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Generative design has been an area of great interest recently, especially for researchers and professionals in the industry who have been reimagining the creative potential of computing. It opens a new door of opportunities for graphic designers “to achieve human-computer synergy, to achieve greater creativity and effectiveness than either humans or artificial intelligence (AI) systems can manage on their own” (Eckert, C. et al., 1999). John H. Frazer (2002) started experimenting with such an alternative design paradigm in the late 1960s. Over the past decades, several inspiring artwork had been emerged around the world, such as the generative brand identity system of Casa Da Música and the immersive digital installations by Refik Anadol. In Macau, however, it was not until three years ago that the first generative design was adopted locally in the key visual of ‘Macau Design Award 2019’ (Fig. 1). To some extent, the authors may question that why Macau designers, though they are active participants in many international design competitions, are behind in this global trend. With this research, the authors intend to understand Macau graphic designers’ attitudes toward the adoption of generative design, with particular focus on how ‘Digital Native’ and ‘Digital Immigrant’ perceive this new way of designing. The authors then try to analyze the main obstacles that hold them back in using generative design for their creative process.
Figure 1.
“Macau Design Award 2019” key visual
The paper is structured as demonstrated here: firstly, in the Literature Review section, the authors will discourse the main concepts in three groupings: a) Generative Design, Algorithm and Data Visualization; b) Layout and Composition, Randomness and Paradox of Choice, and; c) Digital Native and Digital Immigrant. Next, in the Case Studies section, the authors will a) study the case of key visual design in the Macau Design Award 2019 from the perspectives of a source of inspiration and workflow; b) clearly define who are the Macau graphic designers the authors are going to take into consideration. In the Research and Methodology section, the authors will a) examine the theoretical framework and the construction of 8 hypotheses based on the Unified Theory of Acceptance and Use of Technology 2 model (Venkatesh, V. et al., 2012/2003); followed by b) analysis of the data gathered through the quantitative-descriptive online survey; and c) results and discussion. Finally, the authors will propose some recommendations for future design development and research areas in the Conclusions.