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.     

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.     

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.     

Design and technology productions among middle school students: an Indian experience

The focus of this paper is students’ design productions as they engaged in designing and making a windmill model to lift a given weight. This work is part of a project on the development of design and technology (D&;T) education units and its trials among Indian middle school students (Grade 6, age 11–14 years) in different socio-cultural settings. Since D&;T is not a part of the Indian school curriculum, the students had no earlier experience of design. Our trials included an exploratory phase followed by groups of students producing technical drawings and a plan for the making action (procedural map) before engaging in making the windmill model. The paper presents findings from a qualitative analysis of urban and rural students’ pencil and paper productions, complemented by observations from video recordings of the collaborative engagement of these naïve designers. Students used graphical symbols, analogical, spatial and functional reasoning in their design activities. Choice of materials and tools, the nature of exploratory sketches, variety in design and attentions to issues of stability showed differences between the urban and rural groups. Some potential implications of D&;T units for classroom learning have also been discussed.     

Learning to think spatially in an undergraduate interdisciplinary computational design context: a case study

Spatial thinking skills are vital for success in everyday living and work, not to mention the centrality of spatial reasoning in scientific discoveries, design-based disciplines, medicine, geosciences and mathematics to name a few. This case study describes a course in spatial thinking and communicating designed and delivered by an interdisciplinary team over a three-year period to first-year university students. Four major elements provide a framework for the sequencing of instruction and acquisition of 2D and 3D spatial thinking and reasoning skills in a computational design context. We describe the process of introducing students to computational design environments beginning with a fun and familiar tool in preparation for a more complex, industry-standard system (SolidWorks). A design project provides diverse student teams an opportunity to integrate and apply foundational spatial concepts and skills including sketching, 2D and 3D representations, as well as digital and physical modeling. Samples of student work illustrate the scaffolding necessary for students to successfully draw upon the spatial thinking and communication skills required to complete their team projects beginning with applying sketching techniques; modeling individual 3D parts; creating digital assemblies; and finally building the equivalent 3D physical model. Key instructional principles provide a framework for the analysis of what worked and what didn’t in relation to spatial skills development in students. The lessons learned are identified along with potential future directions for teaching and learning scholarship in spatial thinking development within a computational design context.     

Implementing an exemplar-based approach in an interaction design subject: enhancing students’ awareness of the need to be creative

In higher education effective teaching includes making learning goals and standards clear to students. In architecture and design education in particular, goals and standards around assessment are often not well articulated. There is good evidence that when teachers engage students before an assessment in marking exemplars, and explain why the exemplars received the grades they did, students’ performance in their written assessment is consequently enhanced. However some teachers are concerned that exemplars may discourage students from being creative; this concern is particularly important in design education. In this small-scale mixed methods study we explore interaction design students’ perceptions of the effect of an exemplar-based teaching approach on their work in a design task. Our quantitative and qualitative results show that students developed their understanding of task criteria and standards; far from discouraging their creativity, most students perceived that their experience of the approach enhanced their awareness of the need to produce an original design. The exemplar-based approach used in this study complements the studio-based teaching approach in design education, and helps to make clear the design goals and standards that teachers expect their students to strive for.     

Reflective Action Instructional Design (RAID): A Designer's Aid

In recent years instructional design (ID) models have been a major focus of debate within the design community. The issue of creativity in ID is one area that has given rise to controversy. In this paper I present a topology of design questions and explore their potential contribution as a tool to promote reflection and designer discourse. First, I identify a topology of reflective action instructional design (RAID) questions. Next, I explore RAID within a community of design graduate students and its influences on design practices in terms of utility, originality, social contribution, and interest. Finally, I discuss ways to encourage reflection and designer discourse in design practice.     

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.     

服装材料再造与创新性思维拓展

随着近几年国际高级时装领域对面料重塑再造的运用,材料再造成为服装设计师进行创作的重要物质载体。各大纺织服装院校也纷纷开设了材料再造这门课程,其教学思路与教学方法的探索也在实践中得到了很大发展。把此课程转化为提升学生专业素质的服装基础教学课程,也成为教师探索课程改革的重点。在改变面料外观的同时,拓展其思维能力,激发学生的创造力和想象力。     

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.     

Students' design of a biometric procedure in upper secondary school

Making the connection between science and technology might be important for students to learn to identify and solve problems and to acquire scientific knowledge and skills. The research reported in this article concerned the development of a design situation in a science classroom and the study of students performing in this situation. More specifically, the setting involved students’ design of a measurement procedure as a way of attaining understanding of the underlying scientific concepts. In fact, at higher secondary level, the classical experimental procedure of measuring facial angle is employed within the topic of human evolution to find out to which species a given human cranium belongs. At the same time, designing a procedure, instead of just executing it, is thought to entail higher odds for attaining teleological understanding. The development of the learning situation involved pursuing parallels between the expert design task as described in the literature and the assignment given to students. We proceeded through step-wise development of the learning situation that was successively tested out in the classroom. Our analysis of the student-devised procedures revealed three issues regarding the graphical representation of angles, the reproducibility of the points and the communicational demands of the situation. Students used both prior knowledge (e.g. about evolution), and new knowledge about cranium anatomy and angles. They also exhibited new experimental skills like anticipating each experimental action. Such cognitive tasks which are at the origin of students’ activity make the situation approximate the goals of laboratory work by distancing it from the simple execution of a series of steps. Future research could be directed towards further exploring the benefits of an approach that combines essential characteristics of science and technology.     

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.     

Team Design Thinking,Product Innovativeness,and the Moderating Role of Problem Unfamiliarity

Team design thinking in new product development (NPD) refers to a set of design-oriented principles that can be embedded in the everyday routines of NPD teams. We theorize that team design thinking enables NPD teams to develop more innovative products––products that are useful and novel––by reducing the routine and cognition-based inertia that constrains the team’s innovativeness. Through a study of 247 NPD projects, we investigate the relationships between team design thinking, product utility, and product novelty. Further, we also explore whether the team’s unfamiliarity with product contexts influences these relationships. Findings show that team design thinking is positively associated with useful products in both familiar and unfamiliar contexts, but that team design thinking is associated with product novelty only in familiar contexts. Findings also suggest that team design thinking can be framed as a dynamic capability that addresses routine and cognition-based inertia by expanding the organization’s knowledge resource base, particularly in familiar contexts. A key implication of this research is that team design thinking will influence product utility in a variety of situations, but its influence on product novelty will be evident primarily in familiar contexts.     

Nanotechnology awareness, opinions and risk perceptions among middle school students

The present study investigates awareness, factual knowledge, opinions, and risk perceptions of students from Turkish middle schools with regard to nanotechnology in a very general sense. The study was carried out among 1,396 middle school 6th, 7th, and 8th grade students. The students’ perceptions of and opinions about nanotechnology were elicited through a questionnaire developed by the authors. Students have some awareness of nanotechnology and most students had positive emotions and opinions about it. Students’ risk perceptions of nanotechnology and the influence of the demographic and affective domain, achievement in science courses, and science motivation on these perceptions were also investigated. The results show that, for gender, no significant difference was observed. However, for some of the demographic and affective domain factors, and achievement in science courses, significant differences were found.     

Design knowledge and teacher–student interactions in an inventive construction task

The teacher plays an important role in the Technology and Design (T&D) classroom in terms of guiding students in their design process. By using concepts developed within engineering philosophy along with a framework for teacher–student interactions the design process in a T&D classroom is classified. The material shows that four of six predefined categories of design knowledge and three of seven predefined classes of activity are present in the material. Findings suggest that two categories of design knowledge, fundamental design concepts and practical considerations, are particularly significant in the students’ work. The teacher’s influence with respect to particularly the first of these categories is crucial for the students’ design process. Direct trial is found as the students’ dominating activity for solving the technological challenges. The results indicate that it is beneficial for students to be introduced to an operational principle before they can be innovative and develop their own design configuration when they establish their fundamental design concept. Curriculum developers, designers of teaching materials as well as teachers should take into account the students’ need of sufficient time to explore their design configuration.     

Materials experience as a foundation for materials and design education

An important body of research has developed in recent years, explaining ways in which product materials influence user experiences. A priority now is to ensure that the research findings are adopted within an educational context to deliver contemporary curricula for students studying the subject of materials and design. This paper reports on an international initiative to develop ‘materials experience’ as a formal subject of study, complementary to traditional technical and engineering approaches to materials and design education. General learning objectives for materials experience are established, followed by specific attention to three kinds of experience that arise during user–material–product interaction: gratification of senses, conveyance of meanings, and elicitation of emotions. For each of these kinds of experience, a specially devised active learning exercise is explained in detail. In combination, these exercises are argued to deliver a good foundation for student appreciation and action on designing for material experiences in product design. The paper concludes with recommendations for how to responsibly redress the imbalance that exists in materials and design education, by transitioning from a culture of ‘imparting knowledge about materials’ to a culture of ‘generating experience with materials’.     

The importance of design thinking for technological literacy: a phenomenological perspective

“We know that progress depends on discovery, inventions, creativity and design, but we have simply supposed that it happens anyway,” de Bono (1999 p. 43). Technology education is ostensibly a foundation for future designers and creative thinking. However evidence of good design or creative thinking in outcomes displayed in school technology studios is limited. Technology is inextricably linked with applied science, but I argue that scientific method couldn’t be further from creativity and designing as technology education based on this premise can confine problem solving to a set of prescribed components that harness teachers to narrowly defined and deeply focused goals. This paper attempts to analyse the nature of this phenomenom, debate the place of creativity, imagination and personal sensitivities as part of designing and demonstrate that although there are inseperable links between design and technology the structure of a technology curriculum could be a barrier to opportunities for effective design thinking.     

Learning outcomes in affective domain within contemporary architectural curricula

Contemporary architectural education has shifted from the traditional focus on providing students with specific knowledge and skill sets or ‘inputs’ to outcome based, student-centred educational approach. Within the outcome based model, students’ performance is assessed against measureable objectives that relate acquired knowledge and skills to performance expectations in higher level courses or real world architectural practice. Bloom’s taxonomy has been widely accepted as a useful tool for defining learning outcomes. It references three domains that impinge on the learning process including the ‘cognitive,’ ‘affective’ and ‘psychomotor.’ In practice, most of the attention is paid to the cognitive domain. Considering the interdisciplinary and multivalent character of architecture (as discipline), curriculum design cannot be founded primarily on cognitive-based outcomes. This paper argues that affective domain, especially in the field of building learners’ personalized value systems, is essential to designing outcome based architectural programs. Interactive studio-based education provides a platform to integrate cognitive and behavioural skills that are necessary for professional practice.     

Figuring the world of designing: Expert participation in elementary classroom

The purpose of the present article was to analyze the interaction between elementary students and a professional design expert. The expert was present in the classroom, facilitating a collaborative lamp designing process together with the teacher. Using the notion of figured worlds (Holland et al. 1998), we explored how learning could be expanded beyond traditional schooling by bridging the world of professional designing and the world of the inquiry-oriented classroom. The data consisted of video-recorded design sessions (N = 11) and the “Lamp Designing” view of the project’s electronic database. A qualitative content analysis was conducted for categorizing the social settings, the design inquiry phases, and the designer’s activities during the sessions. Three distinctive foci of the participants’ activity were identified in the present study: (1) Design rationale, (2) Design practices, and (3) Design community. The results indicate that, with the designer’s support, relatively young students became aware of the rationale directing the design practice, and were able to solve multifaceted, complex design tasks. The figured world of designing was collaboratively created in the classroom during the continuous interaction between the designer and the students. This enabled the students to recognize the meaning of the diverse design activities and practices they were learning. The figured world of designing was perceived as a world of possibility for the students, providing them new insights for learning within the world of schooling.     

Passionate about designing

In the school based subject of design and technology (D&T) a fundamental element is designing and making functional products using critical and creative thinking whilst developing skills in the use of a variety of processes and materials. Teachers of the subject need to be more then just ‘enthusiastic’ about the processes involved if they are to develop enthusiasm in their pupils that will sustain them through the exciting but sometimes arduous and difficult processes required to achieve outcomes of which they and their teachers can be proud. The intention of this research project, using an initial sample of forty-nine students and a non-probability purposive sample of ten students studying to become D&T teachers was to tease out the factors which appear to enable some students to be passionate about creating a product to a given brief while others from similar backgrounds and expectations, given the same brief, and in the same learning situation, do not reach this level of enthusiasm. The data collection method used was an attitude scale and semi-structured interviews which were qualitatively analysed in order to identify factors involved, with the intention of informing and improving the way the authors teach their students, to design, and about design, with the additional aim of improving the students teaching of that activity once they become D&T teachers. Within the full paper results are discussed and tentative conclusions drawn.