圖解思考在創意設計之應用

Abstract

論文摘要 英國教育家─大衛．辛吉斯與嘉莉娜．多雅曾說：「學校可以是折磨人的工具，也可以是啟發人的器具」。(註1) 身處於二十一世紀子民的我，不斷地在倒帶中研究中國祖先的智慧標本，赫然發現在那尚未出現「創意」定義的古老年代中，有著超越當今科技時代的創意觀。相較於當前以電腦為信仰的年輕世代，一昧沉溺於模倣、組合等表象的視覺拼圖，對於創意的觀念仍處原地踏步、渾沌未開的狀態，因而觸動開發創意方法之弦，期能為受填鴨式教育而被封閉創意之人士，打通創意的任督二脈。 我們從小受制於「標準答案」的束縛，在一個蘿蔔一個坑的模組對應中，漸漸形成了思考的單一性，這在科學、理工等領域，其精準性實為必然；但在文藝創作之林，則勢必陷入僵化的看圖識字泥沼中。 每個人從最有原創奇想的幼稚園時期，到小學、國中、高中、大學等，在層層框架與標準答案思想調教下，不知不覺地造成創意細胞的萎縮；仿間雖然有不少關於如何啟發創造力的書籍出版，唯因右腦長期荒蕪，這些或用文字敘述、或輔以簡易圖示的創意方法，似乎仍無法有效地誘發創意思路；此即如水泥已凝固之創意細胞，所謂創意專家的方法未必適用。東方根深蒂固的制式教育，必需以說明性更強、更能打破傳統迷思的方法，才能讓創意的腦死細胞重新復活。 基於上述，本研究案─圖解思考在創意上之應用，特別針對擴散思考中的「圖例」教案，作分析評估，再以新法重新調整改良，並增加開發創意應用面的大量圖示案例，打破長期以來應用文字描述引導創意方法的吸收瓶頸，作為此研究案展開的主要意圖與價值。 本論文架構分為五章，第一章分別以研究背景、動機、目的、研究範圍、方法與流程，作為研究基台，審視整體發展的面相。第二章則鎖定文獻中被廣泛使用的東、西方兩大擴散思考圖解案例，在分析中追究其方法之問題點，接著進入改良更新的新方案測試。第三章為本論文之精華，一方面自創新法，並重新命名為噴泉物像法及叉枝複活法，一方面結合双法的兩段式應用主張，突破以往在操作上的盲點；並以實例對照說明之。第四章創作主題，則依據本研究案運用之擴散方法源頭─曼陀羅法之結構，自創一幅從自轉到公轉的複活之旅時空地圖，作為結合噴泉物像法及叉枝複活法的總精髓。第五章結論，主要呼應一般人運用此法，即可漸漸打開創意死結，並為台灣現階段主要政策─文化創意產業，加速激發創意種子的萌芽與成長。 註1：柯林‧羅斯(Colin Rose)、麥爾孔‧尼可(Malcolm J.Nicholl)，學 習地圖，P496。(台北：經典資訊，民國88年)。Abstract British Educators, David Hingis and Carina Toya, once said ‘school could be torturing or inspiring’. (1) While rewinding the ancient Chinese wisdom, the creativity surpassing the modern technology in the era when ‘creativity’ was still a strange term was suddenly discovered in the 21st century today. In contrast to imitated or integrated visual collage by young computer-worshipping generation and their stagnation in creativity, an inspiration method was expected to stimulate the so-called creativity in those self-contained and spoon-fed generations. As most of us grew up with ‘standard answers’ and were limited in uniform thinking, and the characteristics of science and engineering may be beneficial while emphasizing on accuracy, we would only result in rigid learning by ways without diversification and creativity. The supposed blossom creativity at young age was therefore taught into lacking of creativity over boundaries and standards answers learned in elementary, middle, and high school, as well as college. Although books concerning creativity inspiration could be found, a long time desolation of right brain resulted in ineffectiveness through those text descriptions or simple illustrations. The solidified creative cells could no longer be awakened by the so-called Creativity Specialist. The deep-rooted and stagnated systematic education system virtually urged a more illustrative method to revive the creative cells. In this respect, this research, “Application of Illustrative Thinking in Creative Design”, intends to analyze and evaluate the ‘illustration’ teaching method of divergent thinking, and refines it through supporting with a new method to increase the illustration samples for inspiration applications and breakthrough the bottleneck in text description learning method. This paper is comprised of five chapters. Chapter 1 deals with research background, motive, objectives, scope, and methodology. Chapter 2 reviews concerning literatures upon divergent thinking illustration samples in Oriental and Western culture, and examines the root problem on both subject and matter. Chapter 3 tries to propose two self-developed methods, Fountain Object Method and Branch Revival Methods to discuss the application samples of two incorporated methods to penetrate the blind spot of those traditional methods. Chapter 4 presents a creativity theme and uses divergent thinking source, Datura structure, to create a journey map of revival from rotation to revolution, in order to present the essence of Fountain Object Method and Branch Revival Method. Chapter 5 concludes the use of this suggested method to stimulate creativity and expresses a goal to expedite the growth of creativity in Taiwan as a crucial policy in the cultural creativity industry. 1：Colin Rose, Malcolm J.Nicholl, Learning Map, P496 (Taipei：Classic Information, 1999)