Relevant bibliographies by topics / Product Design Creativity

Academic literature on the topic 'Product Design Creativity'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Product Design Creativity"

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Li, Yan, Jian Wang, Xianglong Li, and Wu Zhao. "Design creativity in product innovation." International Journal of Advanced Manufacturing Technology 33, no. 3-4 (May 9, 2006): 213–22. http://dx.doi.org/10.1007/s00170-006-0457-y.

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Han, Ji, Hannah Forbes, and Dirk Schaefer. "An Exploration of the Relations between Functionality, Aesthetics and Creativity in Design." Proceedings of the Design Society: International Conference on Engineering Design 1, no. 1 (July 2019): 259–68. http://dx.doi.org/10.1017/dsi.2019.29.

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AbstractCreativity is often said to play a vital role in the product design process, while functionality and aesthetics are considered key factors of actual products. Functionality refers to the performance of a product, and aesthetics represents the visual and ergonomic appeals of the product. However, there appears to be an elusive relation between creativity, functionality and aesthetics. This study explores how functionality, aesthetics and creativity are related to one another in design. Through exploring the definitions and assessments of creativity in design, this study reveals that novelty, usefulness and surprise are the three core elements of design creativity. A case study involving experts evaluating design samples in terms of novelty, usefulness, surprise, functionality, aesthetics and overall creativity is conducted. The results imply that there are no statistically significant relations between creativity, functionality, and aesthetics. Considering the three core elements of design creativity, the results indicate that creativity is only statistically significantly related to novelty. Moreover, our results suggest that creativity and novelty are measuring the same construct.
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Hsiao, Shih-Wen, and Jyh-Rong Chou. "A creativity-based design process for innovative product design." International Journal of Industrial Ergonomics 34, no. 5 (November 2004): 421–43. http://dx.doi.org/10.1016/j.ergon.2004.05.005.

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Tseng, Ming-Yu. "Towards a pragmatic analysis of product discourse." Pragmatics of professional discourse 7, no. 1 (April 7, 2016): 105–40. http://dx.doi.org/10.1075/ps.7.1.05tse.

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This study addresses Chinese discourse creativity in product discourse within Taiwan’s creative industries. Product discourse not merely introduces creative products but also does it creatively. Based on a corpus of 20 examples, this paper proposes the notion of creative force, a chain of acts contributing to discourse creativity, and argues that five types of acting work together in the design of creativity exemplified in such discourse. They are acts of telling or invoking a story, constructing identity and stance, making multiple meanings, blending, and performing culture. This paper also investigates metapragmatic performance in relation to creative force, i.e., how creative discourse which performs creative force is made possible and acceptable in society. Three metapragmatic aspects are under scrutiny: shared knowledge, metalinguistic awareness, and indexicality. All in all, this study aims to further substantiate our understanding of creativity and discourse in pragmatic and metapragmatic terms.
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Zhang, Weiguo, Jianyao Shu, Xitong Hu, and Yun Mei. "Research on product innovation design methods." E3S Web of Conferences 179 (2020): 02076. http://dx.doi.org/10.1051/e3sconf/202017902076.

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When the prehistoric man began to pick up stones, wood and other materials to make tools, we can confirm that creativity is not only the designer’s personal patent but a natural gift of humanity. As product designers, we must have more creativity than ordinary people. By analyzing a large number of actual design works and award-winning works in international competitions for many years, the author summarizes the similarities of creative design and explores the application of innovative product design methods in design.
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Yin, Yuan, Ji Han, Shu Huang, Haoyu Zuo, and Peter Childs. "A STUDY ON STUDENT: ASSESSING FOUR CREATIVITY ASSESSMENT METHODS IN PRODUCT DESIGN." Proceedings of the Design Society 1 (July 27, 2021): 263–72. http://dx.doi.org/10.1017/pds.2021.27.

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AbstractThis paper asked participants to assess four selected expert-rated Taiwan International Student Design Competition (TISDC) products using four methods: Consensual Assessment Technique (CAT), Creative Product Semantic Scale (CPSS), Product Creativity Measurement Instrument (PCMI), and revised Creative Solution Diagnosis Scale (rCSDS). The results revealed that, between experts and non-experts, the ranking results by the CAT and CPSS were the same, while the ranking results of the rCSDS were different. The CAT, CPSS, and TISDC methods provided the same results indicating that raters may return the same results on creativity assessment, and the results are not affected by the selected methods.If it is necessary to use non-experts to assess creativity and the creativity results are expected to be the same with that of experts, asking non-expert raters to use CPSS to assess creativity and then ranking the creativity score is more reliable. The study offers a contribution to the creativity domain on deciding which methods may be more reliable from a comparison perspective.
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Bleuzé, Tore, and J. Ceupens. "Product crossing: designing connections using a product example." International Journal Sustainable Construction & Design 2, no. 2 (November 6, 2012): 172–79. http://dx.doi.org/10.21825/scad.v2i2.20513.

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Today, more and more products are made with multi materials, hybrid materials and compositematerials to fulfil the more and more requiring product needs. Therefore connections and joints play a keyrole in (product) design. How to connect different parts remains one of the core questions in the design ofproducts. In practice designers often fall back on a few known joining solutions. Tools like a joiningselection software can be useful but can also limit the creativity of the designer. Certainly, in the beginningof the design process. Existing creativity techniques, which are suitable for all types of problems, can beused, but are mostly holistic and superficial. Therefore there is a need for divergent and inspirationaltechniques that focuses on the design of products and their connections. In this paper the authors discussan experimental method called “product crossing”, in which a real product is used as inspiration during theidea generation. The method was tested with several students with different backgrounds (industrial(product) design and mechanical design). They translated product properties and aspects of the exampleproduct in the specific context of their design which resulted in surprising product idea’s. The different testcases are also discussed in this paper.
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Suyidno, Suyidno, Mohamad Nur, Leny Yuanita, Binar Kurnia Prahani, and Budi Jatmiko. "EFFECTIVENESS OF CREATIVE RESPONSIBILITY BASED TEACHING (CRBT) MODEL ON BASIC PHYSICS LEARNING TO INCREASE STUDENT’S SCIENTIFIC CREATIVITY AND RESPONSIBILITY." Journal of Baltic Science Education 17, no. 1 (February 20, 2018): 136–51. http://dx.doi.org/10.33225/jbse/18.17.136.

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The Creative Responsibility Based Teaching (CRBT) model is an innovative physics-teaching model designed to enhance students’ scientific creativity and responsibility. Therefore, this research aims to analyze the effectiveness of CRBT model to improve scientific creativity and first year students’ responsibility on Basic Physics learning in academic year 2016/2017. This research used one group pre-test and post-test design on 144 students divided into 4 groups at University of Lambung Mangkurat, South Kalimantan (Indonesia). The data collection methods were conducted by using: scientific creativity tests emphasized on unusual uses indicator, problem finding, product improvement, creatively science problem solving, creatively experiment designing, and creatively product design; questionnaire of responsibility emphasized on: participatory indicator, respecting others, cooperation, leadership, and delivering opinion; and interviews. The data analysis technique was done by using paired t-test / Wilcoxon test, n-gain, and ANOVA / Kruskal-Wallis test. The results showed that there was a significant increase in students’ scientific creativity and responsibility at α = 5%, with n-gain average of moderate category, and both were not different (consistent) for all four groups. Thus, the CRBT model is effective for enhancing students’ scientific creativity and responsibility. Keywords: creative responsibility based teaching, physics learning, responsibility attitude, scientific creativity, first year students.
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Springer, Leonardo. "Fostering a Creativity Culture." Convergences - Journal of Research and Arts Education 15, no. 29 (May 31, 2022): 89–95. http://dx.doi.org/10.53681/c1514225187514391s.29.135.

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Design has evolved into a comprehensive discipline, its core areas (communication, product, spaces, web, service) are a fraction of its wide-ranging outcome which has expanded into specialized fields of knowledge. The creative process greatly depends on previously acquired cognitive knowledge (socio-cultural and moral values). This usually originates within a cultural context, that provides visual, audio, and kinaesthetic manifestations, requiring interpretations and understanding of both the designer and the end-user. Design education had to adapt and evolve accordingly, applying methodologies and encompassing a transdisciplinary approach involving research, art, materials, technology, processes, and human interactions in the development of design solutions, emphasizing understanding over output. Global culture and cultural expressions have created a need in design schools to foster understanding, encouraging students to ask questions and develop awareness of wide-ranging design manifestations, thus addressing a variety of subjects without prejudice of individual beliefs. This learning and sharing of experiences can produce meaningful results, considering that civilization is influenced by cultural interactions, regarding users and products/services. These are assessed as good/bad and beautiful/ugly, depending on specific cultural background and distinct interpretations. Cultural unawareness impairs individuals to develop creative thinking and accordingly innovative solutions. The issue presents itself, how to encourage creativity among design students, many unaware of their cultural background, thus overcoming the fear of failure, developing curiosity, applying research methodologies, and engaging in discussions that foster a mindfulness about design.
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Hassankhouei, Elaheh, Alireza Rezvani, Vahid Ahmadi, and Fatemeh Haji arbabi. "Design and Validation product Creativity Evaluation Model in Architectural Design Education." Iranian Journal of Educational Sociology 4, no. 3 (September 1, 2021): 11–18. http://dx.doi.org/10.52547/ijes.4.3.11.

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Dissertations / Theses on the topic "Product Design Creativity"

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Marin, Vidal Flavio Alejandro. "Metaphor and cognition| Creativity in new product design." Thesis, Instituto Tecnologico y de Estudios Superiores de Monterrey (Mexico), 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3570883.

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Through nine experiments, this research advances knowledge about the influence of metaphors grounded in the visual sensory system on creative cognition by showing that perceiving ostensibly task-unrelated visual images that carry metaphoric meaning alters consumers’ creativity. While the results of Experiments 1a, 1b, and 2 provide convergent evidence that positive visual metaphors representing ideas like “I just had a light go on” increase consumers’ creative output, Experiments 3a and 3b reveals that a negative visual metaphor conveying ideas like “ I am burnt out” decrease it. Experiments 4a and 4b show that aptness and familiarity moderate the metaphor creativity link, and Experiment 6 shows that the metaphor–creativity link is moderated by analogical reasoning skills. Experiment 5 uncovers the mediating role of creative intent. In addition to implying that marketers can use metaphors to enhance consumers’ creative feedback in areas like new product development, this research also makes important theoretical contributions by showing (1) that grounded visual metaphors (in addition to tangible objects or physical exercises) can not only raise but also lower creative output, (2) that the cognitive relationship to the metaphor alters the metaphor-creativity link, (3) that a unique cognitive skill alters the metaphor–creativity link, and (4) that consumers’ intentions explain that relationship.

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Kudrowitz, Barry M. (Barry Matthew). "Haha and aha! : creativity, idea generation, improvisational humor, and product design." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61610.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 107-116).
It is widely recognized that innovation and creativity is the new competitive battleground for product development firms. Engineers and product designers are now expected to be highly creative, prolific idea generators in addition to being analytically competent. Thus, it is of interest to study methods to improve a designer's idea generation capabilities. It is believed that wit, being spontaneous humor production, is strongly related to creativity as both involve making nonobvious connections between seemingly unrelated things. This thesis looks into the realm of humor and improvisational comedy to suggest means of enhancing creative output in blue-sky product design idea generation. We have found that the ability to quickly generate many ideas is strongly correlated (r2=.82) with being able to come up with a single, promising, creative idea. It was also found that, with appropriate training, individuals may learn to become more prolific idea generators. Furthermore, improvisational comedians were more proficient at new product idea generation than professional product designers, and methods for training comedians can be effectively adapted to product design idea generation. In a study where 84 participants (students, professional designers and improvisational comedians) took a cartoon caption humor test and a nominal product brainstorming test, we found that improvisational comedians on average produced 20% more product ideas and 25% more creative product ideas than professional product designers. Furthermore, the few individuals that were highly prolific in both creative product ideation and humorous cartoon caption production had an improvisational comedy background. Many of the games used in improvisational comedy training are intended to promote associative thinking. We designed an improvisational comedy workshop composed of these association-based games. A group of 11 subjects who participated in this workshop increased their idea output on average by 37% in a subsequent product brainstorming session. Our findings suggest that improvisational comedy games are a useful warm-up for idea generation, that prolific generation is not a domain-specific ability and that it is possible to teach creativity. Ultimately, this work can lead to the development of tools and methods that designers can use to improve their idea generation skills.
by Barry Matthew Kudrowitz.
Ph.D.
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Santarelli, Bruno. "Creativity, design and management in Australian fashion enterprises." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1770.

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In this study a number of Australian fashion enterprises are investigated in an effort to understand how product development is managed and creativity facilitated. Of particular interest was the interaction between the various actors in the creative process and the manner in which they influenced creative output. The study was underpinned by a wideranging review of the literature that reflects the multidisciplinary nature of creativity and innovation in business. The study is timely because Australian fashion enterprises are operating in an increasingly challenging market with a perfect storm of competitive drivers at play. Technology enables instant dissemination of fashion trends and easy international shopping online. Tariff reductions and free trade agreements provide less protection for local manufacturers and revenues have contracted sharply in recent years. Retail revenues have flat-lined at a time when a number of global superbrands are opening stores in Australia with aggressive expansion plans. In response, government and industry groups are promoting product differentiation and innovation as key levers for competitiveness for Australian businesses. The reason for undertaking the study was to investigate contemporary product development practices, to identify barriers to creativity and find ways that enterprises can leverage the creative abilities of employees to improve innovation practices. Managers of six enterprises from a diverse range of markets and enterprise types agreed to participate in a descriptive study of their product development practices. The study deployed a qualitative case based methodology and used a combination of data collection types including participant observation and field observation, field interviews, documents and artefacts. The data was analysed within case for key contextual findings and across case for broader themes and patterns. Participant enterprises employed a variety of approaches to product development as described in the innovation literature (for example, Cappetta, Cillo, & Ponti, 2006; Cillo & Verona, 2008; Dell'Era & Verganti, 2007; Payne, 2011; Perks, Cooper, & Jones, 2005; Ward, Runcie, & Morris, 2009; Weller, 2007), with hybrid approaches at work in some cases. Management were not always aware of the practice implications for the various approaches, and though all participants deemed creativity important, it was not explicitly measured or rewarded. The dichotomy between management and creativity, a prevalent theme in the literature (for example, Adorno, 1997; Caves, 2000; Townley, Beech, & McKinlay, 2009), did not present strongly in the participant cases. Instead, more collaborative creative practices were in evidence where designers, merchandisers, sales and business managers developed and decided on product together. The study provides rich detail about collaborative product development practices at an operational level that balances the management and leadership focus of the literature by leading creativity scholars in the field (for example, Amabile, Schatzel, Moneta, & Kramer, 2004; Basadur, 2004; Černe, Jaklič, & Škerlavaj, 2013; Mumford, Scott, Gaddis, & Strange, 2002; Shalley & Gilson, 2004). Similar to Tran’s (2010) detailed study on the practice of fashion designers, this study provides a window into distributed creative processes involving a variety of actors. Cross case analysis has revealed a number of themes that have implications for practice. These include the need for greater alignment of product development with strategic intent; the influence of organisational structure and reporting on creative processes; and the need to develop metrics and performance management systems that focus specifically on creativity.
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Wojtczuk, Alicja. "Creative product assessment in design : Influence of judges’ backgrounds and levels of experience in design." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3033/document.

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L'objectif général de cette thèse est d'étudier l'évaluation de la créativité dans le domaine du design. Plus précisément, ce travail se centre sur l'évaluation de productions créatives en design graphique et il repose sur des méthodes complémentaires d'analyse des critères utilisés par des juges. L'approche adoptée vise à explorer les variations de jugements, dans différents contextes d'évaluation, afin d'identifier les facteurs influant sur les critères (ou les « référents évaluatifs ») qui sont pris en considération par les juges. Deux facteurs ont plus particulièrement été pris en compte : les points de vue adoptés par les juges en fonction de leur parcours professionnel (designers, directeurs artistiques, enseignants en design et public visé) et le niveau d'expertise en design (experts affirmés, experts intermédiaires et non-experts).Cette recherche a été réalisée dans différents contextes d'évaluation et elle tente d'identifier les éléments caractéristiques des jugements, selon le profil des juges émettant ces jugements. La première étude vise à comprendre les représentations mentales des juges, en explorant les critères qu'ils déclarent importants pour la créativité. La seconde étude analyse les corrélations entre les scores attribués aux productions en design sur un ensemble des critères, ainsi que les niveaux d'accords inter-juges pour chacun de ces critères. La troisième étude permet une analyse qualitative des verbalisations spontanées exprimées par des juges durant leurs évaluations de productions en design
The present thesis aims to study creativity assessments in design. More precisely, this research focuses on the evaluation of creative productions in graphic design area and it is based on complementary methods of analysis of used criteria and "evaluative referents". It aims to identify, in various assessment contexts, factors that exert an influence on the judgments of creative productions. It develops a multiple feedback approach by exploring assessments made by judges with different professional backgrounds (designers, art directors, design teachers and targeted audience) and levels of experience in design (asserted experts, intermediary experts and laypeople).The research frame includes different contexts of assessment situations and tries to capture the characteristics of judges' approaches to creativity in design, on the basis of three complementary studies. The first study focusses on judges' mental representations by exploring criteria they declare important to creativity in design. The second study allows an analysis of correlations between scores attributed to design productions with regard to different criteria as well as an analysis of inter-judge agreement on them. The third study aims to perform qualitative analyses of spontaneous verbalizations expressed by judges during their analyses of design outcomes
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Breslau, Frederico [UNESP]. "Subjetividade e complexidade em design: um mapeamento acerca do design de relações." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/89731.

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Made available in DSpace on 2014-06-11T19:24:10Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-15Bitstream added on 2014-06-13T20:31:10Z : No. of bitstreams: 1 breslau_f_me_bauru.pdf: 1285699 bytes, checksum: ba1e5a70b71534c62d62a01460d11c5c (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Dados os recentes indícios quanto a configuração da chamada realidade, explicitadas pelas ciências duras (físicas, e a matemática), pelas biológicas e pela filosofia, o presente texto busca traçar um panorama do momento histórico contemporâneo, sob a ótica do design e sua ressignificação simbólica e cognitiva. Recriam-se assim as relações do homem com suas linguagens, seu corpo e seu espaço, através de novas leituras subjetivas do compo do real. Este trabalho é parte de um estudo mais amplo, desenvolvido coletivamente, e que busca lançar luz sobre o modo de produção de objetos sensíveis, tentando com isso, gerar novas propostas sobre a construção projetual
Given evidence for the configuration of the so-called reality, explained bu the hard sciences (physics, mathematics) by the biological ones and by philosophy, this dissertation seeks to give an overview of the contemporary historical moment, from the perspective of design and its symbolic and cognitive signification. So that the relationship between man and his language, his body and his space are recreated through new readings of the field of subjective reality. This work is part of a larger study that seeks to shed light on the mode of production of sensible objects, and it tries to generate new proposals for the construction of the architectural design
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Mateus, Américo da Conceição. "Product/Brand co-creation methodology crossing marketing, design thinking, creativity and management: ideas(r)evolution." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19162.

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This thesis introduce a new innovation methodology called IDEAS(R)EVOLUTION that was developed according to an on-going experimental research project started in 2007. This new approach to innovation has initial based on Design thinking for innovation theory and practice. The concept of design thinking for innovation has received much attention in recent years. This innovation approach has climbed from the design and designers knowledge field towards other knowledge areas, mainly business management and marketing. Human centered approach, radical collaboration, creativity and breakthrough thinking are the main founding principles of Design thinking that were adapted by those knowledge areas due to their assertively and fitness to the business context and market complexity evolution. Also Open innovation, User-centered innovation and later on Living Labs models emerge as answers to the market and consumers pressure and desire for new products, new services or new business models. Innovation became the principal business management focus and strategic orientation. All this changes had an impact also in the marketing theory. It is possible now to have better strategies, communications plans and continuous dialogue systems with the target audience, incorporating their insights and promoting them to the main dissemination ambassadors of our innovations in the market. Drawing upon data from five case studies, the empirical findings in this dissertation suggest that companies need to shift from Design thinking for innovation approach to an holistic, multidimensional and integrated innovation system. The innovation context it is complex, companies need deeper systems then the success formulas that “commercial “Design thinking for innovation “preaches”. They need to learn how to change their organization culture, how to empower their workforce and collaborators, how to incorporate external stakeholders in their innovation processes, hoe to measure and create key performance indicators throughout the innovation process to give them better decision making data, how to integrate meaning and purpose in their innovation philosophy. Finally they need to understand that the strategic innovation effort it is not a “one shot” story it is about creating a continuous flow of interaction and dialogue with their clients within a “value creation chain“ mindset; RESUMO: Metodologia de co-criação de um produto/marca cruzando Marketing, Design Thinking, Criativity and Management - IDEAS(R)EVOLUTION. Esta dissertação apresenta uma nova metodologia de inovação chamada IDEAS(R)EVOLUTION, que foi desenvolvida segundo um projecto de investigação experimental contínuo que teve o seu início em 2007. Esta nova abordagem baseou-se, inicialmente, na teoria e na práctica do Design thinking para a inovação. Actualmente o conceito do Design Thinking para a inovação “saiu” do dominio da area de conhecimento do Design e dos Designers, tendo despertado muito interesse noutras áreas como a Gestão e o Marketing. Uma abordagem centrada na Pessoa, a colaboração radical, a criatividade e o pensamento disruptivo são principios fundadores do movimento do Design thinking que têm sido adaptados por essas novas áreas de conhecimento devido assertividade e adaptabilidade ao contexto dos negócios e à evolução e complexidade do Mercado. Também os modelos de Inovação Aberta, a inovação centrada no utilizador e mais tarde os Living Labs, emergem como possiveis soluções para o Mercado e para a pressão e desejo dos consumidores para novos productos, serviços ou modelos de negócio. A inovação passou a ser o principal foco e orientação estratégica na Gestão. Todas estas mudanças também tiveram impacto na teoria do Marketing. Hoje é possivel criar melhores estratégias, planos de comunicação e sistemas continuos de diálogo com o público alvo, incorporando os seus insights e promovendo os consumidores como embaixadores na disseminação da inovação das empresas no Mercado Os resultados empiricos desta tese, construídos com a informação obtida nos cinco casos realizados, sugerem que as empresas precisam de se re-orientar do paradigma do Design thinking para a inovação, para um sistema de inovação mais holistico, multidimensional e integrado. O contexto da Inovação é complexo, por isso as empresas precisam de sistemas mais profundos e não apenas de “fórmulas comerciais” como o Design thinking para a inovação advoga. As Empresas precisam de aprender como mudar a sua cultura organizacional, como capacitar sua força de trabalho e colaboradores, como incorporar os públicos externos no processo de inovação, como medir o processo de inovação criando indicadores chave de performance e obter dados para um tomada de decisão mais informada, como integrar significado e propósito na sua filosofia de inovação. Por fim, precisam de perceber que uma estratégia de inovação não passa por ter “sucesso uma vez”, mas sim por criar um fluxo contínuo de interação e diálogo com os seus clientes com uma mentalidade de “cadeia de criação de valor”
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Breslau, Frederico. "Subjetividade e complexidade em design : um mapeamento acerca do design de relações /." Bauru : [s.n.], 2010. http://hdl.handle.net/11449/89731.

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Resumo: Dados os recentes indícios quanto a configuração da chamada realidade, explicitadas pelas ciências duras (físicas, e a matemática), pelas biológicas e pela filosofia, o presente texto busca traçar um panorama do momento histórico contemporâneo, sob a ótica do design e sua ressignificação simbólica e cognitiva. Recriam-se assim as relações do homem com suas linguagens, seu corpo e seu espaço, através de novas leituras subjetivas do compo do real. Este trabalho é parte de um estudo mais amplo, desenvolvido coletivamente, e que busca lançar luz sobre o modo de produção de objetos sensíveis, tentando com isso, gerar novas propostas sobre a construção projetual
Abstract: Given evidence for the configuration of the so-called reality, explained bu the hard sciences (physics, mathematics) by the biological ones and by philosophy, this dissertation seeks to give an overview of the contemporary historical moment, from the perspective of design and its symbolic and cognitive signification. So that the relationship between man and his language, his body and his space are recreated through new readings of the field of subjective reality. This work is part of a larger study that seeks to shed light on the mode of production of sensible objects, and it tries to generate new proposals for the construction of the architectural design
Orientador: Olimpio José Pinheiro
Coorientador: Dorival Campos Rossi
Banca: Jorge Albuquerque Vieira
Mestre
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Mets, Josephine, and Cilla Niklasson. "Design & Kreativitet : och omvärldens orimliga krav." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-19624.

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In a time where fast trends and shorter product lifecycles are dominating the clothing industryfashion companies must constantly deliver revolutionary products in order to survive. Theconsumers are more demanding than ever before and collections that used to be released twicea year are almost nothing but a memory lost. Some companies are now releasing theircollections continuously and have abandoned the seasons completely. Media has put attentionon the speed that the fashion industry is moving in now and asks whether we can expect it toimplode?The purpose of the thesis is to establish how the creative process in a company operating onthe Swedish or the Danish clothing market is affected by external factors i.e. the everdecreasing life span of products and consumers becoming increasingly savvy, amongst manyother factors. It also attempts to determine whether what the media is broadcasting isconsistent with how designers experience the evolution of the clothing industry in this area orthe world.This study is conducted using a qualitative research method with a deductive approach. Basedon the theories collected empirics were formed relating to the subject. The empirics werecreated through qualitative interviews conducted with respondents from four differentcompanies. The companies and the respondents have been chosen with a non-probableselection in order to obtain varied and relevant empirics. The data gathered from theseinterviews was then analyzed and compared to the chosen theory to ascertain patterns ofsimilarities or dissimilarities.The drawn conclusion is that the creativity suffers on account of many different factors, forexample; stress, organizational structure, freedom within the organization and sales. Theworry that has been expressed in the media is justified and the workload has partly increased.The study also showed that the designers wanted to follow their own path but had to considerthe consumer’s wishes and the demands of the company.
Program: Textilekonomutbildningen
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Ruiz, Pastor Laura. "Análisis y medición conjunta del grado de circularidad y de novedad en la fase conceptual del diseño de productos." Doctoral thesis, Universitat Jaume I, 2021. http://hdl.handle.net/10803/671257.

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Cada vez existe más interés y necesidad de implantar el modelo de economía circular, basado en mantener los recursos en circulación el mayor tiempo posible. El diseño de producto es una disciplina que necesita estar en continua innovación para satisfacer las nuevas necesidades que surgen en la sociedad. Dentro de las etapas que el diseño de productos abarca, la etapa de diseño conceptual es la etapa más flexible y donde se lleva a cabo la actividad creativa. Esta tesis muestra el diseño de una métrica de evaluación de propuestas conceptuales que cubre todos los aspectos integrados en la economía circular, referentes al diseño de producto, y que proporciona un resultado objetivo de medición conjunta de la circularidad y la novedad, fomentando que las propuestas tengan las dos características conjuntas. También se estudia cómo introducir la economía circular en el proceso de diseño sin perjudicar a la creatividad de los resultados.
There is an increasing interest and need to implement the circular economy model, based on keeping resources in circulation for as long as possible. Product design is a discipline that needs to be in continuous innovation to meet the new needs that arise in society. Within the stages that product design encompasses, the conceptual design stage is the most flexible stage and where the creative activity is carried out. This thesis shows the design of an evaluation metric for conceptual proposals that covers all the aspects integrated into the circular economy, referring to product design, and that provides an objective result of combined measurement of circularity and novelty, encouraging the proposals to have both characteristics together. It also studies how to introduce the circular economy in the design process without harming the creativity of the results.
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Gogia, Hardik, and Amit Shirsat. "An empirical investigation of How does ISO 9001 standards affect innovation and creativity." Thesis, Högskolan i Halmstad, Akademin för ekonomi, teknik och naturvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-39751.

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Books on the topic "Product Design Creativity"

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Jarvis, Anthony Peter. Exploring design: Towards a greater understanding of the design process; with particular reference to engineering design, creativity, and the appropriateness of the resultant products. Birmingham: University of Birmingham, 1997.

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Fotieva, Irina, Tamara Semilet, Elena Lukashevich, and Vladimir Vitvinchuk. Russian journalism today: social mission and professional skills. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1044192.

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This monograph is the search for answers to the questions that confront contemporary Russian journalism social and cultural situation of modernity. The authors analyze the correlation of proper and existing in the implementation of the social mission of journalism, the journalism education system, the use of media technologies, the field of journalistic ethics, language and communicative practices of the public sphere, the social effects produced by the media. As the main characteristics of the modern state of Russian journalism finds confrontation and the confrontation of philosophical positions and methodological studies; in the field of journalism education — the confrontation of the instrumental-pragmatic and humanitarian paradigms; in the creation of modern media — focus on creativity or technology; tolerance or ethics in media communication; definition of leadership in the formation of public opinion and the ignition of problem areas. Attempts a comprehensive comprehension of the actual problems of modern Russian media: axiological foundations and the social role of journalism; the criteria of journalistic skills and professional ethics; perspectives of media education, language problems of modern communication and success factors of verbal interaction in the media. Designed for teachers of University departments and faculties of journalism and other Humanities, students in related disciplines and all interested in data range of issues.
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Lewrick, Michael. Design Thinking and Innovation Metrics: Powerful Tools to Manage Creativity, OKRs, Product, and Business Success. Wiley & Sons, Incorporated, John, 2023.

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Lewrick, Michael. Design Thinking and Innovation Metrics: Powerful Tools to Manage Creativity, OKRs, Product, and Business Success. Wiley & Sons, Incorporated, John, 2023.

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Lewrick, Michael. Design Thinking and Innovation Metrics: Powerful Tools to Manage Creativity, OKRs, Product, and Business Success. Wiley & Sons, Incorporated, John, 2023.

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Stoneman, Paul, Eleonora Bartoloni, and Maurizio Baussola. The Microeconomics of Product Innovation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816676.001.0001.

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The prime objective of this book is the use microeconomic analysis to guide and provide insight into the generation and adoption of new products. Taking an approach that uses minimal formal mathematics, the volume initially addresses questions of definitions, sources, and extent of product innovation, differentiating between goods and services; hard and soft innovations; horizontal and vertical innovations; original, new to market, and new to firm innovations. The sources of product innovations (e.g. R&D, design, and creativity) are explored empirically, and the extent of such innovations is then pursued using survey and other data. Three chapters are devoted to the theoretical analysis of the demand for and supply of new products and to the determination of firms’ decisions to undertake product innovation. Later chapters encompass empirical evidence on the determination of the extent of product innovation, the diffusion of such innovation, the impact of product innovation on firm performance, price measurement, and welfare, while the final chapter addresses policy issues.
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Lewrick. Design Thinking and Innovation Metrics: Powerful T Ools to Manage Creativity, OKR′s, Product, and Bus Iness Success. Wiley & Sons, Limited, John, 2023.

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Stoneman, Paul, Eleonora Bartoloni, and Maurizio Baussola. Sources of New Products. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816676.003.0003.

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This chapter discusses the main sources of product innovations, thus encompassing R&D, design activity, creativity, imports, foreign direct investment, and the emulation of others. Although there is no neat statistical breakdown of the relative importance of the various sources, R&D is not the sole source of new products. It will be especially important in some industries; but in others—such as the creative industries—design and creativity may be more relevant. For any individual economy, many product innovations may originate from or be supplied from outside the national economy. Emulation is also a major source of innovative new products, and the chapter discusses how emulation may be limited by formal and informal means of protecting intellectual property.
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Chakrabarti, Amaresh. ICoRD’15 – Research into Design Across Boundaries Volume 2: Creativity, Sustainability, DfX, Enabling Technologies, Management and Applications. Springer, 2016.

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Chakrabarti, Amaresh. ICoRD’15 – Research into Design Across Boundaries Volume 2: Creativity, Sustainability, DfX, Enabling Technologies, Management and Applications. Springer, 2015.

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Book chapters on the topic "Product Design Creativity"

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Chakrabarti, Amaresh. "Design Creativity Research." In Product Research, 17–39. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2860-0_2.

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Rashid, Karim. "Changing the aesthetics of product design." In Creativity, 224–35. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230592728_21.

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Ourahmoune, Nacima. "Product design and creativity." In Marketing Management, 328–42. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780203710807-25.

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Hain, Karl, Christoph Rappl, and Markus Fraundorfer. "A Creativity Environment for Educational Engineering Projects when Developing an Innovative Product: A Case Study." In Design Creativity 2010, 273–80. London: Springer London, 2011. http://dx.doi.org/10.1007/978-0-85729-224-7_35.

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Wormald, Paul W. "Front End Industrial Design (FE-ID) - Developing New Tools and Models for Industrial Designers to Operate at the Front End of New Product Development." In Design Creativity 2010, 175–82. London: Springer London, 2011. http://dx.doi.org/10.1007/978-0-85729-224-7_23.

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Starkey, E. M., A. S. McKay, S. T. Hunter, and S. R. Miller. "Dissecting Creativity: How Dissection Virtuality, Analogical Distance, and Product Complexity Impact Creativity and Self-Efficacy." In Design Computing and Cognition '16, 59–77. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-44989-0_4.

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Yuan, Xiaofang, and Ji-hyun Lee. "Toward a Computational Approach of Creativity Assessment in Product Design." In Communications in Computer and Information Science, 50–62. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38974-0_5.

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Ikuine, Fumihiko. "Analytical Framework and Research Design: Definition of Innovations, Types of Innovations and the Methods of Empirical Research." In The Efficiency and Creativity of Product Development, 39–50. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-7743-4_3.

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Marques, Karuliny, André Ogliari, Rodrigo Bastos Fernandes, and Matheus Gomes. "Affordance Based Design: The Affordance Digital Stimuli Tool to Stimulate Creativity During Product Design." In Proceedings of IDEAS 2019, 197–207. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55374-6_20.

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Song, Jiajia. "Exploration of Bio-Based Materials and Sustainable Product Design: A Case Study of BioPlastic Preparation and Design." In Advances in Creativity, Innovation, Entrepreneurship and Communication of Design, 185–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51626-0_22.

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Conference papers on the topic "Product Design Creativity"

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Bruno, Carmen, and Marita Canina. "CREATIVITY 4.0. EMPOWERING CREATIVITY IN THE DIGITAL ERA." In 21st International Conference on Engineering and Product Design Education. The Design Society, 2019. http://dx.doi.org/10.35199/epde2019.25.

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Yi Wang, Jiamin Wang, and Shuoping Jin. "Colour research and creativity in product design." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375286.

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Anggreeni, Irene, and Mascha van der Voort. "Supporting Scenario Building in Product Design." In People and Computers XXII Culture, Creativity, Interaction. BCS Learning & Development, 2008. http://dx.doi.org/10.14236/ewic/hci2008.45.

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Finlay, Jamie Patrick, and Adam Papworth. "EMBEDDING CREATIVITY IN ENGINEERING DEGREE PROGRAMMES." In 21st International Conference on Engineering and Product Design Education. The Design Society, 2019. http://dx.doi.org/10.35199/epde2019.43.

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Regazzoni, Daniele, and Caterina Rizzi. "Enhancing Modular Design With Creativity Tools." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49666.

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This research work regards the development of a new roadmap for complex products design based on an improved modular approach. The goal is to refine an existing method affected by some drawbacks into a to new product development paradigm, with the aim of reducing design times, mistakes and subjectivity. The best results came from integrating a set of diverse methodologies for product design and systematic innovation. The proposed design paradigm is based on an improved Modular-TRIZ-DSM approach, and the results obtained, in terms of modules definition and interfaces, have been evaluated. The most important results concern a better repeatability of design results and the capability to forecast technical evolution of a specific product family. After a short description of the methodologies of interest, the roadmap is described focusing on the differences from the traditional method.
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Toh, Christine A., and Scarlett R. Miller. "Visual Inspection or Product Dissection? The Impact of Designer-Product Interactions on Engineering Design Creativity." In ASME 2013 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/detc2013-13087.

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Designers commonly interact with products in the early phases of design in order to understand the solution space and gain inspiration for new designs. Although designer-product interaction methods such as visual inspection and product dissection are recognized as a pivotal component of the engineering design process, little data is available on how these practices affect idea generation or when these activities are most useful for inspiring creative thought. Therefore, the current study was developed to understand the impact of these activities on creative idea generation. During our controlled study, fifty-nine undergraduate engineering students were instructed to either visually inspect or physically dissect an example milk frother and then generate ideas for a new, innovative design. These concepts were then evaluated for their novelty, variety, quality and quantity. Our analysis (ANOVA) revealed that participants who physically dissected the example frother produced ideas that were more novel but of lower quality than those that simply inspected the frother. Our results provide insights on the impact of designer-product interactions on creativity and we use these findings to develop recommendations for the use and alterations of these practices for improving creativity in engineering design.
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Canina, Maria Rita, and Carmen Bruno. "DESIGN AND CREATIVITY FOR DEVELOPING DIGITAL MATURITY SKILLS." In 23rd International Conference on Engineering and Product Design Education. The Design Society, 2021. http://dx.doi.org/10.35199/epde.2021.46.

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Lopez B., Christian E., Xuan Zheng, and Scarlett R. Miller. "Linking Creativity Measurements to Product Market Favorability: A Data-Mining Approach." In ASME 2017 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/detc2017-67622.

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While creative ideas can lead to market success and payoff, they are also associated with high risks and uncertainties. One way to reduce these uncertainties is to provide decision makers with valuable information about the innovative potential and future success of an idea. Even though several metrics have been proposed in the literature to evaluate the creativity of early design-stage ideas, these metrics do not provide information about the future product success or market favorability of new product ideas. Hence, existing metrics fail to link the creativity of early-stage ideas to their future market favorability. In order to bridge this gap, the current work proposes a new metric to estimate early design-stage ideas’ favorability and analyzes its relationship with current creativity metrics. A data-mining driven method to assess the future favorability of new product ideas using customers’ reviews of current market products that shared similar features with the new ideas of interest is presented. The results suggest that the new product idea favorability is positively correlated with relative creativity metrics and existing product market favorability ratings. This method can be used to help designers gain a better insight into the creativity and market favorability potential of new product ideas in early design-stages via a systematic approach; hence, helping reduce the risks and uncertainties associated with early-phase ideas during the screening and selecting process.
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Alhussain, Danah Fouad, John Counsell, Nick Perham, and Jon Pigott. "CAN SOUND OVERCOMES CHALLENGES AND BOOST STUDENTS CREATIVITY?" In The 22nd International Conference on Engineering and Product Design Education. The Design Society, 2020. http://dx.doi.org/10.35199/epde.2020.73.

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Empson, Thomas, Shannon Chance, and Shushma Patel. "A CRITICAL ANALYSIS OF ‘CREATIVITY’ IN SUSTAINABLE PRODUCTION AND DESIGN." In 21st International Conference on Engineering and Product Design Education. The Design Society, 2019. http://dx.doi.org/10.35199/epde2019.4.

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Reports on the topic "Product Design Creativity"

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Führ, Martin, Julian Schenten, and Silke Kleihauer. Integrating "Green Chemistry" into the Regulatory Framework of European Chemicals Policy. Sonderforschungsgruppe Institutionenanalyse, July 2019. http://dx.doi.org/10.46850/sofia.9783941627727.

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20 years ago a concept of “Green Chemistry” was formulated by Paul Anastas and John Warner, aiming at an ambitious agenda to “green” chemical products and processes. Today the concept, laid down in a set of 12 principles, has found support in various arenas. This diffusion was supported by enhancements of the legislative framework; not only in the European Union. Nevertheless industry actors – whilst generally supporting the idea – still see “cost and perception remain barriers to green chemistry uptake”. Thus, the questions arise how additional incentives as well as measures to address the barriers and impediments can be provided. An analysis addressing these questions has to take into account the institutional context for the relevant actors involved in the issue. And it has to reflect the problem perception of the different stakeholders. The supply chain into which the chemicals are distributed are of pivotal importance since they create the demand pull for chemicals designed in accordance with the “Green Chemistry Principles”. Consequently, the scope of this study includes all stages in a chemical’s life-cycle, including the process of designing and producing the final products to which chemical substances contribute. For each stage the most relevant legislative acts, together establishing the regulatory framework of the “chemicals policy” in the EU are analysed. In a nutshell the main elements of the study can be summarized as follows: Green Chemistry (GC) is the utilisation of a set of principles that reduces or eliminates the use or generation of hazardous substances in the design, manufacture and application of chemical products. Besides, reaction efficiency, including energy efficiency, and the use of renewable resources are other motives of Green Chemistry. Putting the GC concept in a broader market context, however, it can only prevail if in the perception of the relevant actors it is linked to tangible business cases. Therefore, the study analyses the product context in which chemistry is to be applied, as well as the substance’s entire life-cycle – in other words, the six stages in product innovation processes): 1. Substance design, 2. Production process, 3. Interaction in the supply chain, 4. Product design, 5. Use phase and 6. After use phase of the product (towards a “circular economy”). The report presents an overview to what extent the existing framework, i.e. legislation and the wider institutional context along the six stages, is setting incentives for actors to adequately address problematic substances and their potential impacts, including the learning processes intended to invoke creativity of various actors to solve challenges posed by these substances. In this respect, measured against the GC and Learning Process assessment criteria, the study identified shortcomings (“delta”) at each stage of product innovation. Some criteria are covered by the regulatory framework and to a relevant extent implemented by the actors. With respect to those criteria, there is thus no priority need for further action. Other criteria are only to a certain degree covered by the regulatory framework, due to various and often interlinked reasons. For those criteria, entry points for options to strengthen or further nuance coverage of the respective principle already exist. Most relevant are the deltas with regard to those instruments that influence the design phase; both for the chemical substance as such and for the end-product containing the substance. Due to the multi-tier supply chains, provisions fostering information, communication and cooperation of the various actors are crucial to underpin the learning processes towards the GCP. The policy options aim to tackle these shortcomings in the context of the respective stage in order to support those actors who are willing to change their attitude and their business decisions towards GC. The findings are in general coherence with the strategies to foster GC identified by the Green Chemistry & Commerce Council.
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