Il numero 5 di MD Journal si propone di indagare il rapporto tra Design e territori, considerando... more Il numero 5 di MD Journal si propone di indagare il rapporto tra Design e territori, considerando le potenzialità di questa relazione all’interno dei processi di trasformazione in atto nelle nostre società, nella produzione e consumo di beni e servizi e nella produzione di innovazione sociale attraverso nuove forme di aggregazione e partecipazione. Uno dei punti centrali della riflessione è il modo in cui gli ambienti di vita esprimono i propri cambiamenti, mediando tra spirito di conservazione e forze orientate all’innovazione, tra specificità locali e valori universali.Issue 5 of MD Journal aims at investigating the relationship between Design and territories, considering the potential of this relationship within the transformation processes under way in our societies, in the production and consumption of goods and services and in the production of social innovation by means of new forms of aggregation and participation. One of the key focuses of the investigation is the way in wh...
Along the crisis of industry, knowledge and the creative labour come to be the primary workforce ... more Along the crisis of industry, knowledge and the creative labour come to be the primary workforce capable of generating value and innovation. Industry is living an historical shift of its role within society and production through the admittance of the new technologies and the service sector. The process of digitalization is leading to a transformation of the nature of the enterprises, while opening to new forms of micro-factories and “personal capitalism”, in order to share locally and globally skills and knowledge, as well as resources and tools, to the accomplishment of projects and products. The new generations of designers have come to terms with deindustrialization and, while their predecessors had a role in the assembly line with manufacturing processes, today’s designers are aware of their service and strategic role concerning innovation. Then, the young designer is experiencing a special space for self-organization, while incorporating all the productive aspects in his own o...
Il concetto di tipo ha da sempre giocato un ruolo nella costruzione delle forme del mondo, come a... more Il concetto di tipo ha da sempre giocato un ruolo nella costruzione delle forme del mondo, come anche nei processi di conoscenza dell’uomo. Un primo tentativo di tipizzazione delle forme attraverso accostamenti inconsueti, può essere considerata la “stanze delle meraviglie” rinascimentali. Quest’operazione di accumulazione, collezionismo e accostamento creativo di oggetti, immagini e scritti, di fatto costituiva una forma di conoscenza complessa sul mondo, così da stimolare una visione laterale e creativa. Nell’avvicinare cose che spesso hanno un carattere diverso e nel loro continuo riposizionamento, la Wunderkammer come un qualsiasi laboratorio di progettazione esplora un concetto di tipo che non si ferma alla cristallizzazione di una figura nella sua essenza astratta e atemporale, piuttosto diventa materia viva e aperta, laddove i processi tecnologici e culturali si fanno motore del cambiamento e dell’innovazione. Le dimensione processuale e tecnologica svolge un ruolo importante...
Questo libro è parte di un percorso di ricerca costruito sul rapporto tra NOMADISMO E DESIGN, com... more Questo libro è parte di un percorso di ricerca costruito sul rapporto tra NOMADISMO E DESIGN, come strumento di indagine teorico-conoscitivo di questo emergente fenomeno, e supporto di progetto. Con un approccio multidisciplinare, tre volumi si indagano le categorie, i fenomeni e le pratiche. In particolare, in questo secondo volume si approfondiscono alcuni fenomeni connessi alle logiche di mobilità e provvisorietà, evidenziandone il rapporto mutevole tra comportamento, tattiche precarie di consumo, fenomeni di ibridazione e contaminazione, soggettivazione e personalizzazione, la dimensione informale e performativa del progetto, il disciplinamento dei corpi e l’estetica del desiderio.The modern nomad: the coffee-toting commuter, the automobile driver, the men and women who funnel into the underground railway stations at the end of a busy day...Nomad+Design is not just a book. It is a theoretical and cognitive survey instrument, which discusses the phenomenon of migration as a neces...
A general definition of research is systematic inquiry, the goal of which is creation of knowledg... more A general definition of research is systematic inquiry, the goal of which is creation of knowledge. By its very nature of systematic investigation to establish facts from observations of the natural world, scientific research fuels technological and social progress. If we consider design as a natural human ability that demonstrates a concern to advance societal innovation and is characterized by particular forms of knowledge, design itself as a discipline presents a rich focus for research and “designerly ways of knowing” that includes a rich tradition of academic streams of discourse that have been developed and debated since the second half of the twentieth century in the design research literature. Furthermore because of its nature, the discipline of design is often referred to as an “applied science” that manifests through products, processes, services, and systems and functions in the broader framework of cultural production as a whole. In this context, questions that pertain t...
Contemporary shifts in society, technology, production are reframing design processes, approaches... more Contemporary shifts in society, technology, production are reframing design processes, approaches and tools. While professionals, educators and researchers are questioning the next stage of innovation, design is evolving as a wide open field with many applications and meanings. More than ever it is important to investigate through design research and practice in order to tackle the societal, technological and industrial shifts of the future. The 12th EAD Conference was hosted by Sapienza University of Rome in Italy, and it fostered discussion among designers, academics and experts about the articulated scenario of contemporary design and its perspectives, with intent to nurture diversity and interdisciplinarity. 'Design for Next ...' is the title and topic of the Conference: 'Next' implies the concept of proximity as well as of destination, related to time and to physical space. The conference seeked to discover future fields of investigation in design, as well to di...
Along with the transition to the 'new capitalism', which may be variously defined as cogn... more Along with the transition to the 'new capitalism', which may be variously defined as cognitive, flexible, post-industrial or post-Fordist, we are experiencing a new productive scenario since the Seventies of the last century, where innovation and creativity are rising as key factors for competitiveness and come to be the capital for the production system to open a new stage. If the industrial capitalism of modernity required the manufacturing of big quantities of physical products, the mutation of the role of industry and production, the globalization of markets and the emergence of communication in every social occurrence are changing the nature and the tools of design, while enhancing all the immaterial and creative features. Creativity, namely the capacity of developing innovative and bold connections, turns to be the driving force of an economy where experiences and services are more strategic than tangible and durable goods
‘Design for Next...’ is the title and topic where ’Next’ implies the concept of proximity as well... more ‘Design for Next...’ is the title and topic where ’Next’ implies the concept of proximity as well of destination, related to time and physical space. Contemporary shifts in society, technology and production are reframing design processes, approaches and tools. While the design community is questioning about the next stage of innovation, design is evolving as a wide open field with many applications and meanings. More than ever it is important to investigate through design research and practice in order to tackle the societal, technological and industrial challenges of the future
Questo libro è parte di un percorso di ricerca costruito sul rapporto tra nomadismo e design, com... more Questo libro è parte di un percorso di ricerca costruito sul rapporto tra nomadismo e design, come strumento di indagine teorico-conoscitivo di questo emergente fenomeno, e supporto di progetto. Con un approccio multidisciplinare, tre volumi indagano le categorie, i fenomeni e le pratiche. In particolare, in questo primo volume si delineano le categorie di base e i principi informatori attraverso i diversi piani tematici: la dinamica dei flussi e la città a rete globale, circuiti e forme inedite di produzione, la trans-nazionalizzazione dei mercati simbolici e le migrazioni multidirezionali, le tecnologie connettive e gli oggetti protesici.The modern nomad: the coffee-toting commuter, the automobile driver, the men and women who funnel into the underground railway stations at the end of a busy day...Nomad+Design is not just a book. It is a theoretical and cognitive survey instrument, which discusses the phenomenon of 'migration' as a necessary consideration at every stage of...
Una finestra su come si sta esprimendo la creatività dei giovani Designer in Europa, per affronta... more Una finestra su come si sta esprimendo la creatività dei giovani Designer in Europa, per affrontare non solo la sfida professionale ma anche quella culturale e sociale di immaginare un futuro di oggetti per fare, per stare, per andare e, soprattutto, per pensare. Oltre 200 prodotti sviluppati da circa 150 giovani designer under 35 provenienti da 60 diverse Università e Scuole di Design di 16 Paesi Europei raccontati secondo una mappa critica sulle tendenze del design contemporaneo
Il contributo si inserisce nel quadro critico della formazione del Design e della modalità ricono... more Il contributo si inserisce nel quadro critico della formazione del Design e della modalità riconosciuta come del "lear-ning by doing". Il tema della formazione è in costante evo-luzione perché il Design è una pratica situata e si determina anche attraverso i nuovi tools tecnologici emergenti, come quelli della frontiera dell'Industria 4.0. Il contributo riporta casi-studio nei quali il Fab Lab è stato partner della scuola pubblica per avvicinare i giovani al pensiero scientifico e alle future professioni STEAM. L'obiettivo critico è riflettere su come il Designer del futuro nella neo-nata Industria 4.0 dovrà riacquisire una competenza tecnica che necessaria-mente parta dal basso, già dai primi livelli di educazione scolastica. Conoscenze future, Creatività digitale, Fablab, Steam The contribution is part of the critical framework of the Design education and the so-called "learning by doing" approach. The educational topic is constantly evolving because th...
Archaeological excavation is, by definition, an operation of destruction: strata of natural and a... more Archaeological excavation is, by definition, an operation of destruction: strata of natural and anthropic deposits necessarily need to be excavated and so destroyed to reveal the contents of historical and archaeological information. Furthermore, the operation of digging cannot be repeated and if something is improperly destroyed, this cannot be recovered in a second time. The idea of the present research aims at retracing all archaeological data and information in a most comprehensive and yielding tool that can in fact give archaeology a more suitable scientific connotation. Recent applications and implementations of new technologies in archaeological field actually developed systems of registration and immediate fruition of data to be used for further researches both during and after thee excavation. The project is aimed to design the cultural experience converging few interdisciplinary fields of research, such as Service Design (focusing on the immaterial performances after the products), System Design (opening to a number of connected products managing the organization) and Interaction Design (re-thinking new technologies and the interaction with the user). Cultural experience can be re-designed starting from the joint combination of physical and immaterial media, so affecting the interaction with the final user, but also creating new entrepreneur business models and the creation of a socio-economic value for the entire society. Within these purposes, the cost-effective robot ArcheoBOT is capable to document the excavation in real-time with an arbitrary level of accuracy without hindering the on-going of the excavation. During the excavation, ArcheoBOT will take snapshots from number of instruments, including cameras and sensors. The use of ArcheoBOT might indeed become a research tool for teaching with virtual reconstructions and simulations that can also be suitably used to save specific situations of cultural heritage in danger
Il numero 5 di MD Journal si propone di indagare il rapporto tra Design e territori, considerando... more Il numero 5 di MD Journal si propone di indagare il rapporto tra Design e territori, considerando le potenzialità di questa relazione all’interno dei processi di trasformazione in atto nelle nostre società, nella produzione e consumo di beni e servizi e nella produzione di innovazione sociale attraverso nuove forme di aggregazione e partecipazione. Uno dei punti centrali della riflessione è il modo in cui gli ambienti di vita esprimono i propri cambiamenti, mediando tra spirito di conservazione e forze orientate all’innovazione, tra specificità locali e valori universali.Issue 5 of MD Journal aims at investigating the relationship between Design and territories, considering the potential of this relationship within the transformation processes under way in our societies, in the production and consumption of goods and services and in the production of social innovation by means of new forms of aggregation and participation. One of the key focuses of the investigation is the way in wh...
Along the crisis of industry, knowledge and the creative labour come to be the primary workforce ... more Along the crisis of industry, knowledge and the creative labour come to be the primary workforce capable of generating value and innovation. Industry is living an historical shift of its role within society and production through the admittance of the new technologies and the service sector. The process of digitalization is leading to a transformation of the nature of the enterprises, while opening to new forms of micro-factories and “personal capitalism”, in order to share locally and globally skills and knowledge, as well as resources and tools, to the accomplishment of projects and products. The new generations of designers have come to terms with deindustrialization and, while their predecessors had a role in the assembly line with manufacturing processes, today’s designers are aware of their service and strategic role concerning innovation. Then, the young designer is experiencing a special space for self-organization, while incorporating all the productive aspects in his own o...
Il concetto di tipo ha da sempre giocato un ruolo nella costruzione delle forme del mondo, come a... more Il concetto di tipo ha da sempre giocato un ruolo nella costruzione delle forme del mondo, come anche nei processi di conoscenza dell’uomo. Un primo tentativo di tipizzazione delle forme attraverso accostamenti inconsueti, può essere considerata la “stanze delle meraviglie” rinascimentali. Quest’operazione di accumulazione, collezionismo e accostamento creativo di oggetti, immagini e scritti, di fatto costituiva una forma di conoscenza complessa sul mondo, così da stimolare una visione laterale e creativa. Nell’avvicinare cose che spesso hanno un carattere diverso e nel loro continuo riposizionamento, la Wunderkammer come un qualsiasi laboratorio di progettazione esplora un concetto di tipo che non si ferma alla cristallizzazione di una figura nella sua essenza astratta e atemporale, piuttosto diventa materia viva e aperta, laddove i processi tecnologici e culturali si fanno motore del cambiamento e dell’innovazione. Le dimensione processuale e tecnologica svolge un ruolo importante...
Questo libro è parte di un percorso di ricerca costruito sul rapporto tra NOMADISMO E DESIGN, com... more Questo libro è parte di un percorso di ricerca costruito sul rapporto tra NOMADISMO E DESIGN, come strumento di indagine teorico-conoscitivo di questo emergente fenomeno, e supporto di progetto. Con un approccio multidisciplinare, tre volumi si indagano le categorie, i fenomeni e le pratiche. In particolare, in questo secondo volume si approfondiscono alcuni fenomeni connessi alle logiche di mobilità e provvisorietà, evidenziandone il rapporto mutevole tra comportamento, tattiche precarie di consumo, fenomeni di ibridazione e contaminazione, soggettivazione e personalizzazione, la dimensione informale e performativa del progetto, il disciplinamento dei corpi e l’estetica del desiderio.The modern nomad: the coffee-toting commuter, the automobile driver, the men and women who funnel into the underground railway stations at the end of a busy day...Nomad+Design is not just a book. It is a theoretical and cognitive survey instrument, which discusses the phenomenon of migration as a neces...
A general definition of research is systematic inquiry, the goal of which is creation of knowledg... more A general definition of research is systematic inquiry, the goal of which is creation of knowledge. By its very nature of systematic investigation to establish facts from observations of the natural world, scientific research fuels technological and social progress. If we consider design as a natural human ability that demonstrates a concern to advance societal innovation and is characterized by particular forms of knowledge, design itself as a discipline presents a rich focus for research and “designerly ways of knowing” that includes a rich tradition of academic streams of discourse that have been developed and debated since the second half of the twentieth century in the design research literature. Furthermore because of its nature, the discipline of design is often referred to as an “applied science” that manifests through products, processes, services, and systems and functions in the broader framework of cultural production as a whole. In this context, questions that pertain t...
Contemporary shifts in society, technology, production are reframing design processes, approaches... more Contemporary shifts in society, technology, production are reframing design processes, approaches and tools. While professionals, educators and researchers are questioning the next stage of innovation, design is evolving as a wide open field with many applications and meanings. More than ever it is important to investigate through design research and practice in order to tackle the societal, technological and industrial shifts of the future. The 12th EAD Conference was hosted by Sapienza University of Rome in Italy, and it fostered discussion among designers, academics and experts about the articulated scenario of contemporary design and its perspectives, with intent to nurture diversity and interdisciplinarity. 'Design for Next ...' is the title and topic of the Conference: 'Next' implies the concept of proximity as well as of destination, related to time and to physical space. The conference seeked to discover future fields of investigation in design, as well to di...
Along with the transition to the 'new capitalism', which may be variously defined as cogn... more Along with the transition to the 'new capitalism', which may be variously defined as cognitive, flexible, post-industrial or post-Fordist, we are experiencing a new productive scenario since the Seventies of the last century, where innovation and creativity are rising as key factors for competitiveness and come to be the capital for the production system to open a new stage. If the industrial capitalism of modernity required the manufacturing of big quantities of physical products, the mutation of the role of industry and production, the globalization of markets and the emergence of communication in every social occurrence are changing the nature and the tools of design, while enhancing all the immaterial and creative features. Creativity, namely the capacity of developing innovative and bold connections, turns to be the driving force of an economy where experiences and services are more strategic than tangible and durable goods
‘Design for Next...’ is the title and topic where ’Next’ implies the concept of proximity as well... more ‘Design for Next...’ is the title and topic where ’Next’ implies the concept of proximity as well of destination, related to time and physical space. Contemporary shifts in society, technology and production are reframing design processes, approaches and tools. While the design community is questioning about the next stage of innovation, design is evolving as a wide open field with many applications and meanings. More than ever it is important to investigate through design research and practice in order to tackle the societal, technological and industrial challenges of the future
Questo libro è parte di un percorso di ricerca costruito sul rapporto tra nomadismo e design, com... more Questo libro è parte di un percorso di ricerca costruito sul rapporto tra nomadismo e design, come strumento di indagine teorico-conoscitivo di questo emergente fenomeno, e supporto di progetto. Con un approccio multidisciplinare, tre volumi indagano le categorie, i fenomeni e le pratiche. In particolare, in questo primo volume si delineano le categorie di base e i principi informatori attraverso i diversi piani tematici: la dinamica dei flussi e la città a rete globale, circuiti e forme inedite di produzione, la trans-nazionalizzazione dei mercati simbolici e le migrazioni multidirezionali, le tecnologie connettive e gli oggetti protesici.The modern nomad: the coffee-toting commuter, the automobile driver, the men and women who funnel into the underground railway stations at the end of a busy day...Nomad+Design is not just a book. It is a theoretical and cognitive survey instrument, which discusses the phenomenon of 'migration' as a necessary consideration at every stage of...
Una finestra su come si sta esprimendo la creatività dei giovani Designer in Europa, per affronta... more Una finestra su come si sta esprimendo la creatività dei giovani Designer in Europa, per affrontare non solo la sfida professionale ma anche quella culturale e sociale di immaginare un futuro di oggetti per fare, per stare, per andare e, soprattutto, per pensare. Oltre 200 prodotti sviluppati da circa 150 giovani designer under 35 provenienti da 60 diverse Università e Scuole di Design di 16 Paesi Europei raccontati secondo una mappa critica sulle tendenze del design contemporaneo
Il contributo si inserisce nel quadro critico della formazione del Design e della modalità ricono... more Il contributo si inserisce nel quadro critico della formazione del Design e della modalità riconosciuta come del "lear-ning by doing". Il tema della formazione è in costante evo-luzione perché il Design è una pratica situata e si determina anche attraverso i nuovi tools tecnologici emergenti, come quelli della frontiera dell'Industria 4.0. Il contributo riporta casi-studio nei quali il Fab Lab è stato partner della scuola pubblica per avvicinare i giovani al pensiero scientifico e alle future professioni STEAM. L'obiettivo critico è riflettere su come il Designer del futuro nella neo-nata Industria 4.0 dovrà riacquisire una competenza tecnica che necessaria-mente parta dal basso, già dai primi livelli di educazione scolastica. Conoscenze future, Creatività digitale, Fablab, Steam The contribution is part of the critical framework of the Design education and the so-called "learning by doing" approach. The educational topic is constantly evolving because th...
Archaeological excavation is, by definition, an operation of destruction: strata of natural and a... more Archaeological excavation is, by definition, an operation of destruction: strata of natural and anthropic deposits necessarily need to be excavated and so destroyed to reveal the contents of historical and archaeological information. Furthermore, the operation of digging cannot be repeated and if something is improperly destroyed, this cannot be recovered in a second time. The idea of the present research aims at retracing all archaeological data and information in a most comprehensive and yielding tool that can in fact give archaeology a more suitable scientific connotation. Recent applications and implementations of new technologies in archaeological field actually developed systems of registration and immediate fruition of data to be used for further researches both during and after thee excavation. The project is aimed to design the cultural experience converging few interdisciplinary fields of research, such as Service Design (focusing on the immaterial performances after the products), System Design (opening to a number of connected products managing the organization) and Interaction Design (re-thinking new technologies and the interaction with the user). Cultural experience can be re-designed starting from the joint combination of physical and immaterial media, so affecting the interaction with the final user, but also creating new entrepreneur business models and the creation of a socio-economic value for the entire society. Within these purposes, the cost-effective robot ArcheoBOT is capable to document the excavation in real-time with an arbitrary level of accuracy without hindering the on-going of the excavation. During the excavation, ArcheoBOT will take snapshots from number of instruments, including cameras and sensors. The use of ArcheoBOT might indeed become a research tool for teaching with virtual reconstructions and simulations that can also be suitably used to save specific situations of cultural heritage in danger
This research will create a truly innovative, international research network that will stretch fa... more This research will create a truly innovative, international research network that will stretch far and wide in the area of "Cultures of Creativity and Innovation in Design". The international research network coordinating body comprises Professors Paul Rodgers and Paul Jones from Northumbria University, Professor Amaresh Chakrabarti, a world-leading researcher in Design Creativity, from the Centre for Product Design and Manufacturing at the Indian Institute of Science, Bangalore and Professor Lorenzo Imbesi, an internationally-acclaimed researcher in Design Culture, from the School of Industrial Design at Carleton University, Canada. The importance of creativity in the cultural, creative and other industries and the significant contributions that creativity adds to a nation's overall GDP and the subsequent health and wellbeing of its people cannot be overstated. In Europe, the value of the cultural and creative industries is estimated at well over 700 billion Euros each year, twice that of Europe's car manufacturing industry. The value of creativity and innovation, to any nation, is therefore huge. Creativity and innovation adds real value, which enables a number of benefits such as economic growth and social wellbeing. In many societies creativity epitomises success, excitement and value. Whether driven by individuals, companies, enterprises or regions creativity and innovation establishes immediate empathy, and conveys an image of dynamism. Creativity is thus a positive word in societies constantly aspiring to innovation and progress. In short, creativity in all of its manifestations enriches society. This network seeks to gain an understanding of this dynamic ecology that creativity and innovation bring to society. Creativity is a vital ingredient in the production of products, services and systems, both in the cultural industries and across the economy as a whole. Yet despite its importance and the ubiquitous use of creativity as a term there are issues regarding its definitional clarity. A better understanding and articulation of creativity as a concept and a process would support enhanced future innovation. Socio-cultural approaches to creativity explain that creative ideas or products do not happen inside people's heads, but in the interaction between a person's thoughts and a socio-cultural context. It is acknowledged that creativity cannot be taught, but that it can be cultivated and this has significant implications for a nation's design and innovation culture. It is known that creativity flourishes in congenial environments and in creative climates. This research will examine how creativity is valued, exploited, and facilitated across different national and cultural settings as all can have a major impact on a nation's creative potential. The key aim of this network is to investigate attitudes about creativity and how it is best cultivated and exploited across three different geographical locations (UK, India, and Canada), different environments, and cultures from both an individual designer's perspective and design groups' perspectives. The network seeks to investigate cultures of creativity and innovation in design and question its nature. For instance, can creativity be adequately conceptualised in a design context? What role do cultural organisations and national bodies play in harnessing creativity? Where do the "edges" lie between creativity and innovation? Do richer environments and approaches for facilitating creativity exist? What design skills, knowledge, and expertise are required for creativity? Moreover, what are the key drivers that motivate the creativity and innovation of designers and other stakeholders? Are they economical, cultural, social, or political? This research network will host 3 workshops, each one facilitating inquiry amongst invited design practitioners, researchers, educators and other stakeholders involved in design practice.
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Papers by Lorenzo Imbesi
"Cultures of Creativity and Innovation in Design". The international research network coordinating body comprises
Professors Paul Rodgers and Paul Jones from Northumbria University, Professor Amaresh Chakrabarti, a world-leading
researcher in Design Creativity, from the Centre for Product Design and Manufacturing at the Indian Institute of Science,
Bangalore and Professor Lorenzo Imbesi, an internationally-acclaimed researcher in Design Culture, from the School of
Industrial Design at Carleton University, Canada. The importance of creativity in the cultural, creative and other industries and the significant contributions that creativity adds to a nation's overall GDP and the subsequent health and wellbeing of its people cannot be overstated. In Europe, the value of the cultural and creative industries is estimated at well over 700 billion Euros each year, twice that of Europe's car manufacturing industry. The value of creativity and innovation, to any nation, is therefore huge. Creativity and innovation adds real value, which enables a number of benefits such as economic growth and social wellbeing. In many societies creativity epitomises success, excitement and value. Whether driven by individuals, companies, enterprises or regions creativity and innovation establishes immediate empathy, and conveys an image of dynamism. Creativity is thus a positive word in societies constantly aspiring to innovation and progress. In short, creativity in all of its manifestations enriches society. This network seeks to gain an understanding of this dynamic ecology that creativity and innovation bring to society. Creativity is a vital ingredient in the production of products, services and systems, both in the cultural industries and across the economy as a whole. Yet despite its importance and the ubiquitous use of creativity as a term there are issues regarding its definitional clarity. A better understanding and articulation of creativity as a concept and a process would support enhanced future innovation. Socio-cultural approaches to creativity explain that creative ideas or products do not happen inside people's heads, but in the interaction between a person's thoughts and a socio-cultural context. It is acknowledged that creativity cannot be taught, but that it can be cultivated and this has significant implications for a nation's design and innovation culture. It is known that creativity flourishes in congenial environments and in creative climates. This research will examine how creativity is valued, exploited, and facilitated across different national and cultural settings as all can have a major impact on a nation's creative potential. The key aim of this network is to investigate attitudes about creativity and how it is best cultivated and exploited across three different geographical locations (UK, India, and Canada), different environments, and cultures from both an individual designer's perspective and design groups' perspectives. The network seeks to investigate cultures of creativity and innovation in design and question its nature. For instance, can creativity be adequately conceptualised in a design context? What role do cultural organisations and national bodies play in harnessing creativity? Where do the "edges" lie between creativity and innovation? Do richer environments and approaches for facilitating creativity exist? What design skills, knowledge, and expertise are required for creativity? Moreover, what are the key drivers that motivate the creativity and innovation of designers and other stakeholders? Are they economical, cultural, social, or political? This research network will host 3 workshops, each one facilitating inquiry amongst invited design practitioners, researchers, educators and other
stakeholders involved in design practice.