| Summary: | 博士 === 國立交通大學 === 土木工程系所 === 93 === Design behavior is regarded as a “black-box” process. Some researchers attempt to understand this process in terms of cognitive science, such as visual perception, design knowledge, design strategy, and the process of sketching…etc. Depending on different cognitive behaviors, designers could be distinguished into three categories: expert, style, or creative designer. Designers who have been considered as expert designers will transform some fractions of design knowledge into a sequential one. By doing so, they could tackle design problem immediately and precisely when they front a similar problem, which they met before. In addition, designers who could generate design solutions by using some distinguishable elements and features will be recognized as style designers. However, there are divergent ways to consider designers as creative ones. Simon purposed that before being recognized a creative designer, people should be considered as an expert designer; on the other hand, Gardner addressed that the creative behaviors could be found during the process of the development of expert designers.
In the aspect of cognitive studies, those designers, expert, style, and creative designers, have three sorts of divergent design characteristics, separately. These characteristics indicate that they utilized dissimilar design knowledge, design process, or ability for sketching to solve problems. Therefore, in terms of three categories of cognitive studies, this doctoral thesis is to investigate the development of creative designers, and to analyze the cognitive factors, which could be found in the design behavior of the creative designers.
In order to investigate the issue, purposed above, there are three steps of methodology in this thesis: the analysis of cognitive factors, the experiment of the development from novice to experienced designer, and the experiment of the development from expert, style, to creativity. In the first step, this thesis will analyze cognitive factors in terms of design knowledge, design strategy, and sketching behavior. To do so, these factors could be the criteria in the experiments. In the second section, there is a cognitive experiment by using protocol analysis, in which some of the novice could be determined as experienced designers, who will be the designers in the next experiment. The final step of this thesis is another cognitive experiment, in which the designers could be distinguished as different kinds of designers, depending on cognitive factors, separately.
Consequently, this thesis proposes the development of creative designers could be formed before they become expert designers. The result supports what Gardner addressed. In addition, the cognitive factors of both expert and creative designers could be found in the development of designers, in which designers have some factors of expert designers, and, simultaneously, they have some creative factors. Furthermore, by analyzing the cognitive factors, the creative designer has the highest frequency of original knowledge, which is one of main knowledge to trigger the divergence of developing ideas and the transformation of ideas; the other is the design domain knowledge. On the other hand, in the sketching behavior, the unexpected discovery depends on the self-evaluate knowledge and design domain knowledge. Therefore, in order to exhibit the tendency of creativity, the designer who possesses more creative factors has to require considerable design knowledge.
|
|---|
