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In the Digital Heritage Education (DHE) classroom, students use digital tools to assist in understanding intangible cultural heritage (ICH), which comprises intricate knowledge. However, students may still encounter obstacles when trying to produce creative designs. To address this issue, we propose a framework that adopts a human-engaged computing perspective to enhance the understanding and design of ICH through phased synergized engagement between engaged students and engaging digital tools. To validate the effectiveness of the proposed framework, we designed, implemented, and tracked Cantonese Porcelain (CP) Creative Design courses over five years. We then evaluated the framework using the probing method, i.e., interviews and focus groups, to obtain lessons learned about understanding and designing CP in the classroom from students and teachers. The findings demonstrate that the framework effectively facilitates students' step-by-step understanding of the knowledge of CP and improves their creative design performance by integrating digital tools and the knowledge of CP. The framework emphasizes both the human and digital aspects of the learning process, encouraging students to engage in a synergized relationship with digital tools to enhance their understanding of ICH and creative design skills. We also discuss the theoretical and practical importance of this framework and outline a future research agenda for DHE in the classroom. Our framework provides researchers and educators with a new approach to explore how digital technology can effectively support students in understanding and designing ICH. It can be applied to other domains of cultural heritage beyond CP. In general, our study contributes to the development of effective pedagogical practices to integrate digital tools into DHE classrooms and to improve student creativity and cultural awareness. [ABSTRACT FROM AUTHOR]

Revisiting the long-debated question: "What is Islamic architecture?", this research article aims to explore the identity of "Islamic architecture (IA)" in the context of artificial intelligence (AI) as well as the novel opportunities and cultural challenges associated with applying AI techniques, such as the machine learning of Midjourney in the context of IA. It investigates the impact factors of AI technologies on the understanding and interpretation of traditional Islamic architectural principles, especially architectural design processes. This article employs a quantitative research methodology, including the observation of works of artists and architectural designers appearing in the mass media in light of a literature review and critical analysis of scholarly debates on Islamic architecture, spanning from historical perspectives to contemporary discussions. The article argues for the emergence of a continuous paradigm shift from what is commonly known as "postmodern Islamic architecture" (PMIA) into "artificial intelligence Islamic architecture" (AIIA), as coined by the authors of this article. It identifies the following impact factors of AI on IA: (1) particular requirements and sensitivities, inaccuracies, and biases, (2) human touch, unique craftsmanship, and a deep understanding of cultural issues, (3) regional variation, (4) translation, (5) biases in sources, (6) previously used terms and expressions, and (7) intangible values. The significance of this research in digital heritage lies in the fact that there are no pre-existing theoretical publications on the topic of "Islamic architecture in the age of artificial intelligence", although an extensive set of publications interpreting the question of the definition of Islamic architecture, in general, is found. This article is pivotal in analyzing this heritage-inspired design approach in light of former criticism of the definition of "Islamic architecture", which could benefit both theorists and practitioners. This theoretical article is the first in a series of two sequential articles in the Buildings journal; the second (practical) article is an analytical evaluation of the Midjourney architectural virtual lab, defining major current limits in AI-generated representations of Islamic architectural heritage. [ABSTRACT FROM AUTHOR]

Advances in computer-aided architectural design led to an increased interest in the field for cross-disciplinary creative collaborations. However, this process rarely accounts for the agents outside of the discipline's intellectual framework, such as craftsmen, failing to include existing production capabilities in the digital transformation of the industry. To tackle this issue, we investigate an approach that implements encapsulated instruments as enablers of creative collaborations between computational designers and craftsmen. We evaluate this approach by designing three cement tile models, a traditional handmade construction element used in Brazil. The results demonstrate that encapsulated instruments expand the craft's design space through creative decisions operated by the craftsman, and interviews with the tile makers elaborate on their perceived change in creative agency, identifying limitations when disrupting social roles and hierarchical relationships in craftsmanship. Results also raise opportunities for expanding this approach at other scales and systems, helping to democratize and distribute design knowledge. [ABSTRACT FROM AUTHOR]

In this paper, a new structural design method based on MATLAB is developed for the configuration design and optimization of real-life planar manipulators in the high-speed press line. To explore planar manipulators with better performance, the developed method provides a suite of analysis procedures including demonstrating structural synthesis in graph theory, building conversion relations between different models, and generating new configurations of the planar manipulator. In the structural synthesis, the whole family of non-isomorphism planar 8-link kinematic chains with up to 3 prismatic pairs is generated, which lays a solid foundation for the generation of new configurations of planar manipulators. Under the expected requirements and constraints, the original planar manipulator is compared with new planar manipulators in which the developed method. The result shows that the developed method of task-driven structural synthesis is effective in generating configurations of planar manipulators and enriches related research of structural design and optimization in the field. [ABSTRACT FROM AUTHOR]

Upcycling is the process of repurposing non-used materials or products to make them more valuable or usable, with increased quality and value. However, truly little research has been conducted on the design process and/or creative ideation of upcycling in order to produce higher-quality and more valuable products. This study presents the four stages of the design process, consisting of selecting the waste products, emerging conceptions, generating ideas, and rendering a series of creative ideas. SCAMPER (substitute, combine, adjust, modify, put to other uses, eliminate, reverse), one of the practical and effective techniques to create various creative ideas, was applied in the stages of emerging conceptions and generating ideas. With the upcycling concept of waste product design utilizing SCAMPER, the results demonstrated that waste soft drink cans could be converted into five creative products: a desk watch, a picture frame, a spring paper clip, a pencil holder, and a lamp. The five products featured the upcycling of waste soft drink cans, removing the need to recycle or send them to landfills at that point in their lifecycle. Consideration was given to the design process' compatibility with creative concept generation and design. The study indicated that upcycling should be viewed as an essential component of waste management and repurposing in order to provide an intelligent answer to escalating product waste problems. [ABSTRACT FROM AUTHOR]

In the context of sustainability, the development of optical fiber sensing technology and 3D printing technology brings new sustainable manufacturing solutions for the furniture industry. Based on the current status and development situation of the application of optical fiber sensing technology and 3D-printed furniture, this paper proposes the concept of applying embedded optical fiber sensing technology to traditional furniture manufacturing as the intersection of traditional furniture design and 3D printing technology. This design method is applied in furniture design cases, the stability of the 3D-printed structure after the optical fiber is embedded in the structure is verified through experiments, and the integration of the embedded optical fiber light-inducing and monitoring technology is used to assess the intelligence of furniture. It is found that by applying optical fiber sensors to furniture intelligence, the real-time monitoring of the environment, temperature, humidity, and other parameters during the use of furniture can be achieved, thus improving the energy efficiency and comfort of furniture. This innovative design idea and method provides a new direction for the sustainable development of furniture products and encourages the furniture industry to move forward in a more environmentally friendly and intelligent direction. [ABSTRACT FROM AUTHOR]

Upcycling is the process of repurposing non-used materials or products to make them more valuable or usable, with increased quality and value. However, truly little research has been conducted on the design process and/or creative ideation of upcycling in order to produce higher-quality and more valuable products. This study presents the four stages of the design process, consisting of selecting the waste products, emerging conceptions, generating ideas, and rendering a series of creative ideas. SCAMPER (substitute, combine, adjust, modify, put to other uses, eliminate, reverse), one of the practical and effective techniques to create various creative ideas, was applied in the stages of emerging conceptions and generating ideas. With the upcycling concept of waste product design utilizing SCAMPER, the results demonstrated that waste soft drink cans could be converted into five creative products: a desk watch, a picture frame, a spring paper clip, a pencil holder, and a lamp. The five products featured the upcycling of waste soft drink cans, removing the need to recycle or send them to landfills at that point in their lifecycle. Consideration was given to the design process’ compatibility with creative concept generation and design. The study indicated that upcycling should be viewed as an essential component of waste management and repurposing in order to provide an intelligent answer to escalating product waste problems.

With the growth of computer technology and graphic design, to solve the pattern collapse of the generator and improve the diversity of generated results, a study was conducted and designed based on BicycleGAN. A Map2Style module was added to modify the encoder of the model to obtain encoding feature information, thereby improving the accuracy of the encoder and solving the pattern collapse of the generator, thereby increasing the diversity of generated results. The results denoted that the structural similarity indicators of sapphire and white effects were both 0.93. The structural similarity index of the water effect was 0.59, and the peak signal-to-noise ratio index was 28.16. When the batch size was the same, the training time was the same for pattern search generative adversarial network, Bicycle generative adversarial network, and improved method. At this point, the three occupied 3.6, 3.2, and 3.3 GB of video memory, respectively. The area between the receiver operating characteristic curve of the improved model and the coordinate axis was 0.9837, which was higher than that of the Bicycle generative adversarial network, denoting that the improved model had more accurate effectiveness. The performance accuracy of the improved model was 96.31%, and the sensitivity was 80.65%. The improved model has a significant effect, making it more stable and achieving convergence faster during training. It plays a certain role in promoting the application of motion graphics creative design.

Chinese rural ecotourism is of great significance to promote rural revitalization. As Chinese consumers’ requirements for rural ecotourism gradually increase, seeking the integration of regional characteristics of pastoral culture elements is the top priorities of Chinese rural ecotourism attractions. The creative design of pastoral culture is a breakthrough point in creating characteristic rural ecotourism attractions and truly developing China’s rural economy. Based on this, this paper sorts out the current situation of China’s rural ecotourism attractions, and puts forward feasible suggestions for the design and improvement of future pastoral culture creativity in China’s rural ecotourism.

The ‘module’ is a design tool that is profoundly intertwined with design concepts such as proportions and geometry as well as globalization, sustainability, and equity. Modular theories and paradigms are limited in the landscape architecture discourse. This paper examines the ‘module’ as a design tool in the early work and theory of American landscape architect James C. Rose (1913-1991). In 1946, the Ladies’ Home Journal commissioned a series of small gardens to be photographed and published in a special issue. Rose considered this challenge as a design-build exercise to develop modular garden prototypes for small American suburban lots. Modularity was reframed in Rose’s works and was developed in an artistic way that portrays close relationship to modern and Japanese ideas on this theme. An in-depth analysis and discussion of Rose’s modular concepts offers an opportunity to delve into novel ideas and processes that can prove insightful for high-quality humane landscape production. Article info Received: 06/10/2023; Revised: 29/10/2023; Accepted: 08/11/2023

Revisiting the long-debated question: “What is Islamic architecture?”, this research article aims to explore the identity of “Islamic architecture (IA)” in the context of artificial intelligence (AI) as well as the novel opportunities and cultural challenges associated with applying AI techniques, such as the machine learning of Midjourney in the context of IA. It investigates the impact factors of AI technologies on the understanding and interpretation of traditional Islamic architectural principles, especially architectural design processes. This article employs a quantitative research methodology, including the observation of works of artists and architectural designers appearing in the mass media in light of a literature review and critical analysis of scholarly debates on Islamic architecture, spanning from historical perspectives to contemporary discussions. The article argues for the emergence of a continuous paradigm shift from what is commonly known as “postmodern Islamic architecture” (PMIA) into “artificial intelligence Islamic architecture” (AIIA), as coined by the authors of this article. It identifies the following impact factors of AI on IA: (1) particular requirements and sensitivities, inaccuracies, and biases, (2) human touch, unique craftsmanship, and a deep understanding of cultural issues, (3) regional variation, (4) translation, (5) biases in sources, (6) previously used terms and expressions, and (7) intangible values. The significance of this research in digital heritage lies in the fact that there are no pre-existing theoretical publications on the topic of “Islamic architecture in the age of artificial intelligence”, although an extensive set of publications interpreting the question of the definition of Islamic architecture, in general, is found. This article is pivotal in analyzing this heritage-inspired design approach in light of former criticism of the definition of “Islamic architecture”, which could benefit both theorists and practitioners. This theoretical article is the first in a series of two sequential articles in the Buildings journal; the second (practical) article is an analytical evaluation of the Midjourney architectural virtual lab, defining major current limits in AI-generated representations of Islamic architectural heritage.

Because interior design is subject to inefficiency, more creativity is imperative. Due to the development of artificial intelligence diffusion models, the utilization of text descriptions for the generation of creative designs has become a novel method for solving the aforementioned problem. Herein, we build a unique interior decoration style dataset. Thus, we solve the problem pertaining to the need for datasets, propose a new loss function that considers the decoration style, and retrain the diffusion model using this dataset. The trained model learns interior design knowledge and can generate an interior design through text. The proposed method replaces the designer's drawing with computer-generated creative design, thereby enhancing the design efficiency and creative generation. Specifically, the proposed diffusion model can generate interior design images of specific decoration styles and spatial functions end to end from text descriptions, and the generated designs are easy to modify. This novel and creative design method can efficiently generate various interior designs, promote the generation of creative designs, and enhance the design and decision-making efficiency. [ABSTRACT FROM AUTHOR]

Copyright of Agathon: International Journal of Architecture, Art & Design is the property of DEMETRA CE.RI.MED 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.)

Modern centuries have witnessed scientific and technical progress that has greatly contributed to make changes in health, social, cultural, economic and educational fields...etc. Graphic design played an active developing role for both individual and society. There is a response called for by the design necessity to enhance the intellectual concept according to its specificity and uniqueness in traditions and legacies, its effectiveness is represented in the ability to convey ideas and visions in the artwork in the form of icons or references consistent with an indicative structure, linked to each other to reach the aimed aesthetic pleasure, by using the designer skills and experiences, so that the art of graphic design becomes a bridge of communication between the designer and the recipient.Graphic design, whether visual or print, raises the social awareness by using the latest technologies and programs to enhance its message and influence and to persuade individuals.KEYWORDSGraphic design, Creative design, Community art, Environmental Graphic Design

This study investigated the effects of teaching via virtual reality (VR) on creative design performance and creative experiential learning processes by using a pretest–post-test nonequivalent group design to sample 138 seventh graders from a junior high school in Taipei City. The main conclusions from this study are: (1) VR has significant positive effects on creative design processes, particularly in the design and planning, testing and revision and thoughts and appreciation stages. (2) VR has significant positive effects on creative design outcomes, with high- and low-level effects on creative design and functional appropriateness, respectively. (3) The learning process for VR and creative experiential learning shifts from concrete experiences to reflective observations, abstract conceptualization and, finally, innovative applications. Behaviors of reflective observation and innovative application are active and vital to the performance of creative processes and outcomes. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Given the importance of creativity in design education, understanding individual differences will help to teach students in accordance of their aptitude and promote the cultivation of creativity. This study investigates the effect of gender on the creativity scores and artefact perception of first-year design students, and explores the relationship between their creativity and perception. Seventy one first-year design students (38 females) from one University in China took part in this study. Firstly, each participant was asked to create an artefact in an artefact production task; secondly, descriptions of the artefacts were generated by participants in a free categorization task. Then, two experts evaluated the creativity of artefacts generated in the artefact production task using three metrics: novelty and affective characteristics, elaboration characteristics, and design principles. Evaluation results showed that female students scored higher on novelty, affective, and elaboration characteristics, but there was no significant difference between the genders in design principles. Furthermore, principal component analysis was used to construct perceptual models for the two gender groups based on the descriptions generated in the categorization task. Results showed that female students' perceptual model includes design principles, affectivity, style, and novelty factors; male students' perceptual model includes colour combination, design principles, style, and contrast effect factors. These findings suggest that individual creativity and artefact perception are closely related. Pedagogical considerations related to the effects of gender are discussed. [ABSTRACT FROM AUTHOR]

The reason why people have different creativity quality levels may depend on their different performances relating to other cognitive factors that are important for creativity. This study was designed to identify the performance of three cognitive factors (recall, association, and combination) that a designer may use in a creative process and then identify how the differing performance for these cognitive factors will affect creativity quality levels. Seventy-one participants were recruited to undertake a design task and complete a semi-structured interview. The results indicate that, in a creative design process, similar performances in recall, association, and combination can result in differences in creativity quality level. [ABSTRACT FROM AUTHOR]

Analogies provide better concept generation in engineering design. This ideation can be measured by metrics such as usefulness, novelty, variety, quality, completeness, and quantity. In bioinspired design, biological analogies are used to inspire design concepts. Biological analogies have been provided in earlier studies to measure ideation effectiveness. Tools like IDEA-INSPIRE, DANE, etc., allow designers to search analogies using functions, behaviors, and structures. However, we wanted to inquire about the effect of providing a very large number of biological analogies (26), fulfilling the same function to develop bioinspired solutions. In this paper, an empirical study has been performed to analyze the effect of biological analogies on ideation. The designers are exposed to provided multiple biological analogies and generate concepts for which four ideation metrics: novelty, variety, quality, and quantity metrics are evaluated. The results are compared to the unaided condition where other designers are given the same task. A new method to measure variety using a 2D matrix has been presented. The results suggest that designers can generate bioinspired solutions when multiple biological analogies performing similar functions are provided in a presentable format. Statistically, exposure to multiple biological analogies in idea generation can significantly increase the variety of design ideas. The novelty, quality, and quantity for the biological group and control group remain the same. [ABSTRACT FROM AUTHOR]

As a methodology, design thinking involves practicing “a way of thinking” that non-designers can use as a source of inspiration instead being limited to a group of professional designers. This methodology has gained research attention because of the growing demands for social innovation and sustainability. The general public is expected to gain design-thinking skills through training or by applying design-thinking tools. Virtual reality (VR) is considered a potential tool to help accelerate augmenting design-thinking skills because it allows users to have embodied and immersive experiences. This study reviews existing literature on how VR has been used to enhance design-thinking skills. The general features of the publications such as the year of publication, design-thinking stages, VR types, targeted participants, and publication fields are analyzed for determining the latest trends and scenarios under this research topic. Further, a thematic analysis that follows creative enhancement structures is conducted to understand the role of VR in enhancing design-thinking skills, and future research directions are discussed based on the results. The review concludes that VR has the potential to enhance creativity in many aspects. Moreover, it highlights the need of gaining deeper understanding about 1) art, humanities, and societal perspectives; 2) cognition processes in VR; 3) emphasizing and defining stages in the design-thinking process; 4) technological improvements combined with the Metaverse; and 5) hybrid of the virtual and real worlds.

After the COVID-19 pandemic the use of face masks has become a common practice in many situations. Partial occlusion of the face due to the use of masks poses new challenges for facial expression recognition because of the loss of significant facial information. Consequently, the identification and classification of facial expressions can be negatively affected when using neural networks in particular. This paper presents a new dataset of virtual characters, with and without face masks, with identical geometric information and spatial location. This novelty will certainly allow researchers a better refinement on lost information due to the occlusion of the mask. [ABSTRACT FROM AUTHOR]

There are various types of garment pleats and their creative approaches are diverse. The composition parts of the pattern were evaluated by combining three-dimensional and flat composition approaches in order to investigate the design method and pattern variation of pleat form. To compare the correlation between the variation paper pattern of the Donghua prototype and the modeling paper pattern, 11 classic pleat shapes, including natural pleat, regular pleat, and other elements pleat, were chosen to create three-dimensional compositions. These shapes were then expanded on a flat surface. The comparison shows that by making certain geometric changes such as rotation, displacement, scaling, and rotation angle, the modeling paper pattern can be created from the base paper design. The rotation angle, displacement, and proportional relationship of the modeling paper pattern play a significant role to control the modeling characteristic. The fundamental paper pattern can be expanded into other multiple similar design and get its pattern creation methods through geometrical transformations. It's helpful to avoid the challenging three-dimensional composition process, and reduce the difficulty of patterns making with creative pleat modeling. [ABSTRACT FROM AUTHOR]

Origami has various manifestations and rich production techniques, and it is regarded as one of the indispensable contemporary art forms. In order to enrich the creative expressions of fashion design, this paper summarises the creative application forms of origami art in fashion design from the external and moulding characteristics of origami, studies the fabric characteristics through experimental verification, and summarises the applicable techniques of expression. The results show that the folding application forms of origami art and clothing modelling can be realised by using the expression methods of ironing and crimping, stitching texture moulding and repeated combination moulding, that is, pattern deformation folding application, fabric transformation folding application and modular combination folding application. The application of the folding form in clothing three-dimensional modelling and surface texture can give full play to the unique modelling beauty and artistic style of origami art and provide a reference for creative ideas in clothing design. [ABSTRACT FROM AUTHOR]

In industrialised countries, the competitiveness of the products/services of the manufacturing industries in the global market is declining due to many factors, including products commoditization and rapid technological growth in developing countries. For this reason, engineering designers in industrialised countries are required to enhance their creativity in design with redefining customer value and redesigning advanced solutions. In recent years, the design thinking, which is known as a practical method for user centered creative design, is attracting attention as a practical strategy to accelerate creative innovations in engineering design. However, the logical details in designers’ cognitive process are still not clear, which hinders the practice and dissemination of design thinking. Based on above background, this paper proposes a prescriptive cognitive process model that leads highly creative engineering design. The proposed model is constructed based on the analysis of characteristics of exist engineering design process models and findings from creative thinking processes derived in cognitive science domain. The proposed model comprises following five steps: requirement finding, design solution finding, verification, validation, and documentation. The proposed model was applied to analyse a bicycle design case retrospectively, which is a past actual example that achieved highly innovative design. As a result, the application result demonstrates that the proposed model can explain the mechanism of creative engineering design process and be expected to provide knowledge basis towards creative engineering design.

Because interior design is subject to inefficiency, more creativity is imperative. Due to the development of artificial intelligence diffusion models, the utilization of text descriptions for the generation of creative designs has become a novel method for solving the aforementioned problem. Herein, we build a unique interior decoration style dataset. Thus, we solve the problem pertaining to the need for datasets, propose a new loss function that considers the decoration style, and retrain the diffusion model using this dataset. The trained model learns interior design knowledge and can generate an interior design through text. The proposed method replaces the designer’s drawing with computer-generated creative design, thereby enhancing the design efficiency and creative generation. Specifically, the proposed diffusion model can generate interior design images of specific decoration styles and spatial functions end to end from text descriptions, and the generated designs are easy to modify. This novel and creative design method can efficiently generate various interior designs, promote the generation of creative designs, and enhance the design and decision-making efficiency.

The packing and packaging system is an essential factor in enabling the product to compete in international markets, considering that the appropriate packaging is the first impression that the consumer receive. Thus, packing and packaging are undoubtedly an important and required necessity in any product commercial exchange; packaging systems have a world of creativity in the field of improving the features of the commonly used packaging materials, as it depends on the economical and environmental features of these materials. Handling packing and packaging materials properly; as well as recycling them to preserve the environment; is one of the international civilized indicators that mainly aims to find or develop as much packaging materials; which are environmentally friendly and economically rewarding; as possible, also, attempting to create new methods and ways to recycle these materials as well.Packing and packaging have become a crucial tool in marketing the product and influence the consumers choices, in the food industry for instance, we find that that there are many methods on which the creation of the ideas for packing is based, such as the idea of healthy packing which impacts people’s convictions, their health expectations, sensory experience and consumption, as the size and shape of packs and containers affect the size of consumption by modifying people’s perception of the amount of food being served; and the amount of food they consume.The practical study was based on the integration of three main aspects of creative design of packaging; environmental aspect (using local environmental materials), economical aspect (using economically inexpensive materials and ideas) and the creative aspect (relying on unusual ideas that are not used in the Egyptian society), hence; the exquisiteness factor is based on the idea, assemblage and printing methods.The problem of this research emerges from the need to set techniques to utilize the local environmental materials with an economic perspective that accomplishes distinctive aesthetic and design values. The research aims to discover the economics of creative utilization of the environmental materials in packaging, it is based on the hypothesis which proclaims that attempting to use and utilize the environmental materials in packaging in a creative way; will induce creation of new packaging methods that obtain the environmental aspect and hold evident economical outputs.

There are many theories about the concept of design and design activity in terms of the starting points of the idea, methods of treatment for it, solving technical problems of the data associated with it and the extent to which materials and raw materials are adapted into formulations that include aesthetic values ​​related to the general environment of the artistic work and not separated from the self-identity of the artist and the cultural and artistic heritage of his community and the extent of creativity and novelty of those ideas and visions Technical. The idea of ​​modernity alone does not achieve the meaning of good design, even if it produces new forms, but the foundations for good design are inherent in those forms, whether traditional or new. The design is a plan or concept that should be implementable, i.e. a concept for an artistic work or a project for applied art, and since the design activity is not only building the shape, whether functional or aesthetic, but includes studying the planning process and how to build the perceptions that will be on it, so it was necessary to know The study of ceramics is based on the foundations and design theories, so the potter in producing his artistic works, whether from one piece or several pieces of art that complement each other, for example murals or composite works and ceramic shapes in the space all require prior planning and experimentation.

The reason why people have different creativity quality levels may depend on their different performances relating to other cognitive factors that are important for creativity. This study was designed to identify the performance of three cognitive factors (recall, association, and combination) that a designer may use in a creative process and then identify how the differing performance for these cognitive factors will affect creativity quality levels. Seventy-one participants were recruited to undertake a design task and complete a semi-structured interview. The results indicate that, in a creative design process, similar performances in recall, association, and combination can result in differences in creativity quality level.

The article proposes three essential elements in the bridge design process: site, type and drawing. The site defines the problem. The type relates to structural history. The study of alternatives constantly turns to the open catalogue of types for support. Drawing is the conceptual synthesis that builds on the two previous elements. Bridge design entails drawing as much as analysis and sometimes it is even more about geometry than about engineering. To design is to draw. A discussion of the proposed key design components is followed by a description of several bridges and footbridges designed by the authors: a competition proposal in the United Kingdom, two competition-winning footbridges—over the Drava river in Maribor, Slovenia, and over the Miño river between Spain and Portugal—and two urban bridges built in Riyadh. The presentation of the projects is structured according to the three essential elements proposed (site, type and drawing) and highlights the main characteristics of each project and the key aspects of their design processes. In conclusion, the article proposes several actions to be considered as open instructions or recommendations for bridge design with the aim of being both a design method and a manifesto to encourage creative structural engineering. [ABSTRACT FROM AUTHOR]

After the COVID-19 pandemic the use of face masks has become a common practice in many situations. Partial occlusion of the face due to the use of masks poses new challenges for facial expression recognition because of the loss of significant facial information. Consequently, the identification and classification of facial expressions can be negatively affected when using neural networks in particular. This paper presents a new dataset of virtual characters, with and without face masks, with identical geometric information and spatial location. This novelty will certainly allow researchers a better refinement on lost information due to the occlusion of the mask.

The number of synthesized kinematic chains usually is too large to evaluate individual characteristics of each chain. The concept of connectivity is useful to classify the kinematic chains. In this paper, an algorithm is developed to automatically compute the connectivity matrix in planar kinematic chains. The main work is to compute two intermediate parameters, namely the minimum mobility matrix and the minimum distance matrix. The algorithm is capable of dealing with both simple-jointed and multiple-jointed kinematic chains. The present work can be used to automatically determine kinematic chains satisfying the required connectivity constraint, and is helpful for the creative design of mechanisms. The practical application is illustrated by taking the face-shovel hydraulic excavator for instance. [ABSTRACT FROM AUTHOR]

The objectives of the research were to investigate a creative learning promotion activity package for 30 Thai seven-year-old, first-grade school students. Secondly, to design a creative learning promotion activity package, followed by an assessment of the creative learning development process from a series of creative learning promotion activities, and finally, to study the level of parental satisfaction from the final model's related student activities. Additional analysis was undertaken by a group of three child behavioral and learning development experts, and three design experts using a specific selection method. The sample consisted of 30 primary school seven-year-old early learners and 30 parents who were selected by the use of the quota selection method and purposive sampling. The research instruments used included interview forms, product model evaluation questionnaires, behavioral observation forms, and parent satisfaction questionnaires. The results of the research showed that thinking development (TD), physical development (PD), emotional development (ED), and social development (SD) on creativity were affected by a broad spectrum of factors. These included the child's understanding of their surroundings, the use of fine hand muscles, their ability to perform more complex activities, their cheerfulness, social activity, and peer activities, and their ability to concentrate on activities for longer periods. One instrument used for the study included the analysis of five-game board formats used for the development in TD, PD, ED, and SD. The results of the evaluation from the study's product experts determined that style model 3 (Magician's Castle set) was very suitable. [ABSTRACT FROM AUTHOR]