Read this paper for starters. It contain a range of constructs for idea evaluation:

Dean, D. L., Hender, J. M., Rodgers, T. L., and Santanen, E. L. 2006. “Identifying Quality, Novel, and Creative Ideas: Constructs and Scales For Idea Evaluation,” Journal of the Association for Information Systems (7:10), pp. 646–698.

Interesting question. First following, then reacting. I.H.

Hi, Frank Ulrich I will read the article you recommend. Thank You.

if could provide a formula like below consisted of :

creativity level= (rate of solving the problem+user acceptance+quality of interaction and cognition models) -/inspirational source(novelty)

that would be interesting!

Azam Nemati Chermahini I appreciate your kind contribution. Could you briefly explain me how you measure the inspirational source (novelty) aspect in the formula you propose. Thank You.

Best,

Ricardo Cruz Lozano.

it's about morphology. simply through a software that have saved morphology and patterns of a group of design icons(such as Karim Rashid style) and then comparing to your new design(no matter that's a sketch or prototype) to find similarity rate!.. about other similarities I do not have any idea still !

Do the measures of creativity and innovativeness depend on the very nature of a design concept? Are these the same for a spaceship and an evening dress?

Dear Dr. Lozano,

Would you please share your definition of computational creativity and cognitive design, respectively? You used the wording: "computational creativity OR cognitive design?" Does it mean that the two phrases identify alternatives, or synonyms (i.e., similar or resembling concepts)?

With best regards, I.H.

I forgot the context is engineering!...well, in my view, in that cases it is not logical to name it creativity, it's better to debate about functionality and operationality rate. specifically from cognition perspective we know that familiar (not innovative) forms and affordances are better in human-computer interactions..... that formula changes indeed. unless, we are talking about creativity in problem solving methods, or information visualization or idea representations....

Thank you for help and interest Dr. Imre Horvath

The following is a definition for computational creativity based on work from Osborn & Cagan:

Computational creativity is a young but expanding field that has been gaining momentum over the last decade, and which seeks to develop computational systems that are able to take on particular responsibilities, that as a result exhibit behaviors that unbiased observers would deem to be creative i.e.

produce creative solutions.

S. Orsborn, J. Cagan, and P. Boatwright, “Quantifying Aesthetic Form Preference in A Utility Function,” J. Mech. Des., vol. 131, pp. 1–10, 2009.

B. Sylcott, S. Orsborn, and J. Cagan, “The Effect of Product Representation in Visual Conjoint

Analysis,” J. Mech. Des., vol. 138, no. 10, 2016.

In this case, cognitive design is a specific area of application of computational creativity, such as for example generative design. Where algorithmic procedures are being developed in order to produce arrays of alternative solutions based on predefined goals and constraints, where the designer then evaluates to select the most appropriate or interesting.

I hope this can be of aid in giving you a better idea about this are of research.

I'm attentive to your comments, and greatly appreciate your valuable contributions.

Thank You.

Best,

Ricardo Cruz-Lozano.

Hi Azam Nemati Chermahini ,

Thank you for your kind responses they're really valuable.

In this case, the point you mentioned about morphology is certainly very important (that's actually directly related to the perceptual aspect I mentioned in my question). Thus, maybe the best way to go I thought was determining the prototypical shape of an object e.g. a prototypical chair, and then establish a metric to determine how dissimilar is the shape of a new concept chair from that prototypical shape of a chair.

Also based on your area of research related to apparel design, I think maybe it would be of interest to you to look at an area in engineering called Kansei Engineering, where applications are developed on how to change certain physical attributes of products in order to elicit a specific behavior or reaction from consumers e.g. quality, sportiveness, elegance, etc. It certainly might of interest for your research.

The aspects that you mention about functionality and operationality rate are also extremely important. In this case, that's also one of the main challenges I'm currently trying to solve in my research as I need to establish a methodology that could allow me to measure those aspects through the evaluation of the design representations that designers use to communicate their new design ideas i.e. trying to evaluate the functionality and operationality rate of new design through the evaluation of a sketch or its prototype. The main obstacle here is to establish a method that could be generally accepted within the community to evaluate functionality (there's a lot of debate on a generally accepted method), and in this case that could be applicable to a wide range of devices e.g. vehicles, power tools, consumer products, etc.

In my journal publications I try to address it by proposing the use of the concept of a components pleiotropy measure, and the use of a Service Characteristics Assessment Matrix to evaluate it. If you would like to have a better idea of what I'm referring to you can read my publications in "Uncertainty in the Communication with Sketches", and "Determining the Probability of Importance of there Features in a Sketch".

Once again, thank you for your kind help and answers.

Anything else I'm attentive.

Best,

Ricardo Cruz-Lozano.

Once Again thank you Dr. Imre Horvath

Do the measures of creativity and innovativeness depend on the very nature of a design concept? Are these the same for a spaceship and an evening dress?

With respect to this question I believe that there are certain aspects that apply to all design concepts e.g. perceptual features (shape and color), functionality (wearable, travel through space), semantics (elegant, futuristic).

I believe that the difference in the way how creativity and innovativeness are evaluated in each design concept would come from the difference that the values of the perceptual features, functionality, and semantics would have for each design concept given there specific industrial context e.g. fashion industry, aerospace industry, automotive industry, consumer product industry.

Actually, my Research Vision is to be able to contribute to the development of tools that could be customizable to their specific needs of each industry and help them develop the creative and innovative design concepts they need.

Thank You, Dr. Horvath.

Best,

Ricardo Cruz-Lozano.

Hi Alwin de Rooij

I appreciate your help I will read the article.

Thank you, if there's anything I can be of help as well just let mew know.

Best,

Ricardo Cruz-Lozano.