I detta självständiga arbete studerar jag hur min kreativa process i komposition påverkas och förändras av olika faktorer. Studien utgår från ett fenomenologiskt perspektiv och tar inspiration från tidigare forskning och litteratur inom ämnena komposition och kreativitet. Arbetet har genomförts genom att använda loggboksanteckningar som tagits före och efter varje kompositionspass under höstterminen 2020. Anteckningarna har därefter analyserats med en tematisk analysmetod. Resultatet presenteras i två teman: yttre faktorer och inre faktorer, med tillhörande underrubriker som beskriver de olika faktorernas påverkan i större utsträckning. I dessa två teman beskrivs svaren på mina forskningsfrågor: Vad uppfattar jag som kreativitet? Vilken inverkan har olika metoder och rutiner på mitt kreativa skapande? Arbetet avslutas med en diskussion där resultaten ställs i relation till vald forskning, litteratur och det fenomenologiska perspektivet. / In this self-study I explore how my creative process in composition is affected and changed by different factors. The study is based on a phenomenological perspective and takes inspiration from previous studies and literature within the subjects of composing and creativity. The study has been accomplished using log notes which were taken before and after every composing session during the autumn semester of 2020. The log notes were analysed using a thematic analysing method. The results are presented in two themes: external factors and internal factors, with associated subheadings that describe each of the different factors’ influence in a bigger picture. In these two themes the answers are described to my two research questions: What do I perceive as creativity? What influence do different methods and routines have on my creative making? The work is finished with a discussion where the results are set in a relation to the selected research, literature, and the phenomenological perspective.

Architectus ludens. L’architecte est un joueur. L’analogie est plutôt commune, un tantinet romantique. L’architecte s’amuse avec les formes, les matières, les ombres et la lumière, comme l’enfant qui joue, il « crée un monde à son idée ». Cet essai propose de prendre au sérieux cette posture, et de considérer le projet architectural et urbain comme la fabrique d’une illusion que l’architecte partagerait avec la société. L’auteur suit ainsi la voie ouverte par Sigmund Freud qui comparait l’artiste à l’enfant joueur. A sa suite, Donald Woods Winnicott établira le phénomène transitionnel du jeu, qui permet au nourrisson d’exister et inaugure sa capacité à imaginer, comme la racine de la créativité humaine. Sur la base de cette théorie le projet architectural est envisagé comme le trajet qui conduit de l’espace du libre jeu à la conception d’un jeu réglé, un jouet ou un terrain de jeu partagé.Si tous les architectes sont, au fond, des joueurs, cette qualité apparaît plus nettement dans le moment ludique qui fait suite à l’effondrement du paradigme moderne. Des années 1950 jusqu’à la fin des années 1970, les artistes ont cherché à renouveler leurs pratiques en opposant l’expérience du jeu à l’œuvre d’art qui en est le produit. « Everywhere as playground ». Le monde entier devait alors devenir une grande aire de jeu, pour reprendre la formule d’Allan Kaprow. Les architectes ont suivi ce mouvement et de nombreux projets de cette période se démarquent par leur caractère explicitement ludique.Afin d’offrir aux architectes une boussole pour qu’ils ne se perdent pas dans leur jeu, l’essai propose une matrice de quatre règles du jeu. Elle vise à théoriser quatre manières de faire illusion, quatre techniques d’interprétation de l’environnement La première enquête porte sur l’ivresse du labyrinthe, illustrée par New Babylon, cette immense ville labyrinthique conçue par l’artiste plasticien Constant Nieuwenhuys suivant le concept de l’urbanisme unitaire théorisé par l’Internationale Situationniste. Elle nous conduit à théoriser la notion de situation comme résultante d’un jeu de distraction, qui nous détourne de l’espace-temps fonctionnel pour nous recentrer sur les énergies du corps en échange avec l’environnement. La magie des jouets est la deuxième règle du jeu étudiée en prenant l’exemple du Teatro del Mondo, ce petit théâtre flottant éphémère imaginé par l’architecte milanais Aldo Rossi pour le renouveau du Carnaval vénitien. L’architecture y est analysée comme un jeu de re‑présentation qui permet de faire symbole, une forme renvoyant aux événements de nos mémoires. C’est ensuite la combinatoire des jeux de construction qui est analysée en observant le Fun Palace, cette université populaire dédié à la créativité, et dessiné par l’architecte britannique Cedric Price comme un chantier naval reconfigurable à l’infini par ses usagers. Cette architecture sous-déterminée est associée à l’opération qui consiste à faire diagramme, à établir un réseau de relations à actualiser par le jeu de l’interprétation. Enfin, le dernier essai porte sur la systémique des jeux de stratégie et examine le World Game de l’architecte américain Richard Buckminster Fuller, un jeu de simulation stratégique pacifique qui détourne les jeux de guerre de l’armée américaine pour donner aux citoyens du monde les manettes du Vaisseau Spatial « Terre ». Il renvoie au jeu de la com‑préhension permettant de faire carte.Les quatre illusions étudiées renvoient finalement à quatre postures possibles pour l’architecte qui peut choisir de les combiner à sa guise dans la fabrique de ses projets. Il s’agit de lui donner les outils réflexifs qui l’aideront à développer sa propre grammaire architecturale. A travers la posture de l’architectus ludens, l’auteur dessine les contours d’une éthique de l’imaginaire. Elle exige de toujours remonter au libre jeu pour réinitialiser les règles de chaque projet, guidé par le désir du jeu qui fonde l’humain. / Architectus ludens. The architect is a player. The analogy is rather common, maybe a tad romantic. The architect enjoys playing with shapes, materials, shadows and light, like a child who plays, he “creates a world to his idea”. The following essay suggests taking this posture seriously, and to consider the architectural and urban project as the factory of an illusion that the architect would share with society. The author follows the path opened by Sigmund Freud, who compared the artist to the child player. Following his footsteps, Donald Woods Winnicott had established the transitional phenomenon of play, which enable the infant existence and inaugurate his ability to imagine, as the root of human creativity. The architectural project is then defined as the path that leads from the free play space to the design of a set game, a shared playground.If this hypothesis applies to the general case of the project – all architects are players – it is clearly expressed in the playful moment that follows the collapse of the modern paradigm. From the 1950s until the late 1970s, artists sought to renew their practices by opposing the experience of play to the work of art as an object. The whole world was to become a great playground, to use the formula of Allan Kaprow, «Everywhere as Playground». The architects followed this movement and many emblematic projects of this period stand out by their explicit playful nature.To offer the playful architects a compass so that they do not get lost in their plays, the essay then proposes a matrix of four playing rules which allows to theorize four ways of illusion, four techniques of interpretation of the environment.The first investigation deals with the desorientation of the labyrinth, illustrated by New Babylon, this immense labyrinthic city conceived by the artist Constant Nieuwenhuys, following the concept of unitary urbanism theorized by the Internationale Situationiste. It leads us to theorize the notion of situation as result of a distracting play, which diverts us from the functional space-time to refocus on the energies of the body exchanging with the environment. The magic of toys is the second rule studied by taking the example of the Teatro del Mondo, a small ephemeral floating theatre imagined by the Milanese architect Aldo Rossi for the revival of the Venetian carnival. The architecture is theorized as a re-presentation play that allows to make a symbol, a form referring to the events of our memories. It is then the combination of the construction games that is analyzed by observing the Fun Palace, this popular university dedicated to creativity, and designed by the British architect Cedric Price as a shipyard that can be infinitely reconfigured by its users. This subspecific kind of architecture is mapped by the diagram tool, which establishes a network of relationships to be updated by the interpretation play. The final essay focuses on the systemics of strategic games and examines the World Game of the American architect Richard Buckminster Fuller, a peaceful strategic simulation game that derived from the American Army’s war games to give Citizens of the world the joysticks of the «Earth» spacecraft. The associated creative operation it is that of making a map through the play of comprehension.The four illusions studied finally refer to four possible postures for the architect who can choose to combine them as he wants in the making of his projects. It is about giving him the reflexive tools that will help him develop his own architectural grammar. The author does not propose recipes for illusion, but he draws the outline of an ethical posture that requires to always go back to the free play in order to reset the rules of each project, guided by the desire of playing that creates the human being.

Leaders’ individual transformative capabilities, qualities and skills are critical to the sustainable transformation in organisations. This exploratory research aims to explore the inspiration from the creative process of craftsmen to enable inner development of sustainable leaders for promoting sustainable transformation. Taking experiential learning as an intermediate factor, the thesis asks two research questions. 1) How does the creative process of craftsmen contribute to experiential learning?2) What is the implication of experiential learning to inner development of sustainable leaders? The frameworks of the creative process, the Inner Development Goals and the Experiential Learning Cycle are used to analyse the potential of experiential learning observed through the craftsman's creativity process to enable inner development of sustainable leaders. The research is led in two parts. The first part is an inductive empirical research based on semi-structured interviews with selected craftsmen to understand how craftsmen engage in experiential learning during their creative process. The second part of the research is a deductive theoretical analysis to understand how experiential learning can facilitate inner development of sustainable leaders. The results suggest that engaging in experiential learning through creative process is an innovative pers for sustainable leaders to develop individual transformative capabilities, skills, and competences for their inner development. Theoretical implications and practical recommendations are provided based on the findings of the research.

A high school visual art educator, along with 20 students enrolled in this teacher/researcher's Advanced Placement (AP) studio course, investigated the processes involved in creating artwork. Understanding artistic processes beyond skills and techniques is significant for curriculum development, but it is also key in conceptualizing art as a way of knowing. The arts based research strategy utilized in this study was a/r/tography, which focuses on the interconnectedness between artist, researcher, and teacher/learner. This highly reflective form of action research allowed the researcher and students to uncover new understandings of what it means to be an artist-researcher through a combination of knowing, doing, and making. Student-researchers learned several arts based forms of inquiry by analyzing the processes of contemporary artists. They were invited to record and reflect upon their own processes in a research journal as they generated artworks. The teacher-researcher also kept an intensive reflective journal concerning artmaking, but also included pedagogical concerns, questions, observations, and insights. At the conclusion of the semester, students were taught to analyze their own artistic process via their sketchbook entries by creating two visualizations: a mind map and an artwork as a data visualization of their process. Several important understandings are drawn from this study that transform this educator's practice as an artist-educator. These include the following concepts: not knowing as an artist, researcher, student and teacher; anxiety may be a necessary factor in artistic creation and pedagogy; and pretending is a strategy that allows one to productively move through uncertainty, ambiguity, and anxiety.

Syftet med vår studie är att undersöka hur människor där den kreativa processen är central i sitt yrkesutövande upplever denna process och se om det går att hitta ett mönster. Vi bestämde oss för att ta reda på vad som händer inuti människan runt det kreativa ögonblicket. Vår huvudfrågeställning är: Vad är den kreativa processen? Vi gjorde öppna intervjuer med fem verksamma kreatörer med hjälp av DV-kamera. Vårt resultat visade att det gick att se ett gemensamt mönster i den kreativa processen. Vi fann tre teman: Flöde, Hinder och Strategier som beskrev olika faser av processen. Vi har även tittat på hur resultatet förhåller sig till formuleringarna om kunskap och lärande i Lpf 94. Detta har väckt frågor hos oss om de olika stadierna i den kreativa processen som motiverar vidare forskning inom området. Vår undersökning har på så sätt lett till nya frågeställningar. / The aim was to research how the Creative process are percieved in the creative professional and to find out if a pattern can be seen. We aimed to find out what is happening inside the person in the moment of creativity. Our main-question was: What is the Creative process? The 5 professionals was interviewed with the help of camcorders.Our result shows that a pattern can be found in the creative process. We found tree themes: Flow,Obstruction, Strategies that describe different stages in the process.We discuss our result in relation to views on knowledge and learning as expressed in LPf 94.This has created an interest in the stages of the Creative process and motivate new research. Our research has led to new inqueries.

The purpose of this project has been to further develop the ergonomic comfort andextended use of a concept sleigh early in development by Bombardier Recreational Productsin Finland. Their concept already featured a modern looking exterior design with a largewindow, innovative doors that gives of vibes of a modern sports car. The original conceptalso has multifunctional benches that allows storage and a prone position. The goal has beento deliver my final concept in the shape of a 3D-model with the new features. Side goals wasgiven besides the ergonomic improvements, these were to make the sleigh fit on a 3.5-meter trailer along with a snowmobile and see if components from other products producedby BRP Finland, Rovaniemi, would be ergonomically beneficial to the sleigh while notaffecting the dimensions in an undesirable way. The process of this project has been basedon three main phases namely Inspiration, Ideation, and Creation. The first phase focused onexploring the market and the users of similar products with the help of a competitor analysiswith sleighs suggested by the company. During the Inspiration phase an academic study wasmade where relevant knowledge was collected. That was for example to support thisdevelopment with information about how the users and stakeholders should be involvedduring an Industrial design process. Very useful information about ergonomics andanthropology aspects was discovered and applied. A form was sent out to users where it wasshown that the passenger comfort was the most important aspect of a sleigh. The secondphase was focused on development of new ideas that were spawned during two workshopsand sketching methods. The third phase, Creation, finalised the concepts and throughmatrices the best concept was selected based on criteria taken from the user’s interest andother aspects of the sleigh like the side goals of the project. The result of this project wasconcept Virgo, which is a concept based in BRPs original design with features spawned andevaluated during this project. Much research and reiterations has gone into thisdevelopment to arrive at minor improvements to bring great customer value to the sleigh ifimplemented when it becomes available on the market

[pt] Esta pesquisa surgiu de meu interesse em investigar as relações entre colecionar e projetar em design. Entendendo que todo designer durante a carreira constrói uma coleção de conhecimentos e informações particular. Investigamos quais seriam as influências exercidas pelo ato de colecionar sobre o pensamento dos designers. Pressupomos que os designers que colecionam, desenvolvem relações entre este processo e o seu modo de pensar projetos. Para verificar esta hipótese foi realizada uma revisão bibliográfica, na qual pesquisamos os diferentes aspectos do Design Thinking e do colecionismo descritos na literatura, tais como suas formas, características, metodologias e processos. Posteriormente, foi feita uma pesquisa qualitativa realizada através de entrevistas semiestruturadas com designers colecionadores para avaliar as relações existentes entre seus modos de colecionar e projetar. A partir da revisão bibliográfica e das entrevistas, foram especificadas as relações e características comuns existentes nas práticas exercidas por designers colecionadores. Desta forma validamos a hipótese e definimos as relações existentes entre ambas as práticas, demonstrando como projetos desenvolvidos por designers colecionadores se diferenciam e são influenciados por práticas colecionistas tanto em seus métodos de desenvolvimento como em seus processos criativos. Eles constroem narrativas que refletem seus gostos, desejos e personalidades, sempre se utilizando de duas metodologias paralelas, distintas e sobrepostas: uma pertencente ao seu universo particular e outra comum ao universo dos designers colecionadores. / [en] This research emerged from my interest in investigating the relationship between collecting and projecting in design. Understanding that every designer during his career builds a particular collection of knowledge and information, we investigated what would be the influences exerted by the act of collecting on the designers thinking. We assume that designers who collect develop relationships between this process and their way of thinking about projects. To verify this hypothesis, a literature review was carried out, in which we researched the different aspects of Design Thinking and collecting described in the literature, such as their forms, characteristics, methodologies and processes. Subsequently, qualitative research was carried out through semi-structured interviews with Designers Collectors to assess the existing relationships between their ways of collecting and designing. Based on the bibliographic review and the interviews, the relationships and common characteristics existing in the practices carried out by Designers collectors were specified. By doing this, we validate the hypothesis and define the existing relationships between both practices, demonstrating how projects developed by Designers Collectors differ and are influenced by collecting practices in their development methods and in their creative processes. They build narratives that reflect their tastes, desires and personalities, always using two parallel, distinct and overlapping methodologies: one belonging to their particular universe and the other common to the universe of designers collectors.

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