Créativité | EPFL Graph Search

thumb|Créativité artistique, scientifique, technologique, organisationnelle, etc. se combinent dans ce tableau montrant l'exhumation des restes d'un Mastodonte. Toile de Charles Willson Peale, 1806. La créativité est, , la capacité d'un individu à imaginer et mettre en œuvre un concept neuf, un objet nouveau ou à découvrir une solution originale à un problème. Elle peut être plus précisément définie comme « un processus psychologique ou psycho-sociologique par lequel un individu témoigne d'imagination et d'originalité dans la manière d'associer des choses, des idées, des situations et, par la publication du résultat concret de ce processus, change, modifie ou transforme la perception, l'usage ou la matérialité auprès d'un public donné. » Opérationnellement, la créativité d'un individu est sa capacité à imaginer et produire (généralement sur commande en un court laps de temps ou dans des délais donnés), une grande quantité de solutions, d'idées ou de concepts permettant de réalis

Creative-Learning Innovation Cycle - CLIC

Vincent Nassar

WHY do certain leaders’ management of organizational resources encourage creative people engaged in New Product Development (NPD) to achieve high performance, on time, while other leaders’ practices foster frustration and delays? In this research project I attempt to understand the WHY and HOW of leaders’ management of organizational resources in the context of Csikszentmihalyi’s phenomenon of Flow. Flow is most likely to occur when people perceive a balance between the challenge of a situation and their professional abilities to deal with the challenge. “Being in the flow” increases peoples’ focus and attention, the latter being a prerequisite for high creativity, on the tasks and problems at hand and boosts their commitment to deliver their projects on time. Following the above-mentioned reasoning, I assume that if leaders manage organizational resources to create an optimal balance between challenging situations and the skills of their creative people, these managerial practices would likely result in enhancing the output of the NPD process, and decreasing the delays, or, in other words, accelerating the NPD cycle. To explore this research question, first, I developed a conceptual model called CLIC: “Creative-Learning Innovation Cycle”. The CLIC is characterized by its uniqueness in highlighting the impact of the feedback received from the commercialization process on the managerial practices of leadership for creativity of the components of the work environment. The work environment directly affects the state of flow of creative people, and, subsequently, both the quality and speed of their learning and creativity processes. The CLIC combines Sanchez’s model of an organization’s learning process, Amabile’s componential theory of creativity, and, Csikszentmihalyi and Bakker’s State of Flow concept. Second, I tested the CLIC through two main research methods. I conducted exploratory and action research with a successful global innovation manager and two companies wrestling to accelerate their NPD processes in a changing work environment. The two companies deal with components and technological innovations. They differ in size, continent and products. Both companies innovate products related to health issues in an industry where high regulatory requirements are imposed. I also conducted a lab experiment in which 27 Masters students (18 males, 9 females) who were enrolled in an “Innovation Management” course voluntarily participated. The mean age was 23.5 years. The academic language was English. The exploration of the CLIC model in the course of conducting the comparative studies among the successful global innovation manager, the two companies, and the results of the lab experiment led to the emergence of a new theory about flow in work situations and organizational resources management. The theory defines and prioritizes five organizational resources that have to be managed during the NPD stages to let creative people experience a “state of flow” during their work. The foundation of the theory is that, following the impacts of feedback received from the external world, leaders’ managerial practices of organizational resources affect the state of flow of the people involved in the NPD process in an inverted U shape. Based on this inverted U shape and, as per the CLIC model, this theory prioritized the following five organizational resources to manage flow during the NPD stages: v A. Planning stage 1. Involving creative people in early market feedback during the planning stage would enhance their work absorption and their attention on the problems they are facing. B. Development stage 2. Putting creative people in direct communication with all the people who interact with the product and bring meaning to it, 3. Extending on a rational basis the time lines proposed by creative people, 4. And integrating the customer in the NPD process, mainly during testing phases, are likely to positively influence the intrinsic motivation of the creative people during the development stage. Hence, creative people would be committed to reach their goals by deploying their expertise to its utmost level without counting their working hours. C. Commercialization stage 5. Allow creative people to directly solicit and experience feedback from the VOC during the commercialization stage. This could constitute an enriching and joyful experience for them. In sum, the prioritization of these organizational resources during the NPD stages might constitute a beneficial roadmap to the managerial practices that should be used by leaders. The application of this theory by the leaders would regulate the balance between a challenging situation and the skills of the creative people, so the latter might be in the “state of flow”. Probable effects may be a boosted and an accelerated outcome of the NPD process, leading the organization to thrive in this seldom static world. Some leaders knew WHAT to do and HOW to enhance the creativity of their collaborators. However the understanding of the WHY that drives these managerial practices needed additional elucidation. This research project attempted to provide a potential answer to “WHY” leaders’ practices might enhance or hinder their collaborators’ state of flow; and, in finding the answer, it was thought that leaders and their collaborators may simultaneously enjoy work and savor life.

EPFL2012

A Third Way Alternative; Critical Assessments from the Model of the Yugoslav City

Jana Konstantinova

This dissertation aims to demonstrate the development, meaning and significance of cultural infrastructure in the cities of Skopje, Belgrade and Sarajevo (1945-1991). In the historic context, culture became the fundamental critical tool with which to yield a vivid cultural scene, and it coincides with the emergence of remarkable cultural artefacts - including 'the right architecture'. The thesis recognizes a common (Yugoslav) Creative Model behind this âmovementâ, which stimulated and anticipated the emergence of the elements that eventually form the cultural artefacts. For the purpose of studying the strengths and weaknesses of the model, the exercise investigates the extensive body of cultural creations which emerged through the model. As such, the thesis highlights the flow of creativity, and the particular understanding of creativity as a âlife qualityâ in support of the theoretical concept of balance which emerged in the local context - striving for equilibrium between the man-made, the human (civic) and the natural environment. The aims of the research are threefold. Firstly, to understand the objectives on which the model is created; secondly, to reposition the object â cultural artefact â as a departure point of analysis of the model; and thirdly, to analyze the evolution of the cultural infrastructure in the environments to trace the transformations of the model. To that end an analysis of the entire cultural creation of the epoch has been carried out in relation with the specific interest of the thesis. The exercises are conducted by drawing from the primary data sets (the press: both architectural and cultural magazines) and the secondary sets of data (original documents and testimonials with the protagonists: wider cultural milieu). Bridging the epistemological gap in the academic discourse, exemplifying the selected cities not as isolated case studies but in comparative synthesis, the thesis positions these rich cultural, spatial and social qualities (collected in the form of a critical archive) and their common Creative Model as the possibility to depart from the neo-liberal paradigm still affecting regions globally and to re-imagine our own current models for human settlements in ways more open to people, nature and culture.

EPFL2021

Resistance & Compromise

Letícia Cabeçadas Do Carmo

Contemporary architecture and urbanism concern everyday life in multiple contradictory ways. Floating between alienation and hope, post-industrial and other interstices often hold beautiful and poetic aesthetics of decay, attracting people driven by curiosity or political causes, stimulating the creativity of these spatial environments. Driven by struggles against standardised and authoritarian urban contexts, a search for Alternative Cultural Spaces (ACS) as concrete contemporary examples of spatial, convivial, creative and political experiences is the main objective of this research. Case studies selected in Lisbon, Ljubljana and Geneva (cities affected by different physical conditions, particular histories and general urban and economic contexts) focus on the years 2005-2015, but also look back to the 1970s. Based on participant observation and other qualitative methods, such as photography, sketching or mapping, the research gives a big importance to visual and spatial production and analysis, in order to reflect social and political engagement as part of wider urban contexts. Considering that the "aesthetics of resistance" of the ACS are influenced by practices of counter-cultures and avant-gardes (DIY, collage, site-specific), we believe that these "re-architectures" (re-use, re-habilitation, re-conversion) are also architectures of resistance (to mainstream, standardised and normalised spatial practices and to abandonment and negligence). However, these alternative aesthetics have become trendy over the last few years, becoming no longer exclusively used by leading resistance or subversive actions but being object of recuperation and consequently of instrumentalisation by neoliberal strategies. Culture and creativity are now at the core of urban planning, based on competitive processes and aiming at economic profit. Three kinds of aestheticisation processes were identified: alternative experiences born from grassroots projects, built over time; top-down processes that force the projects and their spaces to adopt restricted norms in order to assure survival; processes born with the projects designed, recreated and guided by a for-profit concern. The last two cases contributively reduce the diversity of urban experience and control creativity, through annihilation or a forced ambiance. This thesis shows that the visual expression of Ljubljana's alternative aesthetics of resistance is stronger than Lisbon's, and that Geneva's is suffocated by normalisation processes over recent years. The way a spatial ambiance is perceived by the user of a particular space depends largely on the mode of production of that same space, and on the primary intentions existing behind the creation of a particular design or construction, varying from mainstream and institutional approaches to the most subversive ones. Compromise is present and visible through the aesthetics of an ACS. Logics of urban-spatial occupation highlight the importance of the squat movement in Geneva, of the counter-cultures in Ljubljana, and of the fragmented networks of ACS in Lisbon. They also show how ACS propose a cultural network that is complementary to the mainstream one. Besides, either ACS move in the city or they experience a process of aestheticisation. One and another are directly related with survival strategies. Assuming a dialectic perspective of resistance and compromise, this thesis exposes the complex, hybrid and ambiguous dimensions of ACS.

EPFL2016