Juline, a psychologist and professor from the school of creative arts talks about creative art. She intends to discover whether human beings are born creative, or they learn to be creative or both, since no researcher, in particular, has worked towards identifying the primary root of creativity. Juline presents Thomas Weight and Thomas Hedrick as the two earliest known creative designers, who not only analyze and project ideas but also makes people visualize the world in a different dimension.
Juline, being a psychologist, her lecture explores psychological thinking regarding creativity. She defines creativity as a way in which originality, curiosity, and playing are essential elements for enhancing creativity. She points out that creativity functions in many disciplines, namely architecture, science, and technology and, particularly, in relationships between people and others. Most important is the manifestation of creativity at the inner core of an individual from conception to death.
As an art designer, creativity entails finding a language, construction or deconstruction of ideas or concepts, putting forms and concepts together or separating concepts from emotions. In the simplest account, creativity involves the communication of a meaningful story to the audience in a visual way. Psychologists summarize the idea by claiming that creativity is illusive. It is worth noting that through investigations, one can appreciate how creativity processes work in artistically and psychological view. Moreover, curiosity about creativity helps individuals gain knowledge on how the process enhances the discipline of art and design.
In neuroscience, scientists analyze the human brain and state that it is divided into left and right brains, each with its distinctive features. For instance, neurosurgeons claim that the left brain is analytical and is associated with signs, figures, and language. Right brain, on the other hand, is about creativity and imagination. Juline agrees with the scientists’ conclusion that a person requires both left and right brains to be creative. Moreover, Julien shares an idea from Frank Barrow in the 1960s that creativity is formed by a host of intellectual, emotional, motivational, and moral characteristics.
Juline views creativity as a healing process. In her illustrations, she narrates the story of Judith Scot, a renowned American who was isolated from external influence as a result of deafness and Down’s syndrome. At the age of eighteen years, Judith was independent and self-directed. Consequently, she focused on drawing, painting, and crafting objects, so as to divulge her attention from the childhood miseries. Juline posits that Judith produced a remarkable media sculptures on her introduction to fiber arts in 1987. The speaker echoes the idea of being creative and provides four stages of being creative; preparation stage, incubation, inspirational or illumination stage, and verification stage.
Preparation stage is where a person aims at getting more information about the problems that he/she possesses. She advises artists in this stage to read brainstorm and collaborate with others to gather the experience. In the incubation stage, the speaker suggests that artists should stop thinking about the problem and turn their attentions to something else. The main activity she suggests is having some exercise and play to stimulate the mind. The inspirational stage provides the feeling that an individual gets after struggling with the problems, with an idea suddenly appearing. Verification stage presents the solutions to the challenges that manifests in the illumination stage.
Creativity and playing are important in the field of art and design. The speaker encourages artists to have some creative and playing moments that activate the imagination of original thinking. Besides, playing help designers learn the how to be enthusiastic to others and understand their world. The understanding of other people’s world creates effective communication.
Article Review: Architecture
Jim Heverin, an architect in the field of built environment, defines architecture as a science that is responsive to the endless needs of human inhabitation and new challenges such as environmental sustainability and rapidly evolving technologies. Heverin while illustrating technological evolvement in the field of communication, from text messages to images, sound, movies and finally browsers to match human new ideas, Heverin, lectures on various architectural developments in recent days to meet the demands of new technologies in human life. Besides, she takes a look at the overlap between technology and architecture as an art and design. The talk also aims at enlightening the audiences on how art, technology, and design inform creative leaders since the execution of architectural programs consists of the structures, environmental science, and the techniques of building and construction, which require creative thinking and proper personnel and resource management. The overlap between architecture and arts and design according to Heverin is manifested in various studio related courses.
Heverin takes a chronological account on the evolvement of old architecture, citing human art and creativity in the development of caves in ancient days. The speaker echoes human creativity and knowledge of blending different aspects of technological development to achieve a sophisticated and modern architecture. She defines modern architecture as the blending of art disciplines that seek to achieve an agreement between function, structure, and system within the built space, in which development of human life occurs in an organized manner. With the science and technological transformations that that took place in the context of architecture, there are three basic principles of construction that designers keep true; the principle of utility, solidity, and the principle of aesthetics.
Heverin stipulates that the basic concept in architecture is planning and construction. While comparing and contrasting the features of the first, second and third stage generations of constructions, he reiterates that the art of creativity is needed in the construction part of architecture. Majoring in the construction of third generation structures that are in line with the new technology, Heverin outlines her contributions in the field, the use of advanced science and technique and art of building.
Heverin challenges art and designers not to rely on the computer-aided techniques in designing architecture. She encourages designers to find collaborators to work on the plans and literary adopt hand sketching as the first step. Afterward, she supports the use of the computer as a scientific material that helps visualize the shape and spatial conditions of the architecture. She encourages engineers and artists to be cautious and rethink shapes and space radically since it is challenging to obtain materials that support the computer made complex figures and spatial conditions. For instance, she reiterates that she likes to deal with curvilinearity, arguing that she believes and perceives that curvilinear shapes simplify the configuration of visual aesthetic. Besides, she encourages artists to continue with the technique in concrete material.
Heverin concludes that architectural lessons in learning institutions should not be limited to the art of construction. She recommends that art, technology, and design lesson should inform creative leaders with the new developments, contrasting that traditional leaders think in a way, but creative leaders interact. Also, she argues that traditional leaders are concerned with being right and are open to limited feedback. On the other hand, creative leaders are concerned with being real in the scientific world and are open to unlimited critiques.
Article review: Design Thinking
Brown Scot, an American designer, talks about the construction, organization, modulation and transformation of ideas in design. Perusing through the objects he designed in his project, Brown posits that design phenomena has become a tool of consumerism and urges human to have a different understanding of design, put little emphasis on the object and invest more in on design thinking as it results in a bigger impact in the society.
Brown highlights Isambard Kingdom Brunel’s design thinking in solving the transportation problem. He posits that Brunel designed many great things in the nineteenth century, including Clifton Suspension Bridge in Bristol. Most exciting innovation is the design of railway transport system, which facilitated easy floating off the passengers in the country. Besides, Brunel used his design thinking in merging a transport system where passengers could embark on the train in London and disembark from the ship in New York. Brunel used design thinking to solve transportation problems.
Brown presents Rodgers Martin, a professor at the University of Toronto as the engineer behind design thinking. Martin defines design thinking as a person’s capability to exploit conflicting ideas and contrasting constrains to produce new solutions. The idea revolves around examining and balancing the desirability human wants with technological feasibility and economic viability. Most importantly, design thinking brings about new fashion and its application to tackle new technological problems.
The literature of design thinking is rich in basic ideas that are useful in human life. Firstly, design is human-centered. The design integrates technology that helps human solve economic problems. Secondly, design thinking helps a person build on what he/she thinks. Brown argues that putting the ideas into the world speeds up the process of innovation. Prototyping ideas help an individual learn about strength, weakness and enhance factor flow of ideas. A good illustration is in the Indian health care, which incorporated ideas in solving health crisis in the nineteenth century. Thirdly, design thinking help moves from consumption to participation. Brown challenges producer-consumer relation in human life. He argues that the shift from consumer producer paradigm to active engagement of everyone in the innovation is a meaningful and profitable production. He echoes William Beveridge’s idea in 1942, who hoped that every American citizen would be a participant in meeting human needs.
Brown argues that design may have its greatest impact when taken from the hands of designers to the hands of everyone. The initiative changes people’s way of thinking and provides space for new ideas. For example, Brown links the action to the principles of the industrial revolution, when workers were subjected to the new industrial system. It is worth noting that new choices arise, giving new ways of tackling problems through exposure to new ideas. Learning creative arts and design is, therefore, significant in producing both creative artists and leaders in the field. New technological developments call for new ideas and strategies in human inhabitation, therefore, design thinking provides important innovation environment for a person to explore new ideas and overcome daily problems.