Extended Abstract
Aims: Color is one of the most influential components of the physical environment, capable of affecting users' perceptual, emotional, and cognitive experiences and, consequently, supporting creative performance. Previous studies have demonstrated that color influences attention, arousal, mood, and certain cognitive processes. Nevertheless, most existing research has concentrated either on comparing the effects of individual colors or examining color as an isolated environmental variable. Consequently, there is still no evidence-based framework explaining how color should be organized in creative workplaces according to the cognitive requirements of different stages of the creative process.Advertising agencies provide an appropriate context for investigating this issue because their employees are continuously engaged in idea generation, brainstorming, collaborative problem-solving, evaluation, and implementation of creative solutions. Since these activities require different cognitive states, the environmental conditions supporting creativity are unlikely to remain constant throughout the creative process.Accordingly, the present study aimed to develop a conceptual model for applying color in creative workplaces based on Graham Wallas' theory of the creative process. Specifically, the study sought to identify the perceptual components through which users experience workplace colors, interpret these components according to the four stages of Wallas' creative process (Preparation, Incubation, Illumination, and Verification), and propose an evidence-based framework for color organization in creative work environments.
Materials & Methods: This study adopted a qualitative research approach using conventional content analysis. This method was selected because the purpose was to derive concepts directly from participants' experiences rather than imposing predetermined theoretical categories. The theoretical framework of Wallas was intentionally reserved for the interpretation stage after data analysis.Twenty-five semi-structured interviews were conducted using purposive sampling until theoretical saturation was achieved. Participants consisted of two groups. The first included university academics and researchers specializing in architecture, interior design, environmental psychology, and color studies. The second group consisted of managers and employees working in advertising agencies in Tehran who possessed direct experience of creative workplace environments.Each interview lasted approximately 30–45 minutes, was audio-recorded with participants' consent, and transcribed verbatim. Interview questions explored participants' perceptions of workplace colors, their experiences of different color qualities, and the perceived influence of color on creative activities.Data were analyzed simultaneously with data collection following the procedure proposed by Graneheim and Lundman (2004). Meaning units were identified, condensed, coded, and gradually grouped into subcategories and main categories using MAXQDA 2020 software. To ensure trustworthiness, Lincoln and Guba's criteria of credibility, transferability, dependability, and confirmability were applied through purposive participant selection, continuous comparison of codes, transparent documentation of analytical procedures, and systematic review of coding decisions.After completing the inductive analysis, the extracted categories were interpreted within the conceptual framework of Graham Wallas' theory in order to examine their relationships with the cognitive characteristics of different stages of the creative process.
Findings: The findings revealed that participants' perceptions of workplace color are organized around six principal perceptual components: stimulation, energizing quality, calming quality, softness, visual attractiveness, and color functionality. Rather than representing purely aesthetic attributes, these components describe perceptual qualities that support different aspects of creative work.The analysis further demonstrated that each perceptual component corresponds more closely to particular cognitive requirements of specific stages of Wallas' creative process.Stimulation was primarily associated with the Preparation stage, where curiosity, attention, and problem engagement are required. Calming quality and softness were closely related to the Incubation stage by reducing perceptual tension and facilitating sustained concentration and deeper cognitive processing. Energizing quality mainly supported the Illumination stage by enhancing motivation, psychological activation, and participation in idea generation. Visual attractiveness contributed to both the Illumination and Verification stages by encouraging users' engagement with the environment and maintaining their willingness to develop creative ideas. Finally, color functionality was linked primarily to the Verification stage, emphasizing the importance of organizing colors according to functional workplace requirements and different patterns of activity.These findings indicate that the effectiveness of workplace color does not depend on selecting a universally superior color. Instead, successful color design depends on the compatibility between perceived color qualities and the cognitive demands of different creative activities.Based on these findings, the study proposes a conceptual framework for organizing workplace colors according to activity type rather than aesthetic preference. Dynamic color schemes, represented by soft orange hues, are suggested for collaborative areas supporting brainstorming and teamwork. Calm color schemes, represented by light blue hues, are recommended for spaces requiring concentration, analytical thinking, and idea development. Neutral transition zones may facilitate movement, communication, and spatial continuity while maintaining visual coherence across different workplace functions.
Conclusion: The present study contributes to environmental design research by shifting attention from identifying the "best" color toward understanding how perceptual qualities of color can support different stages of the creative process. Unlike previous studies that primarily compared individual colors, this research demonstrates that workplace color should be considered as part of a broader environmental design strategy responding to changing cognitive requirements throughout creative work.The proposed conceptual framework provides an evidence-based foundation for organizing colors in creative workplaces according to users' perceptual experiences and activity-specific cognitive demands. Consequently, the study extends current knowledge by integrating environmental psychology, color perception, and Wallas' theory of creativity into a coherent design framework. From a practical perspective, the proposed model may assist architects, interior designers, and organizational managers in making more informed decisions regarding workplace color planning. Instead of relying solely on personal aesthetic preferences, color organization can be aligned with functional requirements and the cognitive characteristics of creative activities. Despite these contributions, the findings should be interpreted within the limitations of the study. Data were collected exclusively from advertising agencies in Tehran, and the proposed framework has not yet been experimentally validated in other organizational or cultural contexts. Future research is therefore recommended to evaluate the effectiveness of the proposed model through experimental and mixed-method studies and to investigate the interaction of color with other environmental variables, including lighting, spatial configuration, materials, and acoustic conditions.