Building for Creativity

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A discussion document about building for creativity. Produced in programming stages for an innovation center in Japan.

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Building for Creativity

  1. 1. Building for Creativity Chris Berthelsen (http://a-small-lab.com) for http://www.vanderarchitects.com/
  2. 2. The TOOL HOUSE (thank you mr Echanove) Organic connection through individual, family, community, neighbourhood, extended family, organisations and the government. A SPECTRUM OF FUNCTIONAL(2) OPTIMISATION, from storage to productive commercial space, to integration into the global economy. stigmergy A connection with LIVELIHOODS – social cultural as well as economic imperatives. SOCIAL STRUCTURES and TRUST play an important role in income generation and the configuration of space (community ties permeate personal and professional space) Not informal, but(3) in-formation. The tool house accretes through creative use. Not just dense, but simultaneously diverse Personal (1) components of creativity
  3. 3. Building for Creativity (1) Personal Components of Creativity in the Built Environment
  4. 4. Creativity is a PRODUCT of a PROCESS that occurs within a PERSON in a PLACE. HUMAN(E) use of buildings is messy and spontaneous, but it is also a creative response to the built environment, a reflection of personality, livelihoods, society, culture and traditions. The most powerful way of improving our environments is to put it in control of those PEOPLE that have the STAKE and KNOWLEDGE to make it function well. PEOPLE feel JOY rather than mere PLEASURE. PEOPLE
  5. 5. PEOPLE use buildings and we are building for creativity
  6. 6. PEOPLE use buildings and we are building for creativity Personal Components of Creativity
  7. 7. PEOPLE use buildings and we are building for creativity Personal Components of Creativity Knowledge and Skills “act directly on tasks within the relevant domain in question, but also indirectly affect creativity in other domains through the broadening of individual perspectives..”
  8. 8. PEOPLE use buildings and we are building for creativity Personal Components of Creativity Creativity Relevant Skills Knowledge and Skills “cognitive and personality traits, work style (e.g. high energy and concentration), and knowledge/ability to use creativity generating techniques..” “act directly on tasks within the relevant domain in question, but also indirectly affect creativity in other domains through the broadening of individual perspectives..”
  9. 9. PEOPLE use buildings and we are building for creativity Personal Components of Creativity Intrinsic Motivation Creativity Relevant Skills Knowledge and Skills “the motivation to work on something primarily for its own sake, because it is enjoyable, satisfying, challenging or otherwise captivating...” “cognitive and personality traits, work style (e.g. high energy and concentration), and knowledge/ability to use creativity generating techniques..” “act directly on tasks within the relevant domain in question, but also indirectly affect creativity in other domains through the broadening of individual perspectives..”
  10. 10. PEOPLE use buildings and we are building for creativity Personal Components of Creativity Intrinsic Motivation Creativity Relevant Skills Knowledge and Skills “the motivation to work on something primarily for its own sake, because it is enjoyable, satisfying, challenging or otherwise captivating...” “cognitive and personality traits, work style (e.g. high energy and concentration), and knowledge/ability to use creativity generating techniques..” “act directly on tasks within the relevant domain in question, but also indirectly affect creativity in other domains through the broadening of individual perspectives..” How can we understand these in terms of the built environment?
  11. 11. Buildings are used by people what parts are we interested in? (elements of the building: e.g.) ● ● ● ● ● ● ● ● ● ● ● ● ● Site Built Form Components Structure Skin Services Space Circulation Space Syntax Legibility Regulations/Restrictions Furniture And? (e.g.) Transport/Access Location Storey Height Materials, Fixtures Botanics Connections Interchangeability Durability Loading Walls Grid Spacing Cladding Glazing Access Redundancy Lighting, Waste, Power Standardisation Flow Cores Access/Egress
  12. 12. Buildings are used by people [ stakeholders include: passers-by, local families, community, workers, innovators in residence, start-ups, sponsors etc...... ] (elements of the building) ● ● ● ● ● ● ● ● ● ● ● ● ● Site Built Form Components Structure Skin Services Space Circulation Space Syntax Legibility Regulations/Restrictions Furniture And?
  13. 13. Buildings are used by people in many ways and levels [ stakeholders include: passers-by, local families, community, workers, innovators in residence, start-ups, sponsors etc...... ] (elements of the building) ● ● ● ● ● ● ● ● ● ● ● ● ● Site Built Form Components Structure Skin Services Space Circulation Space Syntax Legibility Regulations/Restrictions Furniture And? (action spectrum) ● Spontaneous, ad-hoc movement ↓ ● Everyday Behaviour ↓ ● Routines ↓ ● Livelihoods ↓ ● ● ● ● Occasions/Events Rituals Myths And?
  14. 14. With the above in mind, How does the building enable informal knowledge acquisition, transfer and transformation? Personal Components of Creativity Intrinsic Motivation Creativity Relevant Skills Knowledge and Skills
  15. 15. See Nonaka (link) Knowledge taxonomy (link) See Hedlund (link)
  16. 16. With the above in mind, In what ways does the building influence ● Implicit or explicit heuristics for generating novel ideas? ● Work style conducive to creativity? ● Creative cognitive frames of mind? Personal Components of Creativity Intrinsic Motivation Creativity Relevant Skills Knowledge and Skills
  17. 17. With the above in mind, How does the building enhance intrinsic motivation and minimize external constraints on motivation? Personal Components of Creativity Intrinsic Motivation “the motivation to work on something primarily for its own sake, because it is enjoyable, satisfying, challenging or otherwise captivating” Creativity Relevant Skills Knowledge and Skills
  18. 18. Source: Derived from discussion in Amabile (1996) and Stafford (1998). Amabile, T.M. (1996). Creativity in context. Boulder: Westview Press. Stafford, S.P. (1998). Capitalizing on careabouts to facilitate creativity. Creativity and Innovation Management , 7(3), 159-167.
  19. 19. With the above in mind, How does the building enhance intrinsic motivation and minimize external constraints on motivation? ‘extrinsics in the service of intrinsics’ (i) Possibility of sparking latent creativity + (ii) Motivational synergy (when intrinsic motivation is low) Intrinsic Motivation “the motivation to work on something primarily for its own sake, because it is enjoyable, satisfying, challenging or otherwise captivating” Creativity Relevant Skills (when intrinsic motivation is high) Knowledge and Skills
  20. 20. ‘extrinsics in the service of intrinsics’ Creative Climate +ve and -ve influences on intrinsic motivation
  21. 21. ‘extrinsics in the service of intrinsics’ Creative Climate +ve and -ve influences on intrinsic motivation (positive dimensions) ● ● ● ● ● ● ● ● Freedom Trust/Openness Resources Time Playfulness/Humour Idea Support Debate Risk Tolerance (negative dimensions) ● Conflict/Violence
  22. 22. ‘extrinsics in the service of intrinsics’ Creative Climate How does the building influence the social psychological dimensions that are important for intrinsic motivation? (positive dimensions) ● ● ● ● ● ● ● ● Freedom Trust/Openness Resources Time Playfulness/Humour Idea Support Debate Risk Tolerance (elements of the building) ● ● ● ● ● ● ● ● ● (negative dimensions) ● Conflict/Violence ● ● ● ● Site Built Form Components Structure Skin Services Space Circulation Space Syntax Legibility Regulations/Restrictions Furniture And?
  23. 23. ‘extrinsics in the service of intrinsics’ Creative Climate How does the building influence the social psychological dimensions that are important for intrinsic motivation? (over a spectrum of action, from the momentary to the mythical, for relevant stakeholders) [ stakeholders include: passers-by, local families, community, workers, innovators in residence, start-ups, sponsors etc...... ] (positive dimensions) ● ● ● ● ● ● ● ● Freedom Trust/Openness Resources Time Playfulness/Humour Idea Support Debate Risk Tolerance (elements of the building) ● ● ● ● ● ● ● ● ● (negative dimensions) ● Conflict/Violence ● ● ● ● Site Built Form Components Structure Skin Services Space Circulation Space Syntax Legibility Regulations/Restrictions Furniture And? (action spectrum) ● Spontaneous, ad-hoc movement ↓ ● Everyday Behaviour ↓ ● Routines ↓ ● Livelihoods ↓ ● ● ● ● Occasions/Events Rituals Myths And?
  24. 24. Building for Creativity (2) Stigmergy and Scattered Oases
  25. 25. Creative use of the built environment leaves traces and fragments; remnants that layer up and decay over time. These traces are fine-grained evidence of life. Human-scale attachment, action and care. Affection, love, pride. Ordinary magic. Resilience. Scattered oases. Tacitly accepted or actively protected. Individuals adjust their use (indirect collaboration) to fit with that of other users of the space through the medium of a slow and steady work in progress. stigmergy
  26. 26. stigmergy Actor/Action Actor/Action Imprint of information via cues and/or stimuli Environment Actor/Action Information flow via the environment Use (Coordination/ Construction)
  27. 27. stigmergy Actor/Action Who? What? Actor/Action Information flow via the environment What? How? Where? What? How? Where? Imprint of information via cues and/or stimuli Use (Coordination/ Construction) Environment What? How? Where? Actor/Action
  28. 28. stigmergy Actor/Action Who? What? Information flow via the environment What? How? Where? What? How? Where? What does the stigmergy of the building mean for knowledge Use Environment Actor/Action (Coordination/ transformation processes? Construction) Imprint of information via cues and/or stimuli See previous diagrams What? How? Where? Actor/Action
  29. 29. stigmergy Actor/Action Who? What? Information flow via the environment What? How? Where? What? How? Where? What is a stigmergy of the built environment? What elements Use Environment Actor/Action (Coordination/ Construction) of the building are important? Imprint of information via cues and/or stimuli What? How? Where? Actor/Action
  30. 30. Building for Creativity (3) Tool House (CEP)
  31. 31. The TOOL HOUSE (thank you mr Echanove) Organic connection through individual, family, community, neighbourhood, extended family, organisations and the government. A SPECTRUM OF FUNCTIONAL OPTIMISATION, from storage to productive commercial space, to integration into the global economy. A connection with LIVELIHOODS – social cultural as well as economic imperatives. SOCIAL STRUCTURES and TRUST play an important role in income generation and the configuration of space (community ties permeate personal and professional space)
  32. 32. The TOOL HOUSE (thank you mr Echanove) Organic connection through individual, family, community, neighbourhood, extended family, organisations and the government. A SPECTRUM OF FUNCTIONAL OPTIMISATION, from storage to productive commercial space, to integration into the global economy. A connection with LIVELIHOODS – social cultural as well as economic imperatives. SOCIAL STRUCTURES and TRUST play an important role in income generation and the configuration of space (community ties permeate personal and professional space) Not informal, but in-formation. The tool house accretes through creative use. Not just dense, but simultaneously diverse
  33. 33. The TOOL HOUSE (thank you mr Echanove) Organic connection through individual, family, community, neighbourhood, extended family, organisations and the government. A SPECTRUM OF FUNCTIONAL OPTIMISATION, from storage to productive commercial space, to integration into the global economy. stigmergy A connection with LIVELIHOODS – social cultural as well as economic imperatives. SOCIAL STRUCTURES and TRUST play an important role in income generation and the configuration of space (community ties permeate personal and professional space) Not informal, but in-formation. The tool house accretes through creative use. Not just dense, but simultaneously diverse Personal components of creativity
  34. 34. Moving toward a built environment as an elegant tool. platform
  35. 35. Moving toward a built environment as an elegant tool. platform elegance convenience

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