DESIGN THINKING

UNIT IV-DESIGN THINKING

1. THEORIES ON THINKING
2. UNDERSTANDING CREATIVITY
3. CREATIVITY TECHNIQUES
4. BLOCKS IN CREATIVE THINKING
5. DESIGN PUZZLES
6. DESIGN TRAPS

I. TYPES OF THINKING / THINKING THEORIES

1. CRITICAL THINKING - This is convergent thinking. It assesses the worth and validity of
something existent. It involves precise, persistent, objective analysis. When teachers try to get
several learners to think convergently, they try to help them develop common understanding.
Critical is primarily concerned with judging the Truth value of statements and seeking errors.

2. CREATIVE THINKING - This is divergent thinking. It generates something new or different. It

involves having a different idea that works as well or better than previous ideas.

3. CONVERGENT THINKING - This type of thinking is cognitive processing of information around a

common point, an attempt to bring thoughts from different directions into a union or common
conclusion. In this the person is good at bringing material from a variety of sources to bear on a
problem, in such a way as to produce the "correct" answer. This kind of thinking is particularly
appropriate in science, maths and technology.

4. DIVERGENT THINKING - This type of thinking starts from a common point and moves
outward into a variety of perspectives. When fostering divergent thinking, teachers use
the content as a vehicle to prompt diverse or unique thinking among students rather than
a common view. Here the person’s skill is in broadly creative elaboration of ideas
prompted by a stimulus, and is more suited to artistic pursuits and study in the
humanities.

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5. LATERAL THINKING This is about reasoning that is not immediately obvious and about ideas
that may not be obtainable by using only traditional step-by-step logic. Techniques that apply lateral
thinking to problems are characterized by the shifting of thinking patterns away from entrenched or
predictable thinking to new or unexpected ideas. A new idea that is the result of lateral thinking is
not always a helpful one, but when a good idea is discovered in this way it is usually obvious in
hindsight, which is a feature lateral thinking shares with a joke.

6. INDUCTIVE THINKING - This is the process of reasoning from parts to the whole, from examples
to generalizations.

6. DEDUCTIVE THINKING - This type of reasoning moves from the whole to its parts, from
generalizations to underlying concepts to examples.

7. CLOSED QUESTIONS - These are questions asked by teachers that have predictable
responses. Closed questions almost always require factual recall rather than higher levels of
thinking.

8. OPEN QUESTIONS - These are questions that do not have predictable answers. Open
questions almost always require higher order thinking.

II. SIX THINKING HATS

Early in the 1980s Dr. Edward de Bono invented the Six Thinking Hats method. The method is a
framework for thinking and can incorporate lateral thinking. Valuable judgmental thinking has its
place in the system but is not allowed to dominate as in normal thinking. The six hats represent six
modes of thinking and are directions to think rather than labels for thinking. That is, the hats are
used proactively rather than reactively. The method promotes fuller input from more people..

NEED FOR THINKING HATS

The key point is that a hat is a direction to think rather than a label for thinking. The key theoretical
reasons to use the Six Thinking Hats are to:

1. ENCOURAGE PARALLEL THINKING

2. ENCOURAGE FULL-SPECTRUM THINKING
3. SEPARATE EGO FROM PERFORMANCE

The de Bono Hats represent six thinking strategies, as identified by Edward de Bono. He
considered human cognition and thought to be of several types, approaches, or orientations. He
theorized that, of these approaches, most people used only one or two of the approaches and that
people developed thinking habits which in turn limited people to those approaches. de Bono
believed that if the various approaches could be identified and a system of their use developed
which could be taught, that people could be more productive in meetings and in collaborating within
groups and teams by deliberately using the approaches.

As a result of his investigations, de Bono was able to describe a process of deliberately adopting a
particular approach to a problem as an implementation of Parallel Thinking™ as well as an aid to
lateral thinking. Six different approaches are described, and each is symbolized by the act of putting
on a coloured hat, either actually or imaginatively. This he suggests can be done either by
individuals working alone or in groups.

The Red Hat represents Emotional thinking.

The Yellow Hat represents Positive thinking.

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The Black Hat represents Critical thinking.

The White Hat is purely the facts.

The Green Hat is Creative thinking.

The Blue Hat represents the Big Picture, sort of looking at it from all the viewpoints.

These Thinking Hats have recently been incorporated in school business programs such as the IBT
(International Business and Technology) program.

White hat (Blank sheet):

 Information & reports,

 facts and figures (objective)

Red hat (Fire):

 Intuition, opinion
 emotion,

 feelings (subjective)

Yellow hat (Sun):

 Praise,
 positive aspects,

 why it will work (objective)

Black hat (Judge's robe):

 Criticism,
 judgment,

 negative aspects,

 modus tollens (objective)

Green hat (Plant):

 Alternatives,
 new approaches & 'everything goes',

 idea generation & provocations (speculative/creative)

Blue hat (Sky):

 "Big Picture,"
 "Conductor hat,"

 "Meta hat,"

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 "thinking about thinking", overall process (overview)

MAIN PURPOSES OF USE

1. FOCUS AND IMPROVE THE THINKING PROCESS

2. ENCOURAGE CREATIVE, PARALLEL AND LATERAL THINKING
3. IMPROVE COMMUNICATION
4. SPEED UP DECISION MAKING
5. AVOID DEBATE

Utilizing a variety of approaches within thinking and problem solving allows the issue to be
addressed from a variety of angles, thus servicing the needs of all individuals concerned. The
thinking hats are useful for learners as they illustrate the need for individuals to address problems
from a variety of different angles. They also aid learners as they allow the individual to recognize
any deficiencies in the way that they approach problem solving, thus allowing them to rectify such
issues.

De Bono believed that the key to a successful use of the Six Think Hats methodology was the
deliberate focusing of the discussion on a particular approach as needed during the meeting or
collaboration session. For instance, a meeting may be called to review a particular problem and to
develop a solution for the problem. The Six Thinking Hats method could then be used in a
sequence to first of all explore the problem, then develop a set of solutions, and to finally choose a
solution through critical examination of the solution set.

WORKING PROCESS OF THINKING HATS

i. So the meeting may start with everyone assuming the Blue hat to discuss how the meeting will be
conducted and to develop the goals and objectives.

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ii. The discussion may then move to Red hat thinking in order to collect opinions and reactions to
the problem. This phase may also be used to develop constraints for the actual solution such as
who will be affected by the problem and/or solutions.

iii. Next the discussion may move to the (Yellow then) Green hat in order to generate ideas and
possible solutions. Next the discussion may move between White hat thinking as part of developing
information and Black hat thinking to develop criticisms of the solution set.

Because everyone is focused on a particular approach at any one time, the group tends to be more
collaborative than if one person is reacting emotionally (Red hat) while another person is trying to
be objective (White hat) and still another person is being critical of the points which emerge from
the discussion (Black hat).

III. CREATIVE THINKING

Much of the thinking done in formal education emphasizes the skills of analysis--teaching students
how to understand claims, follow or create a logical argument, figure out the answer, eliminate the
incorrect paths and focus on the correct one. However, there is another kind of thinking, one that
focuses on exploring ideas, generating possibilities, looking for many right answers rather than just
one. Both of these kinds of thinking are vital to a successful working life, yet the latter one tends to
be ignored until after college. We might differentiate these two kinds of thinking like this:

Critical Thinking Creative Thinking

analytic generative

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convergent divergent

vertical lateral

probability possibility

judgment suspended judgment

focused diffuse

objective subjective

answer an answer

left brain right brain

verbal visual

linear associative

reasoning richness, novelty

yes but yes and

IV.WHAT IS CREATIVITY?
1. AN ABILITY
2. AN ATTITUDE

3. A PROCESS

1. AN ABILITY. A simple definition is that creativity is the ability to imagine or invent something
new. As we will see below, creativity is not the ability to create out of nothing (only God can do
that), but the ability to generate new ideas by combining, changing, or reapplying existing ideas.
Some creative ideas are astonishing and brilliant, while others are just simple, good, practical ideas
that no one seems to have thought of yet.

Believe it or not, everyone has substantial creative ability. Just look at how creative children are. In
adults, creativity has too often been suppressed through education, but it is still there and can be
reawakened. Often all that's needed to be creative is to make a commitment to creativity and to
take the time for it.

2. AN ATTITUDE. Creativity is also an attitude: the ability to accept change and newness, a
willingness to play with ideas and possibilities, a flexibility of outlook, the habit of enjoying the good,
while looking for ways to improve it. We are socialized into accepting only a small number of
permitted or normal things, like chocolate-covered strawberries, for example. The creative person
realizes that there are other possibilities, like peanut butter and banana sandwiches, or chocolate-
covered prunes.

3. A PROCESS. Creative people work hard and continually to improve ideas and solutions, by
making gradual alterations and refinements to their works. Contrary to the mythology surrounding
creativity, very, very few works of creative excellence are produced with a single stroke of brilliance
or in a frenzy of rapid activity. Much closer to the real truth are the stories of companies who had to

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take the invention away from the inventor in order to market it because the inventor would have
kept on tweaking it and fiddling with it, always trying to make it a little better.

The creative person knows that there is always room for improvement.

V CREATIVE METHODS (APPROACHES TO GENERATE CREATIVE

IDEAS)

1. EVOLUTION.
2. SYNTHESIS.

3. REVOLUTION.

4. REAPPLICATION.

5. CHANGING DIRECTION

Several methods have been identified for producing creative results. Here are the five classic ones:

1. EVOLUTION
 This is the method of incremental improvement.
 New ideas stem from other ideas, new solutions from previous ones, the new ones slightly
improved over the old ones.
 Many of the very sophisticated things we enjoy today developed through a long period of
constant incrementation.
 Making something a little better here, a little better there gradually makes it something a lot
better--even entirely different from the original.

For example:- look at the history of the automobile or any product of technological progress. With
each new model, improvements are made. Each new model builds upon the collective creativity of
previous models, so that over time, improvements in economy, comfort, and durability take place.
Here the creativity lies in the refinement, the step-by-step improvement, rather than in something
completely new.

The evolutionary method of creativity also reminds us of that critical principle: Every problem that
has been solved can be solved again in a better way. Creative thinkers do not subscribe to the
idea that once a problem has been solved, it can be forgotten, or to the notion that "if it ain't broke,
don't fix it." A creative thinker's philosophy is that "there is no such thing as an insignificant
improvement."

2. SYNTHESIS.

 With this method, two or more existing ideas are combined into a third, new idea.
 Combining the ideas of a magazine and an audio tape gives the idea of a magazine you can
listen to, one useful for blind people or freeway commuters.

For example:-

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Someone noticed that a lot of wanted to listen to music while moving and commuting, that’s when
the idea of walkmans came into being followed by the I-pod

3. REVOLUTION.

 Sometimes the best new idea is a completely different one, and marked change from the
previous ones.
 While an evolutionary improvement philosophy might cause a professor to ask, "How can I
make my lectures better and better?" a revolutionary idea might be, "Why not stop lecturing
and have the students teach each other, working as teams or presenting reports?"

For example,

The evolutionary technology in fighting termites eating away at houses has been to develop safer
and faster pesticides and gasses to kill them. A somewhat revolutionary change has been to
abandon gasses altogether in favor of liquid nitrogen, which freezes them to death or microwaves,
which bake them. A truly revolutionary creative idea would be to ask, "How can we prevent them
from eating houses in the first place?" A new termite bait that is placed in the ground in a perimeter
around a house provides one answer to this question.

4. REAPPLICATION.

 Look at something old in a new way.

 Go beyond labels.

 Unfixate, remove prejudices, expectations and assumptions and discover how something
can be reapplied.

 .The key is to see beyond the previous or stated applications for some idea, solution, or
thing and to see what other application is possible.

For example,

A paperclip can be used as a tiny screwdriver if filed down; paint can be used as a kind of glue to
prevent screws from loosening in machinery; dishwashing detergents can be used to remove the
DNA from bacteria in a lab; general purpose spray cleaners can be used to kill ants.

5. CHANGING DIRECTION

 Any creative breakthroughs occur when attention is shifted from one angle of a problem to
another. This is sometimes called creative insight.

For example,

A classic example is that of the highway department trying to keep kids from skateboarding in a
concrete-lined drainage ditch. The highway department put up a fence to keep the kids out; the kids
went around it. The department then put up a longer fence; the kids cut a hole in it. The department
then put up a stronger fence; it, too, was cut. The department then put a threatening sign on the
fence; it was ignored. Finally, someone decided to change direction, and asked, "What really is the
problem here? It's not that the kids keep getting through the barrier, but that they want to
skateboard in the ditch. So how can we keep them from skateboarding in the ditch?" The solution
was to remove their desire by pouring some concrete in the bottom of the ditch to remove the
smooth curve. The sharp angle created by the concrete made skateboarding impossible and the
activity stopped. No more skateboarding problems, no more fence problems.

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 This example reveals a critical truth in problem solving: the goal is to solve the problem,
not to implement a particular solution.
 When one solution path is not working, shift to another.

 There is no commitment to a particular path, only to a particular goal.

 Path fixation can sometimes be a problem for those who do not understand this; they
become overcommitted to a path that does not work and only frustration results.

VI.POSITIVE ATTITUDES FOR CREATIVITY

1. Curiosity
2. Challenge.
3. Constructive discontent.
4. A belief that most problems can be solved
5. The ability to suspend judgment and criticism
6. Problems are interesting and emotionally acceptable
7. A problem can also be a solution
8. Problems lead to improvements.
9. Seeing the good in the bad.

1. Curiosity.
 Creative people want to know things--all kinds of things-- just to know them.
Knowledge does not require a reason.
 The question, "Why do you want to know that?" seems strange to the creative
person, who is likely to respond, "Because I don't know the answer." Knowledge is
enjoyable and often useful in strange and unexpected ways.
2. Challenge.

 Curious people like to identify and challenge the assumptions behind ideas,
proposals, problems, beliefs, and statements.

 Many assumptions, of course, turn out to be quite necessary and solid, but many
others have been assumed unnecessarily, and in breaking out of those assumptions
often comes a new idea, a new path, a new solution.

3. Constructive discontent.

 This is not a whining, griping kind of discontent, but the ability to see a need for
improvement and to propose a method of making that improvement.

 Constructive discontent is a positive, enthusiastic discontent, reflecting the thought,

"Hey, I know a way to make that better."

4. A belief that most problems can be solved.

 By faith at first and by experience later on, the creative thinker believes that
something can always be done to eliminate or help alleviate almost every problem.

 Problems are solved by a commitment of time and energy, and where this
commitment is present, few things are impossible.

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5. The ability to suspend judgment and criticism.

 Many new ideas, because they are new and unfamiliar, seem strange, odd, bizarre,
even repulsive. Only later do they become "obviously" great.

 Other ideas, in their original incarnations, are indeed weird, but they lead to practical,
beautiful, elegant things. T

 Thus, it is important for the creative thinker to be able to suspend judgment when
new ideas are arriving, to have an optimistic attitude toward ideas in general, and to
avoid condemning them with the typical kinds of negative responses like, "That will
never work; that's no good; what an idiotic idea; that's impossible," and so forth
Seeing the good in the bad.

6. Problems lead to improvements.

 The attitude of constructive discontent searches for problems and possible areas of
improvement, but many times problems arrive on their own.

 But such unexpected and perhaps unwanted problems are not necessarily bad,
because they often permit solutions that leave the world better than before the
problem arose.

7. A problem can also be a solution.

 A fact that one person describes as a problem can sometimes be a solution for
someone else. Above we noted that creative thinkers can find good ideas in bad
solutions.

 Creative thinkers also look at problems and ask, "Is there something good about this
problem?"

8. Problems are interesting and emotionally acceptable.

 Many people confront every problem with a shudder and a turn of the head.

 They don't even want to admit that a problem exists--with their car, their spouse,
their child, their job, their house, whatever.

 As a result, often the problem persists and drives them crazy or rises to a crisis and
drives them crazy.

 Creative people see problems as interesting challenges worth tackling. Problems are
not fearful beasts to be feared or loathed; they are worthy opponents to be jousted
with and unhorsed. Problem solving is fun, educational, rewarding, ego building,
helpful to society.

VII.MENTAL BLOCKS TO CREATIVE THINKING AND PROBLEM

SOLVING

1. PREJUDICE
2. FUNCTIONAL FIXATION.

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3. LEARNED HELPLESSNESS.

4. PSYCHOLOGICAL BLOCKS.

1. PREJUDICE.
 The older we get, the more preconceived ideas we have about things.
 These preconceptions often prevent us from seeing beyond what we already know
or believe to be possible.
 They inhibit us from accepting change and progress.

Example problem: How to connect sections of airplanes with more ease and strength than using
rivets. A modern solution is to use glue--glue the sections together. We probably wouldn't think of
this solution because of our prejudice about the word and idea of glue. But there are many kinds of
glue, and the kind used to stick plane parts together makes a bond stronger than the metal of the
parts themselves.

Another problem: How can we make lighter weight bullet proof windows? Thicker glass is too
heavy. Answer: Use plastic. Again, we are prejudiced against plastic. But some plastics are not
flimsy at all and are used in place of steel and in bullet proof windows.

Another problem: Make a ship's hull that won't rust or rot like steel or wood. Solution: Use
concrete. Our prejudice is that concrete is too heavy. Why not make lightweight concrete? That's
what's done.

Final example: How to divide a piece of cake equally between two kids so they won't complain that
one kid is preferred over the other: "You gave him the bigger piece; you like him better! Waaaah!"
Solution: Put the kids in charge of dividing the cake. Our prejudice is that immature, selfish kids
can't do the job. But the solution, one cuts the cake, the other has first choice of pieces, works very
well.

2. FUNCTIONAL FIXATION.
 Sometimes we begin to see an object only in terms of its name rather in terms of
what it can do.

 Thus, we see a mop only as a device for cleaning a floor, and do not think that it
might be useful for clearing cobwebs from the ceiling, washing the car, doing aerobic
exercise, propping a door open or closed, and so on.

For Example,

There is also a functional fixation of businesses. In the late nineteenth and early twentieth centuries
the railroads saw themselves as railroads. When automobiles and later airplanes began to come in,
the railroads didn't adapt. "That's not our business," they said. But if they had seen themselves as
in the people transportation business rather than in the railroad business, they could have
capitalized on a great opportunity.

Similarly, when the telephone began its rise, some of the telegraph companies said, "That's not our
business; we're telegraph companies." But if they had said, "Hey, we're in the communication
business, and here's a new way to communicate," they would have grown rather than died.
Compare Western Union to AT&T. And have you heard of those big calculator companies Dietzgen
or Pickett? No? Well, they were among the biggest makers of slide rules. But when electronic
calculators began to rise, they didn't know what business they were in. They thought they were in

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the slide rule business, when they were really in the calculator business. They didn't adapt, they
didn't accept the challenge of change and opportunity, and they fell.

3. LEARNED HELPLESSNESS.
 This is the feeling that you don't have the tools, knowledge, materials, ability, to do
anything, so you might as well not try.

 We are trained to rely on other people for almost everything. We think small and limit
ourselves. But the world can be interacted with.

For Example,

If you are in need of information, there are libraries, bookstores, friends, professors, and, of course,
the Internet. And there are also city, county, and state government agencies with addresses and
phone numbers and web sites.

If you are technologically poor, you can learn. Learn how to cook, use tools, make clothes, use a
computer. You can learn to do anything you really want to do. All you need is the motivation and
commitment. You can learn to fly an airplane, drive a truck, scuba dive, fix a car--name it.

4. PSYCHOLOGICAL BLOCKS.
 Some solutions are not considered or are rejected simply because our reaction to
them is "Yuck."

 But icky solutions themselves may be useful or good if they solve a problem well or
save your life.

 Eating lizards and grasshoppers doesn't sound great, but if it keeps you alive in the
wilderness, it's a good solution.

For example,

Perhaps more importantly, what at first seem to be icky ideas may lead to better solutions--de-
ickified analogues of the original. When doctors noted that some unsophisticated natives were
using giant ant heads to suture wounds, they imitated this pincer-closing technique by inventing the
surgical staple.

Psychological blocks prevent you from doing something just because it doesn't sound good or right,
which is a pretty ridiculous thing. Overcoming such blocks can be really beneficial. Navy
commandos in Vietnam overcame their blocks and put on women's panty hose when they marched
through the swamps and jungle..

VIII. TECHNIQUES OF CREATIVE THINKING

There are many techniques for fostering creative thinking and problem solving, the most common of
which is brainstorming. Other techniques that can be used include reverse brainstorming, various
cataloging, listing, or grouping techniques, free association, forced relationships, morphological
analysis, and input-output techniques. A brief description or explanation of each of these techniques
is presented below

1 Brainstorming
This is a group approach to a problem or avenue of investigation in which the objective is to
produce the greatest possible number of alternative, potentially constructive ideas for later
evaluation and development. Reverse brainstorming, on the other hand, represents an attempt to

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make a list of everything that is wrong with an idea, concept, or procedure which subsequently
serves as a basis for the search for various ways that the problem in question can be overcome.
2 Cataloging
Cataloging refers to a listing of information sources which could lead to or assist in the generation of
other ideas.
3 Checklists
Checklists also facilitate the generation of valuable ideas and further clues as a result of each item
being checked on a standard checklist, in reference to the problem or issue in question.
4 Attribute Lists
Here, the attributes of an idea, problem, or issue are changed or modified in such a way as to
produce novel needs or applications for the idea or improve its application to the original purpose.
5 Free Association
Free Association is used to develop better ways of representing information in terms of words,
symbols, sketches, numerical ordering, and/or pictures.
6 Forced Relationships
With forced relationships, the relevant elements are isolated and listed in such a way as to facilitate
the development of new elements ideas and relationships (similarities, differences, analogies,
cause and effect, etc. ).
7 Morphological Analysis
Morphological analysis defines the problem in terms of all relevant, independent variables present,
searching for useful permutations and combinations of these variables which show promise for the
development of a superior solution.
8 Input-output Technique
This is a system design technique which consists of investigating a testing procedure, developing
appropriate methods, optimizing and implementing the structure, and subsequently convincing
others of its value.
9 Synectics
is a problem solving approach that stimulates thought processes of which the subject is generally
unaware. This method, developed by William Gordon, has as its central principle: "Trust things that
are alien, and alienate things that are trusted." This encourages, on the one hand, fundamental
problem-analysis and, on the other hand, the alienation of the original problem through the creation
of analogies. It is thus possible for new and surprising solutions to emerge. Synectics is more
demanding of the subject than brainstorming, as the many steps involved mean that the process is
more complicated and requires more time and effort.

1. CHECKLISTS
2. INTERACTION METHODS
3. TECHNIQUES BASED ON PSYCHOANALYSIS -BRAINSTORMING
-SYNECTICS
1. CHECKLISTS:-
1. The simplest way to stimulate creative ideas.
2. Checklists also facilitate the generation of valuable ideas and further clues as a result of
each item being checked on a standard checklist, in reference to the problem or issue in
question.
3. Consists of list of words or images
4. Danger is that it may go vague
Ex: How can you improve design?
5. It is possible to work out a particular relevant set of questions for any design type

2. INTERACTION METHODS
Form of a chart or a table
Ex:Chair Design

No List Of Parameters Ways of Achieving Solution

1. Support
2. Stability

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3. Aesthetics

3.TECHNIQUES BASED ON PSYCHOANALYSIS -BRAINSTORMING

Group Psycho Therapy Method
This is a group approach to a problem or avenue of investigation in which the objective is to
produce the greatest possible number of alternative, potentially constructive ideas for later
evaluation and development. Reverse brainstorming, on the other hand, represents an attempt to
make a list of everything that is wrong with an idea, concept, or procedure which subsequently
serves as a basis for the search for various ways that the problem in question can be overcome.

Derived by Osborn (1938)

Followed by the Hindu religion for more than 400 years by the name ”prai-barshanai”-means
“question outside yourself”
METHOD
Group Discussions to arrive at a checklist at all stages of the design process
 Size :Max:200 participants
 Optimum:7-12

Advantages
 Raises associated ideas of and individual and the participants
 Factor of reinforcement of ideas
 Approving ones effort and get stimulated to throw out further ideas.
Key to successful brainstorming
 Criticism is ruled out
 Free wheeling-the wilder the idea, the better.
 Quantity –the greater number of ideas, the more likelihood of a useful idea
 Combination and improvement are sought:Improving others ides too

TECHNIQUES BASED ON PSYCHOANALYSIS -SYNECTICS

 1961-w.J.Gordon
 Also a group activity conducted systematically by a leader
 is a problem solving approach that stimulates thought processes of which the subject is
generally unaware.
 This method, developed by William Gordon, has as its central principle: "Trust things that
are alien, and alienate things that are trusted."
 This encourages, on the one hand, fundamental problem-analysis and, on the other hand,
the alienation of the original problem through the creation of analogies.
 It is thus possible for new and surprising solutions to emerge.
 Synectics is more demanding of the subject than brainstorming, as the many steps involved
mean that the process is more complicated and requires more time and effort

Method:
 Description of the problem
 Analyzed and discussed
 Attention focused to one aspect of the problem by analogy generation

1. PERSONAL ANALOGY
2. DIRECT ANALOGY
3. SYMBOLIC ANALOGY

1. Personal analogy
The designer identifies himself with a tiny aspect of the problem in the design
Ex:-If I were this beam, how would I feel?

2.Direct analogy

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The problem is compared with known facts in another branch of arts or science or technology

3.Symbolic analogy
The designer tries to penetrate to the essence of the special meaning which he attaches to the
problem

But Osborn accepts that nothing like Individual creative thinking .Though group memory is more
accurate than individual memory.

IX.APPROACHES TO CREATIVITY
There are two completely different types.

1. The first is technical creativity, where people create new theories, technologies or ideas. This
is. the type of creativity we discuss here.

2. The second is artistic creativity, which is more born of skill, technique and self-expression.
Artistic creativity is beyond the scope of these articles.

There are two main strands to technical creativity:

 PROGRAMMED THINKING AND

 LATERAL THINKING.

Programmed thinking relies on logical or structured ways of creating a new product or service.
Examples of this approach are Morphological Analysis and the Reframing Matrix.

The other main strand uses 'Lateral Thinking'. Examples of this are Brainstorming, Random Input
and Provocation. Lateral Thinking has been developed and popularized by Edward de Bono,
whose books you can find in the appropriate articles.

Programmed Thinking & Lateral Thinking

Lateral thinking recognizes that our brains are pattern recognition systems, and that they do not
function like computers. It takes years of training before we learn to do simple arithmetic -
something that computers do very easily. On the other hand, we can instantly recognize patterns
such as faces, language, and handwriting. The only computers that begin to be able to do these
things do it by modeling the way that human brain cells work . Even then, computers will need to
become more powerful before they approach our ability to handle patterns.

 The benefit of good pattern recognition is that we can recognize objects and situations very quickly.
Imagine how much time would be wasted if you had to do a full analysis every time you came
across a cylindrical canister of effervescent fluid. Most people would just open their can of fizzy
drink. Without pattern recognition we would starve or be eaten. We could not cross the road safely.

 Unfortunately, we get stuck in our patterns. We tend to think within them. Solutions we develop are
based on previous solutions to similar problems. Normally it does not occur to us to use solutions
belonging to other patterns.

We use lateral thinking techniques to break out of this patterned way of thinking. Lateral thinking
techniques help us to come up with startling, brilliant and original solutions to problems and
opportunities. It is important to point out that each type of approach has its strength. Logical,
disciplined thinking is enormously effective in making products and services better. It can, however,

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only go so far before all practical improvements have been carried out. Lateral thinking can
generate completely new concepts and ideas, and brilliant improvements to existing systems. In the
wrong place, however, it can be sterile or unnecessarily disruptive.

X. DIFFERRENCE BETWEEN LATERAL THINKING AND VERTICAL THINKING

LATERAL THINKING VERTICAL THINKING

Lateral Thinking is selective Vertical Thinking is generative

Lateral thinking does not select but Vertical thinking selects a path by
seek to open up other pathways. excluding other pathways

Vertical thinking moves only if there is Lateral Thinking moves in order to

a direction in which to move generate a direction

Vertical thinking is analytical Lateral thinking is

provocative(challenging)

Vertical thinking is sequential Lateral thinking can make jumps

With vertical thinking one has to be In Lateral thinking one doesn’t have to
correct at every step be.

With vertical thinking one concentrates With Lateral thinking one welcomes
and excludes what is irrelevant chance intrusions

Follows the most likely paths. Explores the least likely

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It is a finite process It is a probabilistic one.

CONCLUSION

1. The difference between lateral thinking and vertical thinking are very fundamental.

2. The processes are quite distinct

3. It is not a matter of one process being more effective than the other for both are necessary.

4. It is the matter of realizing the differences in order to be able to use both effectively.

5. With Vertical thinking, one uses the information for its own sake to move forward towards a
solution.

6. With Lateral thinking, one uses the information not for its own sake but provocatively in order to
bring about re-patterning.

7. Lateral and Vertical thinking are complementary.

XI. USE OF LATERAL THINKING

 To generate new ideas.

 For the purpose of problem solving.

 Processing perceptual choice-Perceptual choice is the natural patterning behaviour of the

mind.

 For periodic-reassessment.

 Prevention of sharp divisions and polarizations.

EXAMPLE: 1

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2

EXAMPLE: 2

 Two Overlapping squares

 Three Squares

 Two L-shapes embracing a Square

 A rectangle dividedninto half with the 2

pieces pushed out of line

EXAMPLE: 3

 An L-shape
 A carpenters angle

 Half a picture frame

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 2 rectangles placed against each other

 A large rectangle with a smaller rectangle subtracted

XII. DESIGN TACTICS AND TRAPS

A. THE CATEGORY TRAP
B. THE PUZZLE TRAP

C. THE NUMBER TRAP

D. THE ICON TRAP

E. THE IMAGE TRAP

A. THE CATEGORY TRAP

To categorise the problem in terms of solution before it has been really studied.

The most obvious and attractive trap for the unwary designer is the tendency to categorize
the problem in solution terms before it has been really studied. A good solution is the result of
an integrated synthesis.

Indeed we tend to classify design more by the type of solutions, which are easily recognized
and categorized rather than the by the problems which gave rise to those solutions.

Thus we refer architects who specialize in housing, educational, institutional, health and welfare
and so on.

PROBLEM IDENTIFIATION GAME (P.IG)

The most notable attempts to produce a design technique for problem identification is
known as the PROBLEM IDENTIFIATION GAME (P.IG)

The basic idea of PIG is that the designer first distills the problem to a very short and simple
statement .From this statement the designer identifies a crucial problematic relationship called
in the jargon of the game a “Key Problem Pair”. The problem is then further explored by
generating a succession of further problems pairs using stimulus techniques selected at
random.

Example:

Problem statement:-Slum clearance can bring disadvantages to slum dwellers

Key Problem Pair:-“Slum clearance- Slum dwellers”

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This very crude oversimplified statement is next amplified by randomly selecting a series of well
known devices for shifting the context of perception.

The five devices or mental tricks employed are

1. Conflict
2. Contradiction

3. Complication

4. Chance

5. Similarity

B .THE PUZZLE TRAP

Design problems are not in themselves puzzles. In a puzzle the elements are defined,
objectives are clearly stated and there is usually one or atleat one optimal solution.

Design problems are not so clear cut, but it is often possible to find pseudo puzzles within
the design problems.

Such pseudo puzzles may be constructional as when trying to form a junction between a
number of members such as post, beam, and roof trusses. There may also be planning puzzles as
“how to move furniture in a space or spaces within a volume”.

These puzzles, even though they form part of a much wider design problem can offer all the
irresistible mental temptations of brain teasers.

Just like how the crossword and jigsaw are very compulsive, the attention that these puzzles
demand, we may find ourselves mentally returning the unsolved puzzle, when we should actually
be concentrating n something else all together

Pseudo puzzles can be easily treated by fixing a limited number of constraints and puzzling
out the consequences. This way you are still in grips with the design problem

Thus one of the most useful ways of avoiding the puzzle trap is to analyse and evaluate your own
implicit rules and boundaries.

C. THE NUMBER TRAP

If a design problem can be reduced to numbers, hen we may operate upon those numbers
with all manner of mathematical tricks. Of all the problem solving languages available to us,
mathematics is undoubtedly the most powerful and hence the most dangerous when misapplied..

It is easy to tell if one number is larger than another, and therefore whether one solution is
better than anther, if their performance can be described numerically. Unfortunately it is rare for us
to be able to describe every aspect of performance numerically and it is in this simple fact that the
danger lies.

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The designer should always be on the look out for the number trap by always asking what
kind of numerical system is being used and how the values were arrived at. If he does not he can
become mentally trapped by the power of numbers.

Example;- Open Office Plan

D. THE ICON TRAP

Drawings and models are iconic, in that they resemble the real object they portray in a visual
way.

Example: the word “cat”, which is more symbolic rather than an iconic representation. A
drawing pf a cat actually to an extent looks like the real thing, so we do not need to know a
language t understand the meaning.

It is relatively easy to see potential failures in a drawing, if you know what to look for. any
practiced architect can by looking at the drawing can tell if such building will prove difficult for
the builder, if that material will produce a stain and so on. However none of these failures are
apparent in the drawing.

It is clear that designers do not do drawing only for the client or the legislator. Drawings are
in fact part of the design process itself.

The trouble then with two dimensional plans and elevation is that while they show only a
small part of the overall picture, they can often appear much more comprehensive. The use of
three-dimensional drawings, axonometrics is thus the most desirable.

The three dimensional model is thought by many to provide the highest level of iconic
reality.

Greater care then must be taken to avoid the icon trap. The simple message here is that he
more the icons, whether they be drawings or models that are used, the less likely is that any
one will take over. Drawings and models should also be viewed from as many angles as
possible.

F. THE IMAGE TRAP

The designer is always working with some sort of mental image of the reality of his designs.
Until the building or the object is constructed no one really knows just what it will be like to live
in, look or to hold. The designer tries to manipulate his own reality and may use drawings and
models to help in this process.

However the designer’s mental image usually contains many qualitative ideas too nebulous
for iconic representation. These ideas are often expressed as symbolic images, and although
these symbolic images are undoubtedly essential to the designer to the designer he can
become trapped by his own illusion.

Symbolic images are much more difficult to check than the iconic representation since they
are less concrete and open to much greater variations of subjective interpretations.

XIII.QUESTION BANK

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UNIT IV-PART A QUESTIONS

1. Differentiate between Creativity & Imagination

2. What is divergent thinking?
3. Describe the significance of ‘brain storming’ for design thinking
4. Give your perception on the term Creativity in Design.
5. Differentiate between Convergent Thinking & Divergent thinking.
6. Differentiate between Rational Thinking & Empirical thinking.

UNIT IV-PART BQUESTIONS

1. List any six creativity techniques and explain their use.

2. Give an overview on various theories of thinking.
3. List the various types of creativity techniques and explain briefly about each.
4. Use any one creativity technique in the context of a design problem of your choice and
demonstrate its usefulness.
5. Give an account on ‘Six thinking Hats’ for lateral thinking concepts.
6. Explain in detail about the blocks in creative thinking and the ways to overcome blocks.

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