Sketching and creative discovery

In the search for helpful computer tools for sketching in the early phases of design, the approach was taken to experimentally study sketching behaviour. In two series of experiments two mental processes revealed themselves as essential in the creative process: Restructuring and Combining. These two processes are in turn influenced by expertise in sketching and individual creativity. In this article each of the factors: Combining, Restructuring, Expertise and Creativity, will be separately highlighted with respect to their impact on sketching behavior. Finally, on the basis of these results conclusions are drawn for computerized sketching aids.     

Powers of observation in creative design

Being perceptive is a trait highly valued in scientific and engineering professions. What a scientist or engineer notices while considering a problem, evaluating alternatives, or interpreting data has a profound impact on how a problem is viewed and solved. This paper focuses on processes we believe underlie being perceptive: firstly, preparation—becoming attuned to salient or important features; secondly, assimilation-detection and exploration of patterns (invariants) as well as anomalies; and thirdly, strategic control-heuristic strategies for exploring the implications of what has been observed. These processes play an integral role in characteristic activities within creative design, including problem reformulation, the emergence of properties and constraints on the solution, and the ability to incorporate into the design experimental feedback from the environment and from experiences with prototypes and previous designs. The paper presents a computational model incorporating these ideas, implemented in a system called IMPROVISER.     

Unexpected discoveries and S-invention of design requirements: important vehicles for a design process

Designers, during a conceptual design process, do not just synthesize solutions that satisfy initially given requirements, but also invent design issues or requirements that capture important aspects of the given problem. How do they do this? What becomes the impetus for the invention of important issues or requirements? So-called ‘unexpected discoveries', the acts of attending to visuo-spatial features in sketches which were not intended when they were drawn, are believed to contribute to it. The purpose of the present research is to verify this hypothesis. Analysing the cognitive processes of a practising architect in a design session, we found that in about a half of his entire design process there were bi-directional relations between unexpected discoveries and the invention of issues or requirements. Not only did unexpected discoveries become the driving force for the invention of issues or requirements, but also the occurrence of invention, in turn, tended to cause new unexpected discoveries. This has provided empirical evidence for two anecdotal views of designing. First, designing is a situated act; designers invent design issues or requirements in a way situated in the environment in which they design. We call inventions of this sort situated-invention (S-invention). Secondly, a design process progresses in such a way that the problem-space and the solution-space co-evolve. Further, this has brought a pedagogical implication as well as an insight about an important aspect of learning by experience in design.