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Creative environments for design education and practice: A typology of creative spaces
Abstract
This article presents a typology of creative spaces that is relevant to facilitating creative working and learning processes for designers. Drawing on qualitative user research with cultural probes in a design thinking institution, this typology identifies five different types of creative spaces along with five related spatial qualities. The paper suggests characteristics and criteria for each type and quality and summarizes the results in a framework. A second study in a practitioner's context validated these findings. The work presented in this article contributes to a better understanding of the impact of the built environment for creative design in education and practice and might inspire designers and educators to improve the design of their work environments.
... A creative space is a positive work and learning environment that foster users' ability to generate novel ideas and solutions, leading to significant advancements and increased competitiveness in individual or group collaboration [19]. Creative spaces are composed of two components: "creativity" and "space" [20]. In the domain of creative space, many researchers have identified a range of architectural and spatial concepts that contribute to creativity, including locations, layout of spaces, space types, interior furniture, colors, materials, indoor plants [19,[21][22][23][24]. Additionally, intangible attributes such as ambience, views, lighting, sound and smell [25][26][27][28][29][30][31] play a crucial role. ...
... They suggested that cognitive and psychological theories offer a framework for understanding both established and potential mediators. Other terms, such as "press" [14,33], "signifier" [34], "prompter" [35], and "explanation" [20], have also been used to describe this intermediary role. These frameworks enhance our understanding of how spatial attributes can facilitate creativity from a psychological perspective. ...
... Alexander's pattern language holds significant theoretical and practical relevance to the design researchers and practitioners dealing with complex, interdisciplinary issues beyond the realm of physical space. Many studies suggest an underlying connection between the pattern language and affordance theory [20,33,36,[86][87]. While patterns emphasize the design properties of an object or an environment, affordances focus on the usability those elements offer to users. ...
This paper investigates the connection between affordance theory and pattern language in the design of hybrid creative spaces. It introduces the concept of "creative affordance" as a key mechanism that mediates the indirect relationship between design patterns and the creativity these spaces cultivate. Through a narrative review of literature from environmental psychology, human-computer interaction , architecture, and extended realities, this paper underscores the importance of affordance theory in understanding the dynamic interactions between humans and their physical and non-physical environments. The analysis reveals how integrating affordance theory with pattern language can result in more engaging, intuitive, and effective design solutions. Building on this notion, this paper proposes a framework for hybrid creative spaces that explains the relationship between hybrid environments, creative affordances, and creativity. Alexander's pattern language is shown to be both theoretically and practically relevant for design researchers and practitioners, particularly in addressing complex interdisciplinary challenges beyond physical space. While pattern language emphasizes the structural properties of design, affordance theory focuses on its usability and interaction potential. The findings contribute to existing knowledge on design creativity through the combined lens of affordance theory and pattern language.
... However, there is a lack of comprehensive research that addresses the design of different types of informal social learning spaces. In terms of study limitations, the majority of the selected studies (62.16%) had limitations in the study area; they were limited only to one case study each [6,19,26,28,[33][34][35][37][38][39][40][41][42][43][44][45][46][47][48][49][50][51][52]. Furthermore, 27.03% of the selected studies had limitations in the variables of the study [7,8,[10][11][12]27,29,32,53,54]; for example, the study did not address the cause-and-effect relationships [7,8,[10][11][12]. ...
... The first category was mentioned in 21.6% of selected studies (n = 8), and it represented a private, indoor, quiet space. This category was described in three codes: (a) home bases (n = 3 studies) [7,8,42], (b) creative learning spaces (n = 2 studies) [11,43], and (c) library private rooms (n = 3 studies) [26,37,44]. Therefore, informal private learning settings refer to private indoor spaces that usually provide quiet space for study and Internet or ICT access to enhance individual users' focus on private study. ...
... (c) Spatial design referred to four codes, including furniture, colour, light and lighting, and sound and quietness, which were mentioned in 64.8% of the analysed articles (n = 24) [10][11][12][13][26][27][28][29]34,35,41,[43][44][45][47][48][49][50][51][52][53][54][55]. Spatial design criteria strongly predicted all the categories, codes, and sub-codes of the ILS in academic education. ...
Informal learning spaces (ILS) offer unique opportunities for students to interact and develop skills in a more social, resilient, and sustainable environment. However, there is a lack of a definitive typology for ILS and related design factors and outcomes. Therefore, this study aimed to identify the typology of ILS in academic education, including relevant design factors and positive outcomes from architectural and urban planning perspectives. A systematic literature review was conducted on articles published between 2004 and 2024 from four databases: Scopus, ScienceDirect, Emerald Insights, and IEEE Xplore. The included articles are in English and based on empirical data published in peer-reviewed journals, focusing on informal learning and its settings. A total of 37 full-text articles were included in the descriptive review, from which two categories and six types were identified: private indoor quiet space, semi-private/semi-public indoor space, public indoor space, public sustainable space, public outdoor space, and comprehensive space. The results also revealed seven categories of factors affecting these types of ILS: personal aspects, spatial design, physical settings, resources, social aspects, natural environment, and perceived environment. Furthermore, these ILS significantly contributed to five categories of positive outcomes: learning efficacy, socialisation, refreshment and relaxation, health outcomes, and sustainable development. Therefore, this SLR significantly contributed to the definition and typology of ILS in sustainable higher education.
... Consequently, education systems, school leaders, and teachers need to facilitate a creative conducive learning environment for the pedagogical enhancement of creativity in learners at all levels ( Morris, 2018( Morris, , 2017, and this has been identified as an issue in Ghana ( Swanzy-Impraim et al., 2022 ). Studies reinforce a need for teachers to acquire knowledge of how to utilise physical spaces and social circumstances to best foster creativity ( Garcês, Pocinho, de Jesus & Viseu, 2016 ;Thoring, Desmet & Badke-Schaub, 2018 ), implying teachers must professionally engage in training on the creation of effective learning spaces that nurture the creative potential in secondary visual arts ( White & Lorenzi, 2016 ). Common characteristics of a creative and innovative learning environment include generosity -shared knowledge and experience; a sense of community -belonging/interdisciplinary; diversity; equality -structures of responsibility; curiosity -atmospheric curiosity; freedom of spirit -free expression; and small-scale -minimal class size ( Hoff & Öberg, 2015 ;Sahlin, 2001 ). ...
... However, how practical pedagogies and the creativity process ( Beghetto & Kaufman, 2014 ;Bereczki, 2016 ;Valquaresma & Coimbra, 2021 ) links to learning environments and their role in facilitating or supporting innovative problem-solving strategies ( Fan & Cai, 2020 ;Thoring et al., 2018 ) is still largely unknown, particularly within the Ghanaian secondary school context. Additionally, Researchers argue that the spatial typologies within the schools are given less attention when it comes to aligning the organisations of schools with physical space and innovative teaching ( Bojer, 2021 ;Hughes & Morrison, 2020 ;Imms & Kvan, 2021 ;OECD, 2013 ). ...
... Henriksen et al. (2018) asserted that digital technologies integrated into the teaching-learning process in 21st-century education serve as a core component, offer diverse means to connect ideas, and support ideation in the creative process via the exploration of ideas. Thoring et al. (2018) claimed that a creative environment ameliorates creativity when designed with aesthetic and visual appeal (qualities), special technologies and a flexible layout. One example in the study, Penz, a picture making teacher in a still-life painting class converted a traditional classroom setting into a two-sided horseshoe (modified U) arrangement aiding effective practice sessions. ...
Innovative learning environments (ILEs) have been regarded as one of the contributing factors that facilitate creativity in learners. At the pre-tertiary level of education, Ghana has recently undergone educational reform that sees creativity being added as a key goal for education, but it is unknown if teachers' practices within current educational facilities can support the enactment of this goal. The multi-site qualitative case study explores the secondary visual arts learning environments within the Sekondi-Takoradi Metropolis in Ghana. Interviews and observations were used as instruments for data collection with 16 visual arts teachers. This study confirmed two categories of environments that foster creativity: innovative spaces and innovative practices (pedagogies). It recommends the prioritisation of innovative learning environments that facilitate creative development across secondary schools, the need for more collaborative classroom settings and a reduction of features (non-flexible layout, large class size, & under-resourced learning spaces) in the classroom that impede creativity.
... personal, collaboration, presentation, maker and social/fun spaces), spatial qualities (e.g. knowledge processing, indicator of organisational culture, process enabler, social interaction and stimulation) and flexibility (i.e. the time and effort required to change the space to undertake different activities) (De Paoli & Ropo, 2017;Meinel et al., 2017;Thoring et al., 2018). Creative spaces are thought to shape behaviours through symbolic and cultural artefacts (Rafaeli & Vilnai-Yavetz, 2004) and subjective experiences of space (Ropo et al., 2015). ...
... Google, Facebook and Apple have received extensive media attention as exemplars of PWE redesign, prompting many other companies to jump on this bandwagon to remain competitive and innovative (Thoring et al., 2018). However, according to Stegmeier (2008), attempts to implement creative workplace concepts often fail because of employee resistance, as management focuses on costs and productivity while employees experience loss and grief (Brunia & Hartjes-Gosselink, 2009). ...
... Given the cost, effort and time involved in implementing creative workspaces (Brennan et al., 2002;Carlopio & Gardner, 1992;Thoring et al., 2018), researchers have repeatedly called for further studies to clarify how workspaces designed according to New Work principles can be successfully implemented and managed (McElroy & Morrow, 2010;Moultrie et al., 2007;Thoring et al., 2018). In this article, we contend that firms are not fully aware of the effects (positive or negative) of implementing creative workspaces. ...
Providing adequate workspaces for employees is now considered crucial for organisational innovativeness in light of evidence that the work environment influences creative behaviour. It is unsurprising, then, that companies increasingly seek to implement modern workspace designs based on what is often referred to as New Work to support employee creativity. However, designing, planning, and implementing a modern and creative workspace is a highly complex undertaking. Existing studies report a multiplicity of interconnected organisational variables affected by such changes at the levels of the individual employee (e.g. creativity), the team (e.g. communication) and the organisation (e.g. culture). To explore whether and how organisational changemakers consider these variables when designing creative workspaces, we interviewed 20 experts from companies that have recently implemented creative workspace designs, asking them about the objectives and consequences of their new workspace designs. Upon comparing the interviewees’ answers to the findings reported in the existing literature, we found that their organisations were not fully aware of the organisational impact of such changes and failed to consider creativity enhancement as an explicit goal. Concluding that much of the potential of modern workspace design remains untapped, we propose avenues for further research.
... The goal is, together with interior designers and architects, to design environments that are both functional and visually stimulating, fostering a more engaging and interactive atmosphere for learners. Creating spaces with distinct zones for study, collaboration, and social interaction, with an emphasis on flexibility, technological integration, and inspiring esthetics, can create a motivating atmosphere and foster creativity and deeper learning [89,90]. Through the thoughtful use of color, in accordance with color psychology, learners' cognitive functions can be improved [59,91]. ...
... Integrating technologies like interactive displays, augmented reality (AR), and virtual reality (VR) enhances engagement, offering dynamic, immersive learning experiences that allow learners to explore real-world scenarios in a safe and controlled physical space [92,93]. Sensory stimulation, such as visual and tactile elements, can inspire creativity but must be carefully managed to avoid distraction [90]. The concept of a creative workspace has been largely shaped by companies like Google, which pioneered the use of open-plan office spaces with unconventional furniture. ...
Experiential graphic design (XGD) has increased in importance over the past decade, with technological advances and a focus on user engagement. While the acronym XGD has been used for years, many practitioners prefer the older acronym, EGD, which stands for environmental graphic design. XGD, however, more accurately reflects the field’s scope, which combines multiple design disciplines to enhance user experience through the visual interpretation of ideas in physical spaces. The objective of this study was to perform an extensive bibliometric analysis of the existing literature on XGD topics across a wide range of spatial contexts, with particular emphasis on open public spaces and enclosed architectural environments, structured around four research questions related to the following: (1) foundational studies and the evolution of the literature, (2) the main keywords and research trends, (3) XGD application environments, and (4) XGD’s key roles. The methodology involved analyzing 245 records on the XGD topic from the Scopus, Web of Science, and Google Scholar databases, following the preferred reporting items for systematic reviews and meta-analyses (PRISMA). Based on a comprehensive review of the literature, this study offers a general overview of XGD, exploring its applications across different built environments. In addition, it pairs theoretical concepts with practical examples to demonstrate XGD’s key roles, highlighting current trends, future developments, and the need to establish educational frameworks in the XGD field.
... This collaborative initiative involved the Coaching Association of Canada, and the Canadian Paralympic Committee. Thoring et al. (2018) identified five types of spaces essential for the DT process: personal, collaboration, presentation, making, and intermission. Effective organization of these spaces promotes creativity, productivity, and collaboration; facilitating diverse activities, and achieving desired outcomes (Thoring et al., 2018). ...
... Thoring et al. (2018) identified five types of spaces essential for the DT process: personal, collaboration, presentation, making, and intermission. Effective organization of these spaces promotes creativity, productivity, and collaboration; facilitating diverse activities, and achieving desired outcomes (Thoring et al., 2018). ...
The increasing participation in Para sport has created a demand for more qualified coaches, yet their development mainly depends on informal and experiential methods due to limited formal opportunities. Effective collaboration between sports organizations and governmental bodies is crucial to developing comprehensive coach development opportunities tailored to the specific needs of Para sports. Design Thinking offers a viable solution to bridge existing gaps by fostering innovative, human-centered approaches that lead to the development of solutions tailored to the evolving demands of Para sport coaching. The purpose of this study was to introduce and propose the utilization of Design Thinking to enhance coach development opportunities in Para sport, illustrated through a comprehensive analysis of a 2-day design challenge event based on the Hasso-Plattner Institute Model. The event brought together a varied group of stakeholders, including managers, coaches, coach developers, and athletes. Design Thinking, with its focus on empathy, iterative problem-solving, and collaboration, was instrumental in helping participants move beyond their individual biases. The study provided actionable strategies for implementing Design Thinking in the context of Para sports, contributing to improving the overall Para sport experience.
... Spatial characteristics and some of the main mechanisms of architectural design affect human psychology. People spend the longest part of their day in a built environment [71], and therefore many of their thoughts and awareness about space are directly intertwined with the architectural and urban form of their surroundings [58]. ...
... Earth's electromagnetic energy currents interact with such material. In addition, such material can be controlled through computer programs with specific algorithms linked to the Earth's electromagnetic cur-rents network [71]. Using such computer-controlled electromagnetic currents, the material dynamically changes its transparency, reflectivity, color, and even shape. ...
Designing spaces that promote occupant health and well-being is essential to achieve sustainable building practices. This paper considers a sustainable architecture design by investigating quantum energy and perception within architectural space. To this end, the mutual influence between the building and the user through the energy effect of space is investigated. Besides, this paper discusses the energy's role in architecture and the nature of perception in shaping spatial awareness and human engagement within environments. In addition, this paper discuss how quantum and electromagnetic energy can enhance architectural design. We aim to provide information related to the study of the magnetic field effect in architecture design, specifically the effect of the geomagnetic field on occupants. Examples of practical implementation have been presented with the aim to provide effective recommendations for future architectural design. The findings in this research highlight the potential of energy-inspired designs to create built environments that are both more sustainable and adaptive.
... It creates identity, belonging, continuity, opportunity and liberates ideas. Thorning et al. (2018) distinguished between five different qualities of a creative space as they write that a given space can be: 1) a knowledge processor, 2) an indicator of organizational culture. 3) a process enabler providing an appropriate infrastructure, 4) a social dimension, or 5) a source of stimulation. ...
This article presents a study on the development of art environments for young talented artists across 4 municipalities in the western part of Jutland, Denmark. Within this context and based on systems thinking, neosystems thinking and a holistic ecological approach to talent development, the researchers identify and describe three transcontextual art talent environments (Off-Track, Film, Show-up). Based on the neo-systemic concepts of symmathesy (Together-learning), the pivotal point in this study, was to identify organizational markers in the development of a strong talent infrastructure across the municipalities. This to enable and cultivate the artistic potential of young people.
The research question of the study was: Which organizational markers cultivate the development of art talent environments in the context of four Danish municipalities in the western part of Jutland? The study is based on interviews with seven different public servants from different municipalities in the western part of Jutland and build on a prior research regarding young artists within different artistic fields and their instructors.
Through a generic thematic analysis, four organizational markers were identified (organizing, strategizing, license to operate, and creative places). The paper argues that an orientation towards environments as a symmathesy and towards organizational markers can help organizations improve artistic talent environments across municipalities. Further, the role of public servants as talent stewards is discussed in the discussion.
... The methodology validates the notion that the physicality of art-making is inseparable from its pedagogical goals, particularly when addressing themes such as sustainability, which require learners to engage deeply and reflect critically. Further, the studio space is important in encouraging playfulness and creativity [47], and in the case of the current study, the "studio" was in the participants' homes. The PG trainees appeared to be more aware of the need to be in a comfortable space for the art-making activities of the live workshops. ...
This article explores the adaptation of arts education for online learning environments in Higher Education institutions, focusing on preserving the experiential nature and studio culture while addressing socially engaged arts education and sustainability topics. Using the “Arts-in-a-box” methodology developed within the Critical ARts Education for Sustainable Societies (CARE/SS) Erasmus+ European-funded project (2022–2024), two distance learning teacher training courses were analyzed qualitatively. The findings reveal that the methodology successfully recreated essential aspects of studio culture, fostering deep engagement, critical dialog, and creative inquiry in virtual settings. Participants reported transformative learning experiences, highlighting the methodology’s effectiveness in overcoming the experiential barriers in online arts education and promoting socially engaged arts for sustainable societies. The study identifies effective strategies for building community and enabling hands-on art-making in online environments, such as live workshops, curated art material packages, and digital tools for sharing and reflection. These strategies allowed participants to connect theory with practice meaningfully, promoting a sense of agency in applying socially engaged arts and sustainability themes in their professional contexts. By bridging the experiential gaps of online learning, this study offers a framework for educators seeking to adapt arts education to digital platforms while preserving its core pedagogical features and fostering societal impact.
... However, until today, little is known about the impact of DSS's spatial representation on the decision-making experience and efficacy. On the other hand, existing research on 'creative spaces' (Thoring et al., 2021(Thoring et al., , 2019(Thoring et al., , 2018 largely focuses on creating ideas (divergent thinking and acting) and little is known on the impact of spatial design on decision-making (convergent thinking and acting). According to Guilford (1961) divergent thinking refers to the generation of ideas and choices, while convergent thinking refers to the selection of ideas and decisionmaking. ...
This paper outlines the evolution of decision-making spaces through selected instantiations, analyzing the role of design in their utility and identifying preliminary patterns in spatial layout. It builds on the combination of two research fields: A) Decision support systems and B) Creative Spaces. The paper aims to take a first step towards combining these two existing research fields by focusing on the spatial design aspects that foster the convergent aspect of creativity and to provide guidance for further research on the design of decision-making spaces.
... Moving from the physical to the imaginary space creates an environmental ecosystem that is continuously changing to provide new creative spaces in therapeutic activities that are inclusive and exclusive. This concept of ecology is instrumental in thinking about the function of the system and the environment in art treatment for children with autism as an ecosystem (Batey et al., 2021; Linton et al., 2015; Thoring et al., 2018). The acceptance of space with the primary focus being the ecosystem; then the population (consisting of autistic children, teachers, and parents) is the primary component of the ecosystem, and virtual space empathy is the association of interacting ecosystems. ...
This research aims to explore expressive art approaches to enhance communication in autistic children in opportunity space settings. The study discusses the process of therapeutic exploration in an online-based practice and how the space setting plays a significant role in this process. The research methodology involves a mixed-method approach, including case studies conducted at TT-ArtCourse in Yogyakarta, Indonesia, and a questionnaire to determine parents' responses to the influence of the spatial setting. The study shows that online treatment has initial challenges in adaptation time for parents, teachers, and autistic children. The main obstacle is the lack of intimacy, which is crucial in offline interactions. However, in the end, parents can see the effectiveness of the online mode, allowing them to set up their treatment room according to their child's wishes. The study also found that the communication processes in the online-based opportunity space therapeutic ecosystem are similar to offline schools.
... The themes for this analysis included motivation, self-efficacy, higher education, design thinking, communication, and case study. The analysis demonstrated that these keywords appeared more frequently in the research on social innovation and design education: They were used as methods, concepts, and judgment factors for the promotion of social innovation projects and the improvement of design education [7][8][9][10][11][12][13][14][15][16][17][18][19][20][21][22][23][24]. ...
This paper synthesizes the literature from the fields of design education and social innovation to obtain a complete understanding of the development of these fields’ knowledge, and it also compares and cross-analyzes the two fields to determine the entry point for combining the knowledge in both fields. Two types of bibliometric software were used to capture and classify the data, and descriptive statistical analysis, co-occurrence analysis of keywords, knowledge evolution analysis of studies cited in both fields, and burst analysis were conducted. The results reveal that integrating technology into the field of design education in combination with shifting the focus from enhancing students’ professional competence to enhancing their overall competence can contribute to the improvement of design education quality. This is in the context of empathy research becoming a trend. Furthermore, the field of social innovation defines “social innovation” as a mutual agreement between practice and theory to promote solutions to society’s problems. The research in this field covers all aspects of social life and has a complex disciplinary background. The field of social innovation is currently mostly concerned with the relationship between universities and social innovation practices. The burst analysis reveals that open innovation is becoming a common focus of both fields and is developing into a popular research topic.
... Daigger, G. T et al. elaborated on the need for deeper integration of research and practice in electrical engineering education to significantly improve the utilization of resources [13]. Thoring, K et al. described the types of creative spaces that can improve the creative work and learning process of designers and proposed the quality characteristics and criteria for each type, which is useful for understanding the impact of the built environment on education and practice in creative design has a positive effect [14]. Wang, S. et al. proposed a highly student-centered reference training system for IM information interpretation system based on an educational platform bridging theory and practice. ...
To cultivate more application-oriented talents needed in the market, this paper puts forward a series of innovative development strategies for the integration of industry and education for the government, schools, and enterprises. The indicators used to determine whether the integration of industry and education is good or bad are relatively complicated because it is a long-term and complex teaching mode. In this paper, we use hierarchical analysis to construct a reasonable and clear evaluation index framework and use the convolutional neural network algorithm to calculate the weight value of each index, to comprehensively reflect the impact of the mechanism of industry-teaching integration on students, schools, and enterprises. According to the results of the evaluation system, the weights of the indicator “school running form” and the indicator “employment rate of graduates” reach 0.71 and 0.43 respectively, which fully indicates that the mechanism of integration of industry and education promotes the transformation of several courses in the school, and also helps students to solve the problem of employment. Employment Problems. In addition, the global weight value of the indicator “training cost of new employees” is only 0.01, which greatly reduces the recruitment and training cost of enterprises through the integration of industry and education. Therefore, the convolutional neural network adopted in this paper can effectively calculate the weight value and judge that the innovative development strategy of industry-teaching integration is of great help to all three parties.
... Students' values are becoming more and more diversified, the level of thought is hierarchical, and the subject consciousness is gradually increasing. Pure classroom teaching can not meet the requirements of students, and the social practice of college students plays an increasingly important role as another way to educate students [4][5]. Accordingly, to carry out practical education in colleges and universities is not only an objective need to cope with the increasingly fierce international competition and improve the comprehensive national power but also an inevitable requirement to comprehensively implement the Party's education policy, implement quality education and promote the healthy growth of college students [6][7]. ...
Participating in social practice can help guide young people to better realize the unity of knowledge and action, learning to use, in order to be able to “gain what it can’t”, so this paper on how to better realize the social practice of college students to explore. First of all, this paper comprehends the structure and mechanism of college students’ social practice and researches the function of social practice through the operation mechanism of college students’ social practice. Then, based on the goal of solving the problems existing in social practice, the problem of multi-objective optimization is proposed, and the NSGA-II algorithm is optimized by adding the NDX operator and adaptive adjustment of the variation operator so as to solve the multi-objective optimization problem. The proposal for achieving social practice is made from three aspects: curriculum, theme, and research. Finally, the performance of the algorithm, the effect of social practice, and the optimization effect of social practice are analyzed through empirical evidence and algorithmic experiments. The results show that the range of the offspring using the NDX operator is between −1.75 and 3, the maximum number of occurrences of the offspring individuals are all around 2500, and the best comprehensive performance of HV and IGD are 0.93 and 0.11, respectively. The gains of ideological and moral literacy, personal ability enhancement as well and the practice object before optimization are all within 4.5, and the enhancement of the three conditions after optimization is around 0.7.
... The pedagogical methods associated with the architecture studio are under constant development; it is a place for empirical explorations, experimentation and project-based learning for the students [5]. The architecture studio is also a place for the development of a new way of analytic and synthetic thinking, culture and professional values [6][7][8]. Studio surfaces are places where students post inspirations, precedents, concepts and drafts [9]. This unique learning space is also a place where students experience "physical, temporal and cultural immersion" [10] (p. ...
In the past few years, higher education across the world transitioned to different online platforms where virtual classrooms were set, following national guidelines during the COVID-19 pandemic. This paper analyses qualitative data from first-year students in architecture from a higher education institution in the UK and draws on lecturers’ reflective observations of teaching during the COVID-19 pandemic. The findings of this research provide some critical considerations for the long-term impact of the virtual design studio on architectural design pedagogy and teaching methods in first-year studies. This research found that technology integration enabled innovative design methods, improved digital literacy, and enhanced collaboration in first-year architectural education. While online learning met learning objectives, it posed challenges like social isolation and motivation issues. The study underscores the importance of investigating virtual design studios and technology integration in early architectural education, offering opportunities for curriculum development and future research. These findings have broad relevance for educators teaching first-year architecture students globally.
... Se figur 1 for en oversikt over bredden i utvalget. eksempel legeyrket (Dolmans et al., 2015) bruker så realitetsnaere situasjoner som mulig i opplaeringen, og at omgivelsene man laerer i, i stor grad påvirker hva og hvordan man laerer (Thoring et al., 2018). Det samme finner man innen entreprenørskapsutdanning, med det Aadland (2019) omtaler som «autentisk laering», det vil si at man laerer gjennom den situasjonen man laerer for. ...
Innovative løsninger og nyskapende virksomheter er sentralt for et velferdssamfunn, og for å få til det i tiden fremover må dagens studenter opparbeide seg innovasjonskompetanse. Dessverre er dette kompetanser som ikke nødvendigvis blir vektlagt utviklet i løpet av det formelle studieløpet. Samtidig består studietiden av mer enn det formelle studieløpet, og ved norske universiteter og høyskoler er det mange ulike frivillige organisasjoner drevet av studentene selv. Dette gjør at studenter opparbeider seg mye kompetanse gjennom engasjement i studentdrevne organisasjoner, og denne artikkelen setter søkelys på hvilke innovasjonskompetanser som utvikles, og hvordan dette eventuelt skjer. Først utviklet vi et rammeverk for innovasjonskompetanse bestående av: (1) kreativitet og utforskende aktivitet, (2) problemløsning, (3) strategisk tenkning, samt (4) samarbeids- og kommunikasjonsferdigheter. Deretter gjennomførte vi en studie med dybdeintervjuer med 14 studenter ved ulike utdanningsinstitusjoner i Norge som til sammen enten deltar eller har deltatt i 51 ulike verv. Funnene våre viser hvordan engasjement utover studiene bidrar til at studentene tilegner seg kunnskaper som de ikke får gjennom studiene. Økt kompetanse i å jobbe i tverrfaglige grupper, trygghet i håndtering av konflikter, handlingskompetanse og større nettverk er noen erfaringer studentene sitter igjen med som er i samsvar med innovasjonskompetanse. Vi mener derfor at studentfrivillighet kan gi viktig innovasjonskompetanse for fremtidens arbeidsliv.
... The development of digital media products in the form of text can increase students' understanding and creativity (Songkram, 2015). Thoring et al. (2018) stated that the creative environment in online learning could be formed by reading a lot of digital textbooks. Digital E-book reading in online learning positively influences the acquisition of meaningful information and increases students' higher-order thinking (Liu et al., 2020). ...
... The literature [11] summarizes the design principles and methods of soft furnishings in the B&B space through the collation and reflection of the literature on "B&B space" and "soft furnishings" and for the specific space of "B&B For the specific space of "B&B", the soft furnishings design needs to be considered and redesigned in terms of color, material, and shape, while following the three main principles. Literature [12] proposed that the introduction of virtual reality technology into the teaching of interior furnishing design courses becomes a new idea of teaching mode reform, which can stimulate students' interest in the furnishing profession, broaden their design ideas, exercise their systematic thinking ability and comprehensive ability in problem solving, improve the quality and efficiency of teaching to a great extent, and cultivate more highly skilled talents who can adapt to the development of the industry. ...
Firstly, an optimization algorithm based on planar design constraints is proposed, which can automatically generate interior space furnishings. The main idea of the algorithm is to represent the room units in interior space furnishings with multiple rectangular combinations of polygons and to translate the constraints and rules in furnishing design into relevant rectangular constraints. In order to improve the applicability of the method, this study also proposes a hierarchical algorithm flow based on the above method. Then, the interactive toilet aid design and the new intelligent wheelchair design, and the intelligent and ecological interior furnishing design are used as examples to explore the practice of interactive furnishing design based on multi-functional needs, which meet the emotional, psychological, and physiological needs of users. Based on the data analysis of furnishing design by hierarchical algorithm, the results show that the average score of ordinary users in the comparison results with Humans is 13.37 the average score of designers is 11.72; the MIQP model can be used for interior space furnishing design of residential buildings and can be extended to apply to space furnishing of large-scale scenes, MIQP method is much higher than existing methods in terms of efficiency The MIQP method is much more efficient than existing methods. This study improves the quality and level of furnishing design and promotes innovation in the design industry.
... The design of VEs has gained an importance in many research areas related to architecture, including architecture education (Anderson et al., 2003, p. 20;Schnabel, 2011;Thoring et al., 2018), virtual museum designs (Charitos et al., 2000;Lepouras et al., 2001), and architectural professions (de Klerk et al., 2019). The development of VEs that is suitable for the use by a diverse range of individuals involves a significant number of problems. ...
... The design of VEs has gained an importance in many research areas related to architecture, including architecture education (Anderson et al., 2003, p. 20;Schnabel, 2011;Thoring et al., 2018), virtual museum designs (Charitos et al., 2000;Lepouras et al., 2001), and architectural professions (de Klerk et al., 2019). The development of VEs that is suitable for the use by a diverse range of individuals involves a significant number of problems. ...
... The design of VEs has gained an importance in many research areas related to architecture, including architecture education (Anderson et al., 2003, p. 20;Schnabel, 2011;Thoring et al., 2018), virtual museum designs (Charitos et al., 2000;Lepouras et al., 2001), and architectural professions (de Klerk et al., 2019). The development of VEs that is suitable for the use by a diverse range of individuals involves a significant number of problems. ...
... Menurut Thoring dkk. [21], setidaknya ada lima ruang kreatif yang perlu diperhatikan dalam sebuah kantor atau organisasi, yaitu: 1) Ruang personal, sebagai tempat konsentrasi mendalam, kontemplasi, dan refleksi; 2) Ruang kolaborasi, sebagai tempat kerja kelompok, berdiskusi, dan konsultasi; 3) Ruang presentasi, sebagai ruang untuk berbagi dan mempresentasikan pekerjaan; 4) Ruang laboratorium, tempat untuk membuat model dan bereksperimen secara bebas; 5) Ruang istirahat, berperan sebagai penghubung antar ruang, tempat relaksasi, dan rekreasi. Seluruh jenis ruang ini, telah dihadirkan dalam co-working space ini. ...
Budaya yang berkembang di wilayah Mandalika merupakan aset mahal dalam mengembangkan pariwisata dengan pendekatan storynomics tourism. Adanya hal ini, menyebabkan Mandalika dicanangkan sebagai kawasan destinasi prioritas oleh Kemenparekraf/Baparenkraf RI. Ditambah lagi dengan adanya keberadaan Sirkuit Mandalika kini menyebabkan Mandalika memperoleh status Kawasan Ekonomi Khusus. Namun muncul masalah menjamurnya gerai-gerai kerajinan khas Lombok di sekitar Sirkuit Mandalika, yang menyebabkan kondisi kumuh (ghetto). Oleh karenanya, peneliti dan pihak ITDC melakukan kolaborasi dalam kegiatan matching fund, untuk merancang gerai-gerai kerajinan tersebut agar lebih tertata dan estetis menggunakan pendekatan storynomics tourism. Metode yang digunakan terdiri dari tiga tahapan yaitu tahap inspirasi, tahap gagasan, dan tahap implementasi. Hasilnya narasi dalam pendekatan storynomics tourism telah diimplementasikan ke dalam rancangan interior di kawasan gerai kerajinan dan souvenir. Penggunaan identitas lokal seperti bentuk lumbung, bentuk dan warna nyale, motif songket Subahnale, peresean, motif anyaman ketak dan rotan, bentuk cupu, hingga kisa Puteri Mandalika, berhasil dimplementasikan ke dalam elemen-elemen ruang dan massa bangunan.
... This is very interesting because it provides an experience of young people's participation in Shopee advertisements. The character of young people who always want to know Shopee has accommodated the creative process [31,32] (Fig. 1). ...
... First, PILs act as "producers" and "facilitators" of policy innovation enabling experimental policymaking spaces for designing policy solutions developed through various change methodologies which aim to create momentum in the solution of an array of social, economic, or environmental problems. Specifically, PILs allow participants with varied skill sets exchange information, knowledge, and ideas to reach a common understanding of a policy challenge drawing on a process which benefits from diversified inputs to allow innovative ideas (Thoring et al. 2018). Second, PILs generate policy innovations by exploring, designing, and testing optional implementation alternatives, thus serving as physical spaces or "hubs" to promote collaboration across organizations and discrete functions (Coblence and Vivant 2017) in order to test ideas and potential prototypes of user-centered solutions across the system, which echo PILs as promoting evidence-based, and particularly user-focused policymaking. ...
... Corrazza (2020), s'attelant à retracer ses différents points d'accroche, estime que la perspective dynamique de la créativité place l'emphase sur son développement plutôt que sur son existence, sur les trajectoires plutôt que sur ses points d'équilibre et sur les processus plutôt que sur les produits. En organisation, plusieurs auteurs lancent également un appel à cette approche plus dynamique de l'espace (Beyes & Steyaert, 2012), comme Hjorth et al (2018, p157) (Vallat, 2017), coworking (Suire, 2013), espaces créatifs (Gaim & Wahlin, 2016), hubs créatifs (Pratt, 2021) Thoring et al (2018a) établissent cinq types d'espaces créatifs: l'espace personnel, l'espace de collaboration, l'espace de présentation, l'espace du faire et l'espace de pause. Ils distinguent également cinq différentes qualités de ces espaces, à savoir qu'ils peuvent être processeurs de connaissances, indicateurs de culture organisationnelle, facilitateurs de processus, sources de stimulation et avoir une dimension sociale. ...
Déployer la créativité et les processus créatifs qui y sont reliés relève d’une responsabilité sociétale en permettant à l’être humain de trouver des solutions pour s’adapter au monde complexe actuel et de faciliter la transition vers une nouvelle ère en gestation. Parallèlement aux nouveaux lieux créatifs qui émergent et aux nouvelles pratiques de travail spatiales, on ressent que les dimensions d’espace et de temps jouent un rôle non négligeable pour la créativité et le processus créatif.
Dans ce contexte, je propose de formuler la problématique générale de recherche à laquelle la thèse ambitionne de répondre comme suit : «Quelles sont les dimensions spatio-temporelles de la créativité dans une perspective dynamique, expérientielle et holistique? ».
Je m’interroge tout d’abord sur le cadre conceptuel qui permet de penser les notions d’espace et de temps dans une perspective dynamique, expérientielle et holistique. J’introduis la pensée du philosophe François Jullien (2001, 2014) et développe sa contribution à la perspective recherchée. Je propose un concept « d’espace expérientiel connivent » et une méthodologie nouvelle, tous deux inspirés de cette pensée et qui permettent l’étude expérientielle des espaces.
En m’interrogeant sur les dimensions spatiales et temporelles expérientielles du processus créatif, et en m’appuyant sur les expériences de seize créatifs des industries créatives, je fais émerger une lecture spatiale de la créativité et propose un modèle des [EspaceTemps] vécus du processus créatif.
Enfin, en investiguant ce que peuvent les espaces pour la créativité, je mets en évidence le processus de conception d’un hub créatif à Namur et la dynamique de polarités vécues entre l’espace et ses habitants, porteuse d’activations.
Les résultats de cette recherche contribuent à mettre en lumière l’impensé du processus créatif, proposent une nouvelle lecture spatiale de la créativité, renforcent la connaissance des polarités de la créativité et apportent un cadre conceptuel original ainsi que la méthodologie associée pour une étude expérientielle des espaces.
... The Daycare Center, which is located in Salatiga, has an interior planning plan that includes a lobby room, classrooms, bedrooms, playground, dining room, and teacher's room (Scharp et al., 2019). The interior design took the idea of Playful (Thoring et al., 2018). Playful itself tells something unique, creative, interesting, colorful, fun, and imaginative. ...
Along with the rise in career women, the community is seeing an increase in daycare centers to prevent child abuse and provide early childhood education. Language skills, character development, creativity, and motor skills are all part of this education. However, most daycares, particularly those for youngsters, place less emphasis on amenities and infrastructure. Many daycares have not followed the rules. As a result, a concept arose for a Daycare Center with a Playful Concept in the City of Salatiga, complete with an infant room, playground, classroom, sleeping room, canteen, and Office.
Corporate culture plays a pivotal role in shaping employee belongingness, as alignment with organizational values enhances engagement, motivation, and productivity. This study aims to investigate the types of corporate culture implemented across organizations and analyze their impact on employees’ sense of belonging. Using a systematic literature review, the study adheres to the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines. Articles were sourced from reputable databases such as Scopus and ProQuest, yielding six relevant studies for analysis. The findings identified six primary types of corporate culture, particularly the informal communications, internal branding, employee-based brand equity, workspace preferences, activity-based work (ABW) space, and the informal bonding that all contribute positively to employees’ sense of belonging. These cultures fostering employee performance and organizational commitment, improving sense of pride in the organization, promoting communal atmosphere, and Influencing Employees’ Values and Behaviours. Notably, the review reveals a strong positive correlation between corporate culture and employees’ sense of belonging highlighting its essential role in fostering a supportive and engaging workplace environment. These insights offer valuable implications for organizations seeking to enhance employee well-being and organizational effectiveness through strategic cultural initiati
With technological advancements, animation has become an integral part of various industries including advertising, film, and education. This article focuses specifically on the role of animation in design education, an area that, despite the widespread application across educational fields like architecture, medicine, and elementary education, has not been extensively explored. The purpose of this study is to explore and identify how animation specifically enhances design education, distinct from its application in other educational fields. This focus is critical as animation can transform the delivery of design education by facilitating more effective visual communication, enhancing student engagement, and improving comprehension and retention of complex design principles. Although animation is prevalent in many educational sectors, its targeted impact on design education is less documented, and this study aims to fill that gap. The increasing incorporation of animation in classrooms underscores its potential in enriching design educational processes, suggesting that a deeper investigation into its specific benefits in this field is timely and relevant.
The constitution of multiple documents has so far been studied essentially as a process in which a single learner consults a number (of segments) of different documents in the context of the task at hand in order to construct a mental model for the purpose of completing the task. As a result of this research focus, the constitution of multiple documents appears predominantly as a monomodal, non-interactive process in which mainly textual units are studied, supplemented by images, text-image relations and comparable artifacts. This approach is reflected in the contextual fixity of the research design, in which the learners under study search for information using suitably equipped computers. If, on the other hand, we consider the openness of multi-agent learning situations, this scenario lacks the aspects of interactivity, contextual openness and, above all, the multimodality of information objects, information processing and information exchange. This is where the chapter comes in. It describes Va.Si.Li-Lab as an instrument for multimodal measurement for studying and modeling multiple documents in the context of interactive learning in a multi-agent environment. To this end, the chapter places Va.Si.Li-Lab in the spectrum of evolutionary approaches that vary the combination of human and machine innovation and selection. It also combines the requirements of multimodal representational learning with various aspects of contextual plasticity to prepare Va.Si.Li-Lab as a system that can be used for experimental research. The chapter is conceptual in nature, designing a system of requirements using the example of Va.Si.Li-Lab to outline an experimental environment in which the study of Critical Online Reasoning (COR) as a group process becomes possible. Although the chapter illustrates some of these requirements with realistic data from the field of simulation-based learning, the focus is still conceptual rather than experimental, hypothesis-driven. That is, the chapter is concerned with the design of a technology for future research into COR processes.
K-12 educators who engage their students in designing using digital technologies face the challenge of teaching the act of designing in classroom contexts, yet books and articles on the topic of design processes and methods tend to focus on the instruction of design strategies for adult learners rather than children. One framework, the Informed Design Teaching and Learning Matrix (Crismond and Adams, Journal of Engineering Education 101:738–797, 2012) does address dimensions of design practices and instructional approaches specifically within K-16 educational contexts, but it has yet to be revised based on empirical evidence. Using multiple case studies, we examined this framework against teacher perceptions of how design should be taught and the observed instructional practices of those secondary educators. We argue that refinement to the IDTL Matrix is warranted and suggest expanding the framework to include design strategies that address collaborative learning, peer communication, and the integration of digital and non-digital tools and materials. Such revisions to the IDTL Matrix would contribute to providing the best possible support to teachers who seek to develop their students’ design strategies in classroom contexts.
Tasarım eğitiminin bir yönü de çok yönlü bilgi girdilerinin sistematik bir şekilde tasarım süreçlerinde nasıl kullanılacağına dair becerilere odaklanmasıdır. Endüstriyel tasarım eğitiminin proje bazlı bir karakteri olduğu düşünüldüğünde eğitim müfredatında bulunan diğer derslerin proje sürecine hizmet etmesi beklenmektedir. Hizmet dersleri uygulamalı, teorik ya da iki tekniğin bir arada olduğu biçimlerde verilebilmektedir. Hizmet derslerindeki verim doğrudan merkez konumda olan proje derslerini etkileyeceğinden, derslerin işleniş şekillerinin öğrencinin öğrenme alışkanlıkları ile ne kadar uyumlu olup olmadığının bilinmesinin önemli bir veri olacağı düşünülmüştür. Bu motivasyondan yola çıkılarak tasarım süreci için kritik bilgiler barındıran "İnsan Faktörleri ve Ergonomi" dersi üzerinden bir durum incelemesi yapılmıştır. İnsan Faktörleri ve Ergonomi disiplini uygulamalı içeriklere sahip olsa da Endüstriyel tasarım eğitimi veren çok sayıda kurumda bu ders teorik olarak verilmektedir. Ancak tasarım öğrencileri ağırlıklı olarak uygulama içerikli derslere maruz kaldığından, öğrenme alışkanlıkları bakımından teorik derslere karşı bir "önem" kaygısı taşıdıkları düşünülmüştür. Bu kapsamda bu dersi henüz almamış ve başarı ile tamamlamış 10'ar kişilik iki öğrenci grubu ile derinlemesine görüşmeler yapılmıştır. Görüşmeler sonucunda katılımcılarda ağırlıklı olarak teorik derslere karşı olumsuz düşünceler, uygulama içerikli derslere karşı da olumlu düşünceler ortaya çıkmıştır. Bu düşüncelere neden olan etmenler ise insan faktörleri ver ergonomi dersi ölçeğinde tartışılmış olup, eğitimin daha verimli olması adına çeşitli önerilerde bulunulmuştur.
The public sector's digital transformation fosters collaboration and experimentation,
integrating design practices like design thinking, service design, and system
design, notably in public innovation labs. Despite progress, these labs face challenges
in effecting change, transferring knowledge, and gaining cultural acceptance. Public
Innovation Labs (PIL) prioritize the common good, unlike profit-centric private counterparts.
Design Research Labs (DRL), rooted in arts and design, share this mission, offering
a unique perspective on public sector innovation. Exploring the potential of DRLs
in supporting public labs, this paper outlines criteria based on five DRLs in the German
academic design context. It provides a new perspective on public lab characteristics,
aiming to enhance understanding of their role in fostering innovation within the public
sector.
The advent of digital technology has enabled the development of alternative learning methods that enable personalized education to meet the demands of the modern era. Regardless of geographical location and time, online education facilitates the provision of personalized learning opportunities through asynchronous or synchronous recording. Thanks to Covid-19, the rapid adaptation of formal education to digital environments promoted individualization and self-directed learning. The increasing use of design software in architectural education due to digitalization promotes integrating synchronous or asynchronous extracurricular training into the individual learning process. By exploring the diversity of informal online education programs in design software, this study aims to identify the contributions and limitations of informal learning in personalization. Examining the context of a five-day online workshop and a 21-day course can provide new perspectives through a multidisciplinary environment of discussion and practice, even in a short period of time. These programs provide education and training for skilled designers who have their own unique perspectives and techniques on design. Participants' economic situation regarding course fees introduces a competitive medium, which restricts learning accessibility in any scenarioMoreover, excluding these educational programs from transcripts due to imprecise evaluation conditions results in unfairness. With equal access and fair and accurate evaluation mechanisms, informal online education can help professionals develop unique, global, and harmonious perspectives.
O debate em torno dos ateliês virtuais de projeto nos últimos anos tem enfatizado a importância do trabalho colaborativo com o uso das novas tecnologias digitais, sinalizando potencialidades, alcances e limitações desse tipo de prática. Nesse cenário, o objetivo deste artigo é refletir sobre a dimensão social da aprendizagem no Atelier Virtual Internacional de Projeto de Arquitetura - IVADS 2023, pontuando alguns dos seus elementos definidores, compreendido aqui pelas relações estabelecidas entre os seus participantes, a comunicação por eles desenvolvida e a possível associação com o trabalho realizado. A pesquisa inclui informações provenientes de diálogos registrados em um aplicativo de mensagens instantâneas, utilizado como meio de comunicação por dois grupos participantes da oficina. Após a sistematização dos dados obtidos, houve o agrupamento dos principais assuntos e/ou atividades relacionadas a cada um dos grupos, em busca de possíveis elementos de conexão entre o comportamento dos indivíduos e/ou do grupo e o desenvolvimento das tarefas. As análises possibilitaram um entendimento qualitativo da influência dos pares no processo projetual; demonstrando similaridades e diferenças entres os encaminhamentos das equipes. As reflexões finais reafirmam o papel decisivo que as relações interpessoais desempenham nos processos dos grupos ou equipes colaborativas em ambientes virtuais de desenvolvimento de projeto.
The chapter is a critical look at the relationship between space and creativity, and at the concepts “creative space” and “space of creativity”. Using examples from everyday life, developmental psychology, and author’s own writing practice, as well as Martin Heidegger’s philosophical idea of “dwelling” and Andy Clark and David Chalmers’ philosophical-psychological idea of “extended cognition”, the author suggests that creativity is an aspect of the relationship between humans and space, and that singling out specific spaces as “creative” simultaneously hides many everyday and subversive kinds of creative activities and relationships.
The main subject of the article is the definition and typology of creative spaces. The goal is a search for an architectural solution for creative space in the university environment. Tasks: compilation of the terminological base of the study; typologization of public and educational creative spaces; formation of the creative cluster concept of the intercollegiate campus in Khabarovsk. The relevance of the topic is due to the growing demand for new university spaces, including those implemented within the framework of the federal program for the creation of world-class campuses, taking into account new forms and methods of organizing educational processes. Qualitative content analysis was used as a method in this article. In general, the methods of photofixation, sociological survey, modeling were used in the study. At the beginning of the article, the terminological base of the study is established, based on the difference in the etymology and semantics of the term "creativity". The first meaning of the term refers to the initiative of generating unusual ideas and social format. The second meaning refers to the process of producing new items, cultural phenomena and individual format. The analysis of the research of public creative spaces allows us to identify the main criteria of typology: according to the initial data, according to the functions, according to the method and purpose of the organization, according to the way the space is organized. The analysis of specialized workshops at universities with creative directions was based on the criteria of the educational process organization. The novelty of the research consists in an attempt to combine narrow-profile educational spaces of architectural and artistic directions with public creative spaces within the framework of the intercollegiate campus in Khabarovsk. The research hypothesis is the art and creative university spaces co-organization contributes to the fulfillment of the university mission 3.0.
Purpose: The purpose of this study is to identify the determinant factors of green office layout towards employee workplace productivity. Theoretical Framework: The research is based on the theoretical framework which represent the independent variables of comfort, office space, interactions, distractions and environment and awareness attitude while dependent variables is employee productivity. Design/Methodology/Approach: This quantitative study data were gathered from 200 logistics company during operation hours. They key respondent was the company’s regular employee as and the validity and the reliability of the questionnaire were thoroughly examined. The results were based on regression analysis and equation modelling by using SPSS software. Then, the data will be analysed in the relationship of each construct using the structural equation modelling approach. Findings: The findings of the study provide strong grounds that employee productivity are highly connected with factor of green office layout involved comfort, office space, interaction, distraction and environment awareness and attitude as well positively influences the employee productivity. Meanwhile, the researcher observation shows that comfort and office space have complementary relationship with employee productivity. Research, Practical & Social implications: Companies should emphasize that improvement of employee productivity is basic components in an office environment. The components are comfort dimension, office space dimension, interaction dimension, distraction dimension and environment awareness and attitude dimension. It is valuable to concurrently instilling all of this dimension value in order to improve the employee productivity that give the potential benefit. Originality/Value: The research is an enhanced conceptual framework that examines critical issues concerning the successful relationship of green office layout dimension and employee workplace productivity, thus providing valuable outcomes for decision makers and academics. This study found that the framework could explain better each variable which has a dimension of green office layout towards employee workplace productivity.
A variety of methods for audio quality evaluation are available ranging from classic psychoacoustic methods like alternative forced-choice tests to more recent approaches such as quality taxonomies and plausibility. This chapter introduces methods that are deemed to be relevant for audio evaluation in virtual and augmented reality. It details in how far these methods can directly be used for testing in virtual reality or have to be adapted with respect to specific aspects. In addition, it highlights new areas, for example, quality of experience and presence that arise from audiovisual interactions and the mediation of virtual reality. After briefly introducing 3D audio reproduction approaches for virtual reality, the quality that these approaches can achieve is discussed along with the aspects that influence the quality. The concluding section elaborates on current challenges and hot topics in the field of audio quality evaluation and audio reproduction for virtual reality. To bridge the gap between theory and practice useful resources, software and hardware for 3D audio production and research are pointed out.
This chapter examines user experience design for collaborative music making in shared virtual environments (SVEs). Whilst SVEs have been extensively researched for many application domains including education, entertainment, work and training, there is limited research on the creative aspects. This results in many unanswered design questions such as how to design the user experience without being detrimental to the creative output, and how to design spatial configurations to support both individual creativity and collaboration. Here, we explore multi-modal approaches to supporting creativity in collaborative music making in SVEs. We outline an SVE, LeMo, which allows two people to create music collaboratively. We then present two studies; the first explores how free-form visual 3D annotations instead of spoken communication can support collaborative composition processes and human–human interaction. Five classes of use of annotation were identified in the study, three of which are particularly relevant to the future design of sonic interactions in virtual environments. The second study used a modified version of LeMo to test the support for a creative collaboration of two different spatial audio settings, which according to the results, changed participants’ behaviour and affected their collaboration. Finally, design implications for the auditory design of SVEs focusing on supporting creative collaboration are given.
The development of Virtual Reality (VR) systems and multimodal simulations presents possibilities in spatial-music mixing, be it in virtual spaces, for ensembles and orchestral compositions or for surround sound in film and music. Traditionally, user interfaces for mixing music have employed the channel-strip metaphor for controlling volume, panning and other audio effects that are aspects that also have grown into the culture of mixing music spatially. Simulated rooms and two-dimensional panning systems are simply implemented on computer screens to facilitate the placement of sound sources within space. In this chapter, we present design aspects for mixing in VR, investigating already existing virtual music mixing products and creating a framework from which a virtual spatial-music mixing tool can be implemented. Finally, the tool will be tested against a similar computer version to examine whether or not the sensory benefits and palpable spatial proportions of a VE can improve the process of mixing 3D sound.
As the next generation of active video games (AVG) and virtual reality (VR) systems enter people’s lives, designers may wrongly aim for an experience decoupled from bodies. However, both AVG and VR clearly afford opportunities to bring experiences, technologies, and users’ physical and experiential bodies together, and to study and teach these open-ended relationships of enaction and meaning-making in the framework of embodied interaction. Without such a framework, an aesthetic pleasure, lasting satisfaction, and enjoyment would be impossible to achieve in designing sonic interactions in virtual environments (SIVE). In this chapter, we introduce this framework and focus on design exemplars that come from a soma design ideation workshop and balance rehabilitation. Within the field of physiotherapy, developing new conceptual interventions, with a more patient-centered approach, is still scarce but has huge potential for overcoming some of the challenges facing health care. We indicate how the tactics such as making space, subtle guidance, defamiliarization, and intimate correspondence have informed the exemplars, both in the workshop and also in our ongoing physiotherapy case. Implications for these tactics and design strategies for our design, as well as for general practitioners of SIVE are outlined.
The relationships between the listener, physical world, and virtual environment (VE) should not only inspire the design of natural multimodal interfaces but should be discovered to make sense of the mediating action of VR technologies. This chapter aims to transform an archipelago of studies related to sonic interactions in virtual environments (SIVE) into a research field equipped with a first theoretical framework with an inclusive vision of the challenges to come: the egocentric perspective of the auditory digital twin. In a VE with immersive audio technologies implemented, the role of VR simulations must be enacted by a participatory exploration of sense-making in a network of human and non-human agents, called actors. The guardian of such locus of agency is the auditory digital twin that fosters intra-actions between humans and technology, dynamically and fluidly redefining all those configurations that are crucial for an immersive and coherent experience. The idea of entanglement theory is here mainly declined in an egocentric spatial perspective related to emerging knowledge of the listener’s perceptual capabilities. This is an actively transformative relation with the digital twin potentials to create movement, transparency, and provocative activities in VEs. The chapter contains an original theoretical perspective complemented by several bibliographical references and links to the other book chapters that have contributed significantly to the proposal presented here.
Real-time auralization is essential in virtual reality (VR), gaming, and architecture to enable an immersive audio-visual experience. The audio rendering must be congruent with visual feedback and respond with minimal delay to interactive events and user motion. The wave nature of sound poses critical challenges for plausible and immersive rendering and leads to enormous computational costs. These costs have only increased as virtual scenes have progressed away from enclosures toward complex, city-scale scenes that mix indoor and outdoor areas. However, hard real-time constraints must be obeyed while supporting numerous dynamic sound sources, frequently within a tightly limited computational budget. In this chapter, we provide a general overview of VR auralization systems and approaches that allow them to meet such stringent requirements. We focus on the mathematical foundation, perceptual considerations, and application-specific design requirements of practical systems today, and the future challenges that remain.
Sonic experiences are usually considered as the result of auditory feedback alone. From a psychological standpoint, however, this is true only when a listener is kept isolated from concurrent stimuli targeting the other senses. Such stimuli, in fact, may either interfere with the sonic experience if they distract the listener, or conversely enhance it if they convey sensations coherent with what is being heard. This chapter is concerned with haptic augmentations having effects on auditory perception, for example how different vibrotactile cues provided by an electronic musical instrument may affect its perceived sound quality or the playing experience. Results from different experiments are reviewed showing that the auditory and somatosensory channels together can produce constructive effects resulting in measurable perceptual enhancement. That may affect sonic dimensions ranging from basic auditory parameters, such as the perceived intensity of frequency components, up to more complex perceptions which contribute to forming our ecology of everyday or musical sounds.
In recent years, companies have increasingly focused on innovative workspaces to enhance employee creativity. These new workspace concepts break with conventional office designs. Google, Apple, and Facebook are typical examples of companies that have received considerable media attention for their unique workspaces. Nowadays, many other organizations deal with the challenge of designing such creativity-enhancing workspaces. In contrast to this high practical relevance, the literature lacks an overview reflecting the present state of research on how to design such work environments. To bridge this gap, we conduct a systematic literature review to draw a comprehensive overview of existing empirical research on creativity-enhancing workspaces. Empirical evidence shows that designing creative workspaces is by no means a trivial task, because the physical work environment can both enhance and inhibit creativity in organizations. We categorize characteristics of creative workspaces and offer insights into how workspaces should be designed so that they foster creativity. Finally, we derive implications for both theory and practice, and conclude with suggestions for future research.
Abstract
This study proposes a grammar of creative workplaces which identifies and codifies those elements of the physical environment that are reported to actively stimulate and sustain creativity in the workplace. The grammar is explicit rather than metaphorical or taxonomic. It emerges from and is applied into workplaces, predominantly office environments. Three elements, meaning, lexis, and syntax, central to the structure of linguistic and non-linguistic grammars, are proposed as the grammar’s method and as its content. Respondents in the research study identified the creative behaviours that stimulate and sustain their creativity, and the discrete physical elements that influence and support (and can hinder) those activities. It is suggested that those creative behaviours and the discrete elements of physical space are congruent with the three key grammatical elements.
The grammar addresses that gap in knowledge in the fields of architecture, design and psychology where the impact of the physical environment on people’s creativity in the workplace is acknowledged, but is without mediating structures of theory or implementation.
The grammar is presented in two forms. Firstly as a detailed instrument for assessing a workplace’s capacity to support user creativity, and secondly as the theoretical foundation of a generative grammar for the design of creativity-supporting workplaces. As an assessment instrument the grammar sets out in depth the places needed for users’ creative behaviour, six meta-categories of workplace sensory properties reported to enhance user creativity, the affordances or materials and equipment needed to support creative behaviours, and the behaviours themselves that lead to creative outcomes.
In its generative form the grammar uses these identified elements of place, properties, affordances and behaviours in an IF→THEN configuration. Place, properties and affordances form the grammar’s lexis, and behaviours is its syntax. This generative form creates the basis from which spaces with optimum creative potential can be designed.
The grammar in both its forms thus aims to inform and supplement existing good practice in which architects and designers use their experience or intuition to design for optimal user creativity. In its assessment form it aims to empower workplace users to audit their own workplaces and identify changes they might make to increase creative potential.
Configurations of visual language encompass both patterns and grammars and this thesis draws on work done by, among many others, Alexander, Chomsky, Stiny, and Halliday in this field. Patterns and grammars exist across many disciplines to build structures of communication and analysis: this thesis positions its argument within three-dimensional physical space. Derived from the data through constructivist grounded theory, the emergent grammar is validated through the analysis of two workplaces, demonstrating its robust nature and its rootedness in practice.
This study, therefore, proposes an explicit grammar of creative workplaces that can inform the design and the evaluation of physical workplaces. The study further proposes that in its generative form the grammar could provide a foundation for testing the influence of physical space on creativity, beyond the reported impact examined here.
This work aims to contribute to the fields of Architecture, Design and Creativity Research, and to inform and inspire those who create, and those who use, workplaces.
Digital technologies have added new kinds of spaces for collaboration and solo working which both support traditional creative behaviour and accommodate new kinds of practice in hybrid environments. This paper grounds such spaces in a discussion of transliteracy and considers the preferred creative environments of a group of transliterate writers.
Much of human behavior involves non-conscious cognition. Research has shown that it is possible to manipulate non-conscious cognition and behavior through "priming", a well-known phenomenon from cognitive psychology. 3-D Virtual Environments (VEs) have shown potential as platforms for virtual collaboration. Visually oriented, VEs represent team members as avatars. We posit that incorporating visual elements designed to improve creativity through priming in VEs can influence team-brainstorming performance. Using Open Wonderland, we developed two environments for virtual team brainstorming: one that looked like a traditional open office environment and one designed to prime team members for improved creativity. Participants worked in teams to generate ideas on a topic. Results show that when teams generated ideas in creativity primed environment, they generated significantly more ideas that were of better quality than when they worked in a neutral priming environment.
Purpose – Generic use of the term “knowledge worker” has resulted in a generic approach to designing office environments for this group. The purpose of this paper is to probe the mobility patterns and motivations of knowledge workers in order to provide a classification of different types of knowledge worker. Design/methodology/approach – The study was undertaken using a range of qualitative research methods including semi-structured interviews with 20 knowledge workers representing different levels of mobility and experience, ethnographic studies in a media company, real estate business and a public relations firm, and a user workshop. A novel drawing exercise was introduced to elicit responses during the interview process. Findings – Four knowledge worker “character types” emerged from the research: the Anchor and the Connector, who are mainly office-based, and the Gatherer and the Navigator, who work more widely afield. Research limitations/implications – This is a small study revealing characteristics particular to the participating individuals and organisations. However, it has wider implications in that the more complex set of requirements revealed by the project requires a more responsive and service-led approach to office design for knowledge workers and the development of new protocols of use within office space. Originality/value – The originality/value lies in giving designers and facilities managers an insight into the different needs of knowledge workers, who are commonly treated as a homogeneous group. The typologies are an active tool for better brief-making in design for creative facilities.
This article analyses the role of the space for facilitating creativity, especially in the context of creative education. Based on a qualitative user research with cultural probes, five different types of creative spaces were identified: 1) the “Solitary Space”, which allows thinking and meditation, and which is characterized by a silent atmosphere, 2) the “Team Space”, which invites people to communicate with each other, and which is characterized by noise, playfulness and team interactions, 3) the “Tinker Space”, which allows people to experiment and to build stuff, e.g. in the university’s workshops, and 4) the “Presentation Space”, where people can actively present and show their work, or passively consume input (such as lectures). Additionally there are “Transition Spaces”, like hallways, which are used for informal exchange and chats as well as to withdraw from the focused creative work.
Independent from the type, different functions of a creative space could be identified, such as a) space as a knowledge repository, b) space as an indicator of a specific culture, c) space as a process manifestation, d) space as a social dimension, and e) space as a source of stimulation. The paper suggests characteristics and criteria for each of the types and functions. The results are summarized in a framework. The work presented in this article may contribute to a better understanding of the impact of the space design for creative design education, and might also be used for design educators to improve the design of their classrooms.
Designing a virtual campus raises pedagogical questions as well as questions about the difference between the design of physical places and virtual places. When creating a virtual learning environment, we do not just ask, how do we present lecture notes and assignments on the internet? We also ask, how do we develop a learning environment in which students can access learning materials and interact with instructors and students? The emphasis is as much on interaction between students and instructors in a virtual place as it is on the information delivered. We can draw an analogy between the design of virtual environments and architectural design. We conceive of the virtual environment as a place, like a classroom or an office. An understanding of the design language and design process for virtual places in general helps to identify the possibilities for the design of a virtual campus. In this paper, we present the possibilities for learning in a virtual community and the considerations of design process and language when designing virtual places.
Innovative organisations need creative employees who generate new ideas for product or process innovation. This paper presents a conceptual framework for the effect of personal, social-organisational and physical factors on employee creativity. Based on this framework, an instrument to analyse the extent to which the work environment enhances creativity is developed. This instrument was applied to a sample of 409 employees and support was found for the hypothesis that a creative work environment enhances creative performance. This paper illustrates how the instrument can be used in companies to select and implement improvements. STATEMENT OF RELEVANCE: The ergonomics discipline addresses the work environment mainly for improving health and safety and sometimes productivity and quality. This paper opens a new area for ergonomics: designing work environments for enhancing employee creativity in order to strengthen an organisation's capability for product and process innovation and, consequently, its competitiveness.
This paper presents a research based analytical model that supports the planning of workspace and to contribute to the discussion on how to achieve efficient work places. The research behind this paper aims to develop knowledge regarding the planning and design of work places. Through literature studies, case study research and action research projects the paper considers in what way spatial issues matter in organisations. By relating the various aspects of the analytical model it is possible to illustrate how focus and perspectives change during organisational and workspace changes. A need for new professional roles and processes for workplace design is noted. It is argued that the relationship between the organisation and the workspace should be a continuous process of design. The paper contributes to the process of workspace planning by giving a new insight into the traditional aspects of work environmental issues and metaphoric/symbolic qualities. This is useful for external consultants and facilities managers alike.
This paper explores the effect teaching in a specially designed ‘creative learning space’ has on students’ engagement with the learning process, their motivation to explore, experience and discover (i.e. to be creative), and on them becoming more active, autonomous learners. It examines the notion of creative space, how it differs from teaching and learning in a typical classroom environment and the impact it has had on students and staff. Socio‐economic changes affecting Higher Education are having a considerable impact on the nature of the curriculum and the way in which teaching is carried out. The student body is becoming increasingly diverse and a greater premium is being attached to the development of so‐called higher‐order skills such as creativity. This is being further affected by an increase in the use of advanced technology and changes in the teaching–learning relationship with the lecturer’s role becoming increasingly one of a facilitator of the learning process. Thus, there has been an increased interest in exploring innovative and stimulating practices and learning spaces. It is not an easy task to measure the effectiveness of any learning space as there are many variables: teacher style, learning techniques, the method of delivery, etc. This paper reports on the initial findings of using such a space in an attempt to make a difference to students’ learning and their creative capacity.
In the last few years, “Design Thinking” has gained popularity – it is now seen as an exciting new paradigm for dealing with problems in sectors as far a field as IT, Business, Education and Medicine. This potential success challenges the design research community to provide unambiguous answers to two key questions: “What is the core of Design Thinking?” and “What could it bring to practitioners and organisations in other fields?”. We sketch a partial answer by considering the fundamental reasoning pattern behind design, and then looking at the core design practices of framing and frame creation. The paper ends with an exploration of the way in which these core design practices can be adopted for organisational problem solving and innovation.Highlights► Analysing design reasoning in terms of abduction. ► Presenting a framework for the description of design practices. ► Investigating the creation of new frames as a key design practice. ► Describing the different levels on which design (framing) practices can impact organisations.
Firms are paying increasing attention to the physical environments in which creative and innovative activities take place. These environments reflect the firm's strategic intentions towards innovation and provide a physical embodiment of their desired modes of working. To date, this new phenomenon has received little academic attention. Based on both literature and also the authors' combined experiences through observing firms in Europe, this paper proposes a simple framework to aid practitioners and academics to better understand the design, role and goals of such spaces.
This paper considers the domains of architectural design and film theory for the purpose of informing the design of virtual environments (VEs). It is suggested that these domains may form a background for the consideration of possible metaphors for the design of VEs. Firstly, the paper investigates the relation between architecture and virtual reality technology, through the nature of drawings and virtual environments as means of representing three-dimensional spaces. Then, differences between VEs and physical environments (PEs) are identified for the purpose of understanding the intrinsic nature of VEs, by comparing them to our familiar everyday spatial experience. This step is considered essential in helping us understand how we might be able to develop an architectural conception of designing spaces, in the context of VEs. The paper then presents two directions towards informing VE design by means of theoretical and practical architectural design knowledge. Finally, the use of film-related studies is considered as a means of enhancing our conception of time and movement in VEs.
What is virtual reality and how do we conceptualize, create, use, and inquire into learning settings that capture the possibilities of virtual life? The International Handbook of Virtual Learning Environments was developed to explore Virtual Learning Environments (VLE’s), and their relationships with digital, in real life and virtual worlds.
Three issues are explored and used as organizers for The Handbook. First, a distinction is made between virtual learning and learning virtually. Second, since the focus is on learning, an educational framework is developed as a means of bringing coherence to the available literature. Third, learning is defined broadly as a process of knowledge creation for transforming experience to reflect different facets of "the curriculum of life".
To reflect these issues The Handbook is divided into four sections: Foundations of Virtual Learning Environments; Schooling, Professional Learning and Knowledge Management; Out-of-School Learning Environments; and Challenges for Virtual Learning Environments. A variety of chapters representing different academic and professional fields are included. These chapters cover topics ranging from philosophical perspectives, historical, sociological, political and educational analyses, case studies from practical and research settings, as well as several provocative ‘’classics’ originally published in other settings.
Table 2 Comparison of the presented typology of creative spaces and qualities with classifications found in related literature Space type Sources Personal space Setola and Leurs (2014) > The attic (analyse and generalise) Lawson and Dorst
Table 2 Comparison of the presented typology of creative spaces and qualities with classifications found in related literature
Space type
Sources
Personal space
Setola and Leurs (2014) > The attic (analyse and generalise)
Lawson and Dorst (2009) > Library (study room)
Official workspace, semi-official workspace Doorley and Witthoft (2012) > Home base, gathering space Making space Setola and Leurs (2014) > The workplace Doorley and Witthoft (2012) > Realization space Presentation space Doorley and Witthoft (2012) > Gathering space Intermission space
- Williams
Williams (2013) > Official workspace, semi-official workspace
Doorley and Witthoft (2012) > Home base, gathering space
Making space
Setola and Leurs (2014) > The workplace
Doorley and Witthoft (2012) > Realization space
Presentation space
Doorley and Witthoft (2012) > Gathering space
Intermission space
Setola and Leurs (2014) > The wild (observe and register)
Informal spaces at work for engagement, non-workspace (home, outdoor, transportation
- Williams
Williams (2013) > Informal spaces at work for engagement, non-workspace (home,
outdoor, transportation, etc.)
Make sense (meaning making) Lawson and Dorst (2009) > Library (repository of design literature and precedents
- Meinel
Meinel et al. (2017) > Relaxing space, disengaged space, doodle space
Doorley and Witthoft (2012) > Thresholds/transitions, reflect
Spatial quality
Sources
Knowledge repository
Leurs et al. (2013) > Make sense (meaning making)
Lawson and Dorst (2009) > Library (repository of design literature and precedents)
Moultrie et al. (2007) > Data and information
Organizational culture
Leurs et al. (2013) > Make place (ownership)
Spatial configuration (dependencies between activities and spatial setting)
- Lindahl
Lindahl (2004) > Spatial configuration (dependencies between activities and spatial
setting)
Quality and degree of participation Additional concepts Sources Spatial characteristics Dul and Ceylan (2011) > 12 characteristics: furniture, indoor plants, calming colors, inspiring colors, privacy, window views (nature), any window view
- Lindahl
Lindahl (2004) > Quality and degree of participation
Additional concepts
Sources
Spatial characteristics
Dul and Ceylan (2011) > 12 characteristics: furniture, indoor plants, calming colors,
inspiring colors, privacy, window views (nature), any window view, quantity of light,
daylight, indoor climate, sound, and smell.
Work scape new spaces for new work
- S Borges
- S Ehmann
- R Klanten
Borges, S., Ehmann, S., & Klanten, R. (2013). Work scape new spaces for new
work. Berlin: Gestalten.
On architectural design in virtual environments. Design Studies
- A Bridges
- D Charitos
Bridges, A., & Charitos, D. (1997). On architectural design in virtual environments. Design Studies, 18(2), 143e154. https://doi.org/10.1016/S0142694X(97)85457-9.
Creativity: Flow and the psychology of discovery and invention
- M Csikszentimihalyi
Csikszentimihalyi, M. (1996). Creativity: Flow and the psychology of discovery and
invention. New York: HarperCollins.
Make space: How to set the stage for creative collaboration
- S Doorley
- S Witthoft
Doorley, S., & Witthoft, S. (2012). Make space: How to set the stage for creative
collaboration. Hoboken, N.J: John Wiley & Sons.
Spaces for young children: A practical guide to planning, designing and building the perfect space
- M Dudek
Dudek, M. (2012). Spaces for young children: A practical guide to planning,
designing and building the perfect space (2nd revised edition). London: National
Children's Bureau Enterprises Ltd.
Learn for life: New architecture for new learning
- S Ehmann
- S Borges
- R Klanten
Ehmann, S., Borges, S., & Klanten, R. (2012). Learn for life: New architecture for
new learning. Berlin: Gestalten.
The other office: Creative workplace design 2
- W Georgi
- C Mcnamara
Georgi, W., & McNamara, C. (2016). The other office: Creative workplace design
2. Amsterdam: Frame Publishers.
Spaces for innovation: The design and science of inspiring environments
- K Groves-Knight
- O Marlow
Groves-Knight, K., & Marlow, O. (2016). Spaces for innovation: The design and
science of inspiring environments. Amsterdam: Frame Publishers.
I wish I worked there! A look inside the most creative spaces in business
- K Groves
- W Knight
- E Denison
Groves, K., Knight, W., & Denison, E. (2010). I wish I worked there! A look inside
the most creative spaces in business. Hoboken, N.J: Wiley.
Make space, make place, make sense
- B Leurs
- J Schelling
- I Mulder
Leurs, B., Schelling, J., & Mulder, I. (2013). Make space, make place, make sense.
In Proceedings of E&PDE 2013, the 15th international conference on engineering
and product design education. Dublin, Ireland.
Unlocking creativity with physical workplace
- Y Martens
Martens, Y. (2008). Unlocking creativity with physical workplace. In Proceedings
of the CIB W070 conference in facilities management. Edinburgh, Scotland:
Heriot Watt University.
Future schools: Innovative design for existing and new build
- N Mirchandani
Mirchandani, N. (2015). Future schools: Innovative design for existing and new
build. Newcastle upon Tyne: Riba Enterprises.
Deep work: Rules for focused success in a distracted world
- C Newport
Newport, C. (2016). Deep work: Rules for focused success in a distracted world.
London: Piatkus.
The wild, the pub, the attic and the workplace: A tool for negotiating a shared vision on creative learning spaces
- B Setola
- B Leurs
Setola, B., & Leurs, B. (2014). The wild, the pub, the attic and the workplace: A
tool for negotiating a shared vision on creative learning spaces. In Proceedings
of the 16th international conference on engineering and product design Education: Design education and human technology relations (E&PDE) (pp.
178e183). Enschede, The Netherlands: University of Twente.
Sk€ old, O. (2011). The effects of virtual space on learning: A literature review. First
Monday, 17(1). https://doi.org/10.5210/fm.v17i1.3496.
The other office: Creative workplace design. Amsterdam: Frame Publishers; Basel
- M Stewart
Stewart, M. (2004). The other office: Creative workplace design. Amsterdam:
Frame Publishers; Basel; Boston: Birkh€ auser.
Planning office spaces a practical guide for managers and designers
- K Thoring
- C Luippold
- R M Mueller
- P Badke-Schaub
- Usa Chicago
- J Van Meel
- Y Martens
- H J Van Ree
Thoring, K., Luippold, C., Mueller, R. M., & Badke-Schaub, P. (2015). Workspaces for design education and practice. In Proceedings of the 3rd international
conference for design education researchers (pp. 330e346). https://doi.org/
10.13140/RG.2.1.1200.7520, Chicago, USA.
van Meel, J., Martens, Y., & van Ree, H. J. (2010). Planning office spaces a practical guide for managers and designers. London, UK: Laurence King
Publishing.
A framework for creating creative workspaces
- C Walter
Walter, C. (2012). A framework for creating creative workspaces. In Proceedings
of the European conference on knowledge management (ECKM), Vol. 2 (pp.
1267e1274). Cartagena, Spain: Universidad Polit ecnica de Cartagena.
12 characteristics: furniture, indoor plants, calming colors, inspiring colors, privacy, window views (nature), any window view, quantity of light, daylight, indoor climate, sound, and smell
- Ceylan Dul
Dul and Ceylan (2011) > 12 characteristics: furniture, indoor plants, calming colors,
inspiring colors, privacy, window views (nature), any window view, quantity of light,
daylight, indoor climate, sound, and smell.
Evolution of environment according to companies' needs Walter (2012) > Ubiquity
- Moultrie
Moultrie et al. (2007) > Evolution of environment according to companies' needs
Walter (2012) > Ubiquity, variety (conceptual features of the workplace)