A Creativity Environment for Educational Engineering Projects when Developing an Innovative Product: A Case Study 279 Variants 09/10: These variants were developed by employing especially TRIZ-IP-01 “Segmentation” and TRIZ-IP-24 “Intermediary” (see explanations above). Fig. 13 (left) shows a connecting mechanism where a specific V-shaped part is pulled upwards through a rectangular hole in the sliding element. The V-part has a screw on top and is intended to deform when the nut is tightened. The version depicted in Fig. 13 (right) can be regarded as result of applying TRIZ-IP-13 “The other way round - Invert the action(s) used to solve the problem”, which in this case was quite inspiring and stimulating. Force is applied in an opposite direction: Instead of pulling up an element the set screw is pressing down a V-shaped part. Fig. 13. Solution principles (No.09 / No.10) Based on the described variants parts were prototyped and tested in order to prove the feasibility. Unfortunately none of the described concepts could guarantee a secure connection between the rope and the sliding element thus putting the overall mechanism in question. The ubiquitous occurring problem was the increasing deformation of the sliding element resulting from reaction forces when applying pressure onto the rope. The deformation itself led to a rough-running and uncontrollable operation mode of the sliding element when pushed or pulled through the housing. So a serious conflict was identified which according to TRIZ-methodology can be resolved by specific IPs if only the proper contradictionary parameters can be defined. The contradiction was expressed like this: An increasing Force / Stress or Pressure (which improves the connection) leads to the worsening features: Strength, Reliabilty and Object-generated harmful factors. The TRIZ-contradiction matrix recommends several IPs whereas IP-03, IP-13 and IP-35 are most favourable (Fig. 14). Fig. 14. Conflict matrix and resulting IPs Variants 11/12/13: In considering particularly TRIZ- IP-13 “The other way round” and TRIZ-IP-03 “Local quality - Change an object's structure from uniform to non-uniform; make each part of an object function in conditions most suitable for its operation; make each part of an object fulfill a different and useful function”, an optimization of the connecting concepts was aspired. Variant No.11 (Fig. 15, left) redirects the horizontal deformation to a minor vertical one by letting the screw pull the carrier element instead of pressurize it. Variant No.12 (Fig. 15, right) avoids the deformation of the sliding element in that a carrier element arranged around an axle absorbs induced forces almost completely. Fig. 15. Solution principles (No.11 / No.12) Another solution, which actually turned out to be most promising and satisfying is depicted in Fig. 16 (left), where the reaction forces are eliminated nearly completely within the subsystem consisting of a modified headless set screw containing another coned stud screw in the centre setting the rope under pressure. Nearly all reaction forces and deformations are induced into this element and have little effect on the sliding element. It shall be annotated that the Top Ten TRIZ-IP-15 “Dynamics - Allow (or design) the characteristics of an object, external environment, or process to change to be optimal or to find an optimal operating condition; absorb forces within a system or subsystem and 280 K. Hain, C. Rappl and M. Fraundorfer eliminate them”, was also an inspiring source for this design step. Fig. 16. Solution principle No.13 / Prototype system After having sub-functions realized and compatibility checked among each other the whole system was manufactured and prototyped (Fig. 16, right) and is running under test conditions. So far the developed prototype has turned out quite satisfactory. 4 Conclusion Several regular design project evaluations revealed, that a conceptual guideline or design project map is particularly appreciated when conducting practical work in an educational context. It is useful in visualizing the whole process and how activities of design and the use of creativity techniques are influenced by numerous factors like the problem definition, state of information, complexity of the task and the nature of the preliminary work. Case studies also made clear, that if given an appropriate guiding frame, students can act, communicate and cooperate properly and produce a better final project and consequently product quality while instructors interference is minimized. The outcome is quite promising with respect to tackling the poor problem solving experience, improving the documentation habits and stimulating the development of thinking patterns at different levels of resolution which should be regarded as a kind of heuristics rather than being used as strict algorithms. References Europäische Patentanmeldung: EP 2107192 A2; Anmelder: Inoutic / Deceuninck GmbH, Bogen (DE); Int. Cl. E05C 9/06 (2006.01), Anmeldetag: 24.3.2009 Grabowski H, Hain K, et al., (1997) Supporting the Search for Design Solutions Based on Information Recognition and Automated Classification. ProKSI-Workshop, Sophia Antipolis, France Hain K, Rappl C, (2010) Engineering Design Projects in Education: A Reference Frame Based on Design Methodology. Proceedings of INTED-2010, ISBN-978- 84-613-5538-9 Hain K, Rappl C, Kaiser F, Fraundorfer M, (2008) A Case Study for Systematic Design of a Mechatronic Product for Buildings. 15 th Int. Conf. on Mechatronics and Vision in Practice (M2VIP), Dec 2008, Auckl. New Zealand. ISBN: 978-0-473-13532-4 Klein B, (2002) TRIZ/TIPS - Methodik des erfinderischen Problemlösens. Oldenbourg Verlag. ISBN: 3-486-25952- 0 Pahl G, Beitz W, (2007) Engineering Design: A Systematic Approach. Edited by Ken Wallace and Lucienne Blessing. Springer, ISBN: 978-1-84628-318-5 (Print: 3rd Edition), 978-1-84628-319-2 (Online) Patent Applied For; Title: Window; Owner: Inoutic / Thyssen Polymer GmbH / Germany, International No.: WO 2007/051441 A1; Int. Cl.: E05C9 / 18 (2006.01); Date of Publication: 23-06-2006 Shavinina, Larisa V, (2003) The International Handbook on Innovation. Pergamon, Amsterdam. Hback, 1208 pp, ISBN 008044198X Zwicky F, (1976) Entdecken, Erfinden, Forschen im Morphologischen Weltbild. München-Zürich, Droemer- Knaur, 1976/1971 The Metaphor of an Ensemble: Design Creativity as Skill Integration Newton S. D’souza University of Missouri, USA Abstract. The metaphor of an ensemble is used in this paper to understand and explain creativity in design. By analyzing skill integration at a domain and task level the paper proposes that from the viewpoint of creativity, design can then be considered as an ensemble of different skills, emergent from the specificity of the situation in which the designer operates. When design skills are considered as a composite, rather than as isolates, and are situated rather than absolute, they allow for flexibility in action and afford room for creativity, as different combinations of skills may lead to different creative design products. Keywords: creativity, design skills, design process, skill integation, mltiple skill model, architectural design 1 Creativity as an Ensemble of Design Skills Current designers are immersed in a technology- intensive environment of social-networking, mobile communication, 3D-gaming and virtual reality worlds. While the effect of these tools has yet to be adequately evaluated in design, one issue that is increasingly becoming clear is that this new environment demands individuals to make meaningful connections between different tools. To make these connections however, one needs to pay attention to the underlying skills demanded by these different tools. In this paper, the term ‘skills’ is used in reference to both cognitive constructions (mental representation and processes) and external depictions (physical action). For example, in the case of architectural designing, visualization is a skill consisting of mental representation while sketching on a paper or computer is an external depiction. In other words, the word ‘skill’ is used in a loose-fitting manner so as to render its meaning more inclusive to terms such as ‘aptitude,’ ‘competency,’ ‘intelligence’ or ‘representation.’ In a prior study it was recognized that architectural design as a discipline demands the use of multiple skills such as spatial visualization, logical thinking, kinesthetic skills, problem-solving skills, linguistic ability, reflective skills and interpersonal skills (D’souza, 2006; 2007). With this assumption, the challenge is to find modes of translation between them in the hope that they lead to more creative products. The hypothesis of this paper is to consider design creativity as a meta-skill that involves the integration of multiple skills. An understanding of skill integration then will clarify the function of creativity in design. This paper attempts to understand skill integration at a domain level, as well as at a task level. Furthering the debate of multiple skills in design, the assumption here is that designing requires a group of skills performing as an ensemble. The metaphor of an ensemble is useful in understanding creativity. Typically, a jazz ensemble consists of various components such as wind instruments (saxophones, trumpets, etc.), chordal instruments (electric guitar, piano, organ), bass instruments (electric bass guitar or double bass), and drums. Creative musicians find a way to integrate these various instruments in different models of improvisation. Most importantly, unlike other musical genres, a jazz ensemble is without a conductor, the improvisations occur through a spontaneous “call and varied response,” a form of interaction between different musicians where one or a group of musicians take turns with the lead (Figure 1). In other words any instrument can have priority over the other and the music is situational rather than pre- determined. This alleviates any hierarchy within the instruments and allows for creative improvisation. Similarly, in architectural design, one can imply that creativity occurs when design skills can be modulated and integrated in spontaneous ways. Fig. 1. Rendition of jazz ensemble by artist Scott Cumming 282 N.S. D’souza This metaphor of creativity demands that one cannot assign absolute value to skills in design, but that in different contexts, different skills may be more valuable than the other. When design skills are considered as a composite, rather than as isolates, and situated rather than absolute, they allow for flexibility in action and afford space for creativity, as different combinations of skills could lead to different design products. Design, from the viewpoint of creativity, can then be considered as an ensemble of different skills, emergent from the specificity of the situation in which the designer operates. 2 Integration as a Construct in Creativity Research The dominant paradigm in traditional creativity research emerging from cognitive psychology attributes creativity as a divergent phenomenon rather than an integrative one. For example, the acclaimed Structure of Intellect model prescribed by Guilford proposes divergent production tests (Guilford, 1950). Torrance advanced Guilford’s divergent model through the famous psychometric measure of creativity, the Torrance Test of Creative Thinking (TTCT), in which flexibility, originality and elaborated thoughts are emphasized rather than integrated (Torrance, 1974). However, the fragmentary nature of design tools today, as well as the nature of design discipline, demands convergence or integration rather than divergence. Some views have alluded to this proposition. For example, Sternberg (1988) has observed that creativity will manifest itself in different forms, depending on the blend of characteristics one brings to creative performance attempts. In seeking to understand creativity, Sternberg observed that we need to understand the interactivity among its parts as well as their independent functioning. Rothenberg (1979) has characterized homospatial thinking as the phenomenon where two or more discrete entities occupy the same space. In the same direction, Keep (1957) defines creativity as the intersection of two ideas for the first time, while Spearman (1931) has observed that creativity is present or occurs whenever the mind can see the relationship between two items in such a way as to generate a third item. In their proposal of conceptual blending, Fauconnier and Turner (1998) observe that insights obtained from blends constitute the products of creative thinking. Individuals blend the function of a partial match between two sets of information and construct meaning out of it in a blended mental space. The elements and vital relations from diverse scenarios are blended in a subconscious process, which is assumed to be ubiquitous to everyday thought. 3 Skill Integration as a Basis for Design Creativity In architectural design, references to skill integration. are mostly confined to anecdotal refences to architects’ use of analogy and metaphors. As such, very few systematic studies can be cited. In a study conducted on creative architects, Mackinnon (1978) suggests that experts are more creative than the novices because a creative person, in his or her intellectual endeavors, is able to reconcile expert knowledge and childlike wonder. Similarly, in a study among architectural students and architects, Downing (1989) finds that unlike architectural students, architects are able to assimilate information more easily and hence are more creative. Newland et al. (1987) found that the contemplative type of designer learns best by rising above apparent information into a unifying altruistic theory using metaphors to make sense of seemingly unrelated sets of information. For Bijl (1989), integration should be flexible because prior typing may become undone as new instances in the design process make unexpected demands. For example, a design idea cannot be fully determined at the beginning of the design process because the client may need something later or the context may pose difficult issues that force a change in strategy midway. For Jones (1970), the integration is a process of convergence, where the designer’s aim becomes that of reducing secondary uncertainties progressively until one possible alternative is left. In more recent attempts to model creativity, several design researchers have pointed out that blending, synthesizing and combining are key to creative thinking (Nagai and Taura, 2006; Gero and Maher, 1991; Goldschmidt, 2001; Finke et al, 1992). Yukari and Nagai have explored concept-synthesizing in terms of concept abstraction (similarity), concept- blending (similarity and dissimilarity) and concept integration (thematic relations). Among these, concept integration is shown to have highest effect on creativity. While in concept abstraction the similarity of two objects are critical for creativity to occur, in concept blending, it is not just about linking similarities of objects, but creating a new object that may be dissimilar to the original objects. In concept integration however, the creativity occurs at a thematic level, rather than at the literal level of objects. The Metaphor of an Ensemble: Design Creativity as Skill Integration 283 4 The Multiple Skill Framework and Skill Integration in Design As mentioned in section 1, architectural design is assumed to consist of multiple skills such as spatial visualization, logical thinking, kinesthetic skills, problem-solving skills, linguistic ability, reflective skills and interpersonal skills D’souza (2006, 2007). This multiple skill framework is borrowed from the educator and cognitive psychologist Howard Gardner (1983), who critiques the current educational system that focuses on logical and verbal skills only and failing to serve the academic and career needs of many students whose strengths lie outside these two skills. Note that Gardner uses the term ‘intelligence’ instead of the word ‘skill’ although they are semantically similar. Gardner suggests that not only do individuals possess numerous mental representations and intellectual languages, but individuals also differ from one another in the forms of these representations, their relative strengths, the ways in which these representations can be changed. Gardner proposes at least eight discrete mental representations or skills concerning the ways in which individuals take in information, retain and manipulate that information, and demonstrate their understandings to themselves and others. The eight skills include verbal/linguistic, logical/mathematical, musical, spatial, bodily- kinesthetic, intrapersonal, interpersonal and naturalistic skills (Table 1). Table 1. Multiple Skill Model of Gardner Skill Type Description Linguistic/verbal Use of words in creative ways Musical/rhythmic Appreciate/perform sounds Logical/mathematical Think in abstract relations Spatial/visual Manipulate/transform spatial information Bodily-kinesthetic Use of body to solve problems Intrapersonal Responsive to personal feelings Interpersonal Responsive to feelings of others Naturalistic Appreciate/manipulate nature While Gardner suggests that each skill category is autonomous, i.e. consisting of its own attributes of memory and cognition, this paper assumes that in design, autonomy of skills is restrictive. This point has been made by a critique of Gardner’s theory, Klein (1997), who demonstrated integration of skills among differing tasks. Taking an example of the task of parking a car, Klein suggests the use of logical skill is required to maneuver the car exactly in the parking lot. However, the task of car parking also requires a content area such as space to be worked. In the multiple intelligence model however, logical skills and spatial skills occupy different categories because of their autonomy, raising the question of how these two skills could exchange information if they are so separated. This argument seems apt especially in architecture design which uses different intended acts such as logic, visualization, drawing, on one hand and intended objects such as form, space, graphics on the other. Hence while Gardner’s multiple skill model is assumed here, it has been modified to accommodate multiple skills rather than considering the skills purely autonomous. 5 Analyzing Skill Integration in the Architectural Design Studio The idea of studying skill integration came about as a by-product of a larger study of applying the multiple skill framework among architectural design students. These students were self-selected from an intermediate year design studio at a Midwestern school of architecture in the US. This paper will investigate the degree of integration in the use of different skills among designers. The study was conducted in two parts. The first part focused on skill integration at a domain level of design consisting of multiple skills among 37 architecture students. The second part focused on skill integration at a task level among a subset of nine students. The first part of the study is described in section 5.1 and the second part in the section 5.2. 5.1 Analyzing Skill Integration at a Domain Level in Design To understand skill integration at a domain level first, skills in design were measured through a survey scale called Architecture Design Intelligence Assessment Scales (ADIAS), which is a personality-based self report administered through a paper-and-pencil questionnaire. The ADIAS uses a Likert-type measurement where participants are asked to indicate whether they agree or disagree with each item within a range of six options, and the scores for each scale are converted into percentage points. Scores within percentages of 100-60 are considered ‘high,’ 60-40 are considered ‘moderate’ and 40-0 are considered ‘low’. The ADIAS was constructed from the MIDAS scales, which were originally developed by Shearer (1996) to measure the multiple skill framework of Howard Gardner. The MIDAS (Multiple Intelligence Design Assessment Scales) is intended to give a reasonable estimate of the person’s intellectual disposition in each of the eight main intelligence areas (linguistic, logical-mathematical, spatial, musical, kinesthetic, naturalist, interpersonal and intrapersonal). It has been subjected to several tests of validity and 284 N.S. D’souza reliability during the scale construction process. The ADIAS was constructed because it was felt that the MIDAS fell short in addressing domain specific skills that are particular to the uniqueness of architecture design. For example, in MIDAS items related to spatial skill include “Can you parallel park a car on the first try?” While this is a fair item to assess spatial skills for some domains, it may not entirely reflect the meaning of spatial skills in architecture where space can relate to sensory issues of light, texture, proportion and so on. The transformation from MIDAS to ADIAS occurred through a four-phase scale construction process among 104 architecture design students. The ADIAS consists of 93 items for eight skill categories - 71 items from the original MIDAS scales and 22 new scales evolved during the scale-construction process. These new scales were formed by adding architecture- related content through design literature and qualitative interviews among design students. Validity was ensured by rejecting items with scores less than 50%, and reliability was ensured by deleting items with Cronbach alpha values greater than the alpha values for individual scales. It should be noted that in the ADIAS scale construction process, a new scale emerged called eye-mind-hand coordination scale. In the final version, the ADIAS mean scores for architecture students ranged from 74 for spatial to 59 for linguistics. All the skill scores were above or close to 60. Cronbach reliability for architecture students ranged from 0.9 for spatial skills to 0.77 for eye-mind- hand coordination scales (D’souza, 2006). In order to understand the degree of skill integration, the Pearson’s coefficient correlation between ADIAS scores were considered. This was to elicit the degree of skill integration. As shown in Figure 2, only correlations above + 0.5 are shown. For example, spatial, intrapersonal, interpersonal and logical skills had the highest integration while kinesthetic and musical skills were fairly autonomous. Darker shaded circles indicate greater degree of skill integration compared to the lighter shaded circles. Furthermore, the distance between the skills suggest the strength of skill integration. Skills such as intrapersonal, spatial and eye-hand-mind coordination skills bunched closer, compared to others. Spatial skill shows a strong correlation with eye-mind-hand coordination skill (R = 0.78) and intrapersonal skill (R = 0.74). Another notable finding is the strong correlation between intrapersonal, interpersonal and verbal skills (intra to inter R= 0.69; intra to verbal R = 0.60; inter to verbal R=0.70), suggesting that sensory and communication skills are strongly integrated with each other in design. On the whole, the strong connections between these different skills suggests that these faculties are very much dependent on each other, contrary to Gardner’s hypothesis that the skills are relatively autonomous. LOGICA L 0.48 INTRA PERSONAL 0.74 0.53 KINESTHETIC 0.16 0.35 0.04 EYE-MIND-HAND COORDINATION 0.78 0.5 0.78 0.12 NATURAL 0.52 0.19 0.58 0.11 0.42 INTERPERSONAL 0.58 0.48 0.69 0.42 0.52 0.55 MUSICAL 0.34 0.09 0.18 0.3 0.4 0.19 0.45 VERB AL 0.5 0.39 0.6 0.37 0.44 0.35 0.7 0.39 SPATIAL LOGICAL INTER PERSONAL KINESTHETIC EYE-MIND- HAND NATURAL INTRA PERSONAL MUSICAL Fig. 2. Degree of skill integration among multiple skills of architectural design students As a further note, the size of the circles in the figure also shows the content validity of these skills to architectural design based on the scores attained in the ADIAS scales. As a subject of future analysis, this may help to understand the degree of skill integration in relation to the content validity of the scales. 5.2 Analyzing Skill Integration at a Task Level in Design Understanding design skill at a domain level can only provide one part of the picture of creativity. To get a more complete picture, skill integration also needs to be investigated at the task level since, specific design problems demand specific combinations of skills. In the study, the design protocols of design tasks for nine students were examined in detail. Currently, protocol studies are used only in experimental setups where a small number of participants are observed in a room and are expected to design a product in a short period of time (2- 4 hours). We found that this kind of protocol analysis may not be suitable to our study because the short duration not only diminishes the complexity and quality of Kinesthetic Musical Eye Mind Coordination Natural Logical Verbal 0.48 0.78 0.58 0.53 0.50 0.60 0. 50 0.69 0.70 0.52 0.58 0.55 0.58 0.74 0.78 0.52 Hand Interpersonal Intrapersonal Spatial The Metaphor of an Ensemble: Design Creativity as Skill Integration 285 architectural design, but also fails to simulate the skills used in a naturalized setting of practice or an academic studio. The challenge was then to design protocols at a macroscopic level in the bargain of losing information at a microscopic level. The nine students were distributed among six different sections of the architectural studio with different instructors and similar design problems. (Design task 1: row housing, design task 2: culture works museum and design task 3: branch library). Each protocol lasted for approximately one month, and data collection occurred at least twice a week in sessions lasting between 5-20 minutes. Verbal information was collected in the form of design intentions. To supplement the verbal information, design images were recorded using a digital camera wherever it seemed appropriate. These images were in different media and materials (e.g. tracing sheet, maplitho sheet, study models, etc.). The students were also asked to keep a log book so that informal sketches and information could be recorded throughout the design process. Coding for all skills was done through a codebook which was devised by the researcher from referring to substantive data collected from the ADIAS as well as architectural design literature. Coding was done by three outside coders, who identified specific design intentions and matched them with appropriate skills. Table 2 shows an example of coding scheme for interpersonal skill. While the second column provides a brief descriptor for the main scale, the last two columns show the interpretation of the main scales into specific architectural design task scales. The coding process is described in reference to Figure 3. The rows in the codebook show categories such as illustration, design intent and multiple skills. According to the coder, the intention ‘(5.1) ‘Separate entry zones for private and public,’ refers to the use of logical skill (because of an intention that is based on function and logical analysis). Hence, a tick mark is placed on the row corresponding to logical skills (‘L’). The intention ‘(5.2) ‘Separation of entries also created an open space at the center that could be used as a courtyard for the community,’ refers to the use of spatial skill (because the designer is creating a spatial relation between open and closed elements), as well as interpersonal skill (because the intention shows a sensitivity to community). Hence two tick marks are placed, one for spatial skill (S) and another for interpersonal skill (I). These two tick marks are placed on the same column as the first intention but on the extreme right, because these two intentions are illustrated by the same drawing. Table 2. Example of coding criteria for interpersonal skill SKILL (Code) General Description of Skill SENSITIVTY TO HUMAN BEHAVIOR Intetions/drawings should convey the designer's ability to understand human behavior/ diverse values of design context. Ability to role-play and identify behavioral patterns. SENSITIVITY TO USER NEEDS Designer should have social sensibility/empathy for variety of user groups/client scenarios, including underprivileged population. Intentions/drawings should show socio-cultural sensibility, and sensitivity to universal design issues. ABILITY TO BE SOCIALLY PERSUASUVE IN DESIGN Designer should be socially persuasive in communication of intentions. Designer should be parsimonious/elegant in conveying ideas. Skill in relation to architecture design INTERPERSONAL (I) To think about and understand another person. To have empathy and recognize distinctions among people and to appreciate their perspectives with sensitivity to their motives, moods and intentions. It involves interacting effectively with one or more people. Sensitivity to and understanding of other people's moods, feelings and point of view. Ability for influencing other people. Interest and skill for jobs involving working with people Awareness of one's own ideas and abilities. Ability to achieve personal goals. Illustrations Design Intents 1.1 Separate entry zones for private and public 1a Creating some rhythmic effect in the façade by staggering units on 1b 1.2 Seperation of entries also creates open spaces in the center which could be used as a courtyard Skills M L S P I V N Coding Fig. 3. Example of coding process 5.2.1 The Case of Laura and Jared Two individual cases are elaborated here to further illustrate skill integration in design. Design student Laura likes to use different architectural strategies in her row-house scheme primarily through formal massing. Three strategies of formal massing are demonstrated here. As shown in Figure 4 (left) in the first case, Laura explores massing through a juxtaposition of different volumes. By using a set of wireframe diagrams, she explores architectural elements of proportion, hierarchy, geometry, etc. in the individual units of row-houses, as well as the row- house complex as a whole. As she proceeds with the design process, she uses volumetric massing for an entirely different purpose, i.e., to explore and clarify functional zoning such as work space vs. residence conflicts, community vs. 286 N.S. D’souza privacy so on. As shown in Figure 4 (middle), Laura uses different colors (yellow and blue) to distinguish these conflicts. In the third case shown in Figure 4 (right), Laura uses volumetric massing for another purpose purely an aesthetic basis to represent visual weight (heavy vs. light). Laura’s design portrays primarily three design representations: spatial in the first case (spatial disposition of the volumes), logical in the second case (functional disposition of the volumes) and intrapersonal in the third case (sensory disposition of the volumes). SIPLVMKN 1 2 3 3. Computer massing shwing overlaping of ligt v/s dark spaces 2. Functional zoning of different spaces showing alternatives in 3D massing Design Intent Skills Illustrations Design Intents 1. Trying to model spaces in 3D and schematics sections Fig. 4. Skill integration through massing Hence, in one design activity of volumetric massing, Laura uses different skills such as spatial skills, logical skills and intrapersonal skills. One should also note that these three ideas are not alternatives, but the continuation of the same idea. Laura’s case indicates that thinking of design not only requires different skills, but also to making integration between one skill and the other. SI PL VMKN 1 2 Skills Illustrations Design Intents 1. Initial study of the courtyard space looking at orientation and geometry 2. Radiating geometry of plan as layers Design Intent Fig. 5. Skill integration through multiple overlays Similarly, design student Jared was able to think in multiple overlays (Figure 5) by using tracing sheets one below, allowing him to layer ideas and maneuver fluently through different elements of designing such as site, landscape, figure ground, built space, floor plan, etc. Jared used overlays to design parts of a scheme, without losing sight of the overall design. By doing so he was able to engage in analysis and integration simultaneously. As shown in Figure 5, of a row housing scheme, Jared uses overlays of positive v/s negative spaces, landscape v/s built spaces and circulation v/s habitable spaces. Based on the GPA and instructor rating, this group of students was considered most successful and creative. Besides Laura and Jared, other creative students displayed some other traits as elaborated below. In all these examples, one can see an integration of skill at different levels. 5.2.1.1 Ability to use multiple skills SIPLVMKN 1 2 3 4 2. Gallery locatec in corner not to disturb privacy of residents 3. Community space situated in directed visual access to main street 4. Massive exterior wall of row-house buffers the reidents from the stret and the light wells in the interiors help residenes to open inwardly into the courtyards Design Intent Skills Illustrations Design Intents 1. Gallery situated in direct access to main street Fig. 6. Ability to use multiple skills One of the aspects that distinguished this group of students from the rest is that they were able to utilize multiple skills - spatial, intrapersonal, interpersonal, logical, kinesthetic, verbal and naturalistic. In the example of a row house project (Figure 6), one can see the multiple skills for the intentions as coded in the table below in terms of spatial, intrapersonal, interpersonal, logical and kinesthetic skills. 5.2.1.2 Rigorous experimentation with alternatives SIPLVMKN 1 Design Intent Skills Illustrations Design Intents 1. Excercise in 3D massing for creating and analying different alternatives Fig. 7. Identification and Application of diverse precedents The Metaphor of an Ensemble: Design Creativity as Skill Integration 287 Another aspect that distinguished this group of students from others was their ability to produce multiple alternatives. As seen in the Figure 7 one can see an experimentation with different formal strategies for a row housing layout. 5.2.1.3 Verbal articulation of ideas and reflection This group of designers was also more verbally articulate than others in their design ideas demonstrating good oral skills and or written skills. Example in Figure 8 shows the designer interacting with the design problem of a row house design project by writing notes on how individual units negotiate the slope of the site, showing high level of verbal skills. SIPL VMKN 1 2 2. Reflecting on adjacency of spaces Design Intent Skills Illustrations Design Intents 1. Verbalizing and reflecting upon the negotiation of slopes Fig. 8. Verbal articulation of ideas and reflection 5.2.1.4 Identification/application of diverse precedents This group of designers also applied and identified diverse precedents in their design. In Figure 9 of a museum project, one can see use of different precedents for sectional organization. SIPLVMKN 1 2 3 Design Intents 1. Using a precedent for sectional organization of spaces (Cite, HK 2. Exploring a second precendent, NewMuseum of Contemporary Art, NY 3. Exploring a third precedent -New Academic Building Cooper Union Design Intent Skills Illustrations Fig. 9. Identification and application of diverse precedents 5.2.1.5 Changing strategies based on project needs This group was cognizant of the changing nature of design problems across different projects and adapted their design strategies accordingly. The change in strategies for the three projects can be demonstrated in Figure 10. Reading from right to left, in the first project of a row house, the designer uses a generative module and its formal logic for design (logical skill) in the second project of a museum she is influenced by her personal experience of a museum (intrapersonal/interpersonal skill) and in the third library project she uses an tree analogy as a form generator (naturalistic/intrapersonal skill) skill. This change in strategy demonstrates that the designer is cognizant of the changing nature of design problems across the three projects and adapts accordingly. SIPLVMKN 1 2 3 3. Using nature and vegetation as an analogy to create form Design Intent Skills Illustrations Design Intents 1. Visualizing row house massing through formal composition 2. Inspiration from personal experience in City Museum, St. Louis Fig. 10. Changing strategies according to project needs 5.2.1.6 Extensive use of analogies/metaphors Most designers used high degree of analogies/metaphors. In Figure 11 the designer uses a ‘sand-crab’ and a ‘flower’ metaphor for the spatial organization of a row-house design project. SIPLVMKN 1 2 2. Site layour anaologous to "flower" - keeping in mind how the flower opens to terrain and the slope of the site Design Intent Skills Illustrations Design Intents 1. "Sand-crab" imagery of row house units attempts to 'grab' open space Fig. 11. Use of analogies/metaphors 6 Conclusions In summary, the findings suggest that designers use multiple skills in their designs, and creative designers are able to perform skill integration much more effectively than others. The metaphor of the ensemble helps us to understand that it is not necessarily a specific skill or the number of skills the designer uses and integrates that makes a solution more creative. 288 N.S. D’souza Rather, how the skills are integrated in answer to a specific design problem is what forms a basis for creativity. The metaphor of the ensemble helps us view creativity can as a continuous ‘creative performance’ (Sternberg, 1988) rather than a onetime creative act. The findings show that creative designers are cognizant of the changing nature of design contexts and are more deliberate in choosing specific skills and that creativity can occur at different levels in architectural design. As proposed by Klein (1997), the findings also show that integration can occur between within singular skills or multiple skills. In some ways it is the moment of insights when one can find, what Nagai and Taura (2006) characterize as ‘thematic relations’ between skills that can form the basis for creativity. The findings imply that one cannot assign absolute value to skills in design, but that in different contexts, different skills may be more valuable than the others. When design skills are considered as a composite, rather than as isolates, and situated rather than absolute, they allow for flexibility in action and afford room for creativity, as different combinations of skills may lead to different design products. Design, from the viewpoint of creativity, can then be considered as an ensemble of different skills, emergent from the specificity of the situation in which the designer operates. This study has several limitations from the use of one single studio and an academic setting to the interpretive nature of the design process. However, it provides useful insights into the nature of skill integration as a basis for creativity at a domain and task level which may require further exploration. References Alexander C, (1964) Notes on the Synthesis of Form. Cambridge: Harvard University Press Bijl A, (1989) Computer Discipline and Design Practice: Shaping our Future. 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Keywords: creativity, design skills, design process, skill integation,. design process, skill integation, mltiple skill model, architectural design 1 Creativity as an Ensemble of Design Skills Current designers are immersed in a technology- intensive environment of. consider design creativity as a meta-skill that involves the integration of multiple skills. An understanding of skill integration then will clarify the function of creativity in design. This