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Copyright of Wool Textile Journal is the property of National Wool Textile Science & Technology Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The "architecture without architect" in Cappadocia has always been fairy due to its volcanic stone formations and transforming silhouettes. In 1973, French architect Jack Avizou highlighted the essence of cave houses as vernacular building types and their potentials for local tourism beyond conventional notions of architectural heritage. Upon completing the restoration of cave houses in Uçhisar and transforming them to boutique hotels, he was nominated for Aga Khan Award for Architecture in 2010. On the other hand, Aga Khan Award winner Turkish architect Turgut Cansever had also been advising for Argos Hotel project in Uçhisar since 1996. He gave importance to the concept of "protection" and preserved vernacular identity and characteristics despite the demands of the tourism sector. This paper aims to explore Avizou and Cansever’s design solutions in Uçhisar’s local context. Building and spatial relations in interiors will be analyzed with cluster analysis and ranked according to levels of novelty. Hence, the achievement of creativity through transformation, combination and variation of original designs, will be displayed. Understanding Avizou’s and Cansever’s visions on revitalization and adaptive re-use are substantial since their creativity shall be a source of inspiration for future sustainable tourism and building practices in a local and global context.

Integration into architectural or urban context as an evaluation criterion is claimed to be subjective and hardly substantiated. In spite of its ambiguity, it is generally accepted as one of the basic demands in architectural design. So what the context is in architectural design? The article explores specific understandings of architectural-urban context from characteristic perspectives in urban heritage protection and management. From perspective of architectural heritage protection, context is physical architectural objects nearby, perceived visually in a static mode, and respected in interventions by achieving harmonious relationship with it. From the point of view of cultural landscape, context is an interacting natural and man-made environment, constantly changing according to place-specific natural and cultural processes; its processual character and the accumulated meanings that rise from imbedded experiences ought to be continued in following architectural transformations. Historic urban landscape approach assumes that context is constantly developing through urbanization, cultural, social and economic processes, which cultural uniqueness and identity is saturated by place-based meanings, experiences and emotional relationships attributed by local community, ought to be contributed in present-day architectural transformations. From the point of view of sustainable development, context is an inherited cultural, social, material, economic resource and a source of traditional knowledge, performance and behaviours to be adapted and carried on towards a greater sensitivity to the environment, culture, climate, and place, and for the wellbeing of local community. Santrauka Kaip architektūros kokybės kriterijus, kontekstiškumas laikomas neapibrėžtu ir sunkiai naudojamu vertinant. Nepaisant nekonkretumo, kontekstiškumas laikomas vienu esminių reikalavimų architektūrinėje kūryboje. Tad kas tai yra kontekstas architektūrinėje kūryboje? Straipsnyje nagrinėjamos skirtingos architektūrinio-urbanistinio konteksto sampratos kultūros paveldo apsaugos ir tvarkymo reiškinio požiūriu tam tikrais jo etapais pagal aktualias kategorijas. Kiekvienas nagrinėtas etapas ar kategorija teikia vis kitokį architektūrinio-urbanistinio konteksto supratimą, priskirdami jam specifinį turinį, apimtį ir prasmes. Architektūrinio paveldo apsaugos požiūriu, kontekstu laikomos fizinių architektūrinių elementų – vizualiai suvokiamų statiškų objektų – gretimybės; prie konteksto derinamasi siekiant harmoningo ir pagarbaus santykio. Kultūrinio kraštovaizdžio požiūriu, kontekstas yra gamtos ir žmogaus veiklos sukurta aplinka, nuolat besikeičianti pagal vietovėje susiklosčiusius natūralius ir kultūrinius procesus; vykdant architektūrines transformacijas, tęsiami vietai būdingi procesai, sukauptos patirtys ir reikšmės. Istorinio urbanistinio kraštovaizdžio požiūriu, kontekstas yra nuolat besivystantys urbanistiniai, kultūriniai, socialiniai ir ekonominiai procesai aplinkoje, kurios kultūrinį unikalumą ir tapatumą vietos bendruomenės prisotina su vieta susietomis reikšmėmis, patirtimis ir emociniais ryšiais. Šiuo atveju kontekstas taip pat yra praturtinamas nūdiene architektūrinės kaitos išraiška. Tvaraus vystymosi požiūriu, kontekstas yra kultūriniai, socialiniai, materialieji ir ekonominiai ištekliai bei šaltinis tradicinių žinių, veiksenos ir elgsenos modelių, kuriuos taikant ir tęsiant pasiekiamas darnesnis sambūvis su aplinka, kultūra ir klimato sąlygomis toje vietovėje, gerinantis vietos bendruomenės gyvenimo kokybę. Reikšminiai žodžiai: architektūrinis kontekstas, kūrybinis projektavimas, kultūros paveldo apsauga, istorinis urbanistinis kraštovaizdis, istorinių miestų apsauga ir valdymas, tvari plėtra, urbanistinis kontekstas.

Traditional Tujia brocade is inherited and taught through oral and mental-teaching mode. In order to achieve better inheritance and learning effect, modern artists got involved who began to use hand-painted artistic conception drawing to achieve a better inheritance effect. With the development of computer technology, modern artistic conception drawing can make the pattern more intuitively innovative, providing valuable inheritance materials for the inheritance of Tujia brocade. Taking the artistic and creative product design of Zhangjiajie College of Jishou University as an example, this paper analyses the innovative pattern design and application of Tujia brocade based on the principle of artistic conception drawing, which has a profound influence on the creative design of Tujia brocade and the research of related innovative products.

The aim of the research is to find out the effect of different sizes of broadcast educational content of the mini-podcast (small 3 minutes, average 6 minutes, large 9 minutes) in the mobile learning environment on the development of knowledge and performance aspects related to the creative design skills of information graphic and its dissemination among students of the second year of the Department of Education Technology, The Faculty of Specific Education - Zagazig University, and the research sample consisted of (90) students, and they were divided so that each (30) students represent an experimental group. Also, when choosing the research sample, it was taken into account that they have mobile phones connected to the Internet and also have a desire to learn Through them to develop their skills for thieves Creative Meem for Infographics and they have the ability to learn through the digital broadcast network "Podcast", as a semi-experimental approach was used, and relying on the educational design model for mobile learning environments 2018, and research tools consisted of preparing an achievement test to measure the cognitive aspect related to the creative design skills of Infographics And publish it, a note card to measure the performance aspect related to the creative design skills of infographics and publishing, and the final product evaluation card (for creative designs of infographics designed by students for the research sample), and the results of the research resulted in a group of products The most important results: the presence of a statistically significant difference between the mean scores of the three experimental groups in favor of the first experimental group in the cognitive aspect related to the creative design skills of infographics, as well as the presence of a statistical difference between the mean scores of the three experimental groups in favor of the second experimental group in the performance related to the creative design skills of drawing My information, as well as in the product evaluation card. The research recommended the necessity of paying attention to the digital podcast pattern in the mobile learning environment to develop the creative design and dissemination of infographics. The second year students have the Department of Education Technology - Faculty of Specific Education. [ABSTRACT FROM AUTHOR]

Copyright of Revista Espacios is the property of Talleres de Impresos Oma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Integration into architectural or urban context as an evaluation criterion is claimed to be subjective and hardly substantiated. In spite of its ambiguity, it is generally accepted as one of the basic demands in architectural design. So what the context is in architectural design? The article explores specific understandings of architectural-urban context from characteristic perspectives in urban heritage protection and management. From perspective of architectural heritage protection, context is physical architectural objects nearby, perceived visually in a static mode, and respected in interventions by achieving harmonious relationship with it. From the point of view of cultural landscape, context is an interacting natural and man-made environment, constantly changing according to place-specific natural and cultural processes; its processual character and the accumulated meanings that rise from imbedded experiences ought to be continued in following architectural transformations. Historic urban landscape approach assumes that context is constantly developing through urbanization, cultural, social and economic processes, which cultural uniqueness and identity is saturated by place-based meanings, experiences and emotional relationships attributed by local community, ought to be contributed in present-day architectural transformations. From the point of view of sustainable development, context is an inherited cultural, social, material, economic resource and a source of traditional knowledge, performance and behaviours to be adapted and carried on towards a greater sensitivity to the environment, culture, climate, and place, and for the wellbeing of local community. [ABSTRACT FROM AUTHOR]

The "architecture without architect" in Cappadocia has always been fairy due to its volcanic stone formations and transforming silhouettes. In 1973, French architect Jack Avizou highlighted the essence of cave houses as vernacular building types and their potentials for local tourism beyond conventional notions of architectural heritage. Upon completing restoration of cave houses in Uçhisar and transforming them to boutique hotels, he was nominated for Aga Khan Award for Architecture in 2010. On the other hand, Aga Khan Award winner Turkish architect Turgut Cansever, had also been advising for Argos Hotel project in Uçhisar since 1996. He gave importance to the concept of "protection" and preserved vernacular identity and characteristics despite the demands of tourism sector. This paper aims to explore Avizou and Cansever's design solutions in Uçhisar's local context. Building / interior design elements and spatial relations in interiors will be analyzed with cluster analysis and ranked according to levels of novelty. Hence, achievement of creativity through transformation, combination and variation of original designs, will be displayed. Understanding Avizou's and Cansever's visions on revitalization and adaptive re-use is substantial since, their creativity shall be a source of inspiration for future sustainable tourism and building practices in local and global context. [ABSTRACT FROM AUTHOR]

To increase the usage of assistive robots into daily life it is important to include end-users in early development stages. This paper propose an iterative co-creative method to refine the design of an assistive robot called ASTRO. Three co-creation sessions were organized involving a total of 102 individuals. This paper presents the feedback collected and provides the results from an evaluation of the final prototype. The results underline that the robot's design was perceived in a positive way (attractiveness and stimulation domains). Even though the co-creation results show that the function of the robot are also valued, the survey provides a more nuanced view on these aspects of robot design by showing a neutral evaluation of perspicuity, efficiency and dependability. [ABSTRACT FROM AUTHOR]

Sandwich structures are important innovative multifunctional structures with the advantages of low density and high performance. Creative design for sandwich structures is a design process based on sandwich core structure evolution mechanisms, material design method, and panel (including core structure and facing sheets) performance prediction model. The review outlines recent research efforts on creative design for sandwich structures with different core constructions such as corrugated core, honeycomb core, foam core, truss core, and folded cores. The topics discussed in this review article include aspects of sandwich core structure design, material design, and mechanical properties, and panel performance and damage. In addition, examples of engineering applications of sandwich structures are discussed. Further research directions and potential applications are summarized. [ABSTRACT FROM AUTHOR]

New product design is inspired by the existing design. The clustering of similar design cases therefore enhances new product development (NPD). At the beginning of NPD, the success of creative design highly depends on the designers' subjective judgments and try-and-error attempts due to its very obscure prospect. To facilitate an efficient approach for generating creative ideas, this paper proposes a new design method by integrating fuzzy relational analysis, case-based reasoning (CBR) and C-K theory. The proposed design method involves four specific sections: design criteria importance ranking; similarity measurement for design knowledge; knowledge clustering method for innovation and a step-by-step design algorithm. Moreover, a new battery buckling machinery is used as a empirical study to verify the workability of the proposed method. The contributed method shows its advantages to cultivate the inspirations from the existing design and generate creative design concepts from knowledge combination. [ABSTRACT FROM AUTHOR]

Copyright of Basic Sciences Journal of Textile Universities / Fangzhi Gaoxiao Jichu Kexue Xuebao is the property of Basic Sciences Journal of Textile Universities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Two kinds of design ideation process may be distinguished in terms of the problems addressed: (i) solution-focused, i.e. generating solutions to address a fixed problem specifying a desired output; and (ii) exploratory, i.e. considering different interpretations of an open-ended problem and generating associated solutions. Existing systematic analysis approaches focus on the former; the literature is lacking such an approach for the latter. In this paper, we provide a means to systematically analyse exploratory ideation for the first time through a new approach: Analysis of Exploratory Design Ideation (AEDI). AEDI involves: (1) open-ended ideation tasks; (2) coding of explored problems and solutions from sketches; and (3) evaluating ideation performance based on coding. We applied AEDI to 812 concept sketches from 19 open-ended tasks completed during a neuroimaging study of 30 professional product design engineers. Results demonstrate that the approach provides: (i) consistent tasks that stimulate problem exploration; (ii) a reliable means of coding explored problems and solutions; and (iii) an appropriate way to rank/compare designers' performance. AEDI enables the benefits of systematic analysis (e.g. greater comparability, replicability, and efficiency) to be realised in exploratory ideation research, and studies using open-ended problems more generally. Future improvements include increasing coding validity and reliability. [ABSTRACT FROM AUTHOR]

In product design engineering (PDE), ideation involves the generation of technical behaviours and physical structures to address specific functional requirements. This differs from generic creative ideation tasks, which emphasise functional and technical considerations less. To advance knowledge about the neural basis of PDE ideation, we present the first fMRI study on professional product design engineers practising in industry. We aimed to explore brain activation during ideation, and compare activation in open-ended and constrained tasks. Imagery manipulation tasks were contrasted with ideation tasks in a sample of 29 PDE professionals. The key findings were: (1) PDE ideation is associated with greater activity in left cingulate gyrus; (2) there were no significant differences between open-ended and constrained tasks; and (3) a preliminary association with activity in the right superior temporal gyrus was also observed. The results are consistent with existing fMRI work on generic creative ideation, suggesting that PDE ideation may share a number of similarities at the neural level. Future work includes: functional connectivity analysis of open-ended and constrained ideation to further investigate potential differences; investigating the effects of aspects of design expertise/training on processing; and the use of novelty measures directly linked to the designer's internal processing in fMRI analysis. [ABSTRACT FROM AUTHOR]

The current availability of UHPC (Ultra-High-Performance Concrete) concrete mixes with an adaptive and multi-performance behaviour has transformed the concept of ‘matter’ itself, allowing the construction of complex shapes and designs, and boosting the use of the compound in different sectors, thus opening new design paths following the concept of ‘non-standard’ in advanced neo-handicraft production processes. The results of technology research on the concrete compounds are analyzed in terms of how they have offered a type of mix that allows an expansion of the creative and ‘on-demand’ manufacturing process for self-supporting urban furniture and public art elements. The results and outlook of the supply chains are outlined in terms of performance, adjustment to standards, costs, network-building, and new market.

In product design engineering (PDE), ideation involves the generation of technical behaviours and physical structures to address specific functional requirements. This differs from generic creative ideation tasks, which emphasise functional and technical considerations less. To advance knowledge about the neural basis of PDE ideation, we present the first fMRI study on professional product design engineers practising in industry. We aimed to explore brain activation during ideation, and compare activation in open-ended and constrained tasks. Imagery manipulation tasks were contrasted with ideation tasks in a sample of 29 PDE professionals. The key findings were: (1) PDE ideation is associated with greater activity in left cingulate gyrus; (2) there were no significant differences between open-ended and constrained tasks; and (3) a preliminary association with activity in the right superior temporal gyrus was also observed. The results are consistent with existing fMRI work on generic creative ideation, suggesting that PDE ideation may share a number of similarities at the neural level. Future work includes: functional connectivity analysis of open-ended and constrained ideation to further investigate potential differences; investigating the effects of aspects of design expertise/training on processing; and the use of novelty measures directly linked to the designer’s internal processing in fMRI analysis.

This article presents a brief analysis of the Boris Eifman Ballet Theatre and especially brings out the relationship between the choreographer, his conception, the new choreographic language and classical literature. Emphasis is laid on the choreographer`s relation with Fiodor Dostoevsky`s novels and the author considers some general problems concerning the interaction of the ballet theatre and classical literature.

This paper reports on the design of three novel products: a hand saw, electrical plug and bicycle wheel. Each case study draws on interviews with the designers and analysis of their prototypes. The focus is on how the product ideas originated, how and why they changed and why those changes weren't made earlier. In emphasising the nature of creative work throughout long and complex projects, three themes are emphasised: (1) creative challenges and creative blocks can result from earlier breakthroughs (which makes them difficult to overcome); (2) multiple design spaces co-evolve at different levels of detail (not just simple problem- and solution-spaces); (3) those developing new ideas need to recognise and accept those ideas (not just generate and develop them). • Presents three new cases, each illustrated with prototype sequences. • Creative blocks and breakthroughs are associated with earlier progress. • Multiple design spaces are described as co-evolving at different levels of detail. • Creative work is described in terms of recognising and accepting the value of ideas. [ABSTRACT FROM AUTHOR]

There are several prior case studies of design creativity which relate to design fixation. There is also a broader literature of qualitative research surrounding these cases, both within and beyond the design literature. However, these various texts are widely distributed, not well connected and seemingly not well known. This paper reviews the relevant literature, collecting many of these studies together for the first time. This allows the texts to be compared, their common themes to be identified and future work to be planned. More of such studies are necessary to increase the breadth and depth of accounts of creative design. This would permit connections and contrasts to be made and promote methodological diversity within research on inspiration and fixation. • Reviews a wide range of design creativity case studies. • Identifies related studies from other disciplines. • Summarises valuable and little-known case descriptions. [ABSTRACT FROM AUTHOR]

As Intellectual Property (IP) protection can nurture innovation, and since innovation is one of the critical sources of economic growth, it has become especially important since China surpassed a certain economic development stage, because China now has a growing number of its own innovations which need to be protected. This paper describes the construction of a new research model with which to explore and examine the impact of potential factors on attitudes towards Intellectual Property Rights (IPR) in China in the context of the creative design industry. The findings of a quantitative study of Chinese design business owners reveal the significant roles of Confucianism, perceived economic loss and perceived effectiveness of IPR law enforcement in shaping their attitudes towards IPR. Our findings support the idea that promoting Confucianism can help to develop an internalised respect for IPR, while sizable penalties for IPR infringement can enhance the effectiveness of IPR protection. [ABSTRACT FROM AUTHOR]

Copyright of Wool Textile Journal is the property of National Wool Textile Science & Technology Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many card-based design tools have been produced, initially to aid creativity and user participation in design, with an upsurge post-2000 when numerous card decks were developed. Reviewers have classified the tools using samples ranging from five to thirty-eight. Our comprehensive inventory and analysis of 155 card-based tools offers a more robust classification, with three-quarters aiming to facilitate creative thinking, human-centred design, or domain-specific methods. The few scientific trials of these tools indicate they enable designers to generate more innovative concepts, and feedback indicates that cards can aid the design process and provide information, methods, or good practice in handy form. However, cards are usually tested and applied by their developers, so more independent trials are needed to establish their effectiveness. • Brief history of card decks as design tools. • Comprehensive survey and analysis of 155 card-based design tools. • Classification of the tools into six categories, e.g. human-centred design and creative thinking. • Analysis of how the card-based tools are supposed to work. • Evaluations of the tools based on examples of testing or application. [ABSTRACT FROM AUTHOR]