從專家、風格到創造力的形成過程之認知行為探討

Abstract

設計師的設計行為一直都被視為「黑箱」過程，一些學者嘗試從認知科學的角度，包含視知覺、設計知識及架構、設計策略、設計草圖的過程…等，來解開設計的黑箱之謎。依不同的設計知識及經驗，可將設計師區分成三種設計師：專家設計師、風格設計師、及創造力設計師。專家傾向的設計師，會將這些片斷的設計知識及經驗轉換成連續性的設計知識，在下次遇到類似的問題時，可快速且精準地解決設計問題；而風格傾向的設計師，會以類似元素和特徵來快速地產生設計方案；然而如何形成具有創造力傾向的設計師，則有不同的觀點。Simon指出要成為一位設計專家後，才可能成為有創造力傾向的設計師；然而，Gardner則提出有創造力的行為是發生在形成專家過程中的前期階段。然而，在設計認知的研究中，前面所提的三種設計師分別具有三種不同的設計特質。而這三種不同的設計特質，可能代表著他們在運用不同的設計知識、或是不同的設計過程、或是草圖行為上不同的能力；因此本論文將以此三類認知的角度，來探討形成創造力傾向設計師的過程，以及分析出創造力傾向設計師的認知因子。 為了解決本研究的問題，本論文可以分成三階段的研究步驟：認知因子分析、生手形成有經驗設計師的認知實驗、及形成專家、風格、及創造力傾向設計師的認知實驗。在第一階段的因子分析中，分別以設計知識及結構、設計策略、及草圖行為等三類認知角度，分析現有的設計認知理論，整合出三種設計師分別擁有的認知因子，來做為認知實驗中判定設計師的因子。第二階段則是一個生手轉變成有經驗設計師的口語分析實驗，以前階段分析出的認知因子，來評定生手是否經過多次的實驗後，漸漸成為有經驗設計師，來做為下一階段的受測者。最後一階段則是形成三種不同設計師傾向的認知實驗，分析受測者因設計知識、或設計策略、或是草圖行為的不同，而形成三種不同傾向的設計師。 本論文經由上述的研究方法，最後的結果提出創造力設計師形成過程，是支持Gardner 所提創造力的行為可能發生在形成專家的早期；但是本論文的結果，可以更精確地說明，專家及創造力的認知因子是同時發生在設計師形成的過程，設計師有特定專家行為，同時也會有創造力的認知行為，只是不同設計師會發生在不同的認知行為上。進一步分析具有創造力傾向設計師的認知因子，發現本研究中的創造力傾向的設計師，具有最高的“自我獨創的知識”，而“自我獨創的知識”則是此設計師在創造力設計過程中的“發散構想”及“轉換構想”的認知行為，主要知識來源之一；另一個知識來源則是“設計專業知識”。而在草圖行為中的“非預期發現”的認知行為，則和設計知識中的“自我評估知識”及“設計專業知識”有相當大的關係。因此，最後的研究結果說明了具有創造力傾向的設計師，同時也必需具有相當多的專家知識，才能發揮出將創造力的特質表現出來。

Design behavior is regarded as a “black-box” process. Some researchers attempt to understand this process in terms of cognitive science, such as visual perception, design knowledge, design strategy, and the process of sketching…etc. Depending on different cognitive behaviors, designers could be distinguished into three categories: expert, style, or creative designer. Designers who have been considered as expert designers will transform some fractions of design knowledge into a sequential one. By doing so, they could tackle design problem immediately and precisely when they front a similar problem, which they met before. In addition, designers who could generate design solutions by using some distinguishable elements and features will be recognized as style designers. However, there are divergent ways to consider designers as creative ones. Simon purposed that before being recognized a creative designer, people should be considered as an expert designer; on the other hand, Gardner addressed that the creative behaviors could be found during the process of the development of expert designers. In the aspect of cognitive studies, those designers, expert, style, and creative designers, have three sorts of divergent design characteristics, separately. These characteristics indicate that they utilized dissimilar design knowledge, design process, or ability for sketching to solve problems. Therefore, in terms of three categories of cognitive studies, this doctoral thesis is to investigate the development of creative designers, and to analyze the cognitive factors, which could be found in the design behavior of the creative designers. In order to investigate the issue, purposed above, there are three steps of methodology in this thesis: the analysis of cognitive factors, the experiment of the development from novice to experienced designer, and the experiment of the development from expert, style, to creativity. In the first step, this thesis will analyze cognitive factors in terms of design knowledge, design strategy, and sketching behavior. To do so, these factors could be the criteria in the experiments. In the second section, there is a cognitive experiment by using protocol analysis, in which some of the novice could be determined as experienced designers, who will be the designers in the next experiment. The final step of this thesis is another cognitive experiment, in which the designers could be distinguished as different kinds of designers, depending on cognitive factors, separately. Consequently, this thesis proposes the development of creative designers could be formed before they become expert designers. The result supports what Gardner addressed. In addition, the cognitive factors of both expert and creative designers could be found in the development of designers, in which designers have some factors of expert designers, and, simultaneously, they have some creative factors. Furthermore, by analyzing the cognitive factors, the creative designer has the highest frequency of original knowledge, which is one of main knowledge to trigger the divergence of developing ideas and the transformation of ideas; the other is the design domain knowledge. On the other hand, in the sketching behavior, the unexpected discovery depends on the self-evaluate knowledge and design domain knowledge. Therefore, in order to exhibit the tendency of creativity, the designer who possesses more creative factors has to require considerable design knowledge.