive styles on the solution process of spatial design problems in the first year of architectural design education. The study concluded that the cognitive styles of students were effective on their space creation method, order and duration.     

Time pressure and creativity in industrial design

Creativity is a critical aspect of competitiveness in all trades and professions. In the case of designers, creativity is of the utmost importance. Based on the perspective of industrial design, the relationship between creativity and time pressure was investigated in this study using control and experimental groups. In the first part of the study, fuzzy theory, the Creative Product Analysis Matrix, the Analytic Hierarchy Process, and Consensus Assessment Techniques were integrated to establish a method to evaluate creativity in industrial design. Moreover, the experimental and control groups were compared using three tests: the Torrance Tests of Creative Thinking, the product concept development test, and the product aesthetic development test. Six hypotheses were examined. Based on an analysis of the results, suggestions are offered to improve creativity management. The suggestions can serve as reference for creativity management of individuals, groups and companies in order to make the concept generating process more efficient.     

Using an analogical thinking model as an instructional tool to improve student cognitive ability in architecture design learning process

Lack of creativity is a problem often plaguing students from design-related departments. Therefore, this study is intended to incorporate analogical thinking in the education of architecture design to enhance students’ learning and their future career performance. First, this study explores the three aspects of architecture design curricula, interaction and students’ cognitive development. Then the study discusses learning based on analogical thinking into two parts: analogical learning and analogical reasoning. The samples in this study were the freshmen of the Department of Architecture, China University of Technology. The model was used in a five-week unit of the course of Architecture Design, a required course for all the freshmen. Questionnaires were given to the students before and after the unit to evaluate the influences of the model in the dimensions of Teaching, Teacher-student Interactions, Student–student Interactions, Cognitive Development, and Overall Learning Performance. The questionnaire results were collected and statistically analyzed. The analysis results indicated that, the students scored significantly higher in each of the dimension after the unit than before the unit. These findings suggested that the use of an analogical thinking model can be helpful in the teaching of architecture design. Hopefully, the findings of this study can provide helpful references for not only teaching of architecture design but also future related research.     

Difference in time influencing creativity performance between design and management majors

This study is aimed to obtain a better understanding of difference in time of day as a factor influencing creativity performance between design and management programs students. Two hundred and ninety-seven college students, consisting of 154 design majors and 143 management majors at a university, participated in this study. Two idea generation tasks adapted from the Torrance Tests of Creative Thinking verbal tests were used to collect data on their creativity performance across school time intervals. The results show that the distributions of creativity performance across school time intervals reveal statistically significant differences in the fluency and originality measures between the two disciplines. Further, for the design majors, statistically significant differences are found in the fluency, originality, and elaboration measures of creativity; for the management majors, no difference is found for any of the creativity measures. That is, time of school day is a concern in creativity performance for the design students but not a significant factor for their counterparts. It is suggested that the timing issue should be taken into account when we try to assess the instructional and learning performance of creativity-related courses. An open mind and awareness of program differences are expected. More alternatives to improve time-constrains in traditional in-class learning and instruction are also suggested at the end, to create a more individualized and flexible learning environment for creativity.     

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.     

Students’ interest and expectancy for success while engaged in analysis- and creative design activities

Inasmuch as design is a central activity in K-12 engineering education, understanding the students’ motivation during engaging in engineering design activities will help educators to develop and evaluate strategies for engineering design challenges, and improve curriculum. The objective of this study is to better understand the relationship between students’ interest and expectancy for success while engaged in two design activities in grades 9–12. The primary difference between the two activities was the strategy used to solve the design problems from a predictive analysis and a creative approach. Constructs of motivation for students’ interest include task value (TV) and intrinsic goal orientation (IGO) and extrinsic goal orientation (EGO). Expectancy for success includes control of learning beliefs and self-efficacy for learning and performance. In this study, students (n = 31) from three high schools that implement the Project Lead the Way curriculum in three states in the US participated in the study. Immediately after completing their design projects, each student was asked to complete a modified version of the Motivated Strategies for Learning Questionnaire survey instrument which evaluates their interest and expectancy for success. The results show that students were more intrinsically motivated to engage in a design activity that involves a predictive analysis than a creative approach. No significant correlation was found between students’ expectancy for success and EGO in design tasks that utilized either predictive analysis or creative approach. The study also found that TV and IGO were good predictors for students’ expectancy for success. Demographic information associated with students’ motivation in the design activities is also presented.     

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.     

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.     

High school student modeling in the engineering design process

A diverse group of 20 high school students from four states in the US were individually provided with an engineering design challenge. Students chosen were in capstone engineering courses and had taken multiple engineering courses. As students considered the problem and developed a solution, observational data were recorded and artifacts collected. Quantitative methods were used to identify how students allocated their time across different types of modeling. Qualitative methods were used to review data from three students who spent substantial time engaged in graphical and two kinds of mathematical modeling. These students were profiled and their patterns of modeling are represented visually and described in context. Much of the modeling done by these 20 students was graphical in nature. Few students informed their thinking with mathematical representations, yet predictive mathematical modeling is essential to engineering design. Implications for the classroom include encouraging students to transfer understanding of science and mathematics into technology and engineering contexts through modeling.     

Motivating self-regulated learning in technology education

This paper proposes a compensative model for self-regulated learning in technology education (SRLT) comprised of cognitive, metacognitive and motivational domains. Discussion of the cognitive domain centers on problem-solving and creativity, with a focus on the need to engage students in open-ended assignments in informal contexts and to teach them a repertoire of methods, strategies and heuristics for inventive design and problem-solving, rather than letting them search randomly for ideas or use the trial-and-error method. The notion of metacognition deals with peoples’ ability to be aware of and control their own thinking, for example, how they selects their learning goals, use prior knowledge or intentionally choose problem-solving strategies. Self-regulatory behaviour is highly correlated with an individual’s motivation to handle challenging assignments, and with his or her internal satisfaction from being engaged in a task that contributes more to creativity than to receiving external rewards. Another important factor is an individuals’ self-efficacy belief in their ability to handle a highly demanding assignment determined by previous positive experience in similar tasks and the existence of a supportive social and emotional environment. The SRLT model highlights the interrelationships between the cognitive, metacognitive and motivational aspects of learning, problem-solving and invention. For example, teaching students problem-solving strategies could help them accomplish a task, improve their ability to monitor their own thinking and reflect on their learning, and enhance their self-efficacy beliefs about problem-solving and creativity. The teachers’ role in promoting SRLT education and directions for further research are also discussed.     

Architectural design education: in varietate unitas

A fascinating and rich landscape of personal views and approaches can be seen in architectural design and in architectural design education. This variation may be confusing for students. This paper focuses on the question: is the framework of generic elements that we developed for explicating the design process helpful to compare the differences in architectural design approaches? The results of interviewing a variety of 15 architectural, urban and landscape designers show all kinds of personal approaches that have a set of five underlying generic elements in common. Therefore, the framework may be helpful for teachers and students to describe these personal approaches and may help students in understanding differences and similarities and in finding out what their own personal approach may be.     

The mediator effects of conceiving imagination on academic performance of design students

Three studies were combined to examine the effects of creativity and imagination on the academic performance of design students. Study 1 conducted an exploratory factor analysis to determine the most appropriate structure of the Creativity Capability Scale (CCS) in a sample of 313 college students. The scale was a new self-report measure, and it was developed to be both empirically valid and easy to administer. A two-factor solution identified originality and useful flexibility as dimensions of human creativity. Study 2 conducted a confirmatory factor analysis to confirm the established structure of the CCS in a sample of 284 college students in design schools. In addition, we also confirmed the structure of the Imaginative Capability Scale using the same sample. A three-factor solution supported an earlier study in which human imagination was categorized into three types, namely initiating, conceiving, and transforming imaginations. The analyses of composite reliability and construct validity gave both scales good support. Study 3 further tested the effects of creativity and imagination on academic performance in a sample of 271 design students. The hypothesis of Study 3—that conceiving imagination acted as a mediator between creativity/imagination and academic performance—was partially supported. The structural model also showed that useful flexibility, initiating imagination and transforming imagination demonstrated positive, indirect effects on academic performance. Critical reflections on the results are provided. Discussions for future studies are also proposed.     

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.     

Role of cultural inspiration with different types in cultural product design activities

Inspiration plays an important role in the design activities and design education. This paper describes “ancient cultural artefacts” as “cultural inspiration”, consisting of two types called “cultural-pictorial inspiration” (CPI) and “cultural-textual inspiration” (CTI). This study aims to test the important role of cultural inspiration with different types in cultural product design activities. Through an exploratory experiment, design students were asked to extract cultural features from ancient cultural artefacts and generate new “culturally-oriented products”. Two experts statistically analyzed the categories and quantities of cultural features, and then evaluated the creativity (originality and practicality) of design outcomes. Results show that students who worked with CTI create more creative outcomes than students who worked with CPI. It was also found that cultural features generation affect the originality of design outcomes.     

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.     

Linking intrinsic motivation, risk taking, and employee creativity in an R&D environment

Intrinsic motivation is thought to spur risk taking and creativity. Nonetheless, the relationship between common creativity antecedents and intrinsic motivation is seldom clarified and the assertion that intrinsic motivation spurs risk taking and creativity has rarely been addressed. The current study adopts an individual level of analysis and attempts to link several common creativity antecedents, intrinsic motivation, and one's willingness to take risks to employee creativity. Using survey data collected from 165 research and development personnel and their supervisors, evidence is provided showing that intrinsic motivation mediates the relationship between certain antecedents and one's willingness to take risks and that this willingness mediates the effect of intrinsic motivation on employee creativity. However, starkly different findings emerge when using subjective versus objective indicators of employee creativity, suggesting that further theoretical development is in order to explain the differences.     

Why do students present different design objectives in engineering design projects?

Engineering design practice has been recognized as an effective approach to engage students in STEM learning. However, we noticed that students who possessed strong STEM knowledge did not necessarily perform well on their design projects. Thus, this study sought to explore factors that shaped students’ design objectives and means. A design-based research was adopted using a single group teaching experiment, in which students’ performance in relation to conceptual knowledge, engineering design practice, and their STEM attitudes were assessed in different design complexity groups. Based on the findings of this study, we concluded that students’ interest and metacognitive skills might be the key factors affecting their motivation during the engineering design process. Their abilities in predictive analysis and testing/revising were core elements affecting their design thinking. Our work provides preliminary evidence on how students form and present different design purposes and objectives in an engineering design project.