THE CREATIVE PROCESS: AN EXAMINATION OF 
SOME SELECTED THEORIES AND THEIR RELEVANCE 
TO ARCHITECTURAL DESIGN PROCESS 
A DISSERTATION PRESENTED TO THE 
FACULTY OF ARCHITECTURE 
OF THE UNIVERSITY OF MORATUWA 
FOR M.Sc. (ARCHITECTURE) FINAL EXAMINATION 
Call-
CHITHRANIJAYASINGHE 
DEPARTMENT OF ARCHITECTURE 
UNIVERSITY OF MORATUWA 
SRI LANKA 
JULY 1998 
72 9&_ 
72.0\ 
ACKNOWLEDGEMENT 
This particular dissertation is a result of encouragement advises , photographs 
produced, criticisms and ideas of many personal involvement. 
Above all, my greatest thanks are especially extended Mr. Vidura Sri Nammuni, 
senior lecturer, faculty of architecture, for continuous guidance in the particular 
dissertation topic proposal, advice extended on structure of the study, criticisms on 
text and offering literary materials. 
My sincere thanks to Rasika, Lilantha, Menaka and Mohan for giving me the 
drawings in their design projects 
My warm thanks are extended to my dear friends Renu, Muthu, Yasangi in 
encouragement and fruitful discussions on the subject. 
My warm gratitude is for my father, mother in sympathetic encouragement, brothers 
and sister for their supports and pat of encouragement. Kolitha I am speechless in 
gratitude. 
Therefore I dedicate this dissertation to you. 
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CONTENTS 
PAGE 
Foreward 
INTRODUCTION 01 
0.1 Importance of study 01 
0.2 Intention of study 02 
0.3 Limitation of Study 02 
0.4 Methodology 03 
CHAPTER ONE 
1.0 THE DESIGN PROCESS : THEORIES AND APPLICATION 
1.1 Design as a process 04 
1.2 Architectural design method 04 
1.2.1 Broadbent's classification 05 
1.2.2 Ward's design method 08 
1.3 Architectural design processes 09 
1.3.1 Jones design method 09 
1.3.2 Alexander's design method 11 
1.3.3 Archers model of design process 13 
1.3.4 Luckman's design process (AIDA) 16 
1.4 The Moratuwa Experiment 18 
1.5 Design process: A Universal model 20 
CHAPTER TWO 
2.0 THE CREATIVE PROCESS 
2.1 Creativity 22 
2.1.1 Creativity and novelty 23 
2.1.2 Creativity and intelligence 24 
2.1.3 Creativity and problem solving 25 
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2.2 Creative person 
2.2.1 Intelligence 
2.2.2 Awarness 
2.2.3 Fluency 
2.2.4 Flexibility 
2.2.5 Originality 
2.2.6 Elaboration 
2.2.7 Skepticism 
2.2.8 Persistance 
2.2.9 Intellectual "playfullness" 
2.2.10 Humour 
2.2.11 Noncomformity 
2.2.12 Self conscious 
2.3 Creative growth 
2.4 Obstacles to creativity 
2.4.1 Perceptual blocks 
2.4.2 Cultural blocks 
2.4.3 Emotional blocks 
2.5 Developing creativity 
2.5.1 Originality 
2.5.2 Inventiveness 
2.5.3 Curosity and inquiry 
2.5.4 Self derection 
2.5.5 Sence perception 
2.6 Creative product 
2.7 Creative act 
2.8 Creative thinking 
2.8.1 Lateral thinking 
2.9 Creative process 
2.9.1 Geoffrey Rawlinson method 
2.9.2 Peter Russel and Roger Evans method 
2.9.3 Alex Osborn method 39 
2.9.4 Tom Comellar's method 40 
2.10 Model of Mind 42 
2.10.1 Associationism 42 
2.10.2 Gestalt theory 43 
2.10.3 Psychoanalysis 44 
2.10.4 Neo Psychoanalysis 44 
2.10.5 E.G. Schachtel method 45 
2.10.6 Carl R. Roger's model 46 
2.10.7 Factor analysis 46 
2.10.8 AH. Koestler'smodel 48 
2.11 Creative techniques 48 
2.11.1 Checklist 49 
2.11.2 Interaction method 49 
2.11.3 Psychoanalytical method 50 
2.11.3.1 Brainstorming 50 
* 2.11.3.2 Synectics 51 
2.12 The creative process: A Universal model 53 
2.12.1 Problem perception 54 
2.12.2 Preparation 54 
2.12.3 Frustration 54 
2.12.4 Incubation 55 
2.12.5 Insight 55 
2.12.6 Evaluation 55 
* CHAPTER THREE 
/ 3.0 THE RELEVANCE OF THE CREATIVE PROCESS TO THE 
ARCHITECTURAL DESIGN PROCESS 
3.1 Architecture and creativity 56 
3.2 The relevance of creative process in architectural design process 57 
3.3 CASE STUDIES 
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3.3.1 Centre for research and practice of meditation 61 
-f 3.3.2 The national cultural centre 64 
3.3.3 Community cum recreational centre 66 
3.3.4 Centre for research and practice of meditation 68 
CONCLUTION 70 
BIBLIOGRAPHY 73 
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