Architecture

Research on Architects

To determine who was creative, MacKinnon and his colleagues first had to define a concept of creativity. In their view, true creativeness had to meet three conditions: novelty of thought or action, adaptive to reality (i.e., able to solve a problem), and resulting in a product that remained true to the initial creative insight. This conception of creativity required that creativeness be studied as a manifest quality, thereby confining the selection of individuals to be studied to those who had exhibited creativity through clearly identifiable creative products. Architecture was one of six fields sampled and was unique in that it required the individuals within the field to be both creative scientist and artist. In addition, a variety of talents are required to be successful in architecture. Successful architects must first market themselves, attain clients by convincing clients that they are the best person for the job, form a contract for services, develop a concept for the design process, artfully design a building, produce design sketches the client will understand, render mathematically and technically accurate drawings, ensure that the building is structurally sound with well-planned mechanical and electrical systems, work with a contractor to ensure that the design is built to specification, and finally be a savvy businessperson throughout. Multiple roles and creative products are required of an individual who engages the field of architecture and excels to the top of the field.

For MacKinnon's research, the top architects in the field were recruited from across the country as well as lesser-known architects and individuals new to the field of architecture. The top architects, as compared to their less-productive and lesser-known counterparts, more often described themselves as inventive, independent, enthusiastic, and industrious, whereas the others tended to see themselves as responsible, sincere, and understanding. The top architects tended to be more sensitive and were more often observed by research staff as having originality in thought, asthetic sensitivity, a sense of destiny, sensitivity to others' ideas, cognitive flexibility, inquisitiveness, a sense of personal identity, and intellectual competence.

The top architects in the field reported similar environmental influences in their youth as well. The top architects self-reported that experiences at home and in school as well as the quality of their interpersonal relationships fostered their creativity and set them apart from their less creative peers. Parents of the top architects engendered autonomy by granting their children freedom to explore, make decisions, and choose activities of interest in the early childhood years. These architects believed that this enabled them to develop a sense of independence and control. In contrast, these individuals lacked a sense of closeness with one or both parents, potentially feeling no strong emotional ties. There were, however, clear standards of performance and personal conduct within the family structure, and although they described themselves as independent and without strong emotional ties, mentors and role models were prevalent in their lives. Across almost all of the most creative architects, there was also a very early development of artistic expression, particularly in drawing and painting.

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