The Creative Classroom: The Role of Space and Place Toward Facilitating Creativity We are moving from an economy and society built on the logical, linear, computerlike capabilities of the Information Age to an economy and a society built on the inventive, empathic, big-picture capabilities of what’s rising in its place, the Conceptual Age (pp. 1-2). By Scott A. Warner and Kerri L. Myers All teachers, including technology educators, should examine what is being taught, how it is being taught, and how the development and growth of creativity should be woven The people who control and oversee this conceptual age will be those who are able to “detect patterns and opportunities, to create artistic beauty, to craft a satisfying narrative, and to combine seemingly unrelated ideas into something new” (pp. 2-3). They will also be those who are able to “empathize with others” (p. 3), find joy for themselves and bring it out in others, and pursue activities that provide purpose and meaning to their lives and the lives of others. In describing the types of individuals who will hold the keys to the conceptual age, Pink stated, into the educational fabric of The future belongs to a very different kind of person with a very different kind of mind-creators and empathizers, pattern recognizers, and meaning teaching and learning. Introduction: The Emerging Paradigm of Teaching and Learning As we become more sophisticated in our understanding of the workings of the human mind, it becomes increasingly clear that the processes of teaching and learning are more complex and subtle than was once thought. Models of education that were appropriate in the past are now obsolete. Cornell (2002) proposed an emerging paradigm of teaching and learning that moves from the model for an industrial economy to one that is appropriate for a knowledge economy. (See Figure 1.) Pink (2005) shifted the paradigm even further by moving beyond the knowledge economy to what he referred to as “the conceptual age” (p. 2). According to Pink, 28 • From an Industrial Economy To a Knowledge Economy • Passive Learners • Directed Learning • Knowledge Revealed • Explicit Knowledge • Knowledge is Discrete • Single Assessment • Single Intelligence • Instructor Technology • Alone • Just in Case • Content • Linear and Planned • Active Learners • Facilitated Learning • Knowledge Discovered • Explicit and Tacit • Knowledge is Embedded • Multiple Assessments • Multiple Intelligence • Ubiquitous Technology • Alone and Together • Just in Time • Content and Process • Planned and Chaotic Figure 1: The emerging paradigm of teaching and learning as defined by Cornell. The paradigm shift is from an industrial economy to one that is based on knowledge. From The impact of changes in teaching and learning on furniture and the learning environment The importance of physical space in creating supportive learning environments (pp. 33-42). San Fransisco: Jossey-Bass. The Te c hnolo gy Te ac her • December/Januar y 2010 makers. These people—artists, inventors, designers, storytellers, caregivers, consolers, big-picture thinkers—will now reap society’s richest rewards and share its greatest joys (p.1). Fundamental to living in the conceptual age will be the use of creativity. Creativity can be described as any “human act or process that occurs when the key elements of novelty, appropriateness, and a receptive audience in a given field comes together at a given time to solve a given problem” (Warner, 2000). It is clear that the type of people Pink identified as becoming the owners of the world of the future use the tools of creativity now, or should be taught how to do so. The ideas advocated by writers such as Cornell and Pink make for a persuasive argument that all teachers, including technology educators, should examine what is being taught, how it is being taught, and how the development and growth of creativity should be woven into the educational fabric of teaching and learning. Limited space does not permit addressing each of these issues in this article. Instead, we will focus on one important component of the dynamics of making creativity an integral part of the teaching and learning experience. That component is the importance of space and place toward facilitating creativity in the classroom or lab. Van Note Chism (2002) observed that in the school environment “Room design influences the social context of the classes, student-instructor and studentstudent relations, instructional design options, and the overall effectiveness of instructional technology” (p. 7). Unfortunately, all of us have experienced classrooms that are drab and institutional in appearance. If examined with emotional detachment, these classrooms, and the buildings they are in, are often not much more than educational warehouses. Given that the body of literature dealing with the importance of space and place in education has a history that goes back more than a century (Woodward, 1887), it is tragic that the warehouse paradigm still continues. In her seminal book, The Power of Place, Gallagher (1993) stated, “Throughout history, people of all cultures have assumed that environment influences behavior. Now modern science is confirming that our actions, thoughts, and feelings are indeed shaped not just by our genes and neurochemistry, history, and relationships, but also our surroundings”(p. 12). In this article, we would like to propose how to apply some of that knowledge to every classroom, to every school building, and to every technology education facility. 29 • Examples of Historical Precedence The recognition of the role of space and place toward facilitating the study of technology goes back as far as Calvin Woodward and the study of manual training. Woodward (1887) noted that manual training schools needed to provide a “physical shop and laboratory…full of apparatus and tools for making more physical apparatus” (p. 336). “The walls of the various shops are generally of plain brickwork, which is whitewashed if there is any lack of light” (p. 337). Furthermore, “the study and recitation rooms should be separated from the shops” (p. 340). The leaders of industrial arts also saw the importance of space and place toward implementation of the curricula. Moon (1975) perhaps best summarized this recognition by stating that industrial arts facilities “should be designed to provide a learning environment in which the understandings and applications of the principal commonalities [wood, metal, drafting] can be implemented with all materials, processes and energies of technologies” (p. 18). Technology education has also had research efforts to identify the characteristics of classroom and lab facilities that encourage the creative spirit. Doyle’s (1991a) research identified “facility factors that affect technological problemsolving activities” (p. 1). A summary of Doyle’s findings can be found in Figure 2. Doyle’s research clearly indicated that a variety of environmental factors influence the creative Technology Education facilities should provide: An information-rich environment, that Extends beyond the normal laboratory confines, that Provides equipment and materials for modeling and prototyping, that Includes an area appropriate for designing and drawing, that Includes such ambient features as space for small group conferencing, and an inviting and stimulating color scheme, where Resources for testing and measuring are readily accessible, that Is flexible for reconfiguration and adaptation to changing needs, that Has space for displays and storage, and Is environmentally inviting. Figure 2: Doyle’s research involved 25 teachers and 13 inventors and problem-solving authorities from across the United States. His findings provide technology educators with a valuable list of ideal characteristics to be found in a technology education lab/ classroom that encourages creativity. Adapted from Facility factors for technological problem-solving by M. Doyle, 1991a. Unpublished raw data. The Te c hnolo gy Te ac her • December/Januar y 2010 culture that exists within a technology education facility. So, if environment does in fact influence our behavior, what are the variables that at some level cause the behavior to occur? The Environmental Variables A review of the literature has provided us with a broad list of the environmental variables. The primary examples include such things as lighting, color, decorations, furniture, resources, sensory variables, space configurations, and class size. An analysis of the literature about each of these environmental variables can be summarized as follows: Nuhfer (n.d.) felt that “colors best suited for classrooms reduce agitation, apprehension, and promote a sense of wellbeing” (pp. 2-3). According to Nuhfer, the classroom colors that were most appropriate included light yellow-orange, beige, pale or light green, or blue-green. Lloyd (2001) made a persuasive argument that “loud colors cultivate loud ideas” Lighting According to Lloyd (2001) the best option is natural lighting. (See Figures 4 and 5.) Unfortunately, in most schools the typical lighting source is fluorescent lights. Indications are, however, this type of lighting can cause students to become hyperactive and agitated, which diminishes productivity. It may not be practical to change the entire lighting system in a classroom or lab facility, but a compromise can be found in changing traditional fluorescent lights to full-spectrum tubes, which can improve visual performance and decrease fatigue (Mahnke, 1996). Color As a society we have trumpeted the value of encouraging creativity in every new generation. Unfortunately, the color of the walls in most of the classrooms across America do not speak of creativity, they speak of institutional blandness. Figure 3: Cue-rich environments provide plenty of opportunities for stimulation of creativity. Displays of student work fill the walls, floors, and ceiling space of the commons area of the Charter High School for Architecture and Design in Philadelphia, Pennsylvania. (Photograph by authors.) 30 • Figure 4: A language arts classroom at the Charter High School for Architecture and Design is supplied with lots of natural light from large windows. The room is also decorated with colorful displays and posters that encourage creative effort. (Photograph by authors.) Figure 5: Any classroom environment can be configured to help bring out creativity in students. This room in the Lampeter-Strasburg School District in Pennsylvania uses lots of natural light, has plenty of student work on display, has a flexible arrangement of furniture, and even has splashes of color in the wall cabinets. The teacher has made significant efforts to make this typical classroom into a creative place. (Photograph by authors.) The Te c hnolo gy Te ac her • December/Januar y 2010 (p. 16); however, Thompson (2003) noted that the use of color in a classroom, especially loud colors, should be well planned according to the age of the student population served and the function of the classroom or lab. (See Figures 7 and 8.) Decorations A freshly painted room, an empty office, or a newly remodeled classroom represents a clean canvas upon which the occupants can leave their mark. Decorations on the wall, including student work, can serve the purpose of prompting student creativity. (See Figures 3, 4, 5, 6, 7, and 8.) Amabile (1996) in a meta-study entitled Creativity in Context noted that, “cue-rich environments…simply provide a level of cognitive stimulation necessary for [students] to engage their domain-relevant and creativityrelevant skills” (p.228). However, it is important for the teacher to recognize that he or she must teach students how to tap into those environmental cues. On this point Amabile later wrote, “the physical environment can provide visual stimulation for creative performance, but only if [students] already know or can be taught how to use cues in the environment effectively” (p. 228). Unfortunately, the best that can be said about furniture used in most American schools is that it is functional. Being primarily made out of hard plastic and metal, it could also be said to be durable, but it certainly is not comfortable. Furthermore, the aesthetic appeal of much of this furniture is questionable at best. In a classroom that facilitates creativity, furniture design should address several issues. These should include not only usability and durability, but also psychological appeal (aesthetic issues) as well as comfort, safety, and health (Cornell, 2002). Resources Having a well-decorated room, inviting colors, and natural light are all aspects of a good classroom, but none of these will make a difference toward facilitating a creative classroom environment without the availability of lots of student resources. Arguably, resources serve as the infrastructure for creativity. They should be so readily available and usable that they become transparent to the creative process. Resources are more than just sheet metal, lumber, vellum, and breadboards. Examples of the wide range of things that should be considered valuable resources in a creative classroom can be found in Figure 9. Furniture Our physical environments are filled with a lot of artifacts. The artifact with which we perhaps have the most intimate contact is furniture. We sit and wrap our bodies in our chairs. We place our other belongings in or on other pieces of furniture (e.g., tables, bookshelves, file cabinets). Kelly (2001) described one way that his design firm, IDEO, provides designers with resources for creativity through an assortment of miscellaneous parts, supplies, and oddsand-ends stored in a “Tech Box” (p. 143). The Tech Box serves as a collection center for things that do not have specific applications (e.g., screws, hinges, electric motors, Figure 6: A technology education lab has lots of potential for being a creative environment. This high school lab in Lampeter-Strasburg provides plenty of workspace while still displaying student work. The lab can be easily reconfigured as circumstances and needs change. (Photograph by authors.) Figure 7: A hallway in the Washington, D.C. building for the British Schools in America shows how color, lighting, and configuration can add energy and excitement to any space. (Photograph by authors.) 31 • The Te c hnolo gy Te ac her • December/Januar y 2010 plastic parts), but which could serve as creative cues for developing new designs. Many teachers may already have a “junk box” in their classroom for collecting things. The Tech Box concept is simply one way of formalizing the organization and function of that junk box for student use. Sensory Variables Anyone who has been in a warm room knows that he or she can quickly become lethargic. To overcome these natural tendencies, studies indicate that classrooms should be kept slightly cool to help keep an edge on students’ creative energies and to encourage movement and activity. Compounding the negative effects of a room temperature that is too high would be a sense of stuffiness and confinement. The availability of a reliable flow of fresh air is another example of a sensory variable that is critical to the creative potential of a classroom. Lloyd (2001) addressed the need for fresh air best by stating, “Nothing happens without oxygen” (p.16). Another sensory variable with which people are familiar is the presence of music. Whether it is playing the radio in the car, using an MP3 player while jogging, or listening to music from the Internet, music is used to set the mood in the environment. “Music [in the environment] has the power to affect people’s mood, and mood affects performance” (Lloyd, 2001, p.16). The use of appropriate music, used at the right time and at the right volume can further enhance the creative atmosphere of any classroom or lab. Space Configurations The basic configuration of the space has its own influence on the creative atmosphere of the classroom or lab. Short of a complete renovation of the building, in most places it is rare that significant structural changes can be made. However, even the most difficult of existing space configurations can still offer possibilities for the determined educator. As a target to shoot for, the ideal classroom should be configured with high ceilings and few walls to help communicate openness, plenty of room for freedom of movement, allowances for flexibility/ mobility, and places where students can talk and confer (Lloyd, 2001; Kelly, 2001). Techniques that can be used to make existing space configurations amenable to a creative environment include the use of wall and ceiling colors that convey the sense of openness, and putting machines, benches, and cabinets on wheels so that they can be moved to reconfigure the room as circumstances require and needs change. (See Figure 5 and 6.) Class Size The final environmental variable to be discussed, class size, may be the most important. Research findings indicate that the ideal class size is 25 students or less (Ohio Education Association, n.d.). Research performed in Tennessee and documented by the American Educational Research Association (Resnick, 2003) would push that number even lower, to between 13 and 17 students in a classroom. Smaller class size results in improvements in a variety of important learning factors, including creative behavior, Figure 8: A space outside the Design and Technology facilities in the Washington, D.C. building for the British Schools in America contains displays of student work, appropriate signs, colorful surroundings, and focused lighting: all good examples of how to use to use space to encourage creativity. (Photograph by authors.) 32 • The Te c hnolo gy Te ac her • December/Januar y 2010 problem-solving abilities, retention of material learned, and an increase in opportunities for participation and expression (Ohio Education Association, n.d.; Resnick, 2003). For the teacher, the improvements also involve classroom management through a reduction in learning and behavior problems (Ohio Education Association, n.d.; Resnick, 2003). In the technology education classroom and lab, a reduction in these problems is exponentially more important because of safety issues related to tools and machines. For reasons of both safety and the creative potential of students in the classroom and lab, the technology education teacher must work closely with school administrators to keep this variable at the lowest number possible. Teachers who address these variables as they organize, decorate, and arrange their classroom and lab will be more likely to draw out the full measure of the creative potential of their students (Teachers can download a Creativity in the Classroom Checklist at www.millersville. edu/~swarner). The very act of encouraging creativity in students indicates that the teacher already has embraced a progressive philosophy of education that is studentcentered. This philosophical stance may represent the next chapter in American public education as it moves through and beyond the constraints of legislation like No Child Left Behind. Conclusion Writing to an international audience of design educators, Hutchinson (2005) expressed her anxiety regarding recent changes occurring in technology education by stating: I’ve become increasingly concerned about the direction that technology education is taking in the U.S. ...Contextual problems are valuable, but the range of appropriate contexts is narrow. Working with materials is good, but some materials are more acceptable than others. Creativity is not an important value. (p. 16) This assessment may be an important warning to the profession about the nature of the values we embrace, in particular the value placed on creativity. Creativity is an important part of the ideals expressed in Standards for Technological Literacy: Content for the Study of Technology (ITEA, 2000/2002/2007). To fully apply those ideals so that we can better prepare our students to be active participants in the conceptual age, the profession must be willing to take the lead in demonstrating the application of creativity toward our curricula and our classrooms and labs. When considering whether it would be worthwhile to modify the environmental variables in your classroom to encourage 33 •        Printed material, such as books and magazines Office supplies, tools, and equipment, including a copier Computers, printers, scanners, and Internet connections A telephone and digital cameras Audio and video tapes and players/recorders A refrigerator with a stock of fresh food and drink A box or kit full of odds and ends for idea development Figure 9: The resources that will facilitate creativity in a classroom or lab can run across a wide spectrum. The physical supplies that are common in a technology education facility should be supplemented with information and communication resources for research as well as things such as fresh food and drink to help focus activities such as design conferencing. From Creative Space by P. Lloyd, 2001. Retrieved January 28, 2004 from www.gocreate. com/articles/cspace.htm and The Art of Innovation by T. Kelly, 2001, New York: Currency. and enhance the creative potential of your students, ask yourself the following questions: 1. Why do we expect our students to be creative in environments that we, as adults, would never tolerate? 2. Why are we still building schools and outfitting classrooms that look like industrial warehouses when the literature and research, for quite some time, has been telling us how to make creative spaces in educational settings? 3. Does technology education truly embrace creativity in its curricula and its classrooms and lab facilities? The answers you come up with to each of the previous questions will influence how you face the following challenge: If you value creativity in your students, then you have a responsibility and an obligation to shape your teaching and learning environment to nurture that creativity. So, what will you do? References Amabile, T. (1996). Creativity in context. Boulder, CO: Harper Collins. Cornell, P. (2002, Winter). The impact of changes in teaching and learning on furniture and the learning environment. In N. Van Note Chism and D. Bickford (Eds.), The importance of physical space in creating supportive learning environments (pp. 33-42). San Fransico: Jossey-Bass. Doyle, M. (1991a). Facility factors for technological problem solving. Unpublished raw data. The Te c hnolo gy Te ac her • December/Januar y 2010 Doyle, M. (1991b). Physical facility factors for technological problem-solving activities in secondary technology education programs. Unpublished doctoral dissertation, West Virginia University, Morgantown. Gardner, H. (1993). Creating minds. New York: Basic Books. Gallagher, W. (1993). The power of place: How our surroundings shape our thoughts, emotions, and actions. New York: Poseidon. Hutchinson, P. (2005). Design and technology for the conceptual age. Design and Technology Education: An International Journal, 10(3) pp. 11-21. International Technology Education Association (ITEA). (2000/2002/2007). Standards for technological literacy: Content for the study of technology. Reston, VA: Author. Kelly, T. (2001). The art of innovation. New York: Currency. Lloyd, P. (2001). Creative space. Retrieved January 28, 2004, from www.gocreate.com/articles/cspace.htm. Mahnke, F. (1996). Color, environment, and human response. New York: Van Nostrand Reinhold. Moon, D. (1975). Introduction. In D. Moon (Ed.) A guide to the planning of industrial arts facilities (pp.15-20). Bloomington, IL: McKnight. Nuhfer, E. (n.d.). Some aspects of an ideal classroom: Color, carpet, light and furniture. Retrieved November 2, 2007, from www.isu.edu/ctl/nutshells/IdealClass_files/ IdealClass.html. Ohio Education Association. (n.d.). The question of class size [Abstract]. (ERIC Document Reproducation Service No. ED133325). Pink, D. (2005). A whole new mind: Moving from the information age to the conceptual age. New York: Penguin. Resnick, L. (Ed.). (2003, Fall). Class size: Counting students can count. Research Points, 1(2) pp.1-4. Retrieved June 25, 2008, from www.aera.net/uploadedFiles/Journals_ and_Publications/Research_Points/RP_Fall03.pdf. Thompson, S. (2003). Color in education. Retrieved April 2, 2008, from www2.peterli.com/spm/resources/articles/ archive.php?article_id=551. Van Note Chism, N. (2002, Winter). A tale of two classrooms. In N. Van Note Chism and D. Bickford (Eds.). The importance of physical space in creating supportive learning environments (pp. 5-12). San Francisco: JosseyBass. Warner, S. (2000). The effects on students’ personality preferences from participation in Odyssey of the Mind. Unpublished doctoral dissertation, West Virginia University, Morgantown. Woodward, C. (1887). The manual training school. Boston: D.C. Heath. Scott A. Warner, Ed.D., IDSA, is an assistant professor in the Department of Industry and Technology at Millersville University of Pennsylvania. He can be reached via email at scott.warner@ millersville.edu. MORE INFORMATION http://teched.vcsu.edu teched@vcsu.edu 800-532-8641 Ext 37444 •Completely Online •Based on the STL •Hands-on Activities Kerri L. Myers is an undergraduate student in the Department of Industry and Technology at Millersville University of Pennsylvania. She can be reached via email at klmyers2@marauder.millersville.edu. •Designed for Certification •Master of Education •BS in Education Online Masters & Bachelors This is a refereed article. Technology Education Programs 34 • The Te c hnolo gy Te ac her • December/Januar y 2010 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. View publication stats