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DESIGNING CREATIVE SPACE
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Work and study environments that facilitate creative design processes—so called creative spaces—have gained an increased interest in the past years. The question if, and if yes how the physical environment could support designerly activities, has attracted the attention of design schools, startups, and global companies. This PhD project contributes to this emerging field by providing a systemic investigation of the topic from different angles. The first part of this thesis explores the topic through four empirical studies, in order to gain a broad understanding of creative work and study environments. The second part pursues a practice-based design science approach that consolidates the findings in a workshop concept and a set of tangible artifacts to support co-creation for designing creative work environments.
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... The classification of inspiring space categorizes into five types of spaces marked by the nature of the space, the design settings, the embedded activities, and the number of users. Thus, each space type represents specific qualities and moods for its users [17]. Thus, each space type represents specific qualities and moods for its users. ...
... The demand for creative architectural work has recently increased to meet the economic development and human prosperity needs due to globalization. Thus, after the research phase, architectural students cultivate the idea generation phase in the initial design stages and then implement the idea in design solutions before evaluating the entire output [17]. In a study conducted in Turkey at MSA ENGINEERING JOURNAL Volume 2 Issue 1, E-ISSN 2812-4928, P-ISSN 28125339 (https://msaeng.journals.ekb.eg//) ...
Space is the most effective tool to inspire architectural students. Architectural thinking usually uses a standard space prototype, giving no respect for students` learning styles. The scope has covered a deductive framework within a survey that started with a learning styles questionnaire and ended with an applicable descriptive study with a sample of architectural students to frame their environmental preferences according to their learning style. The methodology utilized multiple data accumulations as questionnaires, interviewing participants individually and noting their descriptions of their favorite inspiring spaces. Afterward, the data investigation was designated using Statistical Analysis Software (SAS) for data analysis and the Midjourney AI server in the text-to-image generation stage. The initial results showed how much architectural students prefer the reflector learning style. Although participants are different in gender and locality distribution, most showed a clear tendency to the inspiring personal space. Remarkably, the intermission space showed a higher preference frequency than the presentation space, which reflects the self-motivated nature of inspiration. In contrast, all participants showed little interest in inspiring collaboration or making spaces. Consequently, the analysis concluded a descriptive study minding the characteristics of different categories of personal spaces described by architectural students considering their learning style preferences. Each learning style reveals particular environmental needs in the preferred inspiring space, setting preliminary design criteria for a satisfying design studio containing different learning styles.
... Thoring [9] identified there are five types of functions to provide creative space: Table 1. Type of creative function to provide creative space [10] Knowledge repository Information can be stored in shelves, so that other people can access it easily, which could be extracted or used as a source of inspiration. For example: work results from more advanced students that incorporate knowledge (in the form of books, materials, notes, pictures, or on the walls) Indicator of Culture Space can serve as an indicator of a specific culture to avoid misuse to provide an appropriate atmosphere for the creative work. ...
... The existence of floor plan illustration data collected before and during the pandemic. A more detailed activities to identify spatial function of creative space (refer to [10]) is marked by the presence of furniture symbols, such as a display area and a model exploration workshop area and presentation area as a "process manifestation"; and an area for finding data as a "knowledge repository" and any stimulant activity such as cooking, playing music, playing with aquascape, watch movie as "source of stimulation"; as well as an interaction area as a "social dimension" and a resting area and working area as an "indicator of culture". ...
Current house setup presents inadequacies of flexibility that bring into unsuitable situation, which examine resilience during the COVID-19 pandemic. Social distancing restrictions cause residents to carry out all activities inside the house, including Architecture students. Creativity as an attitude that is needed by Architecture students’ needs to be maintained even if online learning is implemented. This research was conducted on Pradita University students who had experienced architectural studio learning activities, during the protocol period for maintaining the established distance learning. The previous study is adaptation has occurred with layout modifications to residential during the pandemic, further presumption that the house can become resilient by learning process and self-organization process to produce a creative environment. The research method uses direct observation by assigning the respondents themselves as observers who report the observations. The results indicate that space as “a process manifestation” is present in all respondent area in their house. While the space as “social dimension” and “knowledge repository” are held by most of the respondents. Meanwhile, space as “an indicator of culture” and “source of stimulation” was only raised by half of respondents. This paper aims to investigate the implementation of creative space in residential homes. The research results are expected to be used for improving housing providers so as residents can carry out self-organization as a resilience architecture.
... This information would be valuable for educators seeking to enhance students' creative performance in this field. The research utilizes the case study methodology focusing on understanding the possible impacts of the differences in learning style and gender on each student's idea generation style using a descriptive method [45,26], and teamwork creative performance using a quantitative assessment method [32]. Adopting cooperation and teamwork practice is intended to open the way for students to an ultimate creative environment of visibility and communication [46]. ...
Architectural education needs creativity, critical thinking, and problem-solving skills. However, little research has looked into how demographic differences, especially gender and learning style, affect the performance of architecture students especially in multidisciplinary curricula. Therefore, the paper aims to investigate the relationship between learning styles and gender among architecture students and their academic performance in a biomimicry-based practice. A practice one-week workshop was employed with a sample of architecture students to identify their idea-generation style and creativity, through novelty, resolution, and elaboration. The study found that Learning styles greatly influence idea generation style preferences and creativity performance in teamwork. Females tend to be more collaborative idea-generators during the initial stages than males. Also, Scores of novelty and elaboration were more closely tied to learning styles, while resolution scores were more associated with gender. Despite many limitations such as the focus on a specific multidisciplinary field (the architectural articulation of biomimicry), the results contribute to the development of architecture teaching strategies and the broader field of biomimicry by providing insights into how different students approach biomimicry-based design challenges.
... Permasalahan perancangan sebuah creative hub sendiri merupakan permasalahan fleksibilitas, sustainable building, interaksi sosial maupun lingkungan restorative dalam mencapai tujuan perancangan. (Thoring, 2019). ...
The Gedebage Main Market in Bandung has experienced degradation both physically and in the number of visitors or traders as time goes by. Various lifestyle changes can be felt, has been adjusted to the convenience obtained. It was recorded that in 2018, there are 1.000 trading rooms available at the Gedebage Main Market, only 500 were filled and it’s continued to reduce (Palau, E. 2021). Among the 500 inhabited trading rooms, there are still groceries and similar stalls in the traditional market cluster. In fact, with its status as a main market, it has a very important role for daily people’s need in Bandung. Physically, the existing buildings area have decreased, inculding the lack of management awareness. Therefore, a complete revolution is needed considering the potential on the surrounding area, such as Bandung whom famous for its fashion products. By using the theory of Organic Architecture to design creative public spaces as a solution in revolutionizing the Gedebage Main Market and making it as a “center of public lifestyle”. The method that used is qualitative and descriptive Thus, the “Neo-Gedebage” revolution became effective and efficient, resulting in traditional market that became a space that communities can carry out their daily activities. The results of Organic Architecture in the form of the “Neo-Gedebage” Market are able to distribute visitors according to the various lifestyle. Keywords: Lifestyle; Public Creative Hub; Revolution; Traditional Market Abstrak Pasar Induk Gedebage di Kota Bandung telah mengalami penurunan baik secara fisik maupun jumlah pengunjung ataupun pedagang seiring perkembangan zaman. Berbagai perubahan gaya hidup dapat dirasakan, menyesuaikan dengan kemudahan yang didapatkan. Tercatat pada tahun 2018 dari 1.000 ruang dagang yang tersedia pada Pasar Induk Gedebage, hanya 500-600 ruang dagang yang terisi dan terus menurun (Palau, E. 2021). Diantara 500 ruang dagang yang terhuni, masih terdapat kios basah dan sejenis dalam rumpun pasar tradisional. Padahal dengan statusnya sebagai pasar induk membuat peranannya sangat penting terhadap kehidupan masyarakat di Kota Bandung. Secara fisik, bangunan eksisting kawasan sudah mengalami penurunan termasuk kurangnya kepedulian pengelola. Oleh karena itu, diperlukan adanya revolusi menyeluruh mengingat potensi yang ada, seperti Kota Bandung sebagai kota yang terkenal dengan hasil fashion. Dengan menggunakan teori Arsitektur Organik untuk merancang ruang kreatif publik, menjadi solusi dalam merevolusi Pasar Induk Gedebage dan menjadikannya sebagai “pusat gaya hidup masyarakat”. Sehingga metode yang digunakan merupakan metode kualitatif dan deskriptif. Dengan demikian, Revolusi Pasar Induk Gedebage menjadi efektif dan tepat guna, menghasilkan pasar tradisional yang tidak hanya menjadi pusat kegiatan transaksional saja, namun juga menjadi wadah masyarakat dalam melakukan kegiatan sehari-hari. Hasil Arsitektur Organik dalam bentuk Pasar “Neo-Gedebage” mampu mendistribusikan pengunjung sesuai dengan gaya hidup masing-masing masyarakat.
... Both spatial concepts were based on the assumption that the physical workspace can have an impact on the creative process and increase the creativity of the students. A detailed investigation of the role of physical space on creative processes can be found in Thoring (2019). ...
This paper compares two pioneering design educational approaches: the historic Bauhaus school founded in 1919 in Germany, and contemporary design thinking education, based on the example of the “HPI School of Design Thinking”. We compare both approaches according to six emerging categories: (1) curriculum, (2) multi-disciplinarity, (3) mind-set and culture, (4) study environment, (5) conditions for innovation, and (6) socio-economic context. We outline differences and similarities and discuss the possible impact for future design education.
Workspaces can enhance the creativity of the designers that occupy them. Here, we review experimental studies of creative spaces to identify constructs that mediate (explain) the relationship between physical spaces and creative performance. Through a literature review of 8 journal articles comprising 13 experiments, we identify 14 constructs involving cognitive, affective and physiological components. Knowledge of these mediators can help researchers to formulate hypotheses, select control variables, and develop conceptual models and theories of creative spaces in design.
I consider peer reviewed as this document integrates pieces from previous works in that condition.
Kehidupan manusia di dunia tidak bisa terlepas dari lingkungannya yang terus berkembang seiring berkembangnya teknologi. Pendidikan menjadi salah satu cara dalam meningkatkan kualitas sumber daya yang mampu beradaptasi dan berkompetisi dibutuhkan untuk dapat bertahan hidup dalam perkembangan lingkungan di dunia. Tujuan pendidikan nasional jelas menyampaikan bahwa pendidikan dilakukan untuk meningkatkan kecerdasan rakyatnya baik itu kecerdasan intelektual (IQ), kecerdasan emosional (EI) dan kecerdasan spiritual (SI). Namun dalam praktiknya, institusi pendidikan lebih mengarah pada peningkatan IQ, melupakan EI dan SI yang sebenarnya tidak bisa terlepaskan satu dengan yang lainnya. Perubahan akibat digitalisasi dalam konsep pendidikan ini memunculkan suatu permasalahan dasar secara spasial yaitu perubahan tipologi sekolah atau ruang kegiatan sebagai lingkungan belajar. Bentuk arsitektur pendidikan anak yang dapat mengakomodasi kebutuhan emosional dan akademis anak berdasarkan kecerdasannya menjadi permasalahan desain utama. Sekolah Pukka Cisauk merupakan fasilitas pendidikan untuk anak sekolah dasar dan sekolah menengah pertama dalam mendukung peningkatan kecerdasan pada anak demi kualitas kehidupan yang lebih baik. Sistem pendidikan yang digunakan adalah pembelajaran berbasis proyek (PBL) dengan proses pembelajaran menitikberatkan pada siswa. Perbedaan identitas setiap individu diakomodasi dalam pembentukan ruang berdasarkan 8 kecerdasan majemuk yang diintegrasikan dengan prinsip belajar kolaboratif, kreatif, partisipatif, pengalaman, multiliterasi, personalisasi, menyenangkan dan interdisiplin dalam mencapai tujuan membentuk anak yang produktif, afektif dan kreatif.
Call for Contributions to the Track "Design Learning Environments" of LearnXDesign International Conference for Design Education Researchers. We invite Full Papers, Case Studies, Workshop Proposals, and VIsual Papers.
https://learnxdesign.net/lxd2021/
Designerly innovation tools, such as canvases, are widely used for facilitating team and collaboration processes. This paper outlines the potential design space of such innovation canvases. Based on a systematic analysis of 123 existing canvases we developed a morphological box that distinguishes between six different parameters identified as relevant: (1) addressed process step, (2) involved media, (3) sequence of use, (4) available instructions, (5) number of elements, and (6) design specifics, as well as possible choices among them. The analysis also yielded several research gaps. Furthermore, we present an in-depth discussion of the possible theoretical underpinnings of innovation canvases and summarize them in a theoretical framework. The results of this paper provide references for other researchers and practitioners to better understand working mechanisms and fields of application of existing canvases and for developing such visual innovation tools for their own purposes.
This paper provides an overview of the state-of-the-art research about creative work and learning environments. We conducted a systematic literature search within the Scopus database and identified a total of 70 relevant sources discussing creative spaces within academic, practice, or other innovation environments. Among the included sources are 48 academic publications and 22 sources from company research and illustrative coffee-table books that are discussed separately. We analyse the academic sources regarding their theoretical contribution, as well as regarding their scope. Finally, the included sources are categorized according to three areas of interest: (1) the addressed space types for different creative activities, (2) abstracted requirements for creative spaces, and (3) concrete characteristics and configurations of a creative space. The results provide an in-depth insight into the current state of research on the topic of creative spaces. Practitioners, educators, and researchers can use the presented overview to investigate the possible impact of creative workspace design and to identify research gaps for conducting further research in the field.
The goal of this paper is to examine meaning as a component of creativity. We take a demand-based approach for conceptualizing meaning, and propose that it emerges from user needs instead of emerging from already existing creative solutions. Meaning is proposed as a third component of creativity, alongside novelty and usefulness. We test this proposition in a pre-study, and two empirical studies. In the pre-study, designers define creativity and provide examples of solutions that they deem creative. The results of the pre-study yield a 24-item scale for assessing creativity. Then, we conduct two empirical studies, in which we utilize the created scale for measuring creativity, and for examining the components arising thereof. In the first study, we ask creators (design engineering students) to generate ideas for one of two design briefs. Afterwards, creators were asked to rate their own creations, on the 24-item creativity scale. Here, we find a four-factor solution for creative outcomes, consisting of the dimensions novelty, usefulness, cleverness, and meaning. In the second study, we ask independent evaluators (individuals with related and relevant degrees) to assess the creators’ work on the creativity scale. Here, we find a three-factor solution for creative outcomes, consisting of the dimensions novelty, usefulness, and meaning. In both studies, meaning emerged as a separate component of creativity. Additionally, in both studies, it accounted for variance that was unaccounted for by novelty and usefulness, thereby increasing the overall explanatory power of creative solutions. These findings strongly speak of meaning as a third component of creativity.
This article presents a longitudinal case study of the development process of an idea lab-from initial planning to final implementation and usage. The research approach comprised various methods, including a user study with cultural probes and a visual canvas, a focus group co-creation workshop, and a follow-up evaluation, two years after the space's implementation. We identified 15 relevant themes and 39 spatial characteristics that constitute the individual users' preferences, as well as several insights from a corporate point of view. Our gained insights on the role of the physical workspace extend the current research on idea labs. Furthermore, our findings corroborate the suggestions from related literature in terms of an idea lab's capability to facilitate external input, experimentation, and employees' autonomy. The presented co-creation approach and the developed spatial recommendations can be adapted for other contexts and act as guidelines for others who want to develop creative spaces.
Expanding from its beginnings as an experimental office concept for entrepreneurs and technologists, co-working has quickly emerged as an effective workplace strategy for a growing number of corporate organisations. A range of off-site and on-site co-working environments are being explored by businesses to support their ongoing expansion and organisational requirements while accommodating the shifting work preferences and values of an increasingly diverse workforce. Because these shared workspaces can often provide businesses with greater flexibility and efficiency than traditional office leases, the global co-working trend is expected to continue indefinitely. This paper explores the growth and evolution of co-working, including factors contributing to the global movement and specific examples of businesses that are benefiting from co-working strategies within their own organisations. The goal is to equip corporate real estate (CRE) executives with insights and resources to explore co-working as a practical real estate strategy that can contribute to improving an organisation's overall performance by providing flexible, productive work environments that foster collaboration, innovation, extended networking and passive recruiting. By embracing these progressive ideals, businesses will be well equipped to meet the needs and expectations of their future workforce.
The Handbook of Interior Architecture and Design offers a compelling collection of original essays that seek to examine the shifting role of interior architecture and interior design, and their importance and meaning within the contemporary world.
Interior architecture and interior design are disciplines that span a complexity of ideas, ranging from human behaviour and anthropology to history and the technology of the future. Approaches to designing the interior are in a constant state of flux, reflecting and adapting to the changing systems of history, culture and politics. It is this process that allows interior design to be used as evidence for identifying patterns of consumption, gender, identity and social issues.
The Handbook of Interior Architecture and Design provides a pioneering overview of the ideas and arrangements within the two disciplines that make them such important platforms from which to study the way humans interact with the space around them.
Covering a wide range of thought and research, the book enables the reader to investigate fully the changing face of interior architecture and interior design, while offering questions about their future trajectory.