دانشگاه هنر ایران نامه معماری و شهرسازی 2717-1299 18 50 2026 03 21 Design fixation: A reconceptualization of cognitive constraint in the design process تله ذهنی در طراحی: خوانشی نو از انسداد شناختی در فرایند طراحی 85 112 1445 10.30480/aup.2025.5676.2216 FA نوشین ضیاءشهابی دانشجوی دکتری معماری، دانشکده معماری و شهرسازی، دانشگاه علم و صنعت ایران، تهران، ایران احمد اخلاصی دانشیار گروه معماری، دانشکده معماری و شهرسازی، دانشگاه علم و صنعت ایران، تهران، ایران سید عباس یزدانفر دانشیار گروه معماری، دانشکده معماری و شهرسازی، دانشگاه علم و صنعت ایران، تهران، ایران Journal Article 2025 01 18 Despite being inherently associated with creativity and innovation, the design process frequently confronts designers with cognitive challenges that constrain their ability to generate original, diverse, and meaningful solutions. Among these challenges, design fixation has been widely recognized as a persistent phenomenon that limits exploratory thinking and narrows the perceived design space. Design fixation refers to a tendency to adhere to initial ideas, familiar precedents, or previously encountered solutions, making it difficult to recognize or pursue alternative possibilities. Rather than constituting a simple mistake or momentary lapse, fixation operates as a multi-layered cognitive condition that shapes the trajectory of design thinking across different stages of the process. In design practice, creativity is commonly understood as the capacity to produce ideas that are novel, useful, and appropriate to the design context. Innovation, in this sense, is not an optional attribute but a defining criterion of successful design. Yet designers often experience moments of mental stagnation, repetition, or premature convergence, particularly during the early phases of ideation. Design fixation typically emerges at this stage, manifesting either as an uncritical reliance on known solutions or as an inability to move beyond an initial conceptual frame. This dual manifestation suggests that fixation is not a singular cognitive bias but a structured interaction between memory, habit, professional knowledge, and situational constraints. Building on this premise, the present study offers a conceptual and structural reconsideration of design fixation through a systematic and critical review of the existing literature. Although fixation has been examined across design research, engineering, and cognitive psychology, it remains theoretically fragmented and inconsistently operationalized. Prior studies often focus on isolated aspects of the phenomenon—such as experimental measurement, impacts on originality, or specific intervention techniques—leaving the conceptual boundaries, internal variations, and evaluative standards of fixation insufficiently clarified. Accordingly, this research addresses three foundational research questions: How is design fixation defined, and through what characteristics does it manifest within the design process? What classifications or typologies of design fixation have been proposed in the literature? What criteria, indicators, or methods are used to identify and evaluate fixation in design contexts? To ensure methodological rigor and transparency, the review follows the PRISMA 2020 framework, enabling a structured selection and synthesis of relevant studies. The literature is analyzed along three interrelated axes: conceptual understandings of fixation, typological classifications, and evaluative criteria. This structure allows for an integrated reading of diverse sources while preserving the multidimensional nature of the phenomenon. The findings indicate that design fixation can be productively understood through two complementary analytical lenses. The first lens is grounded in cognitive psychology and draws on concepts such as functional fixedness, mental set, and the path of least resistance, framing fixation as a cognitive constraint rooted in prior knowledge and habitual reasoning patterns. The second lens focuses on observable patterns within the design process itself and conceptualizes fixation as a form of design behavior. This behavioral perspective identifies modes such as unconscious adherence to familiar solutions, conscious blockage in idea generation, and intentional resistance to departing from established design directions. Although analytically distinct, these perspectives frequently overlap in practice. Fixation often emerges at the intersection of cognitive bias, memory structures, and professional habit, rather than from a single causal mechanism. Recognizing this overlap allows fixation to be analyzed not merely as an individual limitation but as a situated phenomenon shaped by design culture, education, and representational practices. Integrating psychological and design-oriented perspectives therefore provides a more nuanced understanding of how fixation develops and persists in real design situations. In addressing the third research question, the review identifies two primary categories of evaluative criteria used to recognize and assess design fixation. Direct criteria focus on measurable features of design outcomes, such as the frequency of repeated formal or functional elements, levels of concept originality, and degrees of functional or typological variety. These criteria are commonly employed in experimental and semi-experimental studies. Indirect criteria, by contrast, include self-assessment instruments, behavioral observations, retrospective reflections, and non-intrusive analytical methods. While indirect measures may lack the precision of direct metrics, they offer valuable insight into designers’ internal reasoning processes and the experiential dimensions of fixation. Together, these criteria provide a foundation for both identifying fixation and evaluating the effectiveness of proposed interventions. Based on a synthesis of prior studies, particularly those employing semi-experimental and research-through-design approaches, the research identifies three strategic paths for mitigating design fixation. Internal strategies aim to enhance designers’ cognitive flexibility through techniques such as problem reframing, deliberate incubation, and reflective pauses. External strategies reshape the design environment by introducing varied stimuli, representational diversity, analogical reasoning, critique-based practices, and computational tools that expand the design space. Hybrid strategies integrate internal and external elements within structured, multi-step methods such as SCAMPER and TRIZ, enabling intentional shifts between different modes of thinking and supporting reflective engagement with the design process. A key contribution of this study lies in its multi-layered characterization of design fixation, which connects conceptual clarity with practical relevance. By synthesizing cognitive and behavioral classifications, distinguishing between direct and indirect evaluative criteria, and organizing responses into internal, external, and hybrid strategies, the research frames fixation as an organized and analyzable process rather than an arbitrary obstacle to creativity. Importantly, the findings suggest that fixation should not be understood solely as a negative condition to be eliminated. Instead, fixation can be viewed as an indicator of stabilized cognitive patterns through which designers reuse knowledge and construct meaning. From this perspective, fixation offers analytical value for understanding how design thinking develops over time and how it may be guided through targeted interventions. In conclusion, by situating design fixation at the intersection of cognitive habit, design culture, and educational frameworks, this study contributes to a more transferable understanding of creative constraints in design processes. The proposed synthesis provides a conceptual foundation for developing diagnostic markers, reflective design techniques, and instructional tools. Future research may extend this work through empirical analyses of situated design behavior, refinement of evaluative indicators, and the design of educational interventions aimed at fostering reflective, flexible, and critically aware design thinking.   فرایند طراحی ماهیتی پیچیده، خلاقانه و مسئله‌محور دارد که طراح را با چالش‌های متعددی روبه‌رو می‌سازد. یکی از این چالش‌ها تله‌ذهنی است؛ پدیده‌ای که با محدود کردن ظرفیت طراح در تولید ایده‌های نوآورانه، می‌تواند کیفیت طراحی را کاهش داده و روند حل مسئله را کند سازد. این پدیده دو وجه دارد: نخست، تمایل طراح به ساده‌سازی مسئله از طریق تکرار طرح‌های پیشین؛ دوم، ناتوانی در تشخیص و ارائهٔ راه‌حل‌های ابتکاری به‌دلیل چسبندگی ذهن به الگوهای آشنا. درحالی‌که وجه نخست در پیشینهٔ پژوهش بیش‌تر مورد توجه بوده‌، به وجه دوم که می‌تواند مانع بروز خلاقیت در فرایند طراحی شود، کم‌تر پرداخته شده است. هدف این پژوهش، بازخوانی مفهومی پدیدهٔ تله‌ذهنی در طراحی و تحلیل ساختاری آن با تکیه بر شواهد نظری و تحلیلی است. در این راستا، با مرور نظام‌مند مطالعات پیشین، سه محور اصلی، شامل چیستی تله‌ذهنی، انواع و شیوه‌های ارزیابی، بررسی شده‌اند. استخراج و دسته‌بندی راهکارهای غلبه بر این پدیده، بخش مکمل هدف پژوهش است. یافته‌ها سه رویکرد مکمل برای مقابله با تله‌ذهنی معرفی می‌کند: اول، تقویت توانایی ذهنی طراح ازطریق بازتعریف مسئله و توجه به ویژگی‌های فردی؛ دوم، استفادهٔ خلاقانه از نمونه‌های متنوع، طراحی قیاسی و ابزارهای تحلیلی؛ و سوم، بهره‌گیری از روش‌های میان‌رشته‌ای مانند TRIZ و SCAMPER برای تسهیل بازنگری و گشودن مسیرهای نو در روند طراحی. این رویکردها در مجموع بر اهمیت اصلاح مسیرهای پرورش تفکر طراحی و زمینه‌سازی برای مداخلات آموزشی هدفمند تأکید دارند. https://aup.journal.art.ac.ir/article_1445_32b1d6a4667c5e3c42b1bc84f9bd5447.pdf