Simon Richir - Immersive Technologies to Accelerate Innovation

1 Cover

2 Title Page Smart Innovation Set coordinated by Dimitri Uzunidis Volume 38

3 Copyright First published 2021 in Great Britain and the United States by ISTE Ltd and John Wiley & Sons, Inc. Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act 1988, this publication may only be reproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers, or in the case of reprographic reproduction in accordance with the terms and licenses issued by the CLA. Enquiries concerning reproduction outside these terms should be sent to the publishers at the undermentioned address: ISTE Ltd 27-37 St George’s Road London SW19 4EU UK www.iste.co.uk John Wiley & Sons, Inc. 111 River Street Hoboken, NJ 07030 USA www.wiley.com © ISTE Ltd 2021 The rights of Sylvain Fleury and Simon Richir to be identified as the authors of this work have been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Library of Congress Control Number: 2021943895 British Library Cataloguing-in-Publication Data A CIP record for this book is available from the British Library ISBN 978-1-78630-770-5

4 Foreword

5 Acknowledgments

6 Preface

7 Introduction

8 1 Innovation Management: Issues and Key Points for a Vital and Strategic Process 1.1. A question of survival 1.1. A question of survival Every year since 1955, Fortune magazine has published a ranking of the 500 highest-grossing U.S. companies. In 2014, the American Enterprise Institute revealed that 88% of the companies initially included in this ranking were no longer in existence. Some had gone bankrupt, others were bought out, even though most of them had been flagships of American industry. As Joseph Schumpeter said, most companies die “of old age” when they are no longer able to innovate. Lack of innovation naturally leads established companies to disappear. These disappearances are accelerated by the arrival of new companies which, on the contrary, are born and develop in their wake. Innovation is therefore a question of survival, or at least of maintaining a dominant position. 1.2. The blue ocean strategy 1.3. Open innovation 1.4. Technical and human issues from ideation to design

9 2 Creativity and Cognition: Factors and Biasesof Mental Processes Involved in Creative Activities 2.1. The creativity process 2.2. The factors of individual creativity 2.3. Creativity and personality 2.4. The factors of organizational creativity 2.5. Cognitive biases and creativity

10 3 Physical and Virtual Environments and their Influence on Creativity 3.1. Physical environment of creation 3.2. Virtual creation environment

11 4 User-Centered Innovation Methods: Design Thinking, Double Diamond, Lean UX and Time to Concept 4.1. Design Thinking 4.2. The Double Diamond 4.3. Lean UX 4.4. The Time to Concept method

12 5 Some Creative Problem-Solving Methods: TRIZ, C-K, CPS, Design Sprint 5.1. The TRIZ method 5.2. The C-K theory 5.3. Creative Problem Solving 5.4. Design Sprint 5.5. Lateral thinking 5.6. Synectics 5.7. Detour techniques 5.8. Discovery matrices

13 6 All-Terrain Ideation Techniques: Brainstorming, Brainwriting, Brainsketching, Bodystorming and Immersive-Storming 6.1. Brainstorming 6.2. Brainwriting 6.3. Brainsketching 6.4. Bodystorming 6.5. Immersive-storming

14 7 Immersive Tools for Every Innovative Situation 7.1. Design in virtual reality 7.2. Co-design in virtual reality 7.3. Types of immersive applications for creativity 7.4. Choosing the right creativity tools 7.5. Immersive tools for innovation project stages

15 8 A Successful Immersive Experience for More Creativity 8.1. The experience of immersed users 8.2. The creative’s user experience

16 Conclusion

17 References

18 Index

1 Chapter 1 Figure 1.1. It is essential to train in methods to improve the innovation process, to protect ideas, to have a dedicated place and to train teams in ideation methods. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip Figure 1.2. Model of the upstream phase of design based on Dorta’s (2004) phases and Goldschmidt’s (1992) categories of sketches. For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip Figure 1.3. Time2Teach: virtual reality tool for quickly and simply creating video animations, 3D or virtual environments to illustrate, for example, a mechanical operation, and also to create visual representations of flows (here, for example, air flows). For a color version of this figure, see www.iste.co.uk/fleury/innovation.zip Figure 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.zip

2 Chapter 2 Figure 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