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KeywordsAbstract design fixation; design thinking; digital context; design education; design strategy. Copyright © 2018 | Copyrights are granted to author(s), Archnet-IJAR, and Archnet @ MIT under the terms of the "CC-BY-NC-ND" License. Design fixation has been described as a lack of flexibility in relation to 229 INTRODUCTIONKnow-how and flexibility accumulated from extensive experience are indigenous competences in humans. Recently, artificial intelligence (AI) systems have begun to use large data to absorb humans' know-how and flexibility and, consequently, begun to replace humans in many domains. Although the world transforms to a digital world emphasising AI everywhere, 'creativity' continues to have great significance in design as the ultimate indigenous thinking realm of human beings. Before this research, several design experiments were conducted in which abstract tasks were used as a strategy to enhance the creativity of student participants. It was found that while abstract tasks encouraged participants to engage in inferential thinking (e.g., using metaphors and analogies) several forms of design fixation (e.g., memory and conceptual fixation, and knowledge and functional fixation) still occurred. Design fixation occurred from the problem analysis phase to the ideation phase of the design process, and was found to hinder thinking expansion and have negative effect on participants' creative output. This study was designed to provide students with strategic approaches to overcome design fixation. Students have acquired know-how through their education and experiences. The usefulness of the established strategies would be analysed by observing changes in students over a long period of time. Specifically, a design studio (programmed as a design experiment) was taught for one term (i.e., over a period of 16 weeks) at a university.Numerous limitations (i.e., construction, material, spatial scale, human scale and reliance on known information or knowledge) exist when a physical space is designed. However, a digital world has no such physical limitations and thus was selected as a thinking expansion motif to surmount design fixation and encourage participants to be imaginative. It was anticipated that combining limitlessness (e.g., zero gravity, nought objects, no time and nil scale) with an abstract design task would eliminate design fixation, leading to the creative design process. Further, it was anticipated that understanding the digital context from a cognitive perspective and using a digital world in the design of a space would provide participants with an opportunity to engage in unlimited thinking expansion.The entire process was built on Team Based Learning (TBL). 'Solving an abstract design task in a digital context' was a new attempt to students who had not experienced it before. It was anticipated that forcibly combining TBL and an 'abstract design task in the digital context' would lead to natural brainstorming, the most substantial strategy in any problemsolving process. Further, 'creative' is o...

Much research has emphasized the importance of ‘learning by doing’ in design education. Reasoning methods would be an effective strategy to support students’ reflection-in-action in designing. ‘Knowing how’ is associated with ‘design thinking’, and further, with ‘creativity’, which is essential for design outcomes. This research explores the potential of reasoning methods, specifically analogical reasoning and metaphorical reasoning, in design education for encouraging students to produce creative thinking in a design studio. For one semester, students were educated to adopt analogies and metaphors in designing and how students approached given design problems to produce design ideas was observed. The results showed that adopting reasoning methods as a teaching strategy in a design studio encouraged the development of the students’ design thinking by reorienting their approach to design, which eventually led to enhanced creativity in designing. Based on the results, this research presents critical issues to be considered for encouraging students to utilize analogical and metaphorical reasoning in designing.

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Many museums have recently employed digital technologies in exhibition installations to provide visitors with interactive experiences with the installations, not just audiences. However, most of them have focused on the adoption of new prototypes or technologies, not considering user experiences of those systems carefully. This study developed an evaluation tool for usability of the tangible user interfaces and conducted a usability study on museum installations emphasizing user interaction and experience. The evaluation tool is composed of 5 features of tangible user interfaces such as tangible, interaction, convenience, representation, spatial interaction and social interaction, and 24 items. The museum we investigated is the Gwacheon National Science Museum, where 8 installations, classified 4 categories, were selected for the usability study. We recruited 6 undergraduate students, who were divided into 2 teams, each team having 3 students. Three students in a team manipulated and experience each installation together and reported their evaluation score through the questionnaire and interviews. The results showed that the score of the usability for the category 3, which requires students to move their bodies for the interaction, is the highest one because it features with spatial interaction. Students expressed much interest in the category 4, which utilizes users' other senses, however, the score of the usability is the lowest because the interaction is temporary and repetitive. Most installations are well designed in terms of control constraints, legibility, lower thresholds, participation encouragement, and open to the public, but pooly designed in terms of multiple access points, configurability, accurate movement, ambient media, and full-body interaction.