No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
The Potential Role of the Physical Environment in Fostering Creativity
Abstract
Two studies investigated the role of specific interior design elements on creativity. In Study 1, a photographic structured Q sort was used to determine where participants would feel most creative and least creative. Content analysis of the photographs by independent raters scaled each setting according to size, shape, light, internal organization of objects, and characteristics of bounding surfaces. Analyses identified 5 environmental characteristics that independently predicted greater perceived creativity: (a) complexity of visual detail, (b) view of natural environment, (c) use of natural materials, (d) with fewer cool colors used, and (e) less use of manufactured or composite surface materials. In Study 2, tests of actual creative performance were administered in 2 different settings. One setting had been rated relatively high in creativity potential, and the other setting was rated relatively low in creativity potential by the original participants in Study 1. Creative performance of an independent sample was greater in the setting that had been rated higher in creativity potential by participants in Study 1.
... Initially, the physical environment's types and qualities that positively influenced creativity were listed. Based on the 12 physical elements of the work environment in the Creativity Development Quick Scan (CDQS; Dul & Ceylan, 2011) and previous studies' categories of physical characteristics for fostering creativity (De Paoli et al., 2019;Lee, 2016;Martens, 2011;McCoy & Evans, 2002), this research structured the environmental design results and spatial features that supported creativity as described in the literature. Moreover, the thematic analysis method was used to identify the creativity pattern from diverse perspectives studied and reported in the existing literature (Isaksen & Akkermans, 2011;Lee et al., 2020). ...
... Experimental studies examined the role of specific environmental cues in creative tasks. The one explanatory study attempted to explain why innovation labs receive attention (Lewis & Moultrie, 2005), while the one mixed design study included a series of descriptive and experimental studies on interior design elements that influence creativity (McCoy & Evans, 2002). ...
... Notably, five were in university offices (Chan & Nokes-Malach, 2016;Knight & Baer, 2014;Lan et al., 2021;Steidle & Werth, 2013;Stone & Irvine, 1994), four made use of organizations' creative labs (Haner, 2005;Lewis & Moultrie, 2005;Magadley & Birdi, 2009;Schmidt & Brinks, 2017), and three explored changes in creative behaviors after a firm relocated (Kallio et al., 2015;Sicotte et al., 2019;Vithayathawornwong et al., 2003). Of the studies that investigated learning environments, five took place in public spaces of universities (McCoy & Evans, 2002;Mehta et al., 2012;Soares et al., 2020;Wanqing et al., 2020;Zhou et al., 2020) and three articles described the characteristics of innovative spaces in universities (Oksanen & Stahle, 2013;Pittaway et al., 2020;Wu et al., 2021). ...
... An aesthetic office impacts employees´ views of management positively [22]. Moreover, it seems to improve creative productivity [23,24]. The former review study has found that certain physical elements of the work environment can contribute to creativity, e.g., elements such as indoor plants and flowers, calm and inspiring colors, window view, and daylight ( Table 1, p. 14 [23]). ...
... On the other hand, stimulating environments are regarded as workplace resources, which, in accord with the theories presented, are visually interesting (i.e., complex, both spatially and ornamentally) [48,49]. Spaces that offer extended views and use natural material are also perceived as stimulating [24]. Likewise, the restorative qualities of nature [50] can also replenishing employee wellbeing and cognitive capacity. ...
... Likewise, the restorative qualities of nature [50] can also replenishing employee wellbeing and cognitive capacity. Mitchell McCoy and Evans [24] suggest similar effects by contact with nature even only via views of natural environments or exposure in interiors. ...
This explorative case study investigates health-promoting office design from an experience and meaning-making perspective in an activity-based flex-office (A-FO) in a headquarter building. This small case study (n = 11) builds using qualitative data (walk-through and focus group interviews). A reflexive thematic analysis (RTA) of the experience of design approach was performed on this from a health and sustainability perspective, including the physical, mental, and social dimensions of health defined by WHO. Results show a wide range in participants' experiences and meaning-making of the health-promoting office design of their office building. The control aspect plays a central role in participants' experiences, including factors such as surveillance and obeyance, related to status and power, in turn associated with experiences of pleasantness, symbolism , and inclusiveness. Three main themes are identified in participants´ experiences: (1) comfort -non-comfort, (2) outsider-insider, and (3) symbolism. The major finding of the study is the ambiguity among participants about the health-supportive office design of the office building per se and its various environments. There is a sense that it is chafing, due to dissonance between the intention of the office and the applied design.
... Among the studies devoted to the influence of environment factors on creativity, we can observe a number of different parameters with which the designer will have to interact either directly or indirectly. This could be the case of the layout of the furniture he or she is working on (McCoy & Evans, 2002), the "shape" of the workplace (Wu et al., 2020) or the decorative elements in the work environment (Stone, 1998). These elements may include living elements, such as plants (Ceylan et al., 2008;Shibata & Suzuki, 2004). ...
... This topic of the influence of the mental reactions of the designers on their design outcomes has already been addressed and analyzed in recent times (Jung &Chang, 2017;Mulet et al., 2016;Nguyen, Nguyen, & Zeng, 3 2018). Nevertheless, on comparing several of these isolated studies, we see that two opposite stimuli frequently enhance creativity, as in the case of cold (Ceylan et al., 2008) or warm colors (McCoy & Evans, 2002;Stone & English, 1998) or that of music or silence (Stokols et al., 2002). This does not mean that they get contradictory results, since both stimuli were tested isolated, comparing them with the neutral state, although in real situations it is difficult to find circumstances in which only a single sensory stimulus affects the subject. ...
... The first environment generated, which we have called environment A, was illuminated using red light in order to enhance creativity, in accordance with the studies of Stone and English (1998) and McCoy and Evans (2002), who claim that warm colors stimulate creativity. Moreover, it was combined with music, which also stimulates creativity according to Stokols et al. (2002) . ...
Within the literature devoted to studying the influence of environment factors on people’s creativity, the majority analyzed these factors as isolated elements and assess individual’s creativity in general. The aim of this work is to analyze the influence of some of these environmental factors on the design outcomes in terms of creativity, considering the potential emotion it can cause (relaxation or arousal). An experiment was developed to test the results generated in different settings combining environment factors that enhance creativity, in which designers were asked to develop different creative concepts. Different colors and music were combined in order to set arousing and relaxing environments. Results point to differences in the creativity parameters, according to the environment in which designers worked.
... These relaxing spaces can moreover correspond to activities such as billiards for example, which can be a kind of very effective transitional break before a creative activity, or between several activities (Lee 2016). The choice of furniture type is also important because it will more or less promote social interactions (McCoy and Evans 2002). Composite materials (plastic, laminate, synthetic fibers or steel) are also considered less conducive to creativity than natural materials such as wood, marble or leather for example (McCoy and Evans 2002). ...
... The choice of furniture type is also important because it will more or less promote social interactions (McCoy and Evans 2002). Composite materials (plastic, laminate, synthetic fibers or steel) are also considered less conducive to creativity than natural materials such as wood, marble or leather for example (McCoy and Evans 2002). Wood seems to be a particularly interesting material for a room dedicated to creativity. ...
... In practical terms, movable partitions or shelves that separate spaces in which participants can divide or group according to the activities can work very well. It is extremely important to choose a room with at least one window and, if possible, with a view of natural elements (McCoy and Evans 2002). Natural elements and daylight are both factors that support comfort and creativity. ...
... One of the inconveniences of studying a multidisciplinary topic is conceptual confusion, which is obvious in this case. To begin with, the vocabulary used to refer to the physical organizational context is diverse (Weinfurtner & Seidl, 2019), and the publications cited in this paper alone use various terms and phrases when referring to the physical space of organizations, including 'place' (Kristensen, 2004), 'physical context' (Kristensen, 2004), 'physical space' (Kornberger & Clegg, 2004), 'spatial structure' (Kornberger & Clegg, 2004), 'spatial arrangements of organizations' (Kornberger & Clegg, 2004), 'spatial configuration' (Sailer, 2011), 'spatial location' (Moultrie et al., 2007), 'workplace layout' (Moultrie et al., 2007), 'operating environments' (Moultrie et al., 2007), 'physical environment' (Franck, 1984), 'physical structure' (Hatch & Cunliffe, 2006), 'physical press' (Williams, 2009), 'physical setting' (Ceylan et al., 2008;McCoy & Evans, 2002;Vithayathawornwong et al., 2003), 'physical facilities' (Lewis & Moultrie, 2005;Magadley & Birdi, 2009), 'physical layout' (Sailer, 2011), 'physical work environment' (Martens, 2011) and 'office design' (Martens, 2011). This underlines TA B L E 1 A three-dimensional framework for analysing physical organizational space Kristensen's (2004, p. 90) point when he states 'Concepts of space are often thought of in "vernacular" terms because of the difficulty of their articulation'. ...
... A group of studies that analyses the relation of physical space and creativity using different stage models of creativity also targets spatial organization. They shared the assumption that creativity consists of distinctive phases that impose different demands on facilities (Allen & Henn, 2007;Haner, 2005;Kristensen, 2004;Martens, 2011;Meusburger, 2009; see also McCoy & Evans, 2002;Sailer, 2011;Wanqing et al., 2020). In his qualitative case study, Kristensen relied on the phase model devised by Wallas (1926, cited in Kristensen, 2004, which comprises preparation, incubation, elaboration and evaluation, in organizing his research findings related to the physical context of creativity. ...
... Architectonic details operate more on symbolic and aesthetic levels, while being less influential from the instrumental perspective. In their experimental laboratory study on how various features of the physical environment are experienced in relation to creativity, McCoy and Evans (2002) identified five features that predict greater creativity. These are the complexity of visual detail, natural environment, use of natural materials, use of fewer cool colours and less use of manufactured or composite materials in the environment. ...
Many organizations are investing considerable resources in building and designing what are termed ‘creative offices’. In this paper, we bring together two lines of academic enquiry that have attracted the interest of scholars from different disciplines: organizational creativity and the physical space of organizations. These lines of study use different concepts and lean on different ontologies; consequently, their relation is underexplored in the extant literature. To provide a better understanding of the ways in which physical space relates to creativity, we offer an integrative review based on a three-dimensional framework comprising (i) the elements of workspace, (ii) the social dynamics of space and (iii) the relation between space and creativity. This framework is used to review the physical context of creativity literature. Based on this framework and our review, we outline three directions for future studies on the physical context of creativity. These directions are based on a broader understanding of physical space that aligns better with the contemporary conception of creativity as a process.
... These relaxing spaces can moreover correspond to activities such as billiards for example, which can be a kind of very effective transitional break before a creative activity, or between several activities (Lee 2016). The choice of furniture type is also important because it will more or less promote social interactions (McCoy and Evans 2002). Composite materials (plastic, laminate, synthetic fibers or steel) are also considered less conducive to creativity than natural materials such as wood, marble or leather for example (McCoy and Evans 2002). ...
... The choice of furniture type is also important because it will more or less promote social interactions (McCoy and Evans 2002). Composite materials (plastic, laminate, synthetic fibers or steel) are also considered less conducive to creativity than natural materials such as wood, marble or leather for example (McCoy and Evans 2002). Wood seems to be a particularly interesting material for a room dedicated to creativity. ...
... In practical terms, movable partitions or shelves that separate spaces in which participants can divide or group according to the activities can work very well. It is extremely important to choose a room with at least one window and, if possible, with a view of natural elements (McCoy and Evans 2002). Natural elements and daylight are both factors that support comfort and creativity. ...
... Third, we tested the efficacy of two interventions that we designed to increase the range of ideas generated (the role of interventions). Research has suggested that time outdoors in nature may improve creative thinking [47,48]. We might expect this to be especially true with respect to ideas related to biological models. ...
... We were also interested in the role of going outdoors in the creative process. We found no support for our outdoor intervention increasing the breadth of ideas generated, contrary to predictions from the literature [47,48]. Somewhat surprisingly, the range of ideas generated was actually lower than in previous assignments (Figures 4 and 5). ...
(1) Generating a range of biological analogies is a key part of the bio-inspired design process. In this research, we drew on the creativity literature to test methods for increasing the diversity of these ideas. We considered the role of the problem type, the role of individual expertise (versus learning from others), and the effect of two interventions designed to increase creativity—going outside and exploring different evolutionary and ecological “idea spaces” using online tools. (2) We tested these ideas with problem-based brainstorming assignments from a 180-person online course in animal behavior. (3) Student brainstorming was generally drawn to mammals, and the breadth of ideas was affected more by the assigned problem than by practice over time. Individual biological expertise had a small but significant effect on the taxonomic breadth of ideas, but interactions with team members did not. When students were directed to consider other ecosystems and branches of the tree of life, they increased the taxonomic diversity of biological models. In contrast, going outside resulted in a significant decrease in the diversity of ideas. (4) We offer a range of recommendations to increase the breadth of biological models generated in the bio-inspired design process.
... Though indirect testing of the idealized influence variable and personal considerations were shown to influence employee creativity positively, the role of the physical work environment in moderating the relationship between the idealized influence variable and employee creativity was not demonstrated. It stands to reason that a pleasant office setting stimulates individual creativity, as was found by Horng et al. (2016), Martens (2011), McCoy & Evans (2002. The success of the transformational leadership model proposed by Chaubey et al. (2019) hinged mainly on creating a work environment in which employees were actively encouraged to think creatively. ...
... Although several previous studies have found that the physical work environment has a positive impact on employee creativity (Amabile, Conti, Coon, Lazenby, & Herron, 1996;McCoy & Evans, 2002;Oksanen & Ståhle, 2013;Vischer, 2007;Vithayathawornwong, Danko, & Tolbert, 2003), other studies also highlight the existence of mechanisms of indirect influence between physical work environment and creativity (Hedge, 1982;Larsen, Adams, Deal, Kweon, & Tyler, 1998;Shibata & Suzuki, 2004) they found a relationship between physical work environment and creativity through mood intermediaries. ...
Objective: In today's competitive business environment, a start-up must attract and retain employees with a high level of creativity. The effects of intrinsic motivation, dimensions of transformational leadership, and personal factors on employee creativity are investigated—the physical space of the workplace as a moderator between the transformative leadership and inventiveness dimensions.
Design/Methods/Approach: This study employs a quantitative strategy using the Partial Least Squares (PLS) method for data analysis with the assistance of SmartPLS. Based on the findings, we know that 101 employees of Indonesian start-ups with a shorter history of employment than a year participated in this study.
Findings: Inspiring motivation, idealized influence, intellectual stimulation, and personal consideration were all found to increase employees' inventiveness. However, results did not improve when the physical work environment was moderated between the four dependent variables: inspirational motivation, idealized influence, intellectual stimulation, and individual consideration of employees' creativity.
Originality: A leader's idealized influence and intellectual stimulation on their employees is the dimension of transformational leadership used in this study.
Practical/Policy implication: This study's significance is that it contributes new knowledge to the literature on the factors that affect employee creativity in Indonesia. Moreover, they can provide valuable input for company management to boost employee creativity by inspiring further development.
... • Colours that are relatively unsaturated but light have been linked to viewer energy levels and moods consistent with creative performance (i.e., the positive, slightly energized moods described earlier in this document) (Valdez and Mehrabian, 1994;Martens, 2011). • Viewing moderate visual complexity has been associated with enhanced creativity (McCoy and Evans, 2002;Ceylan et al., 2008;Vohs et al., 2013). Residential environments designed by Frank Lloyd Wright generally have moderate visual complexity, for example (Vaughan and Ostwald, 2014). ...
... In the curved environment noted by the Wu team, a round table was used while in the angular one the round table was replaced by one of the same size that was square, for instance. Looking at wood grain reduces human stress levels (Fell, 2010) and along with the use of other natural materials such as stone, has been tied to more creative thinking when compared to situations in which natural materials are absent (McCoy and Evans, 2002;Enso, 2020). • Researchers report that performance on creative tasks has been positively affected by the presence of green leafy plants (e.g., Shibata and Suzuki, 2002;Studente et al., 2016;Hall and Knuth, 2019;Hahn et al., 2021). ...
... • Colours that are relatively unsaturated but light have been linked to viewer energy levels and moods consistent with creative performance (i.e., the positive, slightly energized moods described earlier in this document) (Valdez and Mehrabian, 1994;Martens, 2011). • Viewing moderate visual complexity has been associated with enhanced creativity (McCoy and Evans, 2002;Ceylan et al., 2008;Vohs et al., 2013). Residential environments designed by Frank Lloyd Wright generally have moderate visual complexity, for example (Vaughan and Ostwald, 2014). ...
... In the curved environment noted by the Wu team, a round table was used while in the angular one the round table was replaced by one of the same size that was square, for instance. Looking at wood grain reduces human stress levels (Fell, 2010) and along with the use of other natural materials such as stone, has been tied to more creative thinking when compared to situations in which natural materials are absent (McCoy and Evans, 2002;Enso, 2020). • Researchers report that performance on creative tasks has been positively affected by the presence of green leafy plants (e.g., Shibata and Suzuki, 2002;Studente et al., 2016;Hall and Knuth, 2019;Hahn et al., 2021). ...
... Of the ten studies that captured creative potential, seven used self-assessments (Ceylan et al., 2008;E. V. Hoff & Öberg, 2015;McCoy & Evans, 2002;Soriano de Alencar & Bruno-Faria, 1997;Steiner, 2006;Stokols et al., 2002;Vithayathawornwong et al., 2003), and three used expert assessments (Haner, 2005; Y. S. Lee, 2016;Martens, 2011). A total of eight of the seventeen studies measured creative performance, five of which used self-assessments Dul, Ceylan, & Jaspers, 2011;Magadley & Birdi, 2009;Toker & Gray, 2008) whereas three used task outcome (McCoy & Evans, 2002;Shibata & Suzuki, 2004;Steidle & Werth, 2013). ...
... V. Hoff & Öberg, 2015;McCoy & Evans, 2002;Soriano de Alencar & Bruno-Faria, 1997;Steiner, 2006;Stokols et al., 2002;Vithayathawornwong et al., 2003), and three used expert assessments (Haner, 2005; Y. S. Lee, 2016;Martens, 2011). A total of eight of the seventeen studies measured creative performance, five of which used self-assessments Dul, Ceylan, & Jaspers, 2011;Magadley & Birdi, 2009;Toker & Gray, 2008) whereas three used task outcome (McCoy & Evans, 2002;Shibata & Suzuki, 2004;Steidle & Werth, 2013). ...
Our world is changing rapidly, and work follows suit. Considering the traditional division of work in physical and mental labor, it is primarily physical labor that has been systematically analyzed and optimized over the last century. This made it possible to break down many manual tasks into small entities that could eventually be automated. Advances in cognitive computing and artificial intelligence suggest that mental work might be next in line. In fact, some basic cognitive tasks have already been automated. A final frontier on the road towards ubiquitous automation, however, seems to be the generation of creative ideas. This suggests that the human capability to create will become increasingly important, especially in the workforce. The overarching theme of this thesis is creativity and its role in the modern workplace. The thesis identifies and contributes to two major research areas, namely creativity measurement and creativity amplification. In the area of creativity measurement, this thesis builds upon the current literature to develop and evaluate a new and innovative tool for objective creativity measurement, the Creativity Assessment via Novelty and Usefulness (CANU). The results of several experimental studies suggest that while the CANU does not eradicate all problems connected to creativity measurement, it does prove an easy-to-use, scalable, and comparable tool. In this way, this thesis highlights the shortcomings of current creativity measurement systems, especially for fundamental research. In the area of creativity amplification, the gaining momentum in the human computer interaction community, and the identification of creativity as paradigm have prompted the user centered development of three creativity support systems. The results of experimental exploration and evaluation in this project indicate that people who are inherently creative do not need (or want) support, whereas those who traditionally struggle with creative problem solving can benefit from inspirational stimuli. Overall, this thesis highlights the need for standardization in creativity measurement. It emphasizes the opportunity that creativity support can offer in terms of ergonomic optimization of system performance, and recognizes human factors/ergonomics as particularly suited discipline to tackle creativity measurement and amplification in a human-centered way.
... Prior research has also found associations between creativity and natural stimuli. Creative performance of artists was judged to be higher when working in a space with natural images on the walls compared to a space without images (McCoy & Evans, 2002). Design students generated more creative design solutions working in a more natural space compared to a regular classroom (Chulvi et al., 2020). ...
... In terms of general affective state, Many of these results are in accordance with previous research. For example, the finding of increased creativity in the conservatory is in line with previous research showing increases in creative performance following exposure to images, sounds, and immersive experiences of natural environments (Chulvi et al., 2020;McCoy & Evans, 2002). While those studies all tested creative performance, here participants were asked directly how creative they were feeling at the time. ...
Research has consistently shown differences in affect and cognition after exposure to different physical environments. The time course of these differences emerging or fading during exploration of environments is less explored, as most studies measure dependent variables only before and after environmental exposure. In this within-subject study, we used repeated surveys to measure differences in thought content and affect throughout a one-hour environmental exploration of a nature conservatory and a large indoor mall. At each survey, participants reported on aspects of their most recent thoughts (e.g., thinking of the present moment vs. the future; thinking positively vs. negatively) and state affect. Using Bayesian multi-level models, we found that while visiting the conservatory, participants were more likely to report thoughts about the past, more positive and exciting thoughts, and higher feelings of positive affect and creativity. In the mall, participants were more likely to report thoughts about the future and higher feelings of impulsivity. Many of these differences in environments were present throughout the one-hour walk, however some differences were only evident at intermediary time points, indicating the importance of collecting data during exploration, as opposed to only before and after environmental exposures. We also measured cognitive performance with a dual n-back task. Results on 2-back trials replicated results from prior work that interacting with nature leads to improvements in working-memory performance. This study furthers our understanding of how thoughts and feelings are influenced by the surrounding physical environment and has implications for the design and use of public spaces.
... Exposure to environments with restorative characteristics (i.e., being away, fascination, extent, compatibility) compared with artificial environments can promote recovery from attention fatigue (1). In addition, opportunistic assimilation theory says that the visual environment may stimulate inspiration and encourage creative thinking (8,9), and nature characteristics such as bio-inspired, fascination attributes enhance one's creativity ability (10,11). In addition, human perceived naturalness affects one's visual quality of the spaces (12,13). ...
... During a creative incubation period, nature walks foster calmness and spiritual rejuvenation, providing opportunities to rest and review problematic issues in a new light (11). Numerous studies have discussed the relationship between creativity and natural environments, including actual nature experience (4,28), indoor plants, natural window views or natural environmental images (3,6,8,26,29), natural environments experienced through immersive virtual devices (30), and even quick design practice in an actual outdoor natural environment (7). All the above studies found that creativity improves in natural settings or the presence of natural elements. ...
This study investigated the effects of different natural environments on attention restoration and creativity. To compare the restorative benefits based on the degrees of perceived naturalness in urban areas, this study categorized environments into three types of perceived naturalness and tested the effect on one's creativity. The urban campus was selected as the study site, representing high-, medium-, and low-perceived naturalness photosets downloaded from Google Street Map images as experimental stimuli. The study invited 100 subjects to take the Abbreviated Torrance Test for Adults (ATTA), which measures creative thinking by viewing the onscreen photosets of the experimental stimuli. In addition, this study asked participants to complete the Perceived Restoration Scale (PRS) questionnaires. The results showed that high- and medium-perceived naturalness in the urban-campus site was superior to low-perceived naturalness in creative performance. In addition, there were significant differences in elaboration and flexibility for different degrees of perceived naturalness. Various degrees of perceived naturalness showed a substantial correlation between PRS scores and ATTA scores. The attention restoration benefits of high- and medium-naturalness environments improve creativity. Our study indicates that viewing natural environments stimulates curiosity and fosters flexibility and imagination, highly natural environments distract our minds from work, and the benefits of attention restoration can improve the uniqueness and diversity of creative ideas. This study provides a reference for creative environmental design and supports further understanding of nature's health and creativity benefits in urban areas.
... flowers, painted walls, colored curtains and floors) was customizable. The color could be chosen between red/orange [50] and green/blue [45,52]. • Main Lighting: Both brightness and color temperature of the main spotlight illuminating the whole scene could be adjusted. ...
... Other VE types (options A, C and D in Fig.5) were made unavailable in that condition. We chose this over e.g. a randomized VE type selection, as nature-related factors (which are omnipresent in the 'Meadow' VE type) were found to have a positive impact on creativity [13,17,33,50]. Medium chaos was integrated into the scene [81] and a late-day setting was applied. ...
... Les modèles de conception ont donc évolué pour permettre une compréhension fine des mécanismes qui pilotent la conception afin que cette dernière soit performante (Bouchard, 2010;Brun, 2017). La prise en compte des activités cognitives des praticiens et de leurs rôles en conception innovante (Benami & Jin, 2002;Finke et al., 1992;Jin & Chusilp, 2006;Maher & Poon, 1996;McCoy & Evans, 2002) ont donc conduit à l'émergence de modèles de conception novateurs et plus proches des activités cognitives des praticiens. Ces modèles sont appelés des Knowledge space models (modèles d'espaces de connaissances) ou plus couramment modèles co-évolutifs (Howard et al., 2008). ...
... Synthèse de la seconde partie de l'état de l'art Les processus en conception innovante se sont développés pour s'adapter à l'évolution du contexte industriel et sociétale. Pour ce faire les processus prennent aujourd'hui en compte les activités cognitives des praticiens (Benami & Jin, 2002;Finke et al., 1992;Jin & Chusilp, 2006;Maher & Poon, 1996;McCoy & Evans, 2002). Dans cette seconde partie de notre état de l'art, nous nous sommes intéressés particulièrement aux rôles des connaissances, à leurs structurations et leurs transferts ainsi qu'aux leviers favorisant la collaboration interdisciplinaire. ...
Bien que prometteuses et connaissant une évolution croissante, la mise en œuvre de la conception biomimétique et de l’approche du biomimétisme reste complexe et rencontre de nombreux freins méthodologiques et pratiques. Dans ce contexte, cette thèse de doctorat explore comment l’intégration de designers dans les équipes de conception, permet de favoriser le déploiement de la conception biomimétique. Cet axe de recherche nous a permis de définir le rôle des designers dans le cadre de projet en conception biomimétique notamment pour faciliter le transfert de connaissances et la génération de concepts inspirés du vivant. Pour favoriser leur intégration et pour structurer les apports globaux du Design pour la conception biomimétique, des préconisations méthodologiques et organisationnelles sont proposées. De plus, un ensemble de modifications sur le processus de conception biomimétique problem-driven unifié ont été formalisées afin qu’il s’adapte aux pratiques de conception et d’innovation. Les résultats de ces recherches nous permettent d’enrichir conjointement le champ scientifique et le champ industriel de la conception biomimétique. Ces travaux ouvrent des perspectives de recherche à court, moyen et long terme pour développer les recherches concernant le rôle et les impacts des designers et du Design en conception biomimétique, sur le développement du cadre méthodologique et enfin sur la bascule entre la biomimétique et le biomimétisme.
... Integrating the research on virtual work environments, psychological distance, creative potential of the work environment (McCoy & Evans, 2002), and creative self-efficacy, we assumed: ...
... The virtual environment was built with Unity 2019.4.26f1 using the assets PolyPerfect, Photon, Vuplex and applied by the Oculus Rift S. Independent variable: Type of VR environment: vast (far objects) vs. narrow (near objects) Dependent variables: Perceived creative potential of the environment (McCoy & Evans, 2002); creative self-efficacy (Tierney & Farmer, 2002); subjective creative performance in a creativity task (Guegan et al., 2017). ...
... Accordingly, new office designs are emerging as new types of work combine with the development of technology from which immaterial work has emerged (Duffy, 1997: 15;de Vries, 2018). Others stress the connection between the physical work environment and aesthetization in relation not only to creativity (McCoy and Evans, 2002; Alexanderson and Kalonaityte, 2018) but also to human health and stress (Evans andMcCoy, 1998, Lazarus, 2006). This reflects discussions in the spatial and affective turns in organization studies, in which questions of aesthetics, architecture and materiality have been addressed in order to approach new processes and practices of organizing (Kornberger et al., 2011;Burell and Dale, 2003;Borch, 2009) as well as to enhance the focus on the affective dimension of work (Barsade and Gibson, 2007;Fotaki et al. 2017;Küpers, 2016;Amabile et. ...
... Accordingly, new office designs are emerging as new types of work combine with the development of technology from which immaterial work has emerged (Duffy, 1997: 15;de Vries, 2018). Others stress the connection between the physical work environment and aesthetization in relation not only to creativity (McCoy and Evans, 2002; Alexanderson and Kalonaityte, 2018) but also to human health and stress (Evans andMcCoy, 1998, Lazarus, 2006). This reflects discussions in the spatial and affective turns in organization studies, in which questions of aesthetics, architecture and materiality have been addressed in order to approach new processes and practices of organizing (Kornberger et al., 2011;Burell and Dale, 2003;Borch, 2009) as well as to enhance the focus on the affective dimension of work (Barsade and Gibson, 2007;Fotaki et al. 2017;Küpers, 2016;Amabile et. ...
The thesis 'Moving Organizational Atmospheres' provides a conceptual and empirical exploration of the notion of organizational atmosphere as a non-dualist concept. Both conceptually and analytically the thesis seeks to contribute to discussions in the fields of organizational aesthetics as well as the affective and spatial turn in organization studies by addressing how organizational atmospheres work when embraced as a fluid phenomenon, and by providing an analytically experimental account of experiencing and producing organizational atmosphere based on field work in two organizations.
... In Goldschmidt and Smolkov (2006), design students working on creative tasks in a rich and visually unorganized environment yielded better results than their peers without these stimuli. In another study, highly complex photographic stimuli was rated to be more conducive to creative behavior (McCoy & Evans, 2002). Evidence from cognitive psychology further supports the notion of individual differences in creativity leading to differences in the processing of visual stimuli (Chamberlain & Wagemans, 2015). ...
... In general, these findings align with propositions of classic literature of Arnheim (1947), Guilford (1975), and Barron (1953) suggesting a preference of rich an unorganized stimuli of creative people. More recent empirical findings have suggested similar relationships in the processing of visual stimuli (Chamberlain & Wagemans, 2015;McCoy & Evans, 2002). Importantly, our findings add to the literature by providing a proof-of-concept of similar mechanisms for creative students in self-paced online learning environments. ...
Creativity is an increasingly recognized construct in technology-enhanced learning. However, our understanding of how creativity interacts with the design of online learning environments to affect learning experiences is still limited. For example, do creative students benefit from different learning environment designs than those benefitting their less creative peers? This experimental study (N = 187) explores this question by investigating the visual design of a self-paced online learning environment, specifically the degree of visual structure, in relation to students' creativity. Creativity was measured in different ways, along the lines of vocational/study choice, self-reported personality and behavior, and creative production. Students were randomly assigned to either a visually unstructured (experimental group) or a visually highly structured (control group) learning environment. They reported their preference, impulse for activation, and situational motivation after the learning experience. Results indicate interaction effects consistent with the role of creativity in perception and learning. More specifically, creative students reported more motivation after learning in an unstructured environment, whereas non-creative students reported relatively better learning experiences in the highly structured condition. These results contribute to resolving previous conflicting findings, yet some ambiguities remain. Results and implications are discussed, and recommendations for future research are laid out.
... 185 Another study identified five environmental characteristics that independently predicted greater perceived creativity: the complexity of visual detail, views of nature, use of natural materials, fewer cool colors used, less use of manufactured or composite surface materials, and found that students work was deemed more creative in spaces where these conditions were better. 186 Research has found benefits in open learning spaces. ...
... 51,[173][174][175][176][177][178][179][180][181] 2. Schools should be flexible and accommodate for a variety of learning situations and activities: social/private, noisy/quiet. [182][183][184][185][186][187][188][189] 3. Less dense classrooms are related with increased student ownership and better studentteacher connection. [190][191][192][193][194][195] University of Oregon ...
... Environments perceived as supportive of creativity are most frequently, visually interesting, presenting multiple choices and experiences, such that featureless environments are less conducive [5] [3]. Conducive settings have free and flexibly organized spaces enabling self-expression; a sense of comfort is gained through coherence and legibility, while challenge is represented by complexity and mystery which excite interest [5] [2]. ...
... Environments perceived as supportive of creativity are most frequently, visually interesting, presenting multiple choices and experiences, such that featureless environments are less conducive [5] [3]. Conducive settings have free and flexibly organized spaces enabling self-expression; a sense of comfort is gained through coherence and legibility, while challenge is represented by complexity and mystery which excite interest [5] [2]. Sensory aspects such as light, color, sound, and natural elements present dimensions for allowing artistic exploration, stimulating thought and perception, mental clarity, reduced anxiety and mental disinhibition among others [1][2] [6]. ...
... Cool and warm colours are related to creative performance (Dul et al.,2011). Cool colours have a significant negative effect on creativity potential (McCoy and Evans, 2002). In contrast, Ceylan et al. (2008) reported that the cool workplace colours enhanced creativity, supporting the managers to think and generate ideas. ...
In work environment, colour is considered an important design element used to provide aesthetics and company’s branding. Colour can affect human’s perception and behaviour. This review aims to investigate and analyse the existing studies on the effects of workplace colour toward worker’s mood, wellbeing and outcomes. 40 papers fitted the inclusion criteria were selected to review. The results show a significant influence of colour on three aspects of effects; namely, Psychological Effects (e.g. mood, emotion), Physiological Effects (e.g. stress, comfort, wellbeing), and Outcomes (e.g. productivity, performance, creativity). Finally, the review concludes with issues to be addressed for further research.© 2016. The Authors. Published for AMER ABRA by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/).Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.Keywords: Colour perception; Colour psychology; Effect of colour; Work environment
... Pokład statku żaglowego w trakcie pełnomorskiej żeglugi to środowisko, które sprzyja rozwojowi młodych ludzi (Romaniuk, Łukasiewicz-Wieleba, 2021), pozwala integrować osoby z niepełnosprawnościami (Romaniuk, 2014) oraz powoduje, że osoby żeglujące chcą przekazywać swoją pasję bliskim (Romaniuk, Łukasiewicz--Wieleba, 2020). W trakcie pełnomorskiego rejsu statek żaglowy posiada cechy środowiska sprzyjającego twórczości (McCoy, Evans, 2002). Załoga doświadcza złożonych i różnorodnych widoków, estetycznych i pełnych kolorów, a także ma nieprzerwany kontakt ze środowiskiem naturalnym. ...
Celem badania jest analiza spontanicznych i ukierunkowanych przejawów twórczości młodzieży, biorącej udział w pełnomorskich rejsach typu Szkoła pod Żaglami, w trakcie których realizowane jest wychowanie morskie. Prezentowane są badania z użyciem narzędzia KANH, przeprowadzone w trakcie Gdańskiej Szkoły pod Żaglami 2019 na żaglowcu STS Generał Zaruski, w trakcie których realizowano wychowanie morskie. W porównaniu do grupy normalizacyjnej, po rejsie uczestniczki osiągają ponadprzeciętne wyniki nonkonformizmu, a uczestnicy ponadprzeciętne wyniki w referowaniu zachowań heurystycznych. Można uznać, że rejsy tego typu stanowią przestrzeń do rozwoju uczestników i sprzyjają realizacji ich twórczego potencjału.
... Creativity is the capability to solve problems quickly and effectively through unique, imaginative, original, and suitable solutions (13). Early on, innovators like Thomas Edison and Charles Kettering learnt how to solve problems creatively and use their prior knowledge to transform creativity into innovation. ...
The promotion and activation of creativity in children is extremely valuable due to their age growth. All types of environments, such as geographical, social, physical, and cultural environments , have a huge impact on children's development. Many studies have discussed the role of the environment in general in the creativity and development of children. However, the effect of the physical environment specifically seems to be disregarded. Nowadays children spend a lot of their time in kindergarten, thus the physical environment of kindergarten affects the children's development and creativity. It is noticed that at the kindergartens of Erbil city, the majority of the factors that contribute to creativity have been disregarded. The kindergartens are more of an academic institution than a place where children can be entertained or encouraged to be creative. In this study, qualitative and quantitative methodologies are applied to analyze the interior spaces of kindergartens in Erbil city. This paper seeks to create a content environment that encourages children to improve their abilities and potential skills. The found results prove that the physical environment factors are effective and significant in increasing children's creativity in kindergartens. K ey w ord s: Creativity, Kindergarten, Children , Interior spaces, Physical environment.
... Studies have shown that walking into nature or looking at natural images can improve directed attention, supporting ART [29], which helps participants complete creative tasks related to convergent thinking. From the perspective of VR environment experiences, viewing natural images improves cognitive ability, which indicates that nature can potentially promote creative performance, arouse visual and exploration interests, stimulate intelligence and cognitive ability, and promote creative behavior [29,103]. ...
This study, based on the theory of restorative environmental, uses virtual reality (VR) technology to construct interactive restorative environments and discusses the influence of the experience of virtual restorative environment on individual creativity. A total of 72 college students were selected as participants in the study. Through psychological scales, three creativity tests, and EEG feedback data, the following conclusions were drawn: (1) The VR restorative environment experience improves individual creativity, especially the creative quality of cohesion; (2) the experience of the VR restorative environment enables participants to experience a desirable sense of presence. Compared with the restorative scene experience without interactive activities, the addition of interactive activities improves the individual sensory fidelity to a greater extent. (3) We cannot simply assume that the experience of the VR restorative environment with interactive activities will make individual creative performance better than non-interactive experience. Interaction with certain difficulty will increase cognitive load, thus disrupting individual creative performance. Garden scenes that can be explored freely and have no interaction can better promote individual creativity. (4) In the environmental experience, participants paid greater attention to natural elements, and the restorative environment they described was very similar to the environment they believed could foster creativity. This study’s results provide evidence for the positive effects of the VR restorative environment experience on individuals and contributes to the cognitive exploration of the interaction between restorative environments and individuals in the future.
... Other researchers are producing evidence that very distinct attributes of the environment inspire workplace creativity, and the attributes are also very similar to the findings of this study. McCoy & Evans (2002) found that attributes of light and room size enhance the "creative potential" of a workplace space (p. 418) and can predict creative performance. ...
... Prior work has demonstrated the impact of such architectural and environmental characteristics on cognitive processes. For example, static properties such as materials, colors and dynamic elements of space such as background noise have been shown to facilitate individual creative performance [43,45]. Correspondingly, exposure to poor architectural and indoor environmental conditions have been found to negatively impact occupants' cognitive functions such as decision-making [2,42], and shown to have adverse e ects on performance and productivity [26,81]. ...
Our surrounding environment impacts our cognitive-emotional processes on a daily basis and shapes our physical, psychological and social wellbeing. Although the effects of the built environment on our psycho-physiological processes are well studied, virtual environment design with a potentially similar impact on the user, has received limited attention. Based on the influence of space design on a user and combining that with the dynamic affordances of virtual spaces, we present the idea of adaptive virtual neuroarchitecture (AVN), where virtual environments respond to the user and the user's real world context while simultaneously influencing them both in realtime. To show how AVN has been explored in current research, we present a sampling of recent work that demonstrates reciprocal relationships using physical affordances (space, objects), the user's state (physiological, cognitive, emotional), and the virtual world used in the design of novel virtual reality experiences. We believe AVN has the potential to help us learn how to design spaces and environments that can enhance the wellbeing of their inhabitants.
... In research into facade preferences, soft, detailed and varied facades are often described as inviting, while large and closed facades, with little or no detail, are described as unwelcoming (Stamps 1999). Moreover, McCoy and Evans (2002) show that highly detailed complexity, natural materials, warm colours and green areas stimulate creativity. White and Gatesleben (2011) found that buildings featuring greenery are positively valued while Herzog and Shier (2000) note, for example, that respondents prefer buildings with a clear entrance to those without one that is visible. ...
Rational design based on aesthetic principles from the 1930s dominates contemporary architecture and property development, contributing to a homogenous urban landscape. The aim of this paper is to examine how professionals involved in city centre development value different architectural styles. Based on a sample of 109 respondents, measuring the architectural preferences of city centre managers, this study indicates that city centre managers view classical architecture in terms of being better for city centres than modernist. The paper suggests that city centre managers can successfully be involved in the design process of attractive streetscapes.
... As regards sensory variables, several studies show that sound in the workplace can be a factor that enhances creativity, depending on whether it is perceived positively or not (Kasof 1997;Alencar and Bruno-Faria 1997;Mehta et al. 2012). Other studies have focused on analyzing the influence of smells (Knasko 1992), temperature (Alencar and Bruno-Faria 1997) or colors (Stone and English 1998;McCoy and Evans 2002;Ceylan et al. 2008) on creativity. Furthermore, among the studies focused on analyzing the influence of the physical and structural characteristics of the workspace, we find the contributions of (McCoy and Evans 2002) on how the way furniture is arranged in a room can affect users' creativity. ...
The study of the mechanisms linked to creativity has become a topic of great interest in various scientific fields in recent decades. One area in which a particularly large amount of research has been conducted is on the positive effect of natural environments on creativity. Yet, none of these studies have focused on the interaction that may arise with the design method used. That is, they consider the empowering effect of nature on creativity to be something general, without taking into account other factors that may influence it, such as the type of methodology used. This paper therefore aims to go a step further and investigate how the type of design methodology used—intuitive or logical—in a simulated natural environment affects the designer’s creativity. The analysis of both the design process and its outcomes shows that the main differences in the way of working with design methodologies occur mainly in the case of intuitive methodologies, helping designers to improve the quality of their outcomes.
... Combining direct and indirect connections to nature with plants and visual imagery into an office space was tested with students and the aesthetic quality reduced perceived stress (Campbell, 1979). Even views of natural environments or the use of natural materials can be influential (McCoy & Evans, 2002). McCoy and Evan's study (2002) specifically looked at creativity and found that "environments perceived low in creativity potential were consistently windowless, finished in manufactured or composite materials, and with overall cool colors" (p. ...
The biophilic design hypothesis uses nature-based environmental design for optimising people’s health and well-being. Stephen Kellert in 2008 developed a list of biophilic attributes that was further refined in the Biophilic Interior Design Matrix (BID-M) to specifically support the interior application of biophilic design for health and well-being. The present study further investigates biophilic interior design using the BID-M language and the key interior design components colour, light, and materiality. The first part of the study reviewed four decades of literature related to biophilia and colour, light, and materiality to investigate a total of 19 publications. The second part of the study explored the perceptions of 23 design practitioners' and the use of biophilia related to colour, light, and materiality in their practice. For the first time, evidence was identified about colour, light, and materiality being linked to biophilic design and the attributes in the BID-M. The study results showed colour preferences were the most frequently identified theme, and practitioners used a variety of biophilic attributes in their practice. The top attributes shared by both the literature review and practitioners were the abstraction of nature, composition, natural light, and natural materials. This finding shows that there is a focus on biophilic attributes in both research and practice, however, there are still many attributes that have not been linked to research and are not being used in practice. Further inquiry is needed to better understand how biophilic design can be more diversely integrated for optimal nature-like interior environments.
While the home has a history of being overlooked as a site of great social impact, this is clearly shifting as it becomes a site for diverse and significant social participation. Technological connectivity is reshaping the household towards an increasingly public life, remarkable for a domain that until relatively recently had been thought of primarily in terms of privatised care and leisure. This article brings together literature from creative industries, feminist and new domesticity fields with empirical data from interviews with home-based creative practitioners to generate insights into new work models, the coincidence of paid work and unpaid care work, and creative work at home as a locus for connecting to surrounding communities and natural environments. These lived examples are explored as signs of an altering domestic space where paid work and non-economic values are more balanced and the home itself is moving from the periphery towards the centre of social life.
Our surrounding environment impacts our cognitive-emotional processes on a daily basis and shapes our physical, psychological and social wellbeing. Although the effects of the built environment on our psycho-physiological processes are well studied, virtual environment design with a potentially similar impact on the user has received limited attention. Based on the influence of space design on a user and combining that with the dynamic affordances of virtual spaces, we present the idea of adaptive virtual neuroarchitecture (AVN), where virtual environments respond to the user and the user’s real-world context while simultaneously influencing them both in real time. To show how AVN has been explored in current research, we present a sampling of recent work that demonstrates reciprocal relationships using physical affordances (space, objects), the user’s state (physiological, cognitive, emotional), and the virtual world used in the design of novel virtual reality experiences. We believe AVN has the potential to help us learn how to design spaces and environments that can enhance the wellbeing of their inhabitants.
In today’s corporate environment, organizations are paying increasing attention to the spatial configuration of workspaces where creative processes and innovation are supposed to take place. These environments are designed to foster and sustain creative performance at work, providing digital, physical, and hybrid solutions to fulfill individuals’ needs and to enable modes of working alone as well as in teams. Starting with a literature review of previous research on this multidisciplinary topic addressing team dynamics, workspace design, and their relations to creativity, this chapter provides useful guidelines for the processes of creation and usage of physical, digital, and hybrid environments to foster and manage creativity in work-related settings. Firms’ strategic intents and users’ needs, sensorial experiences, and modes of interaction during the development of the creative process are aspects that are thoroughly explored and explained.KeywordsWorkspace designCreativity management
#modernearbeitsweltundgesundheit Nach dem Arbeits- und Organisationspsychologen Prof. Dr. Jens Nachtwei zieht Automation gravierende Veränderungen in der Beziehung, die wir zu Lohnarbeit haben, nach sich. Dies insbesondere dann, wenn sich in einer Leistungsgesellschaft sozialisierte Menschen mit einem anderen Sinn der Arbeit konfrontiert sehen. Lebensmodelle mit Fokus auf Lohnarbeit können dabei schnell zu Auslaufmodellen werden. Insgesamt bringt New Work nicht nur positive Auswirkungen für die Arbeitswelt mit sich. Der Identitätssinn gegenüber dem/der Arbeitgeber:in kann zurückgehen, informelles Lernen ist mit Hürden konfrontiert und es braucht eine neue Balance zwischen Arbeit und Leben. Unternehmen und Personalverantwortliche können jedoch einiges dafür tun, dass Arbeitnehmer:innen für sich Bewältigungsstrategien im Umgang mit einer schwerer handhabbaren Arbeitsumgebung entwickeln können. Auch moderne Arbeits-Raumkonzepte wirken auf die Gesundheit der Menschen und steigern bei einer optimalen Orchestrierung sogar die Leistungsfähigkeit. Nicht zuletzt ist es eine große Herausforderung für hierarchische Organisationssysteme, Verantwortung und damit Macht auf breitere Schultern zu verteilen, um somit Arbeitnehmer:innen mehr Selbstverantwortung zu geben. Doch dies ist Voraussetzung, sollen neue Zusammenarbeitsmodelle im Zusammenhang mit New Work funktionieren und auf Dauer tragfähig sein.
The current study examines how two types of Virtual Reality (VR) hotel images impact cognition and affect when used for promotional purposes. The study employs psycho-physiological measurement tools along with a self-reported survey method to evaluate: (1) affective responses, (2) Cognitive Load, and (3) and attitudinal and behavioral intention responses that two types of VR hotel images, static and 360°, produce in an experimental lab setting. A boutique hotel lobby and a guest room were captured as static and 360° VR images. Participants were randomly assigned to one of the two types of VR images. The sample was comprised of 60 university students from the South-Central United States. Parametric and non-parametric tests were used to compare survey, fNIR, Biopac MP-160 skin conductance and heart rate, and eye tracking responses. No statistically significant differences between two experimental conditions were found by means of self-reported measures, except temporal dimension of Cognitive Load. However, psycho-physiological measures detected statistically significant differences between the two experimental groups in arousal (one of the main affective dimensions), thus, supporting usefulness of adding psycho-physiological tools in consumer behavior studies and usage of more immersive and engaging 360° VR images. The findings also help to explain inconsistencies in previous VR imaging studies that relied on self-reported measures only.
การวิจัยนี้มีเป้าหมายค้นหาลักษณะทางกายภาพที่เอื้อให้คนทำงานสามารถใช้ความคิดสร้างสรรค์และสร้างนวัตกรรมได้ จากการวิเคราะห์ลักษณะทางกายภาพที่มีการใช้ความคิดสร้างสรรค์อย่างเข้มข้นของกรณีศึกษา 8 แห่งและติดตามสังเกตพฤติกรรมการทำงานและการใช้พื้นที่คนทำงานสร้างสรรค์ จำนวน 15 คน ตลอดระยะเวลาทำงานทั้งวันรวมทั้งสิ้น 58 วัน พบว่า สำนักงานทั้งหมดมีพื้นที่ทำงานแบบเปิดโล่ง (open plan) นักออกแบบมีพฤติกรรมการนั่งทำงานแบบใช้สมาธิมากที่สุด รองลงมาคือ การร่วมกันทำงานหรือการคุยงาน 2-3 คน ทั้งสองพฤติกรรมส่วนใหญ่เกิดขึ้นในพื้นที่นั่งทำงาน สำนักงานออกแบบสามารถจำแนกได้เป็น 3 กลุ่ม ตามลักษณะพฤติกรรมการทำงานของนักออกแบบคือ สำนักงานที่ให้ความสำคัญกับการนั่งทำงานแบบมีสมาธิ สำนักงานที่ให้ความสำคัญกับการปรึกษาพูดคุยระหว่างคนทำงาน และสำนักงานที่ให้ความสำคัญกับการพักเบรคและผ่อนคลาย การสร้างสภาพแวดล้อมภายภาพที่สนับสนุนกระบวนการทำงานเชิงสร้างสรรค์และการสร้างนวัตกรรมที่สำคัญคือ การวางแผนการออกแบบพื้นที่นั่งทำงานที่เอื้อต่อการเกิดสมาธิในการทำงาน (concentrate) และการร่วมมือกันทำงาน (collaborate)
Cyberloafing means that employees spend work hours and use the company's internet resources to check personal e-mail or visit websites which are not related to their work. Although most scholars and practitioners viewed cyberloafing as a form of workplace deviance or counterproductive work behavior, some scholars indicated that cyberloafing might be beneficial for employees' productivity. Thus, it is important to clarify whether cyberloafing is beneficial or harmful for both employees and organizations.
Drawing on the conservation of resources (COR) theory, we examined the daily relationships between cyberloafing on creativity and proactive behavior, and whether work environment plays any positive moderating role is examined. The experience sampling method was adopted and a twice-daily questionnaire survey conducted with 94 full-time employees from China for 10 consecutive working days. A total of 928 daily data points were successfully paired, and the multilevel path analysis were performed to test the proposed hypotheses. Consistent with our expectation, the results indicated that employee cyberloafing positively predicts creativity and proactive behavior. In addition, the facilitation of informal interaction and environment workplace quality strengthens the positive relationships between employee cyberloafing and creativity and proactive behavior. The theoretical and practical implications were further proposed.
In the open-plan workspace, which has grown to more than 70% of all offices in the United States, openness and flexibility came at the cost of personal environmental control. Recent evidence has shown a decrease in worker satisfaction due to the lack of privacy and increased noise level and distraction. In this article, we present a vision for using context-aware multimodal augmentation to improve productivity and well-being in the open-plan office. We introduce the mediated atmosphere table (MAT)—a workstation combined with a network of custom environmental control devices (lighting, audio, video, airflow, heating, and scent) to alter the user’s local environment and to improve the restorative quality of the user’s personal space in the open-plan office. A preliminary user study (
$N=38$
) examined the effect on stress development based on subjective measures of perception, as well as objective measures extracted from recordings of heart rate variability. Our findings show that MAT significantly (
$p< 0.05$
) affects occupants’ perception, as well as their physiological response in an open-plan research workspace. Furthermore, we found a significant difference between experimental conditions with and without scent. We provide an exploratory look at the effect of scent and the applications of MAT.
This study explores how music types impact the product styles and characteristics presented in design concept sketches. This empirical study asked the subjects to draw sketches of lamp designs while listening to New Age music and opera music, fill out a design styling association table, retrace their design process through retrospective reports. The experimental results show that the subjects prefer using natural objects as design materials and geometric, simple, monolithic, and handmade design styles in the case of New Age music, while they prefer using artifacts objects as design materials and bionic, curved, ornate, and bright design styles in the case of opera music. It is assumed that the context-dependent memories phenomenon caused by listening to music during the design process may have prompted the subjects to associate music-related auditory experiences and translate their characteristics into product design styles.
Contextual influences in the workplace have been increasingly acknowledged as being crucial for enhancing creativity. Among various factors in the context surrounding employees, organizational culture and organizational climate have gained much attention in creativity research over the last decades. However, still many challenges exist about the role of culture and climate on creativity. For example, the literature stresses the importance of the physical work environment but research addressing physical aspects of the organizational context has received little attention. This chapter attempts to provide an overview of existing knowledge by synthesizing previous literature on organizational culture and climate influencing creativity. We focus on key issues and major trends. We further discuss perspectives for future research and important questions that remain to be answered. Finally, the chapter suggests some practical recommendations for organizational promotion of creativity.
Specific environmental features, such as natural settings or spatial design, can foster creativity. The effect of object-context congruency on creativity has not yet been investigated. While congruence between an object and its visual context provides meaning to the object, it may hamper creativity due to mental fixation effects. In the current study, virtual reality technology (VR) was employed to examine the hypothesis that people display more cognitive flexibility - a key element of creativity, representing the ability to overcome mental fixation - when thinking about an object while being in an incongruent than in a congruent environment. Participants (N = 184) performed an Alternative Uses Task, in which they had to name as many uses for a book as possible, while being immersed in a virtual environment that was either object-context congruent (i.e., places where you would expect a book; e.g., a library or a living room; n = 91) or object-context incongruent (i.e., places where a book is not expected; e.g., a clothing store or a car workshop; n = 93). The effect of object (in)congruency was also assessed for three other indices of creativity: fluency (i.e., the number of ideas generated), originality and usefulness. In line with our hypothesis, participants scored higher on pure cognitive flexibility in the object-context incongruent than in the object-context congruent environment. Moreover, participants in the object-context incongruent environment condition generated more original ideas. The theoretical and practical implications of the current findings are discussed.
This dissertation presents three years of research on how design processes in game jams and hackathons can be understood as accelerated. Hackathons and game jams can both be described as formats where participants engage in designing and developing prototypes during an intentionally short time frame, such as 48 hours, which is meant to facilitate creativity, and encourage fast decision making and rapid prototyping. Game jams and hackathons are organised in many different contexts and for many different purposes as well, such as: internally in companies to spark new ideas; for fostering citizen innovation for municipalities; in cultural and governmental agencies; integral parts of education; entry points for developers wanting to enter especially the game industry (Olesen, 2020; Kultima, 2015). During the recent decade, game jams and hackathons have been introduced to academia as well, as formats for teaching and learning, and as research platforms as well. Only few research contributions engage with understanding how accelerated design processes in game jams and hackathons unfold, or how the organisation of game jam and hackathon formats influence these accelerated design processes. The main contributions of my PhD project are: 1) Descriptive process-level knowledge, which contextualise and solidify how accelerated design processes unfold under the circumstances of a game jam and a hackathon. 2) Overviews of how game jams have been organised for supporting participants' creativity and of how hackathons have been used as means and as research focus within academia. 3) Exploring how game jam and hackathon formats may be organised in order to support knowledge generation such as within academia, and in order to support creativity.
This study aimed to investigate the effects of learning environment (traditional and non-traditional classroom seating) and course experience on the learning effectiveness of undergraduates. This study also examined the effects of both variables on adaptability, creativity, and motivation; consequently, contribute to learning effectiveness. Overall, 483 undergraduates from a university in Taiwan participated in the survey. Findings evinced that the learning environment and course experience had significant positive influences on learning effectiveness. The relationship between the learning environment and learning effectiveness was partially mediated by adaptability; while creativity partially mediated the adaptability and learning effectiveness relationship. Furthermore, motivation was found to be partially mediated the course experience and learning effectiveness relationship; while, creativity partially mediated the motivation and learning effectiveness relationship. Results suggested that non-traditional classroom seating was promoting adaptability, creativity, and learning effectiveness of students. A good course experience can motivate students, promote creativity, and learning effectiveness.
Despite quantitative expansion of the faculties of architecture and urban planning, its qualitative dimension has been neglected. Also, several articles have addressed the quality of education in the educational spaces of architecture faculties, but there is not enough theoretical background about collective spaces in internal environments. The aim of present study is to investigate the effective components in interior design that play a key role in enhancing a sense of place and belonging in students in educational centers, and prioritize these factors to increase students' willingness to attend educational spaces that increase the quality of education. The research method is applied-survey and it was conducted in three stages. First, the library documents were reviewed and the components that form the place were selected. In the second stage, these interdisciplinary factors were summarized by Delphi method using 15 specialists. In the next stage, a researcher-made questionnaire was distributed among 90 students of the University of Arts who were randomly selected. In the present study, selective activity in the first layer and the perspective and formation of construction events in the second layer were among the highest priorities of the audience of collective spaces in the environment of the Faculty of Architecture and Urban Planning. The research results, obtained by examining the priorities and importance of parameters related to the activity, physical and quality dimensions of collective spaces in the internal environment of the faculty, revealed that sense of place is not limited to physical factors and physical factors along with factors involved in promoting the space and redefining space foe occurrence of dynamic, lively and social activities will be effective in promoting the sense of place of the collective spaces of the internal environments of the Faculty of Architecture and Urban Planning.
This study explores virtual reality (VR) as an emerging tool integrated into brainstorming activities to enhance creativity, and systematically reviews existing studies to provide an advanced literature review on this subject. Moreover, we propose a framework for enhancing creativity in virtual brainstorming (VB) based on the 4Ps (person, process, product, and press) of creativity, which provides guidance on leveraging VB to enhance creativity. Furthermore, eight affordances of VB are identified to enhance creativity: anonymity, appraisal, avatars, immersion, multiple communication, recording, simulated objects, and tracing. The potential perspectives of VB to enhance creativity based on this study’s framework are also explored, which deserves further investigation.
In order to facilitate the application of the matrix, the target matrix is described and explained in detail below. This enables users to better understand the factors and make comprehensible and sustainable decisions. However, it should also be mentioned at this point that the application of a factor is largely a matter of interpretation, for example, in the hotel-business, instead of background music, another acoustic sound such as chirping birds, can also be applied.
In the 21st century, the common concern of all countries' educational systems is how
individuals can gain the skills required by the age, particularly including creative and
innovative thinking. Turkish education system brought innovation and creative thinking
skills to the fore front in the curricula it has been implementing since 2005. Creative thinking skills have been one of the eight basic skills expected to be developed in all curricula. In this framework, “Creative Thinking” and “Training on Thinking” have taken their place in primary and secondary school curricula as elective courses. Moreover, “Technology and Design” course has been structured with a focus on innovation. While these innovations are taking place in the education system, it is necessary to examine pre-service and in-service training status of teachers, since they are one of the crucial actors of the system, and to correct the deficiencies identified, if any, so that they can adapt to this change. Examination of teacher education curricula shows that "innovation" is not referred to even as a concept. In relation with creativity or creative thinking skills, only one course is seen in the curricula for Pre-School Teaching and Education of the Gifted and Talented, called "Creativity and Development". Creativity is referred to as a concept within the content knowledge in the "Visual Arts Education", "Music" and "Art Education" courses within the scope of classroom teaching curriculum; in "Art and Aesthetics" course in the social studies teaching department, and "Theatre and Drama Applications" in the Turkish language education. Creativity/creative thinking skills are not included in most teacher education curricula. This implies that the training received by teachers, who are going to implement the curriculum itself, does not overlap with objectives of the curriculum they are going to implement. Hence, it is thought necessary to improve teachers’ creative thinking skills, inform them about the concept of innovation, and help students gain proficiency for developing critical skills of students. The aim of this study is to analyse the concepts of creativity, creative thinking and innovation in the teacher education curricula; to discuss objectives and practices related to such concepts in the context of education systems; to find out views of a variety of stakeholders on this issue; and to plan, try and evaluate creative thinking and innovation curricula in the light of the study results. It was seen that while the teachers and students describe the concept of innovation with associated words, majority of the pre-service teachers do not know the meaning of the concept. Both teachers and students were found to describe the concept of creativity with similar terms. Apart from that, pre-service teachers defined creativity also as "authenticity". The use of similar words in defining the concepts of creativity and innovation implies that the two terms are perceived as one single concept. In particular, numerical branch teachers define both of the concepts as "problem solving". Moreover, it was seen that teachers, students and pre-service teachers hold the view "Every individual can think creatively as a result of necessary education". Although most of the teachers and students indicated the necessity of creative thinking as an element of teaching profession, some teachers and students stated that creative thinking is not needed in the profession because teaching is performed with close adherence to the curriculum. As another finding, most of the students from the schools in the lower socio-economic level stated that their teachers apply methods and techniques which develop creative thinking skills, whereas the proportion was observed to decline in the middle and upper levels, respectively. Teachers' responses were also found to support these findings. Lastly, most of the teachers and pre-service teachers stated that teacher education curricula do not extend any contribution to creative thinking skills because such curricula are merely based on theoretical knowledge and rote learning.As a result of the experimental process of the research, significant difference was found in the experiment group between the Torrance Test and Product Evaluation pre-post test scores obtained by the experiment and control group. This difference was also supported by the perceptions of the pre-service teachers during focus group discussions. Analysis of the pre-service teachers’
diaries revealed that the participants had difficulties during the early weeks of the
implementation, however they started feeling more comfortable as weeks passed; they
regard the classroom environment as a supportive environment for their creativity; and they do not consider their outputs in the courses as creative products. The study revealed that the creative thinking and innovation curriculum designed based on the needs analysis is found successful by participants. It is recommended that this curriculum can be offered as a course in all teacher education curricula. Yet, exclusive inclusion of it in curricula would not be adequate and effective enough for bringing up creative-thinking teachers who have adopted the innovation culture. We think that it is necessary to strengthen the link between education faculties and the schools of Ministry of National Education and to bring objectives of the curricula in parallel to objectives of teacher education curricula. In teacher education curricula, it is suggested to avoid rote learning and transfer of theoretical knowledge in order to support the development of creative thinking skills of pre-service teachers in all courses.
Minat belajar penting untuk mendorong siswa lebih giat dan aktif mencapai tujuannya dalam belajar di sekolah. Minat belajar juga penting untuk pencapaian dan prestasi akademik. Guru memiliki peran sentral dalam membantu meningkatkan minat belajar siswa disekolah. Melalui metode mengajar yang kreatif dan menyenangkan, diharapkan guru dapat membantu meningkatkan minat belajar siswadi sekolah. Penelitian ini bertujuan untuk mengetahui hubungan kreativitas guru dalam mengajar dengan minat belajar siswa di sekolah. Sampel penelitian sebanyak 100 siswa SMP Negeri 1 Galis Pamekasan yang diambil secara acak. Skala pada penelitian ini menggunakan skala persepsi siswa terhadap kreativitas guru dan skala minat belajar yang disusun sendiri oleh peneliti. Analisis data menggunakan analisis regresi sederhana. Hasil penelitian menunjukkan ada hubungan yang signifikan antara kreativitas guru dalam mengajar dengan minat belajar siswa. Hasil penelitian menegaskan bahwa kreativitas seorang guru dalam mengajar memainkan peran penting terhadap minat belajar siswa. Melalui cara mengajar yang kreatif, guru membantu menciptakan suasana belajar yang efektif, membuat siswa lebih tertarik dan membuat suasana belajar yang lebih stabil sehingga membantu meningkatkan keterlibatan siswa di sekolah, prestasi akademik, minat, kepercayaan diri dan ketahanan, selain itu siswa terhindar dari kekakuan, ketegangan dan kecemasan dalam belajar, yang pada akhirnya menciptakan minat belajar siswa lebih tinggi.
This article addresses the development and experimentation of a remote application method to help users in social distancing to assess the quality of their creative environments. Therefore, theoretical and practical procedures were adopted to understand the metrics that enhance the creative performance and well-being of environments, and their implementation for spatial analysis through digital instruments and processes. As a result, a set of semi-autonomous and self-applicable tools was developed for collection, processing, visualization and interaction of information regarding the user experiences and environment, making it possible to easily identify problems and potentialities for the elaboration of interventions suited to each situation.
The distinction between people and places has been a recurring theme in environmental research, but explicit studies of this distinction are rare. This paper reports variance components analyses on random samples of both respondents and stimuli to address the question of the respective effect sizes for people and places on the criterion of preferences for environmental scenes. Independently replicated findings from scenes in two different cities suggest that people and places respectively account for about 10% and 40% of the population preference variance. Implications for multicultural design and research are discussed.
This presentation examined determinants of worker attitudes toward underground work places. First, we described a model of worker response which consid-ered attitudes toward the underground as an interme-diate outcome preceded by appraisals of environment, contextual factors, and individual differences, and fol-lowed by successful or unsuccessful coping. Next, we will test a portion of the model by analyzing relations between attitudes toward underground work places and individual differences, appraisals of the physical environment and contextual variables. Data were co/-lected as part of a field study of 397 persons whose work environments were exclusively 100-300 feet underground and who were employed by 22 organiza-tions in six commercial underground developments. Preliminary data supported the portion of the model tested by indicating appraisals of environment i.e., perceptions of safety, ratings of ventilation and noise and a contextual variable i.e., job satisfaction were significant predictors of attitudes toward underground work places. For those whose attitudes were most positive and most negative, perceptions of safety and job satisfaction proved to be the best descriminators. Further analyses should more thoroughly test links be-tween attitudes toward underground work places and individual differences, appraisals of environment and contextual variables.
The assessment of visual quality inherently involves the measurement of perceptual response to landscape. The Q-Sort Method is a psychometric technique which produces reliable and valid interval measurements of people's percep- tions of landscape visual quality as depicted in photographs. It is readily understood by participants across a wide range of age groups and cultural backgrounds, and it provides data which can be mapped within a region and/or statistically compared to various social and physical dimensions.
The ideas presented in this book have been incubating for over 25 years. I was in the first grade, I believe, when the ideas that eventually developed into this social psychology of creativity first began to germinate. The occasion was art class, a weekly Friday afternoon event during which we were given small reproductions of the great masterworks and asked to copy them on notepaper using the standard set of eight Crayola® crayons. I had left kindergarten the year before with encour agement from the teacher about developing my potential for artistic creativity. During these Friday afternoon exercises, however, I developed nothing but frus tration. Somehow, Da Vinci's "Adoration of the Magi" looked wrong after I'd fin ished with it. I wondered where that promised creativity had gone. I began to believe then that the restrictions placed on my artistic endeavors contributed to my loss of interest and spontaneity in art. When, as a social psy chologist, I began to study intrinsic motivation, it seemed to me that this moti vation to do something for its own sake was the ingredient that had been missing in those strictly regimented art classes. It seemed that intrinsic motivation, as defined by social psychologists, might be essential to creativity. My research pro gram since then has given considerable support to that notion. As a result, the social psychology of creativity presented in this book gives prominence to social variables that affect motivational orientation.
This paper concerns the designing of a work environ-ment, which was undertaken, drawing on research carried out by the Russian and American space agen-cies in defining the interior living modules of their space stations. Here we are concerned with a closed and consequently windowless environment housing the computerized control center for polypropilene-produc-ing plants located in Ferrara. The staff operating the control console have to be able to react quickly and think clearly in a working environment that tends to deprive them of the necessary (mental,sensorial) stirn-uli to do so. At the request by the plant owners Himont Italia srI, an entirely new working environment was designed, specifically taking into consideration the psy-chological needs of the workforce. As the people who conceived this project, we would like to aknowledge our debt to EDRA and more generally to all those who have contributed to studies in how we perceive our environ-ments (or the numerous and invaluable practical indica-tions that accompany their work.
The Creative Environment Scales Work Environment Inventory (WEI) is a new paper‐and‐pencil instrument designed to assess stimulants and obstacles to creativity in the work environment. Unlike many instruments that are designed as comprehensive descriptions of the work environment, the WEI focuses on those factors in the work environment that are most likely to influence the expression and development of creative ideas. Designed to be used at any level within any function of an organization, the WEI is intended as an organizational development instrument to improve the climate for creativity. Conceptually grounded in previous empirical and theoretical work on creativity and innovation, the WEI has been administered to 645 respondents drawn from five different groups. Factor analyses, scale reliabilities (internal consistencies), and between/within scale correlations indicate a high degree of integrity in the WEI scales. Furthermore, test‐retest reliability is high. Preliminary validity analyses indicate that the WEI does discriminate between different work environments, and that some of the scales are significantly related to creativity within the organization.
This research examines the use of visual material to decorate windowed and windowless offices. Three hypotheses were tested: (1) Occupants of windowless offices should put up more visual materials than do occupants of windowed offices to compensate for the stimulus deprivation; (2) visual materials in windowless offices should consist of more "surrogate views" (e.g., landscapes and cityscapes) than the visual materials in windowed offices where real views are present; and (3) visual decor in windowless offices should be dominated by materials with a nature content. A detailed content analysis of wall decor used in 75 offices on the University of Washington campus was conducted. Results show that occupants of windowless space used twice as many (195 versus 82) visual materials to decorate their offices. Further, materials in windowless offices were dominated by nature themes as predicted in hypothesis 3. Although windowless occupants did not use significantly more "surrogate views" overall than did occupants of windowed spaces, content of the surrogate views was significantly different for the two windowed conditions. People in windowless offices used more landscapes and fewer cityscapes than did occupants of windowed spaces.
An empirical investigation focused on person-window transactions in the physical medicine and rehabilitation environment. Attributes of windows, view, daylight, and spaces perceived as insufficient in these respects were studied in six hospitals. Preference, environmental documentation, and behaviorsassociated with windows and windowless rooms were the subject of a two-part interview and questionnaire. The respondent group numbered 250 persons. Nonmetric multidimensional scaling (MDS) was utilized, yielding an array of 21 cognitive dimensions. From evaluations of 56 photographs that sampled a broad spectrum of spaces ranging from highly windowed to windowless, 8 visual dimensions were identified; and 13 nonvisual dimensions distilled from 89 written response items were identified that addressed degree of satisfaction and associated behaviors. Among the findings, ideal window and view conditions frequently contrasted the actual conditions in one's hospital setting; informative views of urban life and nature beyond the hospital, accessible from one's typical viewing angle and position within the room, were desired; minimally windowed rooms wereequated with architecturally windowless spaces, and window-view substitutes in windowless rooms were distinguished from similar rooms without such compensatory measures. Implications for hospital planning and design are discussed.
What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.
evidence on the intrinsic motivation principle of creativity / the phenomenology of creativity / experimental evidence / beyond the intrinsic motivation principle
beyond the social psychology of creativity / domain-relevant skills / creativity-relevant skills / stages of the creative process / the feedback cycle
how motivation influences creative thinking / the role of affect (PsycINFO Database Record (c) 2012 APA, all rights reserved)
In "Workplace by Design," Franklin Becker and Fritz Steele address the missing link for a successfully reengineered organization: the reengineered office. With graphic illustrations and examples from Levi Strauss, Chrysler Corporation, Steelcase, Chiat/Day and others, the authors show how to plan, design, and manage a total workplace in which space is a tool for achieving business goals, not a drain on profits. They demonstrate how managers, executives, human resource specialists, and design consultants can keep the physical work setting from undermining the success of workplace initiatives—such as teamwork, telecommuting, and cross-functional collaboration—that encourage high performance.
[This book] shows how diverse companies have implemented a total workplace strategy to effectively involve designers, consultants, and internal staff in diagnosing and solving space problems. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Tests and measures of creativity are critical instruments guiding educators in identifying highly productive individuals capable of contributing insightful and far reaching solutionsto ourproblem ridden civilization. This paperanalyzesand critiques six popularlyused measures ofcreativity: 1) The Torrance Test of Creative Thinking by E. Paul Torrance (1966); 2) The Creativity Assessment Packet by frank Williams (1980); three subtests of divergent production of the 3) Structure ofthe Intellect Learning Abilities Test by Mary Meeker; 4) Thinking Creatively With Sounds and Words by E. Paul Torrance, Joe Khatena and Bert F. Cunnington (1973); 5) Thinking Creatively In Action and Movement by E. Paul Torrance (1981); 6) Khatena-Torrance Creative Perception Inventory by Joe Khatena & E. Paul Torrance (1976). Reviewed through personal observation and published literature, these tests reveal a capacity as partial measures of divergent and productive thinking. Findings indicate that updating and upgrading of several tests with thought toward key constituent factors of the creative process would be qualitatively beneficial to test design.
Examines the thinking of W. James (1891), who recognized the significance of the concept of complementarity, in a discussion that focuses on Q-methodology and its beginnings. The concern in quantized psychology is with a new probabilistic such as that on which quantum mechanics was founded by M. Born (1927), namely Q-technique, which dispenses altogether with the old probabilistic objective methodology in social, psychologic, and psychiatric disciplines. The present author takes a stand with N. Bohr (1950) that the world is real and quantum phenomena are its substances. There are 2 basic sciences, physics and psychology, with the latter being subjective. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Considers the definition and assessment of creativity and presents a componential framework for conceptualizing this faculty. Including domain-relevant skills, creativity-relevant skills, and task motivation as a set of necessary and sufficient components of creativity, the framework describes the way in which cognitive abilities, personality characteristics, and social factors might contribute to stages of the creative process. The discussion emphasizes the previously neglected social factors and highlights the contributions that a social psychology of creativity can make to a comprehensive view of creative performance. (99 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
"Creativity… is a process extended in time and characterized by originality, adaptiveness, and realization." Except for mathematicians "where there is a low positive correlation between intelligence and the level of creativeness, we have found within our creative samples essentially zero relationship between the two variables." A research study of the characteristics and background of creative architects is extensively discussed. Implications of the nature of creative talent for the nurturing of it in school and college through the processes of education are considered. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
14 2–6 yr olds enrolled in a day-care center made collages using a subset of a large array of materials. Half the Ss were allowed to choose those materials they would use. For the rest of the Ss, the choice was made by the experimenter. Ss in the no-choice condition were yoked to those in the choice condition by the specific materials they were given. Results show that the collages made by Ss given a choice of materials were judged by a group of artists as significantly higher in creativity than those made by Ss given no choice. Findings support the hypothesis that unconstrained choice in task approach can be conducive to creativity, while constrained choice can be detrimental. (17 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
reviews the psychometrics of creativity and its relations with many personal and motivational variables / [presents] a comprehensive and wide-ranging account of experimental work on many different aspects of creativity / [argues that] creativity can be measured, and the confluence of different measures (psychological and neurophysiological, for instance) makes scientific sense (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Incluye bibliografía e índice
Implications of environmental context for validity assessments
- G Winkel
Winkel, G. (1987). Implications of environmental context for valid-ity assessments. In D. Stokols & I. Altman (Eds.), Handbook of environmental psychology (pp. 71–98). New York: Wiley. Downloaded by [Memorial University of Newfoundland] at 07:24 04 August 2014
Users manual for the content analysis of creativity interviews. Greensboro, NC: Cen-ter for Creative Leadership Creative person and creative process Housing messages The total workplace: Facilities management and the elastic organization Workplace by design: Mapping the high-performance workscape
- T M Amabile
- S S Gryskiewicz
- F Barron
Amabile, T. M., & Gryskiewicz, S. S. (1988). Users manual for the content analysis of creativity interviews. Greensboro, NC: Cen-ter for Creative Leadership. Barron, F. (1969). Creative person and creative process. New York: Holt, Rinehart & Winston. Becker, F. D. (1977). Housing messages. Stroudsburg, PA: Dowden, Hutchinson and Ross. Becker, F. D. (1990). The total workplace: Facilities management and the elastic organization. New York: Van Nostrand Reinhold. Becker, F. D., & Steele, F. (1995). Workplace by design: Mapping the high-performance workscape. San Francisco: Jossey-Bass.
The conditions of creativity. Contemporary ap-proaches to creative thinking: A symposium held at the Univer-sity of Colorado New York: Atherton. Downloaded by [Memorial University of Newfoundland] at 07:24 04 A critique of six measures for assessing creativ-ity
- J Bruner
Bruner, J. (1962). The conditions of creativity. Contemporary ap-proaches to creative thinking: A symposium held at the Univer-sity of Colorado. New York: Atherton. Downloaded by [Memorial University of Newfoundland] at 07:24 04 August 2014 J. M. McCoy & G. W. Evans 426 Creativity Research Journal Cooper, E. (1991). A critique of six measures for assessing creativ-ity. The Journal of Creative Behavior, 25, 194–204.
Physical settings and organization development
- F Steele
Steele, F. (1973). Physical settings and organization development. Reading, MA: Addison-Wesley.
Making and managing high quality workplaces
- F Steele
Steele, F. (1986). Making and managing high quality workplaces. New York: Free Press.
Creative person and creative process
- F Barron
Users manual for the content analysis of creativity interviews
- T M Amabile
- S S Gryskiewicz
The conditions of creativity. Contemporary approaches to creative thinking: A symposium held at the University of Colorado
- J Bruner
The total workplace: Facilities management and the elastic organization
- F D Becker
Stimulating creativity
- M Stein
The Torrance tests of creative thinking: Directions manual and scoring guide
- E P Torrance