Effects of Restorative Environments on Creativity in Case of Architecture Education (original) (raw)
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Creativity in Architecture: The Cognitive Process
2013
According to the cognitive approach, the paper develops the analysis of the design process in architecture and reflects on the cognitive processes applied to space and design, in order to identify the role that creativity place in the process. The paper analyses also the variations and the restrains, which feeds creativity during the development of the architectural project. The paper wants to demonstrate the fundamental importance of memories in developing planning process and creativity expressed in it. The explored contribution of cognitive science supports this thesis. Even the writings of architects as well as critical writings on architecture lead us in the same direction. By means of an experiment we demonstrates how the same planning request activates in the expert agent particular links and not others. These links start a specific, special and adventurous trip in memories and in study references. They may be technical, personal references, more or less revealed, more or 0146-6518/04/223-229 2014 Copyright©2014 IAHS 224 Rabino, Borri and Stufano Melone less aware, not randomly generated by a planning question, which is potentially fortuitous and substantially unknown.
Creativity in architectural education
The existing paradigms of architectural education can sometimes negate creativity. This paper aims to assert and substantiate that architectural education should be about questioning the existing paradigms as well as introducing, creating and testing new ones. The paper will be based on observations as a research assistant in architecture as well as on personal undergraduate experiences to question the ways in which creativity could be stimulated in the architecture studio environment. It adopts philosophical concepts used by Deleuze to dissect the relationship between creation/creativity and the architect. Some of the nuanced examples in Turkey’s architectural practice who have managed to integrate or perhaps distort the input of their architectural education into modes of interventions reciprocating the socioeconomic or cultural needs of that place are pointed out. Parallel to their production, the positive effects of young tutors to the studio environment are discussed. The paper tries to establish that confusion could be a stimulant for creative thinking. Keywords: Architectural education, creativity, studio, young tutor.
Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition is physically and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person’s interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity.
Conference Paper, 2024
Architecture emerged with the basic need for shelter and has been shaped within the framework of life and sociocultural needs from the first human being to the present day. Houses, as living spaces, are shaped by human life. Houses can directly affect the lives and emotions of individuals. Many studies on this subject have shown that houses have a great influence on individuals. Based on this context, Kocaeli University Department of Architecture, second year, first semester Architectural Design 1 course was shaped by the question of whether the spaces that will trigger the creativity that an artist and his/her family need within the framework of their needs can be designed through the senses. Within the scope of the study, it is aimed to discuss and evaluate three projects worked on during a semester and to present a multisensory design approach to the artist's residence.
WHAT IS CREATIVE? CREATIVITY IN ARCHITECTURAL THEORY, PRACTICE AND EDUCATION
What is creative? Creativity in architectural theory, practice and education (açış konuşması), DesignTrain Congress proceedings-Vol. I, Amsterdam, June 4-7 2008, 9-25 (Keynote speech).
In this keynote speech I will expound on creativity in general. However, rather than dealing with the ways and methods of fostering creative thinking in architecture or in architectural education, I will question what creativity actually is and how exactly one discriminates the creative from the non-creative in architectural works. What are its features and properties and how can they be distinguished and/or traced?
The Dynamics of the Psychological Approach in Designing Spaces: A Study of Architecture Students
Journal of Art Architecture and Built Environment, 2019
The psyche of human mind is best expressed through architecture and the interior design of buildings. No doubt, architecture and psychology are interconnected domains of human experience; while building design is the physical illustration of the creative perception of human psyche. Human interaction with the built environment prompts the senses to perceive and react to it in different logical manners, exemplified through unique spatial expression of every single designer. It has been observed that students as future architects, while tackling with the design projects, put forth their own spatial experiences of interaction with the built environment. For this reason, students of Bachelors in Architecture program at the University of Management and Technology, Lahore, Pakistan were interviewed informally to document their psychological approach regarding spatial thinking and translating it into architectural designs of varying quality. The findings acknowledged that the architectural ...
Creativity real and imagined in architectural education
Frontiers of Architectural Research, 2014
Of all aspects of architecture what mystifies most the layman is the power of architects as 'creators', their apparent capability to invent, conceive and construct 'out of nothing' unprecedented daring forms. In the West, the idea of 'creators', defined as those who can 'make things out of nothing', is very old. It had and has far reaching influences, not always benign, that are still felt today in many disciplines related to the production of the human-made environment including architecture and architectural education. In the broad sense of the term, (that comprised poets but also the makers of machines), the definition of 'creator', one who 'makes something out of nothing', goes at least as far back as Plato's Symposium (II,201,c), while the specific idea of the architect as 'creator', emerged later, during the late Middle Ages and the Renaissance, when the architect was called demi-god, 'come semidei'to quote Cesare Cesariano, the Renaissance military architect and theoretician of architecture-"Wittkower, R., 1962. Architectural Principles in the Age of Humanism, London Lefaivre, Liane and Alexande Tzonis, 2004, Emergence of Modern Architecture: A Documentary History, from 1000 to 1800, London" and his gift to give birth to new forms was claimed to be miraculous. Accordingly, the belief in the wondrous nature of architects 'creating' 'out of nothing' 'microcosms' was so strong that people gathered to watch the famous 'inspired' seventeenth
Frontiers of Architectural Research, 2017
Built environments can induce contemplative states, but direct evidence for their impact on the brain is lacking. This exploratory work investigated brain correlates of internal states elicited by architecture designed for contemplative experience. Functional MRI and self-reports of 12 architects were assessed to study their responses to photographs of ordinary and contemplative architectures. Images of contemplative buildings: (1) induced attentive, receptive, and absorbing experiences and diminished internal dialogue; (2) involved decreased engagement of prefrontal cortex; and (3) activated the occipital lobe, precentral gyrus, and inferior parietal lobule. They suggest that viewing buildings designed for contemplation may evoke experiential and brain signatures that consistently differ from those induced by buildings that serve everyday functions. The depth of such externally induced states was inversely correlated with the engagement of the Default Mode Network. Our study points toward a novel avenue for investigating how contemplation can be cultivated in the human brain/mind.
The Impact of Studio Space on Creativity and its Implications for Artistic Practice
2016
The purpose of this study was to understand the relationship between the physical space and the creative process of people engaging in artistic practices – namely the art production triad. Moreover, the study sought to elicit what meanings artists and art students attach to the space or environment in which they work. Furthermore, this research explored how the affordance of a space might contribute to the creative process of artists and art students. The study adopted a qualitative approach. It analysed seven in-depth interviews with artists, as well as informal conversations with, and observation of, a group of art students at secondary level, which spanned over four weeks. In addition, plan drawings obtained from the students were also analysed. This research has reaffirmed that the art production triad bears complexity and that many different processes are at play simultaneously. Nonetheless, a number of findings have shown that the affordance of space contributes to the creativ...