Creative space?

Where am I creative? Where is my creative space? Do I need time or a place? Am I more creative in certain spaces and less in others? Is 'creative space' a state of mind of a set of practical circumstances and functionalities?

Much has been written about 'creative space'. This often relates to the physical and architectural environment when industrial or educational productivity is the focus, or the home and natural environment and 'work/life' balance when well-being is the focus. The submission by architects AZC of a design for a trampoline-based inflatable bridge in Paris (below) also demonstrates a growing focus on 'creative' civic design to transform not only the appearance or functionality, but also the experience of urban spaces.

 http://tinyurl.com/b739noe (2012)

There are significant transformations in business architecture around the world that illustrate the lengths corporate strategy can extend in order to maximise creative potential of the workforce. From the more notable examples including Google (slides and a T-Rex with flamingos), Pixar (garden sheds, isolation booths), and Red Bull (More slides), many companies are fundamentally transforming their approach to corporate architecture and working routines as a means of stimulating creativity. The balance sheets and profitability of many companies with progressive approaches to productive space would appear to validate these approaches without question.

 http://tinyurl.com/b3c2xcj

However, there are far too many (arguably even all) of the most significant acts of human creativity to have emerged from significantly unfavorable environments for 'types of space' to be considered necessary for creativity itself to emerge. There are too many examples of creativity through adversity, duress, threat, crisis, or squalor, for calm, tranquility, soft furnishes and sensory gardens to claim an exclusive causal effect.

Whilst I don't want to open the related discussion of personal well-being and creativity here (there is a future post in this topic), the quite magnificent Quatour pour la fin du temps (Quartet for the end of time) by Olivier Messiaen is just one notable example of musical genius (and beauty) emerging from filth and horror, in this case of Nazi death camps (1941). There are too many other examples of bedroom genius, garden shed inventiveness, and against-all-the-odds innovation for 'good circumstances' to marginalise 'difficult circumstances' in the analysis of the emergence of creativity.

Don't get be wrong, I love the idea of slides in tall buildings and I wouldn't stop there. I'd have climbing walls, ball pits, swings, hammocks, live music, scooter lanes in wide corridors, bean bag rest spaces, and bouncy castles in my own workplace if I could. These would all make my daily routine much more fun and I'm sure change the perspective or thinking of colleagues. These are excellent 'provocations' (De Bono) to stimulate lateral thinking and fantastic ways of instigating different dynamics and inter-personal relationships in staff teams.

However, I don't need these to be creative. In fact I often 'feel' at my most creative in the transition spaces (commuting) and in active situations when I would otherwise describe myself as being in 'listening and absorbing information mode'. I feel creative in dead spaces and whilst putting out the bins, I have creative ideas when struggling to change a wheel on the car and whilst tending to the otherwise mundane. I have had wonderful musical ideas whilst experiencing significant emotional stress or physical illness, and have great ideas about my profession just when I haven't the time.

Colour, when featured more prominently in working spaces can have a demonstrable impact on work produced in that space. Natural sounds are better than drilling noise for concentration. There are basic requirements for people to operate at their best but in the end, people will demonstrate their creative potential according to numerous development factors rather than transform spontaneously into creative individuals according to the 'space' in which they operate or move.

More important factors in developing creativity are upbringing, education and 'space' provided for exploration and personalisation of expression. In other words, it is ME that is creative, not me when I'm in room with nice plants and a water feature. I have worked at this and can apply specific techniques and operate spontaneously whenever the situation requires. This is not because I am special, it is because I am normal.