Carlos Cardoso’s research while affiliated with Delft University of Technology and other places

This paper examines recent experimental studies of early conceptual design identifying a broad diversity of research practices. A high variance is revealed across 75 recent studies from leading design journals on how the design briefs are presented to participants, participants' number and experience, and the time allocated for ideation. These divergent practices may impact the validity of experimental studies. Three indicators are proposed here to assist researchers to prepare design briefs: polysemy, innovation, and communication. An experimental design canvas is presented and illustrated to structure the design of experiments. The paper closes with recommendations to assist in the synthesis of design briefs.

Design fixation experiments often report that participants exposed to an example solution generate fewer ideas than those who were not. This reduced ‘idea fluency’ is generally explained as participants’ creativity being constrained by the example they have seen. However, the inclusion of an example also introduces other factors that might affect idea fluency in the experiments. We here offer an additional explanation for these results: participants not exposed to the example tend to generate ideas with little elaboration, while the level of detail in the example encourages a similar level of elaboration among stimulated participants. Because idea elaboration is time consuming, non-stimulated participants record more ideas overall. We investigated this hypothesis by reanalyzing data from three different studies; in two of them we found that non-stimulated participants generated more ideas and more ideas containing only text, whilst stimulated participants generated ideas that were more elaborated. Based on the creativity literature, we provide several explanations for the differences in results found across studies. Our findings and explanations have implications for the interpretation of creativity experiments reported to date and for the design of future studies.

This is a report from an international workshop focused on the future of design fixation research within the broader context of work on creativity and inspiration. Fixation studies have already generated many useful results but there are clear opportunities to better connect with work done on other related concepts and work done in other disciplines. This would allow fixation research to broaden and strengthen its methodological approaches, offering richer insights into how design ideas originate and how they subsequently evolve. Such knowledge could then be applied to influence the development of design education, training and tools. In this way, fixation research would maximize its potential to provide insights into the creative process, improve design practice and thereby support innovation.

When tackling problems, designers might be inspired by different sources, whether concrete or abstract. The more concrete sources often comprise representations of potential solutions or examples of existing designs. The more abstract sources often represent the desirable properties of engineered systems, such as modular system architectures. We performed an experiment with 60 novice designers to compare the inspiration effects from these two types of stimuli. Participants were asked to solve a design problem, having been exposed to a concrete example design, an abstract system property, both, or no stimulus at all. Their design work was assessed according to four metrics: fluency, diversity, commonness, and conformity. Exposure to either the example design or the system property reduced the fluency and diversity of ideas, and exposure to both stimuli reduced these measures even further. While there was no difference in the inspiration effects from the example and the property in terms of fluency, diversity, and commonness; results for conformity showed that each stimulus constrained participants differently: encouraging ideas similar to one type of stimulus, while discouraging ideas similar to the other type. In combination with other work on inspiration and fixation, these findings can help shape how design is taught and how inspiration tools are developed.

This is a report from an international workshop focused on the future of design fixation research within the broader context of work on creativity and inspiration. Fixation studies have already generated many useful results but there are clear opportunities to better connect with work done on other related concepts and work done in other disciplines. This would allow fixation research to broaden and strengthen its methodological approaches, offering richer insights into how design ideas originate and how they subsequently evolve. Such knowledge could then be applied to influence the development of design education, training and tools. In this way, fixation research would maximize its potential to provide insights into the creative process, improve design practice and thereby support innovation.

When tackling problems, designers might be inspired by different sources, whether concrete or abstract. The more concrete sources often comprise representations of potential solutions or examples of existing designs. The more abstract sources often represent the desirable properties of engineered systems, such as modular system architectures. We performed an experiment with 60 novice designers to compare the inspiration effects from these two types of stimuli. Participants were asked to solve a design problem, having been exposed to a concrete example design, an abstract system property, both, or no stimulus at all. Their design work was assessed according to four metrics: fluency, diversity, commonness, and conformity. Exposure to either the example design or the system property reduced the fluency and diversity of ideas, and exposure to both stimuli reduced these measures even further. While there was no difference in the inspiration effects from the example and the property in terms of fluency, diversity, and commonness; results for conformity showed that each stimulus constrained participants differently: encouraging ideas similar to one type of stimulus, while discouraging ideas similar to the other type. In combination with other work on inspiration and fixation, these findings can help shape how design is taught and how inspiration tools are developed.