A bit of background info: before establishing Secrid, René and his wife Marianne ran a design firm for over 20 years, working with various clients across different markets. This experience would prove invaluable, allowing them to learn and apply their skills in diverse contexts. "We worked for different clients and markets, which was very educational and exciting," van Geer recalls. Eventually, they decided to channel their knowledge and creativity into their own venture. “We wanted to apply all we had learned to our own products and under our own brand,” he explains.The 2008 financial crisis was the final push they needed to fully commit to Secrid. The card protector they launched won the Red Dot Design Award, and the rest, as they say, is history. Today, Secrid's products are sold in over 8,500 stores worldwide, but it’s the owners' focus on creativity that really sets the brand apart. We sat down with René in the Secrid headquarters, housed in a beautifully renovated industrial warehouse in The Hague, to talk business.

<blockquote><h1>"Everyone is constantly engaged in creative activities.”</h1></blockquote>&nbsp;Creativity is quite a broad concept. I'd like to know your definition of creativity.RvG: “There are many degrees of creativity: people everywhere create their own world every single day. For some, that might mean baking a cake, while others change the entire recipe. The point is that everyone is constantly engaged in creative activities.”&nbsp;So, do you believe that people are inherently creative?RvG: “Everyone is creative. Again, the type of creative activity you’re involved in may vary. There are degrees of creativity depending on things like skills and other practical reasons. For instance, we used to renovate homes, and I would be very hands-on, painting walls and building furniture. All in all, it is a very creative endeavor but also a time-consuming one. The house we just moved into was already renovated. I didn’t want to spend more time renovating a house, so this time around, our focus is more on choosing the right rug, painting, or lamp. I don't paint or build furniture myself anymore because it simply takes too much time.”

<blockquote><h1>“Building a company is very similar to developing a product…You solve problems creatively, just like you would when designing a product.”</h1></blockquote>&nbsp;What does creativity look like in the work you do? Is there room for creativity when you’re the CEO?RvG: “Absolutely. Building a company is very similar to developing a product. It's never finished, and everything is constantly evolving. You develop processes, find the right people, and make numerous decisions, which is very creative. You solve problems creatively, just like you would when designing a product. When you start out as a designer, it can be hard to integrate a lot of different elements all at once. But over time, you learn to consider more factors in your designs, such as the user, the brand, the market, and the functionality. Good design considers all these aspects: you need to be holistic and ensure that what you create functions well in society and is commercially viable.&nbsp;Now that our company is bigger and we have a larger team, we can tackle projects more professionally. We have experts in areas where I lack knowledge, like ICT and legal, which allows me to focus on the creative aspects, which is where my strengths lie. We also try to make sure that the people who work for us can focus on what they’re good at.”

<blockquote><h1>“It's essential for the creative process to include various types of input, from those with engineering minds to those who are more abstract thinkers.”</h1></blockquote>&nbsp;Does working with such a diverse team impact your creative process?RvG: “It adds depth and perspective. Different viewpoints and experiences contribute to richer ideas and solutions. It's essential for the creative process to include various types of input, from those with engineering minds to those who are more abstract thinkers. For years, I’ve been working on a model of our production process, and I’ve narrowed it down to seven levels of abstraction: from the very abstract - the strategic thinking that our product team does - to the more practical art of selling the product, which is the domain of the marketing and sales team. This model is not unlike the chakra system, which also consists of seven steps, or chakras, that help us understand the interaction between body and mind. Each chakra represents a different aspect of our being. For example, the Root Chakra represents stability and security. People strong in this chakra are grounded and practical. The Solar Plexus Chakra is linked to personal power and confidence. Engineers and people who create structure tend to be strong in this chakra. And there’s the Third Eye Chakra, which is related to intuition and insight. This is important for strategic thinkers and visionaries. All these different chakras represent different types of creativity, and having a team with diverse strengths in these areas is crucial.”

<blockquote><h1>"We try to design our office spaces to meet varying needs, ensuring everyone has the right environment to be productive and creative."</h1></blockquote>

What does having a diverse workforce mean for the day-to-day business of running a brand?RvG: “Different roles require different environments. For example, the finance team needs a stable and quiet environment to ensure accuracy and concentration. They benefit from a fixed, calm workspace. Marketing and Sales need areas that foster interaction and collaboration because their work often involves brainstorming and communicating with others. The engineers and developers require structured spaces where they can focus on detailed work without distractions. In contrast, the creative team needs flexibility and inspiration; they thrive in dynamic environments where they can move around and be exposed to new ideas and stimuli.We try to design our office spaces to meet these varying needs, ensuring everyone has the right environment to be productive and creative. In the end, the environment you create must support both the practical and emotional needs of all those people. That’s why we focus on creating spaces that encourage interaction and collaboration. For instance, our espresso bar is a place where employees from all parts of the company come together, fostering informal discussions and idea-sharing.”&nbsp;How do you manage the balance between creativity and practical needs like deadlines and budgets?RvG: “It's about setting clear boundaries. Creativity doesn't have to be a long, drawn-out process. Even within time and budget constraints, you can make creative choices. The key is to prioritize and make the most impactful decisions within those limits.”

<blockquote><h1>“Creativity doesn't have to be a long, drawn-out process. Even within time and budget constraints, you can make creative choices.”</h1></blockquote>

Do you face any specific challenges in maintaining your company's creative edge?RvG: “Design is central to everything we do. We believe that good design can improve the world. This is why we partner with events like What Design Can Do and the Dutch Design Week to showcase how design can address various challenges. Our goal is to highlight the positive impact of thoughtful design on society. One challenge is ensuring that we stay innovative while also managing a growing business. It's a balancing act between exploring new ideas and maintaining the efficiency and quality of our existing products. We strive to foster a culture where both can thrive.”&nbsp;What advice would you give to other entrepreneurs looking to incorporate creativity into their business?RvG: “Surround yourself with diverse talents and create an environment that encourages experimentation and collaboration. Be open to different perspectives and don’t be afraid to take risks. Also, remember that creativity isn’t just about big, groundbreaking ideas; it’s also about making small, incremental improvements that add up over time.”&nbsp;Lastly, are there any personal rituals or habits that help you stay creative?RvG: “I make sure to integrate moments of relaxation and reflection into my daily routine. Whether it's taking a walk, meditating, or simply daydreaming, these activities help me stay open to new ideas. It's about finding a rhythm that works for you and allows your mind the freedom to wander and explore.”&nbsp;<blockquote><h1>“Creativity isn’t just about big, groundbreaking ideas; it’s also about making small, incremental improvements that add up over time.”</h1></blockquote>

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Creativity often takes center stage in the bustling world of product design and innovation. But at Secrid, the brand that has transformed the everyday wallet into a piece of innovative design, they went one step beyond. Here, creativity is not just a buzzword; it's a foundational principle. René van Geer, one of the founders and owners of Secrid, shares his thoughts on creativity, entrepreneurship, and the unique approach his company takes to fostering an innovative environment.

DESIGNING SUCCESS: CREATIVITY AT SECRID

KEEPING IT REAL&nbsp;First up: Harshdeep Arora aka prspctivs, an architect from India, who has worked in Delhi, Shanghai and Beijing for renowned firms like UNStudio, Buro Ole Scheeren, Plasma Studio, DADA Partners and AECOM.&nbsp; He’s currently working as a part-time senior architect consultant at CHAP (Cook Haffner Architecture Platform), while successfully pursuing freelance projects as an AI Artist/Architect. He’s making quite some waves with his awe-inspiring designs.&nbsp;It all started back in 2021-2022: the launch of the initial models DALL-E and Stable Diffusion sparked Arora’s curiosity in AI. The introduction of Midjourney, and the “wave of surreal images” that followed, sealed the deal. “It was at this point that I felt a strong desire to explore these processes myself, especially because I had witnessed countless hours wasted on the manual process of 3D drafting and photorealistic rendering over the years.” The learning curve has been steep at times, mainly due to the lack of professional tutorials. Arora: “To overcome this challenge, I delved into reading numerous notes, referring to YouTube discussions by fellow AI enthusiasts, and, most importantly, engaging in hands-on practice to devise my own processes for learning and improvement.”&nbsp;<blockquote><h1>“Embracing AI in the creative process opens up new possibilities and allows designers to push boundaries and realize their visions in ways that were previously unimaginable.”</h1><h1>&nbsp;</h1><h1>Harshdeep Arora</h1></blockquote>

PAYING IT FORWARD&nbsp;In the meantime, Arora has made it his mission to inform others about the possibilities and limitations of AI-based tools. “I aspire to motivate people to embrace this revolution and adapt themselves to create more than what they were previously capable of or trained for. Embracing AI in the creative process opens up new possibilities and allows designers to push boundaries and realize their visions in ways that were previously unimaginable.” Although that doesn’t mean computers are ‘taking over’: “AI has made great strides, but precise model generation using AI is still in its nascent stage. As a result, architects continue to rely on traditional 3D modeling and rendering for final designs that will be physically implemented on site.”&nbsp;Speaking of physicality. Many of the designs Arora creates will most likely never materialize and he’s okay with that. It comes with the job: “Over the years, working on concepts and designs of various scales, I've noticed that a significant percentage of large-scale projects never materialize. Many architects find themselves involved in design competitions or commissioned projects that may get stalled midway due to various reasons, such as client budget issues or government interventions. While this might seem like a waste of effort, this process is essential in creating the exceptional 10% of high-quality buildings that do get realized. It's through this iterative and exploratory approach that architects push the boundaries of design and create remarkable structures.”

OPEN SKETCHING &amp; CHEAP IMAGES&nbsp;Andrew Kudless, trained architect, professor of architecture and head of Matsys design studio, is one of those pushing the proverbial envelope. “I sketch with AI in a similar way that artists and architects have used hand sketches to dream possible futures. Sometimes I have a specific goal but more often, it is a form of exploration to help me expand my imagination,” Kudless explains. “I often describe the feeling of using generative AI tools as a form of open sketching. Although I’m not using a pen or pencil to imagine the work, it has the same give-and-take that sketching has.”&nbsp;<blockquote><h1>“These images range from the photorealistic to the painterly to the surreal. However, all of the images exhibit impossible elements, and this is what draws me to them."</h1><h1>&nbsp;</h1><h1>Mark Kudless</h1></blockquote>

<blockquote><h1>"The AI model does not understand the rules of light, geometry, or structure, but it does a reasonably good job of simulating them. And in this simulation, there are glitches that help me think about my work in new ways.”</h1><h1>&nbsp;</h1><h1>Mark Kudless</h1></blockquote>&nbsp;Kudless also points out that despite looking almost identical, generative AI images are in some ways the exact opposite of traditional digital renderings: “Renderings are expensive in that they require immense time, labor, and skill. They provide the designer with highly accurate simulations from multiple views. AI images are cheap in that they take nearly no time or skill and will never provide a completely coherent simulation of reality, especially from multiple views. However, there is great value in this cheapness. I can create thousands of variations on a theme in the same time it would take me to create one finished digital rendering of one of my designs. Used correctly and in partnership with traditional design modeling and rendering workflows, AI images can support a designer’s early explorations.”

Veils play a prominent role in the work of Kudless. And when looking at the AI generated works he has put out, it’s tempting to think that the veils are one way of showing what rendering programs can do with transparency and layers. But that is not the case. “I have been fascinated&nbsp;with using fabric in architecture for most of my career. It started in 1998 when I was living in Japan. You can see one of my first projects in 1998 documenting the hundreds of fabric-covered construction scaffolding in the Kansai region,” Kudless explains.&nbsp;<blockquote><h1>"I think it is important to test and use a variety of models as they have been trained with different datasets and provide different approaches and functionality. The AI space is evolving so quickly that you need to be open and curious.”</h1><h1>&nbsp;</h1><h1>Andrew Kudless</h1></blockquote>&nbsp;When asked if he has ever had any concerns about living up to the picture-perfect renders he presents to clients, Kudless replies: “As a designer, I always try to make sure the built reality offers something more than could ever be captured in an image. The image is an invitation to a much deeper experience. I used to say that I always wanted to make things that were more wonderful in reality than they were in renderings. And despite the advances in AI images and rendering technologies, I still think this is true as an image will never be able to capture the full spectrum of visual as well as non-visual sensory stimulations we experience in reality.” At the same time, Kudless still thinks it’s important to create beautiful images for they are symbols of the aspirations for a project: “For the designer, they can serve as a guidepost to keep us on track as there are always so many issues in the design process that can lead us astray. And for the client and community, they can rally support in ways that a plan drawing cannot.”

<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/image002_1_scaled_f05334289f.jpg" alt="image002-1-scaled.jpg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_image002_1_scaled_f05334289f.jpg 120w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_image002_1_scaled_f05334289f.jpg 387w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_image002_1_scaled_f05334289f.jpg 581w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_image002_1_scaled_f05334289f.jpg 774w," sizes="100vw">We're very proud to call NOOK one of our partners.&nbsp;NOOK is the official magazine of the Dutch and Belgian professional associations for interior architecture, BNI and AINB. The magazine offers in-depth content, inspiration, and opinions. NOOK is published quarterly in English.&nbsp;The above article was first published in NOOK, the Drawing issue (2023 / #3).&nbsp;

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The rise of electronic tools and AI in creating photorealistic architectural renders has prompted a question: Is there a place for traditional hand-drawn sketches, or do these high-tech renders risk creating unrealistic client expectations? We delved into this issue by speaking to two innovative architects, Andrew Kudless of Matsys and&nbsp;Harshdeep Arora (prspctivs),&nbsp;who employ state-of-the-art software programs to navigate this new frontier of AI.

ARCHITECTURAL RENDERS IN THE AGE OF AI

<h2>Navigating Society's Hidden Architecture</h2>Studying architecture was an eye-opening experience for Kingma: it provided her with the tools to understand and present complex societal structures. "I am an architecture student at heart. I was obsessed with complex architecture and architectural ideas during my studies," Kingma explains. "Think of capitalism, our educational and healthcare system, or even democracy itself: they're all large structures that consist of agreements, laws, norms, and bureaucratic processes we must navigate. Because of the intricacy of many of these structures, it is difficult to oversee them all: things are often hidden behind facades. And that's problematic: when you don’t understand or oversee a structure, it becomes very difficult to change things." By visually representing the hidden facets of our infrastructures, Kingma hopes to spur discussions and empower individuals to understand and reshape their society.&nbsp;<blockquote><h1>"Architecture is a metaphorical language that transcends language barriers. Everyone understands the concept of a closed door, an ivory tower, or hitting a blank wall."</h1></blockquote>

<h2>Unveiling the Language of Architecture</h2>"In my view, there are two types of drawings in architecture. One is the construction blueprint, which is essential to the actual built. But as a student, I felt a bit disappointed that there was so much emphasis on those blueprints, and rendering them at a scale of 1:100 or 1:200 because what about the drawings that tell the story of architecture? How do you convey things like light, smells, and sounds? Where is the drawing that conveys a narrative?”Inspiration struck when Kingma delved into the work of architects from the 1960s, such as Archigram and Superstudio, who used architecture as a metaphorical language to convey complex ideas and utopian visions. “They created these phenomenal works of art: large drawings that showed the city as a machine. Rem Koolhaas did something similar: he started as a cinematographer, telling stories about modernity through a city. They all use architecture as a language to describe something complex. It's a rich architectural tradition.”This fusion of traditional architectural skills and artistic ways of expression resonated deeply with Kingma. Armed with her architectural training, she discovered that architecture is a language that breaks barriers, which enabled her to communicate profound concepts through drawings and sketches: "Architecture is a metaphorical language that transcends language barriers. Everyone understands the concept of a closed door, an ivory tower, or hitting a blank wall."

<blockquote><h1>"I prefer to draw manually because the composition needs to be felt. You have to sit in front of it and experience it."</h1></blockquote>

<h2>The Waterworks of Money</h2>For her latest project, titled The Waterworks of Money, Kingma delved into the world of money, shedding light on the significant impact of the monetary system on various aspects of society, including inequality, sustainability, and global relationships. “Most of us don't know how and where money is created, how it's put into circulation, or who has the right to it. And while we don't understand the whole structure, we certainly feel the consequences of the monetary system in our everyday life. I felt a strong urge to outline that architecture.”Kingma undertook the self-described "mammoth task" alongside collaborators Martijn Jeroen van der Linden (Lector of New Finance at Haagse Hogeschool) and Thomas Bollen (research journalist at Follow The Money). Kingma compares the process to building a physical structure, with multiple iterations akin to architectural development. Kingma: "The project spanned 2.5 years, with a full year dedicated to extensive research." Over this period, the trio interviewed at least 100 experts, ranging from bank treasurers and CEOs to communication staff, pension fund managers, tax authorities, private equity firms, and central bank representatives. Kingma: "We ended up having this huge wall covered with sketches and flowcharts of how the monetary system works."&nbsp;<div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/Ycit4WbJuwE?si=q3CnKzJubEbRR-6Z" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div><div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/IszXpzIo_ZQ?si=WFh0I979CJuT3S3H" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;The creative journey continued for another year and four months to craft a coherent design that served as an accurate architectural representation of the monetary system's inner workings. The final part of the project saw Kingma draw every intricate detail by hand. "Thomas and I worked about 100-120 hours a week, seven days a week. While I drew, he developed the audio tours and thought about how to guide people through the work. Then we launched it at Lowlands and later exhibited it at the Rijksmuseum Twente, and finally at the Architecture Biennale in Venice."&nbsp;

<blockquote><h1>“I don't use digital tools and am not interested in them either”</h1></blockquote><h2>&nbsp;</h2><h2>Manual Mastery in a Digital Age</h2>It's been a labor of love. And in a time where everything can be rendered within seconds, Kingma spent months manually crafting and sketching, painstakingly mapping out and drawing up the current world of money where everything is in motion. “I don't use digital tools and am not interested in them either. When I talk to people like a banker, I have to draw on the spot to illustrate the process. So, I set up flow diagrams, and that's easier and faster to do by hand.”The intricate hand-drawn illustrations allow Kingma to incorporate rich layers of information. Each representation holds meaning. Kingma believes that drawing manually enables her to feel the composition as a whole, connecting with the work on a deeper level. “Ultimately, it's about combining the 100+ elements of the story into a logical working whole, positioning them in relation to each other, creating different scales, and making representations. I wouldn't know how to give all that as input to a computer program. Each representation holds meaning. So, I prefer to draw manually because the composition needs to be felt. You have to sit in front of it and experience it.”&nbsp;Want to see more of Carlijn's work? Watch out for the documentary “The World of Carlijn.”&nbsp;<div class="raw-html-embed"><iframe width="800" height="315" src="https://www.youtube.com/embed/dO2zhe_5p8w?si=6zEmP3Q-YMuXlCz9" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen=""></iframe></div>&nbsp;

<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/image002_1_scaled_f05334289f.jpg" alt="image002-1-scaled.jpg" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_image002_1_scaled_f05334289f.jpg 120w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_image002_1_scaled_f05334289f.jpg 387w,https://tioc-cdn.ams3.digitaloceanspaces.com/medium_image002_1_scaled_f05334289f.jpg 581w,https://tioc-cdn.ams3.digitaloceanspaces.com/large_image002_1_scaled_f05334289f.jpg 774w," sizes="100vw">We're very proud to call NOOK one of our partners.&nbsp;NOOK is the official magazine of the Dutch and Belgian professional associations for interior architecture, BNI and AINB. The magazine offers in-depth content, inspiration, and opinions. NOOK is published quarterly in English.&nbsp;The above article was first published in NOOK, the Drawing issue (2023 / #3).&nbsp;<a href="https://bni.nl/nook/">Order a hard copy of the issue for €12.50, excluding shipping</a>.&nbsp;

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Step into the captivating world of artist Carlijn Kingma (1991). Trained as an architect at Delft's University of Technology, she ventured off the beaten path to become a social cartographer. Today, she creates mesmerizing drawings using the metaphorical language of architecture.

CREATIVITY AT WORK: CARLIJN KINGMA'S CARTHOGRAPHY

<blockquote><h1>“It doesn't matter if I'm writing a book, producing a TV show, or creating a podcast—the journey is always similar and starts from nothing.”</h1></blockquote>&nbsp;What is your definition of creativity?LB: "Creativity is like embarking on an exploration within. What fascinates me the most is diving into the unknown. Almost every idea I pursue turns into a quest for simplicity, a journey toward distilling everything down to its essence. You might not know exactly how to get there, but you have to navigate through a myriad of options until everything clicks into place. And when it does, that moment of clarity where everything works together perfectly? That's golden.&nbsp;

It doesn't matter if I'm writing a book, producing a TV show, or creating a podcast—the journey is always similar and starts from nothing. I truly love that, but I've noticed over the years that not everyone is cut out for this. Some thrive when they have some starting blocks to build upon. But to start with nothing and lay down the building blocks from scratch? That's a different ball game that not everyone is eager or willing to play."

Where does that unwillingness come from?LB: "I'm not entirely sure. I think it comes down to a dislike for discomfort and change. When you start a creative project, you're essentially beginning with nothing, and you have no idea where it will end up. You must trust this gut feeling and dive into the unknown, which isn't comfortable. It's a process filled with uncertainties, potential mistakes, and no guarantees. The process can be enjoyable but does not get easier over time. You have to go through this process repeatedly with every new project you embark on. It's the uncertainty and the inherent discomfort of creativity that I think deter a lot of people."&nbsp;<blockquote><h1>“It's the uncertainty and the inherent discomfort of creativity that I think deter a lot of people.”</h1></blockquote>&nbsp;Speaking of discomfort, you made quite the career switch. You went from being a very independent creative to heading a whole department of creatives at a broadcasting agency. How do you foster a creative and supportive environment in your current role? LB: "You need space to be creative. An environment that's all about churning out content or products can stifle that creativity. It's essential to carve out a space where creativity can thrive, even within structured systems. It's about creating momentum while also allowing room for the creative process to unfold naturally. My approach involves flexibility. For instance, with new projects, I prefer setting up a structure where we can explore ideas without the immediate pressure of deadlines. This allows for creativity to flow more freely and means that we can fail without significant consequences early on in the process. &nbsp;<blockquote><h1>“It's my job to foster an environment where creativity is valued and nurtured.”</h1></blockquote>&nbsp;My work experiences have taught me the importance of a space where you can freely explore and create. I've been fortunate to have that in my career, and I aim to pass that on. Whether it's a creative industry or any other field, the principle remains the same. Innovation comes from giving people the room to experiment, fail, and learn. Creativity flourishes in an environment with room to explore and make mistakes. And it's my job to foster an environment where creativity is valued and nurtured."

How much creative freedom do you attribute to luck versus personal choices?LB: "Well<span style="background-color:rgb(255,255,255);color:rgb(13,13,13);font-family:Söhne, ui-sans-serif, system-ui, -apple-system, &quot;Segoe UI&quot;, Roboto, Ubuntu, Cantarell, &quot;Noto Sans&quot;, sans-serif, &quot;Helvetica Neue&quot;, Arial, &quot;Apple Color Emoji&quot;, &quot;Segoe UI Emoji&quot;, &quot;Segoe UI Symbol&quot;, &quot;Noto Color Emoji&quot;;">, you need a certain amount of luck to find yourself in a setting where creativity can flourish, but once you're there, your decisions can certainly shape things. I've declined certain opportunities to maintain my focus on writing, choosing positions that offered freedom over prestige. Structuring your life around your passions involves intentional decision-making rather than passively accepting opportunities. Opting for a day job as a safety net allowed me to pursue creative projects without financial pressure." When are you most creative?LB: "Mornings are my prime time, especially in the quiet moments when I'm still in bed. That's when my thoughts flow most freely, and I can clearly visualize my work. I always keep pen and paper close by to capture any fleeting ideas." &nbsp;<blockquote><h1>“Accepting the ebb and flow of creativity helps to manage expectations and prevent frustration.”</h1></blockquote>&nbsp;Do you follow any rituals to stay in the creative zone? LB: "Adhering to a specific routine is crucial, but so is carving out uninterrupted time. Deep concentration periods are essential: I need time when I'm free from meetings or other distractions. Creativity demands dedicated time, and it cannot be forced into the gaps between tasks. Planning for undisturbed periods, whether by rising early or setting boundaries, is critical.&nbsp;Accepting the ebb and flow of creativity helps to manage expectations and prevent frustration. I have also learned that a wholly scheduled life is a major creativity killer. I need time to think and write simultaneously, as writing helps clarify my thoughts. Interruptions, especially from people around me, pull me out of deep concentration, which is killing for my creative process. But working in a lively café where no one disturbs me can be perfectly fine, as long as I can stay in my bubble."&nbsp;

How much time do you spend in that bubble when you're writing a book? &nbsp;LB: "Fiction is mystical. Writing fiction feels like I'm tapping into something beyond my control. The characters and storylines just come to me. The funny thing is that you can't force these things; you can only create conditions that make it more likely to foster them. It's like love in that sense. You can't guarantee meeting someone, but you can increase the chances of it happening.&nbsp;It’s an incredibly elusive process. And sometimes, it feels almost like a condition to me—a kind of socially accepted deviation. When you think about it, it's wild. I'm an adult woman fantasizing about imaginary friends, laughing at my own jokes, imagining a whole story unfolding in my head, and putting that in writing. It is truly wild.”

Lisa Boersen (born 1975) heads the youth department at Dutch broadcaster NTR. She is the author of several popular children's books including “Jani Kekke and the Blue Daydreamer” and the successful series "Timo and the Ninja Babysitter." Her most recent book (2022) is for adults, and it is titled: "García Márquez and the Honeymoon Quiz - How Stories Shape Us."

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<a href="http://www.lisaboersen.nl/">Lisa Boersen</a> (LB) is a storyteller at heart, weaving narratives that resonate with audiences both young and old. With a solid foundation in cultural anthropology and literature, she has made significant contributions to Amsterdam's cultural scene, creating innovative art and socially impactful programs for esteemed institutions like De Balie and <a href="https://tioc.nl/profile/paperdoll?id=24">Paradiso</a>. Lisa has authored several top-rated children's books. Currently, she serves as the head of the youth department at the Dutch broadcaster NTR—a conversation about storytelling, fostering a creativity-rich environment, and the socially acceptable ‘condition’ of writing fiction.

LISA BOERSEN: STORYTELLER, CULTURAL INNOVATOR & CHILDREN'S AUTHOR

Chances are that, at one point or another, you’ve seen one of those blooper videos of someone trying on a VR headset for the first time before accidentally walking into a wall or hitting the ground face-first. Hilarious as these videos might be, their importance lies in the fact that they demonstrate just how good VR is at deceiving the human brain. "When you wear a VR headset, you have to work incredibly hard to convince your brain that you are not standing on a tall building because your stomach reacts as if that were the case. That is the power of VR on the emotional brain," says Margryt Fennema, Co-Founder of <a href="www.reducept.com">Reducept</a>, a company specializing in digital pain treatment.&nbsp;<blockquote><h1>“Virtual Reality therapy has a major effect on the emotional brain.”</h1></blockquote>&nbsp;Fennema explains that pain treatment in the Western world is highly medicalized: “You get some sort of pill, often with addictive properties, which numbs you to the experience of pain, but the root cause of the pain is not addressed." And that is a problem because pain is sensory and emotional: besides identifiable tissue damage, there is always an experiential component. "Your feelings and behavior towards pain impact the intensity of your pain. Most physical damage takes about three months to heal, but after that time, the experience of pain persists or even becomes more intense," says Fennema. The culprit, once again, is the emotional brain. However, paradoxically, this is also where the solution lies.&nbsp;Fennema: “Virtual Reality therapy has a major effect on the emotional brain. With VR therapy, you, as a patient, are taken by the hand, or better yet, by the head, and we make you walk through a brain so you can learn and recognize pain patterns. The therapy influences your emotional brain so that you end up experiencing less pain.” So far, the results are impressive, although it’s important to note that VR therapy isn’t for everyone. Fennema: “Some people are more receptive to it than others. Some people like to learn by experiencing things, while others prefer a more theoretical approach. That’s why besides VR therapy, we also offer more traditional therapy in book form.”

Virtual Reality therapy has really taken off in recent years, a fact supported by psychiatrist Wim Veling, who heads the <a href="https://vrmentalhealth.nl/">Virtual Reality Mental Health Lab</a>, a research team within the University Center for Psychiatry in Groningen. "VR has already proven effective in treating conditions like acrophobia (fear of heights) and aviophobia (fear of flying): people can board a plane again after treatment.” Thanks to advancing technological developments, more complex social interactions can also be simulated, making it possible to help individuals with more severe conditions like psychosis or paranoid personality disorder.&nbsp;Veling: "We can place people in various social situations, like in a cafe or bus. In this virtual world, we introduce avatars controlled by the therapist, who watches the session on a second screen and responds to the patient's actions.” This immersive approach allows therapists to create a controlled and safe environment for patients where they can confront and overcome their specific fears.&nbsp;<blockquote><h1>Positive experiences in the virtual world give people the courage to try things out in real life.</h1></blockquote>&nbsp;Designing virtual environments is a costly undertaking. And the more realistic the environment, the higher the development costs. Fortunately, research has shown that the virtual world does not need to be lifelike to have a positive effect. Veling: "The simulated world doesn't have to be lifelike; people still feel immersed in the virtual worlds we create and feel like they are experiencing something." Positive experiences in the virtual world give people the courage to try things out in real life, things that, in some cases, they haven’t done in years.&nbsp;Where Wim Veling's VR therapy takes people to a place they don’t want to be (think of people with agoraphobia or other social phobias), PlaygroundVR's software takes children to a place they love to be: the playground. "VR is the perfect place to be if you’re stuck somewhere you don't want to be," says Jason van Eunen of PlaygroundVR. "Think of children in hospitals: they’re physically in a place they don't want to be. We figured that VR could make their stay in the hospital a little more agreeable." A great idea, but at the time of inception, some seven years ago, the technology wasn't advanced enough to turn this idea into a reality – "back then, we were still working with cardboard and mobile phones." But then, some three years ago, the idea was revived.&nbsp;

Van Eunen: "In VR, anything is possible, which means that if you know what the target audience wants, you can create it! We asked a group of children what their ideal playground looks like. We let them create models and drawings. Almost every model included water and a lookout tower, so we made sure that those elements were also incorporated in the virtual world we built." In this virtual world, children in the same hospital can play together in a virtual playground.&nbsp;Van Eunen hastens to add that it is not a gaming experience: "Lisette van der Poel, a play therapist, taught us that you can actually play away your fear. So, we simulated that free, aimless play. There are no levels, no scores, or time limits. It’s an outdoor play experience: a virtual playground where we can place objects, like a branch for instance, that the children can then use for fishing or sword fighting.”&nbsp;While the effectiveness of VR in reducing stress and pain has been demonstrated through various scientific studies, Van Eunen refrains from making claims about the scientific impact of his software: "We see a smile on a child's face, and that's good enough for us. Recently, a girl’s surgery was delayed by half an hour, which is incredibly stressful. But she got to play in the virtual playground for half an hour; time flew by, and when she finally entered the operating room, she had no additional fears or nerves. How amazing is that?”&nbsp;

&nbsp;<img class="image_resized" style="width:50%;" src="https://tioc-cdn.ams3.digitaloceanspaces.com/Schermafbeelding_2023_11_06_om_16_48_05_789877a165.png" alt="Schermafbeelding 2023-11-06 om 16.48.05.png" srcset="https://tioc-cdn.ams3.digitaloceanspaces.com/thumbnail_Schermafbeelding_2023_11_06_om_16_48_05_789877a165.png 121w,https://tioc-cdn.ams3.digitaloceanspaces.com/small_Schermafbeelding_2023_11_06_om_16_48_05_789877a165.png 389w," sizes="100vw">We're very proud to call NOOK one of our partners.&nbsp;NOOK is the official magazine of the Dutch and Belgian professional associations for interior architecture, BNI and AINB. The magazine offers in-depth content, inspiration, and opinions. NOOK is published quarterly in English.&nbsp;The above article was first published in NOOK, the Digital issue (2021 / #3).&nbsp;<a href="https://bni.nl/nook/">Order a hard copy of the issue for €12.50, excluding shipping.</a>&nbsp;

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Virtual Reality isn't just fun and games; it is also used to do some serious good. Research has consistently shown that VR effectively elicits emotional responses and can positively impact behavior. Consequently, the technology has been introduced in various medical treatments, including pain management and behavioral therapy. Welcome to the wonderful world of Virtual Healing.

Creativity At Work

DESIGNING SUCCESS: CREATIVITY AT SECRID

ARCHITECTURAL RENDERS IN THE AGE OF AI

CREATIVITY AT WORK: CARLIJN KINGMA'S CARTHOGRAPHY

LISA BOERSEN: STORYTELLER, CULTURAL INNOVATOR & CHILDREN'S AUTHOR

CREATIVITY AT WORK: VIRTUAL HEALING

Creativity At Work

DESIGNING SUCCESS: CREATIVITY AT SECRID

ARCHITECTURAL RENDERS IN THE AGE OF AI

CREATIVITY AT WORK: CARLIJN KINGMA'S CARTHOGRAPHY

LISA BOERSEN: STORYTELLER, CULTURAL INNOVATOR & CHILDREN'S AUTHOR

CREATIVITY AT WORK: VIRTUAL HEALING

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