Concept blending and dissimilarity: factors for creative concept generation process

Nagai, Yukari; Taura, Toshiharu; Mukai, Futoshi

doi:10.1016/j.destud.2009.05.004

Cited by 93 publications

(53 citation statements)

References 14 publications

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“…The authors followed Nagai and Taura (2006; see also Nagai, Taura, & Mukai, 2009) in identifying three different ways of achieving concept synthesis in the creative process, with each way moving higher up the abstraction hierarchy, that is: (1) concept abstraction, which is the identification and mapping of similar, concrete features or properties between two concepts to create a novel concept (equivalent to analogizing at a very literal level); (2) concept blending, which is the identification of both similarity and dissimilarity between concepts with a view to creating a -26 -novel synthesis capitalizing on both the correspondence and discrepancy; and (3) concept integration, which is the identification of thematic relations to create a novel synthesis that exploits highly abstract relations. Interestingly, D'souza and Dastmalchi's analysis revealed that it was the latter, more abstract activity of concept integration that showed the greatest variability in its frequency as a function of the education background and specialist expertise of team members.…”

Section: Future Directionsmentioning

confidence: 99%

Creative analogy use in a heterogeneous design team: The pervasive role of background domain knowledge

Christensen

Ball

2016

Design Studies

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Abstract-2 -We integrated two research traditions -one focusing on analogical reasoning, the other on knowledge sharing -with the aim of examining how designers' unique knowledge backgrounds can fuel analogy-based creativity. The present dataset afforded a unique opportunity to pursue this aim since the design dialogue derived from team members with highly disparate educational backgrounds. Our analyses revealed that analogies that matched (versus mismatched) educational backgrounds were generated and revisited more frequently, presumably because they were more accessible. Matching analogies were also associated with increased epistemic uncertainty, perhaps because domain experts appreciate the challenge of mapping such analogies between domains. Our findings support claims from the knowledge-sharing literature for a direct route from knowledge diversity through analogical reasoning to novel idea production. KeywordsDesign cognition, analogical reasoning, creative design, collaborative design, conceptual designThe design process typically involves designers drawing on personal experiences relating to their past design work as well as on knowledge of other design projects or products (e.g., Ball, Lambell, Reed, & Reid, 2001;Cross, 2006). Such prior experience and knowledge then serves to inform a solution for the current design problem, shaping both its initial development and its subsequent refinement. Indeed, the very notion of 'design-by-analogy' (e.g., Helms, Vattam, & Goel, 2009;Moreno et al., 2014) points specifically to the frequent capacity for designers to transfer solution structures or elements from a known source domain to a target design problem.In studying such design-by-analogy, researchers have often tended -perhaps inadvertently -to control out individual variation in the background domain knowledge of the designers being analysed, instead focusing on homogeneous participants with very similar backgrounds in terms of their design education, training and company-based experiences, for example, in domains such as industrial product design (e.g., Ball, Ormerod, & Morley, 2004), electronic engineering design (e.g., Jagodzinski, Reid, Culverhouse, Parsons, & Phillips, 2000) or the design of medical plastics (e.g., Christensen & Schunn, 2007). In the extreme case of numerous laboratory experiments that have investigated design-by-analogy the source analogies are presented directly to individual participants in the form of one or more initial examples for perusal (e.g., Casakin, 2004;Casakin & Goldschmidt, 1999;Goldschmidt, 1995). In this way very tight constraints are placed on the experimental setting so that the researcher can assess the specific role that such source materials have on the design process and the resulting design products. These latter kinds of laboratory studies are actually rather paradoxical, since although it is assumed that analogy sources in real-world design practice are frequently drawn from a designer's own background knowledge and experience, the examination of analogy use i...

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Section: Future Directionsmentioning

confidence: 99%

Creative analogy use in a heterogeneous design team: The pervasive role of background domain knowledge

Christensen

Ball

2016

Design Studies

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“…Combinational creativity has been applied widely in design, and in various forms. For instance, bisociation is a form of combinational creativity connecting unrelated and often conflicting ideas in new ways 37 ; another form is analogy that involves exploring shared conceptual structure 29 ; and the three types of concept synthesis: property mapping, concept blending, and concept integration 38 .…”

Section: Bodenmentioning

confidence: 99%

“…A number of research projects have studied noun-noun compound phrases and how people interpret them, for example the studies by Costello and Keane 45 , and Ward, Finke 46 . Noun-noun compound phrases are often interpreted by three methods, which are property mapping, hybrid, and relational thinking 38,47 . Based on the three interpretation methods, Nagai, Taura 38 revealed that combined concepts or ideas can be interpreted through using property-mapping, concept blending, and concept integration.…”

Section: Bodenmentioning

confidence: 99%

“…Noun-noun compound phrases are often interpreted by three methods, which are property mapping, hybrid, and relational thinking 38,47 . Based on the three interpretation methods, Nagai, Taura 38 revealed that combined concepts or ideas can be interpreted through using property-mapping, concept blending, and concept integration. Property-mapping includes transferring some features from an existing idea to another idea, and it is regarded as the most effective method.…”

Section: Bodenmentioning

confidence: 99%

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Three driven approaches to combinational creativity: Problem-, similarity- and inspiration-driven

Han

Park

Shi

et al. 2017

Proceedings of the Institution of Mechanical Engineers, Part C:

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Creativity is a crucial element of design. The aim of this study is to investigate the driving forces behind combinational creativity. We propose three driven approaches to combinational creativity, problem-, similarity-, and inspiration-driven, based on previous research projects on design process, strategy, and cognition. A case study involving hundreds of practical products selected from winners of international design competitions has been conducted to evaluate the three approaches proposed. The results support the three driven approaches and indicate that they can be used independently as well as complementarily. The three approaches proposed in this study have provided an understanding of how combinational creativity functions in design. The approaches could be used as a set of creative idea generation methods for supporting designers in producing creative design ideas.

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“…In design cognitive process, we describe using folding techniques in architecture design as a design synthesizing process between origami and architecture [22]. Previous study [23] classifies the concept synthesizing process as "concept abstraction", "concept blending" and "concept integration".…”

Section: Discussion and Suggestions For Future Developmentmentioning

confidence: 99%

An Overview of Folding Techniques in Architecture Design

Shen¹,

Nagai²

2017

WJET

Self Cite

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In recent years, folding techniques are widely used by many architects to make 3D forms from 2D sheets as an inspiration for their design, which enables simpler and more intuitive solutions for architectural realization. This research provides an overview of using folding techniques in architecture design, with an emphasis on their new applications. In this overview, we classify folding techniques as computation geometry folding techniques and manual folding techniques. Finally, we provide recommendations for future development.

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Concept blending and dissimilarity: factors for creative concept generation process

Cited by 93 publications

References 14 publications

Creative analogy use in a heterogeneous design team: The pervasive role of background domain knowledge

Creative analogy use in a heterogeneous design team: The pervasive role of background domain knowledge

Three driven approaches to combinational creativity: Problem-, similarity- and inspiration-driven

An Overview of Folding Techniques in Architecture Design

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