1.4. Example of a collaborative work situation with augmented reality flow visualization (created with the Time2Teach virtual reality tool) on a tangible air filter, using a Hololens headset and a tablet. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip2 Chapter 2Figure 2.1. Representation of the creativity process as a function of the corresponding level (Wallas 1926)Figure 2.2. The GENEPLORE model (according to Finke et al. 1992)Figure 2.3. Model of individual creativity (inspired by Amabile 1988)Figure 2.4. Model of organizational creativity (according to Amabile 1988)Figure 2.5. Systemic model of creativity (according to Csikszentmihalyi 1999)Figure 2.6. Cognitive biases identified for each step of a creativity workshop
3 Chapter 3Figure 3.1. Representation of the types of influences exerted on the creative process and resulting in creative performance (after Dul and Ceylan 2011)Figure 3.2. Representation of the “physical environmental support model” (according to Hoff and Öberg 2015). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.3. At the Laval Virtual Center, a ping-pong table is available just in front of the Creative Space, ideal for making breaks friendly and for “disconnecting”. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.4. The roof without vegetation (left) and with vegetation (right) used for breaks in the experiment by Lee et al. (2015). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.5. Example of a playful physical and mental warm-up activity during a day of creativity workshops. The flexible space is set up especially for this exercise and is reconfigured very quickly afterward. The participants are led to get physically and mentally in motion in order to optimize their intellectual functioning during the rest of the workshop. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.6. Example of a virtual reality design meeting situation. The user is standing and physically moving throughout the exchange, while the other users are physically at a distance. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.7. The Creative Space used by our team at the Laval Virtual Center was designed to be the ideal place for creative workshops. This is a computer-generated image showing an example of the layout of this space. The previous figure shows the real space. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.8. Windows Mixed Reality headset in a carrying case for a virtual reality-based creativity workshop at a partner site. All of the materials needed for the planned session were contained in this single case. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.9. Avatars used in attractiveness and presence studies (top), the level of visual fidelity of avatars increases from left to right; collaborative task situation (bottom left); negotiation task situation (bottom right). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.10. Virtual environments designed by our team for a furniture ideation session: an inspiring natural environment (left) and an office environment allowing the user to become aware of space and usage constraints (right). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 3.11. Environments designed to immerse participants in a city of the future to imagine innovations in that context. Participants can collaboratively move around the city or an apartment and draw the innovations they imagine together. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip
4 Chapter 4Figure 4.1. The five steps of Design Thinking by Stanford University. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 4.2. The UK Design Council’s Double Diamond modelFigure 4.3. Representation of the “Feedback Loop” or “Lean Startup Cycle”. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 4.4. The five steps of the Time to Concept approach represented “Design Thinking style”. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 4.5. When a Post-it session is conducted right after a collaborative game, participants let go more easily during the divergence, communicate more and are more inventive. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 4.6. Examples of inspirations used by our team: a shelf of immersive technologies (left) and a prospective virtual environment that can be configured by the facilitator and allows participants to immerse themselves in a residential neighborhood of the future (right). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip
5 Chapter 5Figure 5.1. Overall schematic representation of the problem-solving approach with TRIZ. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 5.2. Schematic representation of Design Sprint (from GV.com). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip
6 Chapter 7Figure 7.1. Screenshots of Time2Craft (top and bottom left): simple shapes can be made in a very clean interface, directly in CAD software (bottom right). For a color version of this figure, see www.iste.co.uk/fleury/innovation. zipFigure 7.2. On the left, the drum-like keyboard, and on the right, the individual text-to-speech microphone, and the collective text-to-speech recording. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.3. Example of a collaborative work situation with one user immersed in a headset while the second user views the environment on a large screen, commenting on the actions of his or her colleague. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.4. The “Affordance and Constraint Network” (according to Fromm et al. 2020)Figure 7.5. Augmented reality visualization of a 3D mechanical part with an animation showing the direction of flow in the part. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.6. Virtual reality meeting situation in our team with presentation of results graphs: instead of displaying a slide show on a screen, the graphs are spread out on the walls of the virtual room. Thus, during the presentation, the facilitator and his colleagues move around the environment, viewing each graph as they would move from painting to painting in a museum. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.7. Cokoon application developed by our team, allowing to cut freehand in a scanned point cloud in order to quickly test in virtual reality rearrangements of existing environments. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.8. Application “La plume et la lanterne” (the feather and the lantern) designed by students of Arts et Métiers as an immersive experience that is both playful and contemplative, conducive to letting go. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.9. The seven categories of determinants of creativity tool choiceFigure 7.10. Schematic representation of the uses of virtual reality in a Design Thinking project. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.11. Schematic representation of the uses of virtual reality in a Lean Startup project. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.12. Schematic representation of the uses of virtual reality in a project conducted with the Time to Concept approach. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zipFigure 7.13. Representation of the stages in which virtual reality applications intervene in a creativity workshop (according to Graessler and Taplick 2019). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip
7 Chapter 8Figure 8.1. Example of an exercise used in our team to learn about Time2Sketch, our immersive drawing tool. The participants have to imagine and draw a logo for their team. For a color version of this figure, see www.iste. co.uk/fleury/innovation.zipFigure 8.2. Example of a collaborative work situation at the Institut Arts et Métiers de Laval, with a user creating three-dimensional animations in virtual reality, assisted by his or her colleague visualizing the result in the room in augmented reality. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip
Guide
1 Cover
