White paper on creativity - ebla center

Chapter 1212.4 The bricks of creativity“The architect must be a prophet. . . aprophet in the true sense of the term. . . if hecan't see at least ten years ahead don't callhim an architect.”F. L. WrightTo identify what kind of policies mayencourage the creative development ofarchitects, we must analyse the contextof their activity, which is much differentfrom that of artists, who in expressingtheir own personal poetics areconditioned by fewer elements –materials, techniques and financing.Firstly, we must remember that the termarchitect covers various figures, whooperate and change the space in whichwe live at various levels, from region tohome, or to quote a famous phrase“from the spoon to the city”. Architectsshape the environment of our everydaylife and work through urban planningand the redevelopment of historicalcentres, landscape layout, parks andgardens. They deal with the restorationof historic architecture to be handeddown to the future generations, andmany other activities such as museuminstallations, archaeological sites, placesto live in, ships, trains, aeroplanes,yachts, and even furnishings anddesigner objects.Often one person has several skills:designer-architects like Gio Ponti,architect-engineers like Sergio Calatrava,Pierluigi Nervi, Riccardo Morandi andSergio Musmeci, or polymaths likeRenzo Piano, who has designedmuseums, cruise ships, an artificialisland for the airport of Osaka, themasterplan for the development of theGenoa waterfront (the so-called“Fresco”), and even work surfaces forkitchens. Today leading architecturalpractices include figures who are simplyclassed as “creatives”. lxviiiAn architect’s creativity is conditionedby many factors, which are at the sametime the initial ideas and conditions fordesign research.Context – A work of architecture beginsfrom the client’s requirements and thevariables of context and regulations.Architects shape space which is lived inby others and interpret and respond tothe desires and requirements of publicor private users. They have to providesolutions for other people’s desires andprogrammes. The work may becommissioned to represent an externalimage, a political programme andtherefore is the expression of power, aplace to find peace and quiet, culturalstimuli, etc. The nature and location ofthe site strongly condition designchoices: i.e. the position and geometryof the site, the landscape andsurrounding context, the climatic andenvironmental conditions, the energyresources and material available forconstruction and functioning. Limits tocreative freedom are imposed by thecurrent legislation and restraints aimedat defending collective interests: urbanplanning rules and building regulations,technical and anti-earthquake standards,the safeguarding of cultural goods in thelandscape, and guarantees for access toall citizens.The collective dimension – Architectureis practised in a social context. Thearchitect-client relationship is rarelyone-to-one, unless it involves a housedesign for a single person. The creativeWHITE PAPER ON CREATIVITY 285