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Bibliografías temáticas / Creative thinking

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Literatura académica sobre el tema "Creative thinking"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 9 de junio de 2025

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Artículos de revistas sobre el tema "Creative thinking"

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FINDLAY, C. "Thinking creatively about creative thinking." Journal of Social and Biological Systems 11, no. 1 (January 1988): 165–75. http://dx.doi.org/10.1016/0140-1750(88)90059-0.

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Bacanlı, Hasan, Mehmet Ali Dombaycı, Metin Demir, and Sinem Tarhan. "Quadruple Thinking: Creative Thinking." Procedia - Social and Behavioral Sciences 12 (2011): 536–44. http://dx.doi.org/10.1016/j.sbspro.2011.02.065.

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Smith, Janet. "Creative thinking." Nursing Standard 21, no. 39 (June 6, 2007): 24–25. http://dx.doi.org/10.7748/ns.21.39.24.s29.

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Dinsdale, Paul. "Creative thinking." Nursing Standard 16, no. 10 (November 21, 2001): 12. http://dx.doi.org/10.7748/ns.16.10.12.s30.

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LOW, ALBERT. "Creative Thinking." World Futures 62, no. 6 (September 2006): 455–63. http://dx.doi.org/10.1080/02604020600798635.

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Robinson, Andrew. "Creative thinking." Physics World 20, no. 12 (December 2007): 41–42. http://dx.doi.org/10.1088/2058-7058/20/12/34.

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Ghosh, S. "Creative thinking." IEEE Circuits and Devices Magazine 20, no. 1 (January 2004): 52–62. http://dx.doi.org/10.1109/mcd.2004.1263408.

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Johnston, David L. "Creative Thinking." American Journal of Islam and Society 23, no. 1 (January 1, 2006): 133–35. http://dx.doi.org/10.35632/ajis.v23i1.1658.

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Growing out of a course that the authors have taught jointly since 1996 atthe International Islamic University Malaysia (“Creative Thinking andProblem Solving”), this book is designed for use as an undergraduate textbookon these issues from an Islamic viewpoint. Since Muslims generally deplore their own community’s lack of creativity and desperately need toreverse their technological and scientific dependence on other countries, theauthors seek to present a realistic strategy to help them regain the innovativespirit that characterized classical Islamic civilization. Drawing on cognitivepsychology and related disciplines in western academia, they begin with theassumption that creativity is a learned skill, rather than the personal endowmentof an elite corps of humanity. The book then develops their secondassumption: Islamic values and perspectives can be enriched through a dialoguewith western social sciences.The first part is devoted to Islamic civilization’s contribution to humancivilization: tafakkur and other Qur’anic words calling for people to thinkcreatively (chapter 1); applying secular “thinking styles” literature to theQur’an, including the inquisitive, objective, positive, hypothetical, rational,reflective/contemplative, visual, metaphorical, analogical, emotional, perceptual,conceptual, intuitive, scientific, and wishful thinking styles (chapter2); analyzing the concept of ijtihad and its vocation to constantly adaptIslamic law to changing circumstances and find creative solutions to persistentsocioeconomic and political challenges (chapter 3); and summarizingMuslim contributions to science, philosophy, and medicine (chapter 4) ...

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Berman, Bruce. "Creative thinking." Nature Biotechnology 23, no. 4 (April 2005): 421. http://dx.doi.org/10.1038/nbt0405-421.

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Harding, Jacqueline. "Creative thinking." Nursery World 2025, no. 5 (May 2, 2025): 20–21. https://doi.org/10.12968/nuwa.2025.5.20.

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Tesis sobre el tema "Creative thinking"

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Sirbiladze, Karina. "Scamper Technique for Creative Thinking." Thesis, Фінансова рада України, 2017. https://er.knutd.edu.ua/handle/123456789/7479.

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Richards, Tanya Alexandra. "Creative Thinking: Through Vibrant Materials." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25944.

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Creative Thinking: Through Vibrant Materials investigates how to bridge the gap between cognitive science, humanities and creative thinking through materials. Research explores creativity as new knowledge, guided by the power of haptic surfaces, searching for something new through repetition. The poised question is: What happens within a moment of losing a sense of self in art-making? The hypothesis is that concepts of philosophy and the function of art can create specific aesthetic figures of colour, line, texture, and forms through materiality. The tacit skills play a crucial role for the artist to know when to resist and surrender to the materials. Bridging the gap between philosophy and practice allows aesthetic figures to emerge effortlessly, taking the path of least resistance. These figures are not of beauty per se; they translate thoughts without images, although not as conventional shapes known in advance, but instead as blocks of haptic sensation. This enquiry formulated a research problem of 'thought without image' – thinking that goes beyond recognition and originates in practice. The study has been to understand and create connections between Gilles Deleuze and Felix Guattari's concepts thoughts without images, Maurice Merleau-Ponty's phenomenology, John Dewey's aesthetics, and the Taoist concept of Wu Wei and its connections to Mihaly Csikszentmihalyi's mindset of flow. The overall study focuses on how Csikszentmihalyi states of flow can condition creative thinking. The research illustrates that creative thinking is shaped by social, cultural, and philosophical influences. It also shows that the eyes are neither cameras nor windows and instead interpret meaning based on past experiences.

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Stilwell, Martinique. "Thinking up a hurricane." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/14605.

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Pringle, Andrew J. "Creative thinking : a mode shifting hypothesis." Thesis, University of Surrey, 2015. http://epubs.surrey.ac.uk/807126/.

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Recent accounts of creative-cognition propose that creativity requires the use of different modes of thought. One mode supports the generation of ideas while a second mode of thought is conducive to evaluating ideas (Gabora & Ranjan, 2013; Howard-Jones, 2002; Kaufman, 2011). It has been suggested that creative individuals may be characterized by being good at shifting between different modes of thinking (Howard-Jones, 2002; Kaufman, 2011; Vartanian, 2009). Modern definitions of creativity emphasize that for a product to be deemed ‘creative’, it must exhibit both novelty and utility (Cropley & Kaufman’s, 2011; Plucker, Beghetto & Dow, 2004). Shifting could be an integral facet of creative-cognition that enables one to produce a creative product possessing these attributes (Gabora & Ranjan, 2013). Prior research has suggested a link between shifting and creativity. However, it has framed shifting in a rather narrow way and examined the link using paradigms that are far removed from the theorized role of shifting in the creative process (Gabora & Ranjan, 2013). The present thesis used an experimental paradigm, a novel self-report measure of shifting and a ‘think-aloud’ protocol to examine multiple facets of shifting and the relationship of these facets to measures of creativity. It revealed that the relationship between shifting and creativity is more complex than previous research suggests, differing across contexts and different creative domains. Different facets of shifting appear to be related to different types of creativity, with metacognitive awareness of shifting distinct from competence shifting and affective processes appearing to play an important role in shifting in the domain of garden design. Based on these findings, it is proposed that future research should take into account the multifaceted nature of shifting. Doing so could significantly aid progress in understanding the nature of the relationship between creativity and shifting between different modes of thought.

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Taylor, Linda D. "Creative thinking and worldviews in Romania /." abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3311919.

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Thesis (Ph. D.)--University of Nevada, Reno, 2008.<br>"May 2008." Includes bibliographical references (leaves 76-83). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

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Kilgour, A. Mark. "The Creative Process: The Effects of Domain Specific Knowledge and Creative Thinking Techniques on Creativity." The University of Waikato, 2007. http://hdl.handle.net/10289/2566.

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As we move further into the 21st century there are few processes that are more important for us to understand than the creative process. The aim of this thesis is to assist in deepening that understanding. To achieve this a review of the literature is first undertaken. Combining the many different streams of research from the literature results in the development of a four-stage model of the creative thinking process. The four stages are problem definition, idea generation, internal evaluation, and idea expression. While a large range of factors influence the various stages in this model, two factors are identified for further analysis as their effect on creativity is unclear. These two factors are domain-specific knowledge and creative thinking techniques. The first of these factors relates to the first stage of the creative thinking process (problem definition), specifically the extent to which informational cues prime domain specific knowledge that then sets the starting point for the creative combination process. The second factor relates to stage two of the model (idea generation), and the proposition by some researchers and practitioners that creative output can be significantly improved through the use of techniques. While the semantics of these techniques differ, fundamentally all techniques encourage the use of divergent thinking by providing remote associative cues as the basis for idea generation. These creative thinking techniques appear to result in the opening of unusual memory categories to be used in the creative combination process. These two potential influences on the creative outcomes of individuals: 1) domain specific knowledge, and 2) creative thinking techniques, form the basis for an experimental design. Qualitative and quantitative research is undertaken at two of the world's leading advertising agencies, and with two student samples, to identify how creative thinking techniques and domain-specific knowledge, when primed, influence creative outcomes. In order to measure these effects a creative thinking measurement instrument is developed. Results found that both domain-specific knowledge and creative thinking techniques are key influences on creative outcomes. More importantly, results also found interaction effects that significantly extend our current understanding of the effects of both primed domain-specific knowledge and creativity techniques on different sample populations. Importantly, it is found that there is no 'one size fits all' for the use of creative thinking techniques, and to be effectively applied, creative thinking techniques must be developed based upon the respondent's current domain and technique expertise. Moreover, the influence of existing domain-specific knowledge on individual creativity is also dependent upon how that information is primed and the respondent's knowledge of cognitive thinking strategies.

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Stephens, Cara. "Stories: Strange Men and Thinking Girls." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4833/.

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What is the boundary between fiction and nonfiction? What happens if the line between the two is crossed? Can we possibly recall events in our lives exactly as they happened? In creative nonfiction, such as memoir, the audience expects the writer to recall things exactly as they happened, with no embellishments, re-ordering, additions, or subtractions. It seems as if authors of creative nonfiction are bound to be questioned about events, nitpicked on details, challenged on memories, and accused of portraying real-life people the "wrong" way. Yet when the writer creates fiction, it seems to go the other way: readers like to think there are parallels between an author and her stories. Readers congratulate themselves for finding the similarities between the two, and instead of focusing on the crafted story at hand, try to search out which parts are "true" and which are embellished. Does any of this matter, though; don't all stories tell a kind of truth? We have an insatiable urge to classify, to "know" the truth, but truth isn't merely a recollection of cold facts; likewise, a story isn't any less true if it's fiction.

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De, la Cruz-Bechtel Rose Marie. "Unlocking creativity in the classroom." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Beresnevičius, Gediminas. "EDUCATIONAL DIMENSIONS OF CREATIVITY AND CREATIVE THINKING." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100519_103153-72881.

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Educational dimensions of creativity and creative thinking are researched in the dissertation on theoretical and empirical levels. The research shows that creativity (process and its result) is affected by the following factors: motivation of the author, entirety of personal features and character traits, abilities, thinking, scope of thinking inertia, special and general knowledge, reconstructive and constructive imagination, intuition, author’s behaviour, emotions, physiological and psychological state, social and physical environment. Dynamic and component models of creativity process, prepared by the author, are presented in the dissertation. 655 research participants participated in the empirical research: 601 5th-11th form school learners and 54 teachers. 2 subtests by E. E. Туник (2002) assessing creativity parameters and a questionnaire designed by the author were administered to the research participants. The change of creative thinking was determined in its ontogenesis (from 11 to 62 years of age). Peculiarities of learner creative thinking were revealed (originality, flexibility of thinking, abundance of ideas) in groups according to age, gender, birth order, learning progress and place of residence. The research shows that originality of creative thinking reaches its peak at the age of 18, afterwards it decreases during adulthood. (p=0.000). The existence of positive direct statistically significant relationship between all parameters of creative thinking and... [to full text]<br>Disertacijoje teoriniu ir empiriniu lygmenimis yra tyrinėjamos kūrybiškumo bei kūrybinio mąstymo edukacinės dimensijos. Tyrimas parodė, kad kūrybos procesui ir jo rezultatui turi įtakos tokie veiksniai: kūrėjo motyvacija, asmenybės savybių ir charakterio bruožų visuma, gebėjimai, mąstymas, atmintis, mąstymo inercijos dydis, specialiosios ir bendrosios žinios, atkuriamoji ir kuriamoji vaizduotė, intuicija, kuriančiojo elgesys, emocijos, fiziologinė ir psichologinė būsena, socialinė ir fizinė aplinka. Disertacijoje pateikiami autoriaus parengti dinaminis ir komponentinis kūrybos proceso modeliai. Empiriniame tyrime dalyvavo 655 tiriamieji: 601 V–XI klasių mokiniai ir 54 mokytojai. Jiems buvo pateikta autoriaus sudaryta anketa bei du E. E. Туник (2002) kūrybiškumo parametrų įvertinimo subtestai. Nustatyta kūrybinio mąstymo kaita ontogenezėje (nuo 11 metų iki 62 metų amžiaus). Atskleisti mokinių kūrybinio mąstymo ypatumai (originalumas, mąstymo lankstumas, idėjų gausa) grupėse pagal amžių, lytį, kelintas vaikas šeimoje, pažangumą ir gyvenamąją vietą. Tyrimas parodė, kad kūrybinio mąstymo originalumas pasiekia maksimumą 18 metų amžiuje, o po to suaugusiojo amžiuje krinta (p=0,000). Nustatyta, kad egzistuoja teigiamas tiesioginis statistiškai reikšmingas ryšys tarp visų kūrybinio mąstymo parametrų ir asmenybės domėjimasis mokslu (p<0,01) bei menu (p<0,05). Nustatyti statistiškai reikšmingi ryšiai tarp kūrybinio mąstymo parametrų ir savišvietos poreikių. Tyrimas parodė, kad kuo... [toliau žr. visą tekstą]

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Navarro, Edwina Portocarrero. "Inside/out : mirrors for reflective, creative thinking." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69810.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.<br>Cataloged from PDF version of thesis. Page 99 blank.<br>Includes bibliographical references (p. 93-98).<br>In this document I present three tools for reflective, creative thinking: Pillow-Talk, the NeverEnding Drawing Machine and Calliope. These tools make use of the "distorted mirror" metaphor for self-reflection. They are designed to debunk myths of creativity as an acquired faculty and instead promote creative apperception and flexible thinking. Pillow-Talk is designed to prime dream recall and facilitate capture through voice recording. Considering the dream an aesthetic experience we all undertake, where the dreamer is free to test knowledge liberated from physical and moral constraints, its aim is to promote flexibility in levels of thought. The NeverEnding Drawing Machine and Calliope endorse flexibility in vehicles of thought through co-creative and collaborative play. One can incorporate any object found in the environment as a tool or material, thus making contextualized and personalized creations. They promote cross-cultural and cross-generational co-creation as the echo from which to recenter perception.<br>by Edwina Portocarrero.<br>S.M.

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Libros sobre el tema "Creative thinking"

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G, Bennett John. Creative thinking. Santa Fe, N.M: Bennett Books, 1998.

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Shinkōkai, Nihon Bōeki, ed. Japan's creative thinking. Tokyo: JETRO, 2001.

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Ohio. Dept. of Education and Ohio. Division of Special Education, eds. Creative-thinking ability. Columbus: Ohio Dept. of Education, 1992.

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Shone, R. Creative visualization. London: Aquarian/Thorsons, 1993.

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Ding, Min. Logical Creative Thinking Methods. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003017752.

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Nazareth, J. Creative thinking in warfare. New Delhi: Lancer, 2008.

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Nazareth, J. Creative thinking in warfare. New Delhi: Lancer, 2008.

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Hugh, McCann, and McCann Janet, eds. Creative and critical thinking. 2nd ed. Boston: Houghton Mifflin, 1985.

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Konicov, Barrie L. Creative Thinking. I.M.P.A.C.T. Publishing, Inc., 2004.

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Konicov. Creative Thinking. Potentials Unlimited Products, 1986.

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Capítulos de libros sobre el tema "Creative thinking"

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Hughes, Vera. "Creative Thinking." In People Skills, 140–50. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-12527-2_12.

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Traut-Mattausch, Eva, Rudolf Kerschreiter, and Christoph Burkhardt. "Creative Thinking." In Management for Professionals, 249–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44214-2_15.

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Holt, Knut. "Creative thinking." In Market Oriented Product Innovation, 46–72. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4757-5720-0_4.

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Halpern, Diane F., and Dana S. Dunn. "Creative Thinking." In Thought and Knowledge, 319–49. 6th ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003025412-10.

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Xiang, Yao, and Yan Guoli. "Creative Thinking." In The ECPH Encyclopedia of Psychology, 1. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6000-2_279-1.

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Stanley, Todd. "Creative Thinking." In Enrichment Activities for Gifted Students, 109–26. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003234982-8.

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Corbitt, Robert, and Cory Bronger. "Creative Thinking." In The Four Philosophies of Lean, 25–38. New York: Productivity Press, 2021. http://dx.doi.org/10.4324/9781003194781-3.

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Stanley, Todd. "Creative Thinking." In A Teacher's Toolbox for Gifted Education, 106–12. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003238577-13.

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Chen, Chaomei. "Creative Thinking." In Turning Points, 21–41. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-19160-2_2.

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Xiang, Yao, and Yan Guoli. "Creative Thinking." In The ECPH Encyclopedia of Psychology, 335–36. Singapore: Springer Nature Singapore, 2024. https://doi.org/10.1007/978-981-97-7874-4_279.

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Actas de conferencias sobre el tema "Creative thinking"

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Kerneža, Maja, and Dejan Zemljak. "USING LITERARY TECHNIQUES TO DEVELOP CREATIVE THINKING IN STEM." In 19th International Technology, Education and Development Conference, 3073–78. IATED, 2025. https://doi.org/10.21125/inted.2025.0800.

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Dietz, Paul, M. K. Haley, Roger Malina, Ramesh Raskar, and Jennifer (Ginger) Alford. "Cultivating creative thinking." In ACM SIGGRAPH 2014 Panels. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2614208.2615540.

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Cross, Nigel. "Creative thinking in design." In the 2007 Symposium. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1496630.1496632.

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Kohls, Christian. "Patterns for creative thinking." In EuroPLoP 2015: 20th European Conference on Pattern Languages of Programs. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2855321.2855352.

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Susanti, Elsa, and Hartono. "Mathematical Critical Thinking and Creative Thinking Skills." In the 2019 International Conference. New York, New York, USA: ACM Press, 2019. http://dx.doi.org/10.1145/3348400.3348408.

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Blackwell, A. "Computational thinking and creative practice." In 2012 IEEE Symposium on Visual Languages and Human-Centric Computing (VL/HCC 2012). IEEE, 2012. http://dx.doi.org/10.1109/vlhcc.2012.6344467.

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"KNOWLEDGE MAPPING FOR CREATIVE THINKING." In 19th International Conference on Cognition and Exploratory Learning in the Digital Age (CELDA 2022). IADIS Press, 2022. http://dx.doi.org/10.33965/celda2022_202207l025.

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Tristantie, Nining. "Creative Thinking in Fashion Deconstruction." In Proceedings of the 2nd Annual Conference of Engineering and Implementation on Vocational Education (ACEIVE 2018), 3rd November 2018, North Sumatra, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.3-11-2018.2285747.

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BILA, Irina. "TECHNOLOGY OF CREATIVE THINKING DEVELOPMENT." In Happiness And Contemporary Society : Conference Proceedings Volume. SPOLOM, 2021. http://dx.doi.org/10.31108/7.2021.5.

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The article presents the content of the technology of development of positive thinking, optimism, which has a diagnostic, motivational, informational, educational, developmental, resource, regulatory, prognostic function. Keywords: positive thinking, optimism, technology.

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Romadhoni, Nurul, Mardiyana Mardiyana, and Siswanto Siswanto. "The Students’ Creative Thinking Ability to Solve Mathematics Problem based on Siswono’s Creative Thinking Classification." In Proceedings of the 2nd International Conference on Education, ICE 2019, 27-28 September 2019, Universitas Muhammadiyah Purworejo, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.28-9-2019.2291008.

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Informes sobre el tema "Creative thinking"

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Allen, Charles D. Creative Thinking for Senior Leaders: An Essay on Creative Thinking for Military Professionals. Fort Belvoir, VA: Defense Technical Information Center, May 2012. http://dx.doi.org/10.21236/ada595111.

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Gouker, Brian. Creative Thinking for Strategic Leaders. Fort Belvoir, VA: Defense Technical Information Center, April 2003. http://dx.doi.org/10.21236/ada416589.

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Allen, Charles D. Creative Thinking for Individuals and Teams. An Essay on Creative Thinking for Military Professionals. Fort Belvoir, VA: Defense Technical Information Center, January 2009. http://dx.doi.org/10.21236/ada511957.

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Heard, Jonathan, Dara Ramalingam, Claire Scoular, Prue Anderson, and Daniel Duckworth. Creative thinking: Skill development framework. 2nd edition. Australian Council for Educational Research, January 2025. https://doi.org/10.37517/978-1-74286-753-3.

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This creative thinking skill development framework addresses challenges associated with teaching and assessing creative thinking. It provides a definition of creative thinking and describes this construct as it applies in classroom-based learning. The framework synthesises and harmonises existing theory and research on creative thinking and outlines creative thinking processes along prescribed strands and aspects that are informed by evidence. The strands contained within the framework are 1. Generating ideas; 2. Experimenting with ideas; and 3. Identifying the quality of ideas. The strands are further broken down into aspects to inform teaching and assessment.

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De Bortoli, Lisa, and Catherine Underwood. PISA 2022. Assessing creative thinking for a better future. Australian Council for Educational Research, October 2024. http://dx.doi.org/10.37517/978-1-74286-754-0.

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Creative thinking was assessed as an innovative domain for the first time in PISA 2022. This report presents the creative thinking results for Australia as a whole, for the Australian states and territories and for the other groups in PISA 2022.

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Jussel, Paul C. In or Out of the Box: A Leader's Creative Thinking. Fort Belvoir, VA: Defense Technical Information Center, April 2000. http://dx.doi.org/10.21236/ada378262.

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Chae, May. Stimulating Creative Thinking: Project Based Learning to Design Fashionable Adaptive Clothing. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8254.

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Cho, Seunghye. Creative Design Thinking Process: Fashion Is Cyclical Then, Now, and Future. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8310.

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Minson, Valrie, Laura I. Spears, Adrian Del Monte, Margaret Portillo, Jason Meneely, Sara Gonzalez, and Jean Bossart. Library Impact Research Report: Facilitating Innovative Research, Creative Thinking, and Problem Solving. Association of Research Libraries, September 2022. http://dx.doi.org/10.29242/report.uflorida2022.

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As part of ARL’s Research Library Impact Framework initiative, the Marston Science Library (MSL) of the University of Florida (UF) George A. Smathers Libraries partnered with the UF Department of Interior Design (IND) to explore how research libraries facilitate innovation, creativity, and problem-solving competencies among their patrons. The MSL-IND team explored a three-tiered hypothesis that included: (1) students’ use of library spaces can contribute to building knowledge and practical applications for library space renovations; (2) student perceptions of space desirability as measured by the Place-based Semantic Differential can be used to indicate gaps in the library space facilitation of creativity; and (3) the creative thought process requires spaces that are diverse, flexible, and under a certain amount of student control. The research team developed a mixed-method study that included a spatial analysis, a survey utilizing an adjective checklist, and several focus groups designed to validate the adjective checklist. The research team analysis of the resulting data identified recommendations related to creating a sense of place, solving for the group by addressing the individual, offering a palette of posture, increasing biophilia, and offering choice and control.

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Thorpert, Petra, Tuva A. N. Indrevoll, Maartje Frencken, Fatima Zahi, Nour Alhuda Mufleh, Gemila Hansson, Jay Anderson, et al. Sketching as a Key Tool in Promoting Creative Thinking and Aesthetic Solutions. Faculty of Landscape Architecture, Horticulture and Crop Production Science, Swedish University of Agricultural Sciences, 2025. https://doi.org/10.54612/a.2qq4vievo6.

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This factsheet is the product of the students’ work with Procedural Theory in the course Urban Landscape Design during the spring term of 2025. The aim of the assignment is to reflect on and communicate urban landscape design working processes, by studies of sketching processes and creative thinking. The procedural theory or design process is a step-by-step procedure and exploratory method that applies a problem-solving approach to landscape design. According to Murphy (2016), a clearly defined design problem increases the likelihood of a successful resolution, where information intake and knowledge-based thinking during the design process is a critical part in achieving a successful design outcome (Bursic and Altman, 1997; Murphy, 2016). This factsheet shows some examples of the design process, and focuses mainly on reflecting on and describing the role and importance of sketching as an investigative and communicative tool that permeates the students' attempts to describe selected aspects of the design process. In this context, the design process facilitates testing, evaluation and clarification of the creative development (Hoffman 2019). The students' suggestions regarding the design flow underline, to some extent, the sketch as a crucial tool in the search for design and aesthetic solutions. The course Urban Landscape Design (LK0400) is an independent bachelor’s level course focusing on design of urban green spaces, offered at the Swedish University of Agricultural Sciences, and run by the Department of Landscape Architecture, Planning and Management (LTV faculty). The following abstracts and poster presentations present the students’ thoughts and reflections through visualisations and descriptive text, and show attempts to verbalise the design process steps/phases. The assumptions made and described in this factsheet are based on literature studies of procedural theory, as well as on the students’ previous experiences of the design process, and through individual and group reflections and discussions.

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