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SEARCHING FOR INSPIRATION DURING IDEA GENERATION

Milene Gonalves / Petra Badke-Schaub / Carlos Cardoso
Delft University of Technology
[email protected]

methods which aim to support the designers

ABSTRACT

creativity (Higgins, 2005), focusing on diverse

When facing a design problem, both novice and

expert designers tend to rely on a variety of available
sources to get inspired during idea generation.
Therefore, searching for and collecting diverse
stimuli during the early phases of the design process
is considered a well-known practice amongst
designers. Despite this general assumption, there is
no clear empirical evidence on how novice or expert
practitioners get inspired, their preferences on
various material sources, or how they value such
potential resources. A questionnaire for novice and
expert designers was developed in order to better
understand these issues. The findings indicate that
novices and experts alike tend to look for existing
design solutions that resemble the problem(s) at
hand, potentially neglecting more abstract and
distant information. The results suggest that the
designers in this survey show a tendency to not fully
explore a number of available resources, ultimately
leading to hindrances in their creative processes.
Further results of this study uncover interesting
information strategies of designers which should be
considered when developing creative approaches in
design education.

purposes and inspirational sources, which can

influence designers in an unconscious, accidental or
deliberate manner (Goldschmidt and Sever, 2010).
Designers can actively engage in inspiration search,
normally in specific opportune moments, but any
stimulus can become relevant to a given design
problem, at any time. Inspirational sources have,
therefore, a ubiquitous value (Eckert and Stacey,
2000). As a result, the generation of creative ideas is
largely based on the influence of different kinds of
stimuli that designers search for or end up
interacting with. Moreover, it is well accepted both
in design education and professional practice that
sources of inspiration can stretch the solution space
and enlarge the potential pool of creative solutions
(e.g. Goldschmidt and Sever, 2010). Nevertheless,
many researchers have turned their attention to the
potential negative impact external stimuli might
have in creative design activities. A number of
empirical studies have shown how the use of external
stimuli could constrain creativity, often leading to,
for instance, design fixation (Jansson and Smith,
1991; Purcell and Gero, 1996).
Despite such controversial findings regarding the
influence of external stimuli, there is still a lack of

Keywords: Sources of inspiration, external

stimuli, novice and expert designers

empirical data on the subject of sources of

inspiration in design. Here we will focus on two main
questions about inspirational sources that need
further investigation: 1. What do designers from

INTRODUCTION

different levels of expertise search for when trying

It is widely recognised that designers, independently

to extend their solution space? And 2. How do

of the task at hand or their level of expertise, seek

external stimuli influence and shape the generation

different kinds of support while designing

of creative solution ideas?

(Goldschmidt and Smolkov, 2006). The type of

The present paper is based on a study which

support designers search encompasses a large variety

addresses the first question. Knowing in detail what

of internal (e.g. memories) and external (e.g. images

novice and expert designers use as sources for

and text) stimuli. Furthermore, there is a variety of

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DIVERSITY AND UNITY

inspiration is an essential step to start understanding

et al, 2008), which can trigger possible ideas and be

how the idea generation process takes place.

later retrieved to solve problems.

In order to address these issues, we developed and

Despite the large amount of different stimuli

conducted a questionnaire on novice and expert

available, designers tend to prefer pictorial

designers self-reported preferences, thoughts and

examples over textual or three-dimensional

attitudes regarding inspirational sources and ideation

representations (Gonalves, Cardoso and Badke-

methods used in the early phases of the design

Schaub, 2011). When questioned about their

process. A better understanding of what distinguishes

preference regarding the use of visual, textual or

novice from expert designers, on their preferences

three-dimensional stimuli during idea generation,

for sources of inspiration, can be a valuable outcome

novice and expert designers indicated images as the

for design education and creativity research.

preferred inspirational source. Images can, indeed,

The present paper starts off by briefly reviewing

provide straightforward and intuitive cues that do

research undertaken on the topic of sources of

not require translation between different perceptual

inspiration, design methods and creativity, followed

modalities (Malaga, 2000). Hence, images are a fast

by a description of the setup of the study we

and economic way to stimulate the generation of

conducted. Further on, we present and discuss the

combined ideas. Moreover, designers are commonly

results from our survey based on the statistical

considered as visualizers, due to their tendency to

analysis, and a discussion concerning on how novice

convey and understand messages through images,

and expert designers deal with sources of inspiration

while designing (Mednick, 1962; Cai, Do and Zimring,

while they are designing. Concluding remarks and

2010).

recommendations for further research complete this

The use of visual stimuli in problem solving has been

paper.

widely discussed in several fields. Malaga (2000), for

instance, reports on an experiment where

SOURCES OF INSPIRATION

participants had to generate ideas for ill-defined

Throughout their education and professional life,

problems, while being exposed to textual, pictorial

designers learn how to grasp what is around them

or a textual-pictorial stimuli combination. In such

and find inspiration in literally almost everything

studies, exposure to visual stimuli (either images

(Eckert, Stacey and Earl, 2005). The array of possible

alone or the combination of images and text)

sources of inspiration can vary across different

prompted the participants to generate significantly

categories from internal to external stimuli, the

more creative ideas than the other conditions. These

former being composed by mental imagery and

results led Malaga (2000) to believe that word stimuli

verbal information, for instance. The latter can be

might contribute to functional fixedness (Maier,

further divided into pictorial, verbal, sound or three-

1931), a behaviour whereby people can only visualize

dimensional stimuli (Eastman, 2001). The prominent

the most familiar functions of an object, making it

role given to inspiration search can be explained by a

very difficult to think of other uses for that same

number of reasons:

object.
On another study, Casakin (2005) demonstrated that

to stimulate creativity and arouse a strategic

a rich collection of visual representations, both from

breakthrough throughout the creative process;

within and between domains related to the problem

to support awareness about previous solutions;

being addressed, could help novice and expert

to create the appropriate frame of reference to

designers when dealing with ill-defined problems. In

new innovate designs;

such study, which focused on the influence of

analogies during idea generation, the quality of the

to share knowledge with other stakeholders;

solutions generated by the participants was

to facilitate and accelerate the idea generation

enhanced when a diversified number of images were

process (e.g., Eckert and Stacey, 2000)

made available to them. Designers participating in

Whilst searching for inspiration, designers tend to

that study were stimulated by such visual analogs

collect physical and/or mental visual samples (Keller

even when they were not explicitly instructed to use

PRODEEDINGS IASDR2011

analogic reasoning to solve the problem. Contrary to

existing patents), but can also lead to new ideas, for

these findings on the positive effect of visual stimuli,

example, when it is needed to circumvent the

earlier research studies have shown that existing

existing patent. Undoubtedly, the most common

examples could have an unproductive influence on

behaviour of the designer is the act of seeking

the generation of creative ideas (e.g., Purcell and

inspiration within the design problem field but also

Gero, 1996; Jansson and Smith, 1991). These

in more distant or non-related areas. The phase of

limitations towards originality as one parameter of

idea generation, as any stage of the design process,

creativity have been termed design fixation i.e., an

is highly iterative and presumes changes of direction.

unconscious tendency to reuse parts/principles of

Regardless of how novel and unexplored a problem

previously seen examples during idea generation

is, designers always use their previous knowledge to

(Jansson and Smith, 1991). Following the results of

understand and define the problem and to generate

the different studies, whilst some visual stimuli can

ideas.

enhance creativity, precedent images can also

Generally speaking, the way we approach a new

structure mental representation in such a way that

situation is directed by prevailing cognitive

the ideas are incorporated into the new design with

structures that help us to perceive and understand

non-creative results (Perttula and Liikkanen, 2006).

what exists around us. We rely on concepts (mental

Despite the dominant presence of visual stimuli, and

models) to discover and structure the unknown

regardless of their ambiguous effect, there are

(Badke-Schaub et al., 2007). Likewise, new

reasons to assume that other representational stimuli

knowledge is based on accumulated models of past

could also be influential for the generation of

experience and concepts, because new information

creative solutions. Goldschmidt and Sever (2010)

is always related to the categories that exist already.

have shown the positive influence of using text as

For instance, we do not have to analyse each single

stimuli during idea generation in terms of originality,

example of a door to know how it is supposed to

when compared to conditions that did not receive

work; one just needs to relate the newly

any external stimuli.

encountered door and compare it with similar

In conclusion, previous research has brought forward

objects in the related categories (Murphy, 2002).

a considerable amount of ambiguous results stating

Hence, also new ideas are based on existing

that the same representation modality can incite as

knowledge. In the book Displacement of concepts,

well as hinder design creativity. Ultimately,

Schn (1963) explores the topic of concept

enhancing creativity might not only depend on the

formation, where he developed the theory of

form kind of the representation utilised, but also on

generative metaphors. According to Schn,

what it tries to convey.

generative metaphors provide a frame of reflection,

which enables us to build intuitively and implicitly

CREATING NEW IDEAS

new knowledge based on the old. However, existing

A new idea does not appear from thin air. At first, a

information is not merely reused when new

designer relies on the problem definition which will

circumstances are presented. Instead, a

eventually lead to an understanding of the problem,

transformation is needed and new meaning is

what then might deliver a first mental model of the

created from the relation between the known and

problem space. Secondly, the designer analyses the

unknown, according to the new setting.

context of the problem, trying to explore what is

In other words, novel ideas can be generated when,

known and what can be improved. A list of

within new situations, old concepts are brought into

requirements is assessed and (ideally) constantly

different perspectives, triggering new

verified, but it is also necessary to investigate what

interpretations. The process of displacement has

has been done before to solve the same or similar

four non-sequential but dependent phases:

problems. For instance, the exploration of

transposition (where an old concept is transferred to

competitor products can be identified as a main

a new setting only as a symbol), interpretation

inspirational search, which does not only provide

(when partial transferred symbols need adaptation to

information about possible restrictions (such as

fit within new settings), correction (to detach old

DIVERSITY AND UNITY

concept symbols from previous framework) and

higher level of abstraction, it is important to

spelling out (an evaluation moment between the old

consider how design problems are stated and from

and new concept). This theory offers a possible

which categories the inspiration derives.

explanation of how new ideas are created through

RESEARCH STUDY

the displacement of old concepts from known

settings.

A questionnaire (using NetQ software

Based on the idea that cognitive processes in design

(NetQuestionnaires Nederland BV) was developed to

are characterized by a precedent-based reasoning,

find out the preferences of designers for different

Oxman and Oxman (1992) postulate two cognitive

inspiration material. Our aim was to primarily

styles in design: refinement and adaptation. While

understand which kind of stimuli is used as source of

during refinement new knowledge is generated by

inspiration during creative design processes,

the substitution of abstract previous representations

depending from the knowledge of the designers.

to more specific ones; during adaptation, precedent

Additionally, we considered that this knowledge

knowledge is transformed to the new situation,

would be essential to understand how new ideas are

whereby interpretation takes an important role.

structured. Thus, the questionnaires were given to

Obviously, there seems to be a common agreement

103 industrial design engineering master students

that some of the most important sources for the

(i.e., novice designers) from the Faculty of Industrial

generation of new ideas are knowledge and

Design Engineering (Delft University of Technology,

experience of the designer with previous design

The Netherlands) and 52 professional designers (i.e.,

solutions (Pasman, 2003; Eckert et al, 2005).

expert designers), mainly from The Netherlands and

The way how the relevant knowledge is addressed

Portugal. The questionnaire, which took on average

to elicit the creation of new ideas can be answered

15 minutes to be filled in, could be completed online

by the assumptions of the associative theory of

or on paper, according to the participants

creative thinking (Mednick, 1962). Mednick defines

preferences. Most of the items of the questionnaire

creative thinking as the forming of associative

were scaled on a 5-point Likert scale (e.g. 1 = never;

elements into new combinations which either meet

2 = rarely; 3 = sometimes; 4 = often; 5 = always),

specified requirements or are in some way useful

but also yes/no questions and multiple choices were

(1962, p.221). According to Mednick, three processes

included. In order to further clarify some of the

are the source of the generation of creative ideas:

issues addressed, participants were asked to answer

serendipity, mediation and similarity. The way in

additional open-ended questions.

which one categorises ideas and concepts,

In total, the questionnaire was structured in five

determines how associations are created, which

sections:

leads to more or less creative ideas. Thus, if a higher

Section 1: Background information on the

number of associations is evoked, the probability of

participants;

creative ideas can also increase.

Nevertheless, associations are not always continually

Section 2: Representation stimuli and sources of

evoked and there might also occur counter-intuitive

inspiration;

associations. In fact, each new situation (or design

Section 3: Ideation methods;

problem) can be described by structural components

and the relations between them. These system

Section 4: Reflection on the design process;

structures provide information on which there are

Section 5: Design teams.

categories that might be of further relevance in

The present paper places emphasis on section 2 of

order to solve the design problem (Schn, 1963).

the questionnaire. The remaining topics covered by

Accordingly, the identification of the problem

the questionnaire are discussed elsewhere

belonging to a specific category can lead to the

(Gonalves, Cardoso and Badke-Schaub, 2011).

activation of cognitive processes, which can obstruct

Section 2 of the questionnaire asked about the

access to other categories that require higher levels

material sources that novice and expert designers

of abstraction. Thus, in order to promote access to a

favour during conceptual phases, and how often they

PRODEEDINGS IASDR2011

use them. A list of sources of inspiration was

when they search for it and how much they actually

obtained from informal talks with designers from

use inspiration while designing.

different backgrounds, as well as from the literature.

A total of 27 possible material sources were gathered

Within-group analysis: novices and experts

and clustered into three initial categories:

The results reveal that inspiration search is

considered very important for both novice and

Sources of information: Design magazines; Design

expert designers in order to continue with the

books; Newspapers; Magazines from other fields;

generation of ideas (x= 4.39 and x= 4.44,

Internet; Art; Competitor products; Other

respectively - Figure 1 left, in which 5 corresponds to

designers; Previous personal projects; Memories

Very Important and 1 corresponds to Not at all

(past experiences); Nature; Places.

important).

Physical properties: Shapes; Colours; Materials;

Textures; Product functionality.
Activities: Walking around; Listening to music;
Watching movies; Taking a bath/shower; Talking
to people; Sleeping; Doing sports; Going to
museums; In the bathroom; Reading.
In addition to these material sources, participants
could add other options not included in the
questionnaire.
DATA ANALYSIS

The analysis of the questionnaire is divided into two

parts. Whilst in a first part we analyse the topic of

Figure 1. Left - Novices and Experts: importance of inspiration;

Right - Novices and Experts: Inspiration's frequency of use.

inspiration value, in a second part, we concentrate

our attention on designers preferences for different
material sources. Each part is examined through a

Therefore, the expert and novice designers from our

within-group and between-group analysis: the

sample entrust an enormous value to inspirational

former analysis deals with the individual responses

search.

within each group (novices as one group separate

Equally, the same similarity of results can be found

from experts as another group), using a one-way

regarding novices and expert designers frequency of

analysis of variance (ANOVA) and Pearson Correlation

searching for inspiration, with both groups reporting

Coefficient; the latter analysis compares novices

on regularly engaging in such activity (x= 4.17 and

responses against those provided by the experts, for

x= 4.33, respectively - Figure 1 right, in which 5

which we used an Independent-Samples T-test.

refers to Always and 1 to Never).

Answering the question when is inspiration most

RESULTS

important for designers, participants could choose

The following sections present the results from the

between several options: all the time; once I get the

questionnaires, and we start with some more general

brief; during problem analysis; during idea

considerations of the participants on the topic.

generation; during conceptual design; during

SEARCHING FOR INSPIRATION: GENERAL

workers; in discussion with clients. With this array of

embodiment and detail design; in discussion with co-

IMPORTANCE, FREQUENCY OF USE AND MOMENT OF

options, we intended to obtain a broad overview of

HIGHEST IMPORTANCE

the designers considerations on the design process,

In this section we present the results of how much

generation of a design idea. Nevertheless, the

trying to map all the important phases for the

majority of the novices and experts expresses a

novice and expert designers appreciate inspiration,

preference for searching for inspiration specifically

5

DIVERSITY AND UNITY

during idea generation, which is significantly more

Regarding the most opportune moment to search for

often selected than any other option (Figure 2, p <

inspiration, once more there are no differences

0.05 and Figure 3, p < 0.05).

between the responses provided by the novices and

experts.
PREFERENCES FOR MATERIAL SOURCES
In the following section, we look at novice and
expert designers preferences for particular material
stimuli.
Within-group analysis: novices and experts
preferences for different sources of information
When analysing the preferences on material sources,
especially focusing on sources of information,
novices report a substantial preference to
concentrate their inspiration search on the Internet.
This preference presents significant differences in
relation to all the other material sources listed in the

Figure 2. Novices: when is inspiration important.

questionnaire (Figure 4, p < 0.05). Looking at

competitor products and retrieving inspiration from
personal memories are the second and third most
important sources of information (but still,
significantly lower than using the Internet).
Conversely, newspapers, magazines from other
fields and places, are novices least preferred
sources of information.
Experts preferences on material sources are similar
to those of novices. Internet, competitor products
and memories are also reported by the experts as
the most preferred sources.
On the other hand, places, magazines from other
fields and newspapers are the least preferred ones
by experts.
In fact, whilst novices choose searching for
information on the Internet much more frequent

Figure 3. Experts: when is inspiration important.

than in any other material source, this is not true for

experts. Experts do not show a significant difference
between Internet and competitor products or

Between-group analysis: novices and experts

between Internet and memories. In fact, experts

As mentioned before, novices and experts alike

rate the item competitor products as almost as

report crediting a high value to inspiration during the

important as browsing the Internet. This specific

design process (Figure 1 left) and their frequent use

material source is significantly different from all

of sources of inspiration during the design process

other means of obtaining inspiration covered by the

(Figure 1 right).

questionnaire.

PRODEEDINGS IASDR2011

From these results, we were interested in a more

related. A Pearsons Chi Square test was used to test

thorough examination of the kind of material sources

the differences between the aforementioned

designers search for. As it was shown earlier in this

categories, however, yielding no significant

Figure 4. Novices (Left) and Experts' (Right) preferences for sources of information.

paper, Internet, competitor products and memories

differences between them. Hence, we can not verify

are the most frequently chosen material sources by

whether these designers are indeed preferring design

novice and expert designers.

related stimuli over other distant stimuli, not

Another interesting result is that designers seem to

directly related with design.

value design related stimuli much more than

searching for inspiration in distant areas. In order to

Within-group analysis: novices and experts

analyse this, a categorisation of the material sources

preferences for activities

used in this questionnaire was made and the 27

As stated before, the results show that novice and

stimuli covered by the questionnaire were grouped

expert designers tend to have the same preferences

into four categories: Design related; Non-Design

for specific activities when searching for inspiration,

related; Memory related and Cognitive Distance

the most preferred ones being: talking to people,

Figure 5. Novices' (Left) and Experts' (Right) preferences for activities.

DIVERSITY AND UNITY

walking around, reading and listening to music.

significantly higher in relation to textures, the least

When we examine the results from the novices in

chosen stimuli (Figure 6 right, p < 0.05).

detail, we see that talking to people is the most

preferred stimulus for searching for inspiration,

Between-group analysis: novices and experts

significantly more than any other activity (Figure 5

preferences for material sources

left, p < 0.05)

Across all three categories of material sources

Unlike novices, experts seem to share their

Sources of information; Physical Properties; and

preference between two activities, when trying to

Activities results show that novice and expert

find inspiration. Whereas talking to people is

designers seem to choose a rather similar range of

evidently the most chosen activity, it is not

stimuli.

significantly more frequent than walking around.

Nevertheless, the activity talking to people is

Within-group analysis: correlation between

significantly higher in relation to the remaining eight

preferences for material sources and

stimuli (Figure 5 right, p < 0.05). On the other hand,

representational stimuli

walking around was considered significantly more

The results reveal that novice designers manifest a

stimulating than the least preferred five activities

preference for images when looking for inspiration,

(Figure 5 right, p < 0.05).

preferring to look for these in design books, as well

as in the work of other designers. In terms of the

Within-group analysis: novices and experts

category physical properties, novices give special

preferences for physical properties

attention to shapes and colours of pictorial examples

When focusing on physical properties of examples,

(table 1).

novices highlight shape, product functionality and

material as the most important features for
inspiration. Out of these properties a significantly
higher preference for colours and textures can be
derived (Figure 6 left, p < 0.05).

Table 1. Novices: correlation between representation stimuli and material

sources (* * corresponds to p < 0.01 and * corresponds to p < 0.05).

When expert designers use images as their preferred

type of representational stimuli, they tend to look in
magazines from different fields and engage in
activities such as watching movies and visiting
museums. Conversely, these designers also tend to
talk less with other people, when seeking for
inspiration, and rarely look into examples of
competitor products (Table 2).
Figure 6. Novices' (Left) and Experts' (Right) preferences for
physical properties.

Regarding designers preference for objects, novice

designers who prefer objects as triggers for
inspiration report a tendency to engage in activities
that enable them to interact with such physical

In contrast to novices, experts give more importance

examples, for instance: getting inspired by places;

to product functionality, as well as to material and

walking around; and visiting museums. There is also

shape when looking for inspiration in existing

a positive correlation between novices preference

examples. Nevertheless, product functionality is only

PRODEEDINGS IASDR2011

previous research has not been explicit about:

searching for inspiration is a highly valued activity
and it happens frequently (and almost exclusively)
during design idea generation, regardless of
designers level of expertise.
Our results indicate that, both novice and experts
value inspiration. These results reassure the
importance of investigating the topic of sources of
inspiration within the area of design creativity. Our

Table 2.Experts: correlation between representation stimuli and material

sources (* * corresponds to p < 0.01 and * corresponds to p < 0.05).

participants rely on inspiration on a daily basis and

can potentially be affected positively or negatively,

for objects and choosing to look for inspiration in

by diverse stimuli presented in different forms and

newspapers.

comprising different content.

Experts giving preference to these representational

stimuli also prefer to inspire themselves by looking

MATERIAL SOURCES SOURCES OF INFORMATION

at competitor products and other designers

Interestingly, two of the most preferred sources of

portfolio. This represents a highly significant

information can be considered design-related, i.e.,

correlation between their preference for objects and

examples of competitive products or similar

choosing materiality as the most relevant physical

solutions for the same design problem on Internet.

property of inspirational examples.

Nevertheless, it is important to consider that the

selected stimuli used in this survey vary in terms of

On the subject of preferences for textual

specificity. For instance, whilst competitive products

representation, there are negative correlations

as source of information, refer to a well-defined

between the use of text and looking into other

category of design examples, Internet is much more

products from the market and product functionality

general. In fact, we have no clear indication of what

as physical property. Therefore, experts preferring

designers search for when they are browsing the

to use textual stimuli representations do not look for

Internet. Nevertheless, our assumption also from

inspiration in competitor products nor in product

interviews with designers is that, especially in an

functionality.

initial phase, designers look for existing design

On the other hand, novice designers preferring to use

solutions or problem related information, which then

text over other representational stimuli, indicate a

places Internet as a design-related content stimulus.

similar preference for searching for inspiration in

As it was described previously in this paper, research

newspapers and engaging in activities such as going

on design fixation has demonstrated that the use of

to museums, reading and, curiously, doing sports.

priming examples as stimuli can result in

Furthermore, regarding novices preference for

counterproductive behaviour. One of such situations

physical properties of objects, such as shapes and

is the inadvertent repetition of parts/principles of

material, these are negatively correlated with their

the seen examples, which can be a hindrance in

preference for text.

creativity (e.g., Jansson and Smith, 1991). For that

More experienced designers claim not using text as

reason, we can speculate that if designers have a

much as they use objects and images when searching

tendency to become too dependent on design-

for inspiration. Therefore, there are no positive

related stimuli they, consequently, increase the

correlations between their preferences for text and

probability of design fixation occurring. Whilst on

other material sources.

one hand, students and practitioners seem to be

hijacking their own creativity; on the other hand,

DISCUSSION AND CONCLUSIONS

there are reasons that justify this behaviour. Design-

VALUE OF INSPIRATION

related stimuli, such as competitive products and

The results presented in this paper confirm what the

iconic design objects, are easily accessible, both

majority of designers may already know but that

physically (through pictorial examples on the

DIVERSITY AND UNITY

Internet, for instance) and cognitively (part of the

designers preferences for material sources. Whilst

designers mental collection of cases). Moreover,

experts choose three stimuli as the highest-ranking

local analogies (or within domain) are easier to

(Internet, competitor products and memories),

evoke, as they share a higher level of similarity

novices indicate Internet as significantly more

between source and target problem (Christensen and

important than all the other stimuli. This result may

Schunn, 2007). Consequently, distant analogies,

indicate that novice designers choose the most

which are aroused by between domain sources (such

readily available external stimulus compared to

as more abstract, as well as distant related stimuli)

experts, who rely on their bigger pool of internal

can be rather difficult to evoke. However, designers

stimuli available.

are known to be skilled in establishing distant

analogies (Casakin, 2003). Under typical time and

MATERIAL SOURCES ACTIVITIES

budget limitations, the designers taking part in our

During idea generation, it is usually expected that if

survey show a tendency to employ strategies of

designers get stuck, they might attempt to engage in

cognitive economy (e.g., Pasman, 2003) and conform

certain activities that may overcome their current

themselves by searching for the most immediate

block. There are empirical studies that examined the

sources of inspiration. This is what seems to happen

role of incubation as a way to support creativity

when novice and expert designers report that they

during problem solving (e.g., Wallas, 1926; Ellwood

search for inspiration on the Internet and when

et al., 2009). Incubation breaks are acknowledged as

looking at competitor products. Furthermore, the

periods where doing nothing which relates to the

third most used stimulus for both levels of expertise

problem will help the brain activities to restructure

is their own memory. This fact is congruent with the

and by this gaining new ideas or even a solution for

findings that designers rely on their own past

the problem.

experiences and knowledge of previous cases to find

We were interested in investigating which kind of

inspiration and to develop new ideas and concepts

activities are the most preferred by designers, in

(Oxman, 1990). Also, experts in our study report to

order to stimulate the generation of creative ideas.

frequently search for memory-related stimuli: they

According to our findings, the most preferred activity

indicate looking for inspiration within their own

by both experts and novices is talking to people.

memory (57%) and previous personal projects (55%).

Therefore, it seems that it is essential for designers

This result is consistent with empirical studies that

to share their design problems with peers and

demonstrate that experts are much quicker in

outsiders, who may not be in the same mindset as

generation of ideas because they use cases stored in

they are. Additionally, explaining the problem to

their memory as basis for new ideas.

colleagues, specialists on the topic or even people

On the other hand, novices also reporte that they

nave to design, can help designers to restructure the

refer to memory when designing (58%), but they less

problem and to get a new view on the problem.

often retrieve information from previous personal

Whilst talking to people could potentially promote to

projects (41%).

unblock the designer, it does not correspond exactly

It is easily understandable why novices seem to not

to the definition of incubation break. The incubation

use previous personal projects, as their design

process is assumed to be non-conscious (Ellwood et

knowledge is still limited. Memories and previous

al., 2009), which differs from talking to people

personal projects are still important for novices;

specifically about the problem at hand.

however, the amount of information in the required

All the other activities also covered by the

field of knowledge is probably smaller.

questionnaire are rated by novices as less important

In summary, these results demonstrate that

than talking to people. However, the activities

designers, especially experts, are able to apply a

walking around, reading and listening to music can

memory-based reasoning to stimulate creativity

be considered as incubation facilitating activities.

(Oxman, 1990).

They may lead to a distance to the problem and thus

In line with that explanation can be seen also the

may result in a new view on the problem.

prominence Internet seems to have for novice

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PRODEEDINGS IASDR2011

Novice designers rated these activities as much less

frequency and with which variation certain sources

important, compared to talking to people. Expert

of inspiration are used but rather how the stimuli are

designers, however, consider walking around as an

transformed to generate innovative solutions.

important activity in order to stimulate the creation

of ideas. Discussing a problem with other persons

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