The Routledge Handbook of Sustainable Food and Gastronomy

4.2 Manufacturing Capability......Page 4
Preface......Page 5
 References......Page 8
Cover......Page 1
 2 Design Dimensions......Page 2
 3 Design by Customer as a Management of Flexibilities......Page 3
Table of Contents......Page 6
 References......Page 7
List of Referees......Page 9
Directions for Design Creativity Research (Invited Papers)......Page 10
  2 Survey of Definitions of Design......Page 11
   2.1 Genealogic View of Definitions of Design......Page 12
   2.2 Genealogic View of Definitions of Creativity......Page 13
   3.2 New Definition of Design and Creativity......Page 14
  4 Meaning of New Definition of Design......Page 15
  5 Conclusion......Page 16
   2.1 Inside-outside Issue in Design Thinking......Page 17
   2.2 Issue of Abstraction Process in Design Thinking......Page 18
   3.1 Internal Observation of Design Thinking......Page 19
   3.3 Theoretical Modeling......Page 20
  References......Page 21
   2.1 Creativity is in the Design......Page 23
   2.5 Creativity is in the Interaction between the User and the Design......Page 24
   3.2 Studying Cognitive Behavior......Page 25
   4.2 Cognitive Modeling......Page 26
   5.2 Cognitive Behavior......Page 27
   5.4 Cognitive Neuroscience......Page 28
   5.6 Test Suites of Design Tasks......Page 29
  Acknowledgements......Page 30
  1 Introduction......Page 31
   3.1 New Solutions for Elastic Couplings......Page 33
   3.3 Improve Vacuum Cleaner Sucking Device......Page 34
   3.4 Improve the Properties of a Device in Late Development Phases......Page 35
  4 Discussion and Conclusion......Page 36
  1 Why is Design Creativity Important?......Page 37
   2.2 Ethics......Page 38
  4 Basic Research......Page 39
  6 Some Concluding Remarks......Page 40
  References......Page 41
  2 Cognitive Fixation......Page 42
   2.5 Design Fixation......Page 43
   3.1 Forgetting Fixation......Page 44
   3.2 Environmental Triggers......Page 45
  References......Page 46
  1 Introduction......Page 47
   2.1 Understanding Creative Processes......Page 48
   2.2 Evaluating Potentially Creative Designs......Page 49
   4.1 Technology Development......Page 50
   4.2 Creative Design Process......Page 51
   4.3 Evaluating Creative Design......Page 52
  1 Introduction......Page 54
   2.1 Internal or External Reward or Punishment......Page 55
   2.2 A Preliminary Model of Motivational Cycle......Page 56
   3.1 Creative Lineages......Page 57
   3.3 Creative Individuals......Page 59
  4 Conclusions as Beginnings......Page 60
  References......Page 61
  2 Creative Design Institute......Page 62
  3 Types of Design Projects in relation to Research Projects......Page 63
  5 The Team of Designers and Researchers......Page 64
  6 Discussions......Page 65
Theories on Design Creativity......Page 66
  1 Introduction......Page 67
   2.2 Memory......Page 68
   2.3 Stimuli......Page 69
   3.1 Designer-Memory (DM)......Page 70
   3.3 Stimuli-Designer (SD)......Page 71
  5 In Conclusion......Page 72
  References......Page 74
  1 Introduction......Page 75
  2 Assessing Creativity......Page 76
  3 Methodological Approach......Page 77
  4 Results......Page 78
  5 Conclusions and Outlook......Page 79
  References......Page 81
  1 Introduction......Page 83
   2.1 Product Model......Page 84
   3.1 A Product......Page 85
   3.2 A product that the designer transforms… but he is not alone......Page 86
   3.3 Emergence......Page 87
   3.4 Next Axioms and Theorems......Page 88
   4.1 Refutability......Page 89
  References......Page 90
Design Process and Cognition 1......Page 91
   2.1 Metaphorical Design......Page 92
   2.2 Metaphor and Design Creativity......Page 93
   3.2 Domain Dissimilarity......Page 94
   3.3 Salience Imbalance......Page 95
   3.4 Metaphoricity......Page 96
  5 Conclusion......Page 98
  1 Introduction......Page 100
   1.2 Regulatory Focus Theory and Creative Performance......Page 101
   1.3 Hypotheses......Page 102
   3.1 Motivation and Creativity in the Design Thinking Process......Page 103
   3.2 Motivaton and Emotions in the Design Thinking Process......Page 104
  4 Discussion......Page 105
  5 Outlook......Page 106
  1 Introduction......Page 108
  3 Creativity Exercise Program......Page 109
   4.2 Evaluation Guideline......Page 111
   5.1 Enhanced Design Creativity......Page 112
   5.2 Affective Modeling and its Relation with Enhanced Design Creativity......Page 113
  References......Page 114
Analogical Design Computing......Page 115
  2 Related Work......Page 116
  3 The Design By Analogy to Nature Engine......Page 117
  4 Application Context......Page 119
  5 Training and Deployment......Page 120
  7 Challenges......Page 121
  8 Conclusions......Page 122
  Acknowledgements......Page 123
  1 Introduction......Page 124
   4.1 Relationships between effect, input and organs......Page 126
   4.3 Relationships between effect and phenomenon......Page 127
   4.7 Catalogue......Page 128
  5 Discussion......Page 129
  6 Summary and Future Work......Page 130
  Acknowledgments......Page 131
  1 Introduction......Page 132
   2.1 Cognitive Mesurement: Questionnaire......Page 133
   2.3 Data Gathering......Page 134
   3.1 Correlation of Semantic Descriptions......Page 135
   3.2 Correlation Related to Emotional Terms......Page 136
   4.1 Various Aspects for Measuring Emotional Impact on Bio-inspired Design......Page 137
  Acknowledgments......Page 138
  1 Introduction......Page 140
   3.3 Emphasis on Rhythmic Features......Page 141
  4 Procedure to Design an Emotional and Creative Motion Purpose......Page 142
   5.1 Designing an Emotional and Creative Motion Using the Proposed Method......Page 143
   5.2 Evaluation of the created Motions......Page 144
  6 Discussion......Page 145
  7 Conclusion......Page 147
Design Synthesis......Page 148
  2 Related Work......Page 149
  3 cFORE: Cellular System Formation and Representation......Page 150
  4 Case Example and Discussion......Page 152
  5 Concluding Remarks......Page 156
   1.1 Modes of Change in Design......Page 157
  2 Methodology......Page 158
  3 Results......Page 159
   3.1 Introducing the 2nd coding scheme......Page 161
   4.1 Discussion of the 2nd coding scheme......Page 162
   4.2 Patterns in Modes of Change......Page 163
  5 Conclusions......Page 164
   1.1 Osborn’s Brainstorming......Page 165
   1.4 C-Sketch / 6-3-5......Page 166
   3.1 Factor 1: Display of Ideas......Page 167
   3.2 Factor 2: Representation......Page 168
   5.1 Quality......Page 169
  6 Conclusions......Page 170
  References......Page 171
Methods and Tools for Design Creativity......Page 172
  2 The Front End of NPD......Page 173
  3 A Process Model for Front End Industrial Design (FE-ID)......Page 174
  5 Discussion......Page 178
  6 Conclusions......Page 179
  7 Acknowledgements......Page 180
  2 3DVW as a Pedagogical Tool......Page 181
   2.1 Constructivism, design education and 3DVW......Page 182
   2.2 Designing 3D Virtual Worlds......Page 183
  3 Creativity and 3DVW......Page 184
  4 Conclusion......Page 187
  References......Page 188
  1 Introduction......Page 189
   2.1 Mental Models in Design Teams......Page 190
   2.2 Integral Design method......Page 191
  3 Workshops......Page 192
  4 Results integral design workshops......Page 193
  5 Discussion......Page 194
  7 Limitations and future directions......Page 195
  1 Introduction......Page 197
   2.1 Assessing Collaborative Ideation......Page 198
  3 The Hybrid Ideation Space (HIS)......Page 199
   4.2 Experimental Setting......Page 200
   4.3 Data Collection Techniques......Page 201
   5.2 The CI Loop......Page 202
  6 Conclusions......Page 203
  References......Page 204
Design Process and Cognition 2......Page 205
   1.1 Insight and Incremental Problems......Page 206
   1.3 Fixation: Convergent Thinking?......Page 207
   2.1 Thinking With Sketches......Page 208
   2.2 Method......Page 209
  3 Breadth and Depth: Divergent and Convergent Thinking......Page 211
  1 Introduction......Page 212
  3 Framework of the Method of Internal Observation......Page 213
   4.1 Organization of the Practical Experiment......Page 214
   4.2 Procedure of the Practical Experiment......Page 215
   6.1 Quantitative Analysis......Page 216
   6.2 Qualitative Analysis......Page 218
  7 Conclusion......Page 219
   2.1 Design Thinking in Constructivist Perspective......Page 220
   2.2 The Role of Perception......Page 221
  4 The Perception-in-Action Model......Page 222
   4.1 The Process and its Phases......Page 223
   4.2 Perception in and through images......Page 224
   5.1 Principles and strategies for training perception......Page 225
   5.2 Perception-in-Action in the Project Classes or Design Studios......Page 226
  1 Introduction......Page 228
   2.1 Language as an Inspirational Stimulus......Page 229
   3.2 Studies on/with Japanese Sound-symbolic Words......Page 230
   4.1 Study 1: Sound-symbolic Words in Design Communication......Page 231
   4.2 Study 2: Sound-symbolic Words as Inspirational Sources......Page 232
  5 Conclusion and Perspectives......Page 234
Visual Representation in Design......Page 236
   1.1 Analysis of the Generation of Ideas in a Team......Page 237
   1.3 Sketching in a Team......Page 238
  2 Case Study......Page 239
   2.1 Method......Page 240
   3.1 Analysis of the Production of Work Ideas......Page 241
  4 Discussion and Future Investigation......Page 242
  Acknowledgements......Page 243
  2 Research Methodology......Page 245
   3.2 The Pinpointing the Basic Techniques of India-ink Painting The History and Appeal of India-ink Painting......Page 246
   3.3 Consideration of the Essence and Expressiveness of India-ink Painting......Page 247
   4.3 Coloring Techniques......Page 248
   5.4 Angled Brush Expression......Page 249
   5.6 Dry Friction Brush, Nomal brush, Reverse Brush Expression......Page 250
  8 Observations and Summary......Page 251
  Acknowledgements......Page 252
  1 Introduction......Page 253
  3 The Uncertain Properties of Sketches......Page 254
   5.2 Pre-Experiment Session......Page 255
   5.4 Procedure......Page 256
   5.5 Measurement......Page 257
   6.2 V --> S transformations......Page 258
   6.3 V --> F transformations......Page 259
  References......Page 260
  1 Introduction......Page 261
  2 Pilot Study......Page 262
  3 Results......Page 263
  4 Discussion......Page 264
  References......Page 266
Design Education......Page 267
  1 Design Methodology / TRIZ......Page 268
  2 Design Projects in Education......Page 269
   3.1 The Overall Concept......Page 270
   3.2 Working Out a Specific Subfunction......Page 272
  References......Page 275
  1 Creativity as an Ensemble of Design Skills......Page 276
  3 Skill Integration as a Basis for Design Creativity......Page 277
   5.1 Analyzing Skill Integration at a Domain Level in Design......Page 278
   5.2 Analyzing Skill Integration at a Task Level in Design......Page 279
    5.2.1 The Case of Laura and Jared......Page 280
  6 Conclusions......Page 282
  References......Page 283
  2 Related Art......Page 284
   2.1 Problem Solving Approaches......Page 285
   3.1 System Requirements......Page 286
   3.2 OTSM-TRIZ Models as a Meta-cognition Framework for Inventive Problem Solving......Page 287
   4.2 Overview of the Results and Discussion......Page 289
  Acknowledgements......Page 291
  2 Creativity-training Course Modules......Page 292
   2.2 Creativity and Innovation Inside Companies (Module B)......Page 293
   2.3 Exercise of Exchange of Mental Schemes (EMS)......Page 295
   3.1 Based on Existing Solutions......Page 296
   4.1 Creativity-training Course......Page 297
   4.2 Aspects of Mental Processes Involved......Page 298
Design Image and Inspiration......Page 299
   2.1 Studies of Similarity......Page 300
   2.3 Difference of Identification for the Product Image in 2D and 3D Designers......Page 301
   3.1 Hypothesis......Page 302
   4.1 Analysis of Connection between the Harmony and Similarity of Different Products......Page 303
   4.3 Difference of identifying specific image (harmony or imagination) to a pair of product between different education background subjects......Page 304
   5.1 Conclusion......Page 305
   5.2 Suggestion......Page 306
   Questionnaire example of Study3 (Tversky, 1978)......Page 307
  1 Introduction......Page 308
   1.1 Sources of Inspiration......Page 309
   3.1 Inspiration......Page 310
   3.2 Writing Process......Page 311
   3.3 Revision......Page 312
  4 Discussion......Page 313
  Acknowledgements......Page 315
Author Index......Page 316
  1 Introduction......Page 318
  2 Design Dimensions......Page 319
  3 Design by Customer as a Management of Flexibilities......Page 320
   4.1 Customer need investigation......Page 321
   4.3 Engineering Constraints......Page 322
  5 Conclusion......Page 323