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Empowering the creative practitioner...

Malinin, Laura Healey.

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Empowering the creative practitioner: Towards an ecological framework of creativity as embedded practice to inform environmental design.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Empowering the creative practitioner: Towards an ecological framework of creativity as embedded practice to inform environmental design./
作者:	Malinin, Laura Healey.
面頁冊數:	293 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-09(E), Section: A.
Contained By:	Dissertation Abstracts International74-09A(E).
標題:	Landscape architecture. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3562649
ISBN:	9781303104008

Empowering the creative practitioner: Towards an ecological framework of creativity as embedded practice to inform environmental design.
Malinin, Laura Healey.

Empowering the creative practitioner: Towards an ecological framework of creativity as embedded practice to inform environmental design. - 293 p.

Source: Dissertation Abstracts International, Volume: 74-09(E), Section: A.

Thesis (Ph.D.)--University of Colorado at Denver, 2013.

This item is not available from ProQuest Dissertations & Theses.

What role (if any) does the designed environment play in creativity? Cities like Athens, Florence, Paris, and Vienna are known for periods of spectacularly high creativity. Majestic landscapes and contemplative architecture are credited with inspiring creative insight. Famously creative people, like Proust, Kipling, and Kant, describe how rooms, tools, and inspirational objects are instrumental for their creativity. However there is a lack of empirical investigation into the relationship between the designed environment and people's creative processes. On the rare occasions when creativity researchers do consider the role of the designed environment, they dismiss it as insignificant for creativity or suggest it is impossible to examine empirically. My inquiry is a response to the conflicting beliefs between creativity researchers who feel the physical environment is unimportant for creativity and environmental designers who create settings with the specific intention of increasing creative productivity.

ISBN: 9781303104008Subjects--Topical Terms:

541842
Landscape architecture.

Empowering the creative practitioner: Towards an ecological framework of creativity as embedded practice to inform environmental design.
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245 1 0 $a Empowering the creative practitioner: Towards an ecological framework of creativity as embedded practice to inform environmental design.
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500 $a Source: Dissertation Abstracts International, Volume: 74-09(E), Section: A.
500 $a Adviser: Raymond J. McCall.
502 $a Thesis (Ph.D.)--University of Colorado at Denver, 2013.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a What role (if any) does the designed environment play in creativity? Cities like Athens, Florence, Paris, and Vienna are known for periods of spectacularly high creativity. Majestic landscapes and contemplative architecture are credited with inspiring creative insight. Famously creative people, like Proust, Kipling, and Kant, describe how rooms, tools, and inspirational objects are instrumental for their creativity. However there is a lack of empirical investigation into the relationship between the designed environment and people's creative processes. On the rare occasions when creativity researchers do consider the role of the designed environment, they dismiss it as insignificant for creativity or suggest it is impossible to examine empirically. My inquiry is a response to the conflicting beliefs between creativity researchers who feel the physical environment is unimportant for creativity and environmental designers who create settings with the specific intention of increasing creative productivity.
520 $a With my dissertation I seek to lay the theoretical groundwork for a scholarly investigation of creativity as a physically situated process. This process is driven by a thorough evaluation of the creativity, cognitive science, and environmental psychology literatures; an analysis of environmental design strategies; first-person accounts of creativity; and my own experience as a creative practitioner. From this analysis I develop three creative contributions. First, I construct the Multi-Modal Process Model of Creative Practice, which describes creativity as a combination of five physically-situated and interrelated modes of creative cognition. This model rebuts opinions expressed in the creativity literature that the designed environment is unimportant for creativity. Second, I develop the Creativity-in-Context theoretical framework, which provides a structure to organize empirical investigation into the relationship between people's creative processes and features of the designed environment. This framework rebuts suggestions that empirical examination of this relationship is impossible. Third, I present some implications for practice with the Rich Environments Design Guidelines, which provide a preliminary structure to inform the design of settings intended to support creativity. Finally, I suggest that these three creative contributions might form the foundation for a new stream of research---an ecological psychology of creativity.
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