Likhaan Group

Aspects of Human Creativity, Creative Thinking Tools, Creatology and Approaches to Development Planning & Management

November 15, 2008 – 10:26 pm

CREATIVITY JOURNAL Number 2 Volume 1 – 4th Quarter 2008

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The Four Aspects of Human Creativity

INTRODUCTION

Creativity is a complicated and confusing subject matter. It ranges from devising a new toothbrush to the writing of the Fifth Symphony by Beethoven. Much of the difficulty arises directly from the words “creativity” and “creative.”

At the simplest level, according to several dictionaries, “creativity” means bringing into being something that was not there before. Creativity is the “ability to use the imagination to develop new and original ideas or things, especially in an artistic context.” At this point, we can begin to have artistic creativity because what the artist produces is new and has value.

There is a notion that the creative ideas and its application and/or output should not be “obvious” or “easy.” There has to be something unique or rare about it. Exceptional craftsmanship would fit here. However, in patent parlance, creative invention involves an inventive step, which means it must be new novel and useful or operative.

Nevertheless, if we introduce the concepts of “unexpectedness” and “change,” we begin to get a different view of creativity.

The word “creativity” now covers a wide range of different skills. Creative skills needed to change concepts and perceptions are one of them, Dr. Edward de Bono calls it a key element of “lateral thinking.”

We can look at creativity as a mystery. Brilliant new ideas are produced and we do not know how they came about. We can study and analyze the behavior of creative people, but this will not tell us very much, because often such people are themselves unaware of what triggered the brilliant idea. They are also unaware of the environment and conditions in which creation comes about.

Ironically, this way of looking at creativity – although presently inadequate – is generally used by psychologists, sociologist and anthropologists or the students of creativity. Thus, we will try to understand creativity in terms of its four (4) principal aspects: 1) creative person, 2) creative environment, 3) creative process and 4) creative product.

Each aspect should always be considered in its interrelation and interconnection with all the other aspects – a systems view, a holistic perspective!

The Four Aspects of Human Creativity

1. Creative Person: The Personality of the Creator

Many people think that creativity is a gift of genius given to a special few. Hence, the creative person is regarded as genius. Some people believe that exceptional intelligence acts as springboard to creativity or formal education is an absolute prerequisite to creativity.

All these are myths. We are all born creative. But, still the questions: Why is the creative person so different from other people? Is he really born different from others? Who, and what, is a creative person?

Answers to these questions have long been the subject of research by psychologists in order to define the creative personality. To the psychologists, the important question is not why do some people appear to be creative, but why is it that some people are able to use their creative ability than others. Perhaps the question we should answer is: What makes a person creative?

Whitfield provides an imaginary ‘tension field’ which viewed the components of creative personality as tensional vectors. This will give us an insight on what makes a creative person as described by some psychologists.

The personality detrimental to creativity, according to Whitefield, are: Intolerant of uncertainty, dependent, unimaginative, inhibited, non-challenging, conforming, poor finishing and passive.

On the other hand, characteristics conducive to creativity includes: Adequate IQ, perceptive, dedicated, forceful, confident, energetic, emotionally expressive, broad knowledge and interest, sensitive, open to new experience, flexible and intuitive.

Intellectual abilities: use of all senses, openness to new experience, imaginative, flexible, inner maturity and fluency.

Temperament/attitudes: tolerant of uncertainty, energetic, dedicated, self-confident, forceful, emotionally expressive, driven to complete task, non-conformity, challenging, independent, resourceful, skeptical, enthusiastic, high excitability, anxious.

De Bono emphasized, “Too much experience within a field may restrict creativity because you know so well how things should be done that you are unable to escape to come up with new ideas.”

2. Creative Environment: The Conditions in which Creation Comes About

The environment may inhibit or enhance human creativity. Perhaps, this is the most difficult aspect to take into account in the study of creativity. Some have been asking: Can we tell whether it is really the situation or environmental conditions that matters or the person involve in the creative act? To this may be added: What kinds of situation encourage what kinds of creativeness in what types of creative person?

One thing is sure, the internal condition is in the human being himself, his brain and how he makes use of it. Man is endowed with the characteristics to grow, develop and mature creatively. This is tempered by culture as well as the natural and physical setting. The creative person maximizes his human potentials so that he may be able to adapt to his environment.

The internal condition in the individual is the key to one’s creativity―“you are the only one who can do this for you and nobody else.” The attitude of the individual is the most significant element of the internal as well as the external environment. Also crucial in the development of one’s creativity is the personal support, encouragement and challenge from his immediate members of the family, friends and colleagues, as well as managers, supervisors and even subordinates.

The environment is full of creative products introduced at different times and places. It is argued that creative products are fully developed at times and places where there occur a coincidence of conditions and circumstances favorable to its discovery, development and application. Thereafter, the elements of the creative products are not lost again, but go on being used and eventually serve as the starting point for the development of more advanced creative products until such time and place that the products are superceded by a new and better product.

According to Whitefield, the totality of the individual’s creative and non-creative environment (as general forces or environmental pressures) are: 1) Aiding innovation - fair reward, opportunity for innovation, personal acceptance, encouragement from boss, intellectual stimulation from colleagues, controlled freedom, and access to relevant information; 2) Restraining innovation - detrimental effect on jobs, need for new skills, fear of failure, prejudice, threat to way of life, restriction of novelty, and lack of practical support.

3. Creative Process: The Process of Creating

The creative act proceeds through the interplay of mental functioning in the individual, his knowledge, skills and experiences in certain conditions, circumstances or environment. The creative process, therefore, is the emergence of creative ideas by way or means of the interaction between the unique qualities of the individual or groups of persons and the materials and circumstances attendant to the interaction and communication of ideas until a new idea or product is developed.

The question which has been bothering the researchers in their studies of the creative process is this: “Which is more important: The creative person who come up with the ideas or the environmental conditions which affect the person’s efficacy and effectiveness?” Both subject matters, the creative person and the creative conditions, were discussed earlier―and we can see that the question permit no answer as yet, both are regarded as equally important. The person and condition, the materials and skills are the interesting tools that keep the creative process on the go.

Carl Rogers defined the creative process as “the emergence in action of a novel relational product, growing out of the uniqueness of the individual on one hand, and the materials, events, people, or circumstances of his life on the other.”

It has to be pointed out that an accurate description of the creative process is still unknown.

The very nature of the creative process makes it indescribable. Nevertheless, from the results of researches in the creative phenomenon and the pronouncements of the creative persons and inventors themselves, the creative process has been fundamentally described.

The creative process passes through several stages. The periods of preparation, concentrated attention, withdrawal and incubation; a moment of insight; then the periods of verification, elaboration and evaluation; and finally, the period of realization or communication of the insight. These stages of the creative process, summarized by Graham Wallas in The Art of Thought, are as follows:

· Preparation – in which the person works intensely on a problem or opportunity.

· Incubation – in which the problem or opportunity is temporarily put aside and the person engages in other activities.

· Illumination – or “insight,” when the person suddenly sees how the problem can be solved or the opportunity can be taken advantage of.

· Verification – or “revision,” in which the person works out the details of his solution, takes a new look at it, and evaluate the results.

In general, the creative process enumerated above may be applied in the generation of new ideas and in the development of new products or social inventions like new ways of transmitting information and knowledge or in doing things.

Evolvement of new ideas

It is said that ideas emerge out of ‘nothing’ But it is also declared that nothing comes from ‘nothing.’ Thus, ideas must have emerged from something―from our intense creative thinking which must have been impelled by a felt difficulty or need. And much need or difficulty is felt by man, a social being, existing in a certain environment and cultural background.

Ideas evolve out of the consciousness of the person of his needs, problems and difficulties. Indeed, the person’s social existence determine his consciousness which in turn, propels his creative talents to come up with new ideas to fill a need, to solve a problem or to ease some difficulties.

Ideas appear sometimes spontaneously in the form of a “mere glimpse serving as a clue or like a germ to be developed…” (Brewster Ghiselin, 1952). .

4. Creative Product: The Product Created

When the creative process is completed, the result is a new product or new ways of doing things which could be a useful concrete idea, a stage or screen performance, a work of art, a musical composition, a scientific theory, a building, a machine or device, or—in general—a technical invention or social innovation.

All these are products of creativity. But what qualities make up a creative prod­uct? A product, to be regarded as creative, must have some “creative characteristics.” A creative product must be novel‚ or original. But mere novelty or originality are not enough, a creative product must also be useful. Still, novelty and usefulness are only the basic requirements, a third primary requirement is that the product must be elegant, aesthetically designed. A fourth criteria is that the product must introduce a change of transcending quality. The fifth requirement, not necessarily the least important, is that the creative product must be realized into a tangible thing or expression. This characteristic, for want of a better term, may be called “producibility.”

In short, a creative product must be:

· Novel or original

· Useful, adaptable, practical, func­tional, workable or operable

· Elegant or aesthetically designed

· Transcending qualities, long lasting or much better than existing ones

· “Producible,” manifested into tangible product or expression; realizable, serv­iceable or usable; and verifiable or may be proven in actual implementa­tion/execution

These qualities are however accomplished in varying degrees.

Creative Thinking Tools, Techniques & Methods and Their Subroutines

Compiled by LIKHAAN RESOURCE & INFORMATION CENTRE

The creative thinking (CT) tools listed below are categorized as individual and group techniques for application purposes. It should be noted however that the individual CT techniques are not necessarily limited to individual thinking applications, they can also be used in group thinking. Similarly, the group CT techniques are also applicable for individual thinking application. Hence, the categorization and some sub-classifications are undeniably arbitrary. In practice, however, the individual techniques are quite productive for personal thinking session, while those listed as group techniques are more productive if used in group think­ing sessions.

1. Techniques for Individual CT*

1.1 Restructuring Techniques — The situation, problem or task need an initial restructuring

1.1.1 Matrix Analysis

1.1.2 Morphological Analysis (Fritz Zwicky)

1.1.3 Idea Laboratory (Charles H. Clark, 1958)

1.1.4 Relevance Systems 1.1.5 Attribute Listing

1.1.6 Research Planning Diagrams

1.1.7 Mind-Mapping Technique

1.1.8 Force Field Analysis

1.2 Analytical Aids — The situation, problem or task need analytical approach

1.2.1 Weighting Systems

1.2.2 Checklist Methods: Osborn, E. De Bono, others

1.2.3 Decision Tree

1.2.4 Alternative Scenarios

1.2.5 Elimination Approach (Proctor & Gamble)

1.3 Redefinitional Procedures — The situation, problem or task need wider/larger viewpoints

1.3.1 Reframing Questions [cf. Checklist Methods]

1.3.2 Goal Focusing (Maxwell Waltz) [cf. Goal Orientation, AGO]

1.3.3 Goal Orientation

1.3.4 Successive Abstractions

1.3.5 Analogy and Metaphor Procedures

1.3.6 Wishful Thinking

1.3.7 Non-Logical Stimuli

1.3.8 Boundary Examination

1.3.9 Reversals

1.3.10 Wildest Idea

1.3.11 Use of the Ridiculous (Von Fange)

1.3.12 Modification Technique

1.3.13 “Fresh Eye” Approach

Common place object:

a. examination/concentration;

b. new/overlooked character; and

c. new uses/variety of uses.

1.3.14 Hotpoint Methods

a. Garbage Can Method (waste products)

b. Tear-Down Method

• Person A - Finds everything wrong

• Person B - Won’t agree, and must suggest another

c. And-Also Method

• One adds to suggestions of other persons

d. 17-Solution Methods

• Problem is sent to participants; at a meeting each participant must come with a list of 17 solutions.

1.3.15 Random Technique

1.3.16 Excursion Procedures (speculation and analogy)

1.3.17 Random Juxtaposition

1.4 Associational/Combinatorial Techniques — The situation, problem or task need a relational approach

4.1 Free association

1.4.1 Free association

1.4.2 Direct Association

1.4.3 Forced Relationships or Force Relating

a. Catalog technique

b. Listing technique

c. Focused object technique

1.4.4 Input-Output Technique (General Electric)

1.5 Procedural Techniques — The situation, problem or task need a particular way, simple order or series of steps which may be static or dynamic in character.

1.5.1 Itemization – a systematic attempt at dealing adequately but not exhaustively with one item at a time.

1.5.2 Fundamental Design Method (Edward Matchett, 1967)

a. Thinking with outline strategies

b. Thinking in parallel planes

c. Thinking from several viewpoints

d. Thinking with concepts

e. Thinking with basic elements

1.5.3 PackCorp Scientific Approach [PakSA] (J.W. Taylor) – Nine step process:

a. Pick a knowledge

b. Get knowledge

c. Organize knowledge

d. Refine knowledge

e. Digest knowledge

f. Produce ideas

g. Rework ideas

h. Put ideas to work

i. Repeat the process

1.5.4 Coca-Cola’s 4-Step Process

a. Opportunity search

b. Form evaluation

c. Concept expansion (generation of alternatives/brainstorming)

d. Concept development (Synectics is used)

1.5.5 Problem-Solving Approaches

a. Creative Problem Solving Process

1) Osborn’s simple CPS process:

• Factfinding

• Idea Finding

• Solution Finding

2) Sydney Parnes’ CPS process:

• Fact-Finding

• Problem-Finding

• Idea-Finding

• Solution-Finding

• Acceptance-Finding

b. Patterns of Solving Problems (Brilhart & Jochem)

• Ideas-Criteria

• Criteria-Ideas

• Problem-Solution

c. The IIISI Approach [pronounced “easy”] (R.N.M.Aboganda, 1972)

• Investigation

• Identification

• Ideation

• Selection

• Implementation

d. KT Approach (Kepner & Tregoe)

e. DO IT Approach (Robert Olson)

• Define the real problem: Mind Focus, Mind Grip, Mind Stretch

• Open yourself to many possible solutions: Mind Prompt, Mind Surprise, Mind Free, Mind Synthesize

• Identify and intensify the best solution: Mind Integrate, Mind Strengthen, Mind Energize

• Transform the solution into action: Persistence, Resistance from self/others, Modification, Optimum

1.5.6 Yoshiro NakaMats’ three-stage process and the three elements of creation

First Rule: You have to be calm

a. Three-stage creative process:

• The ‘static room’ is a place of peace and quite with only natural things. This is the room to free-associate.

• The ‘dynamic room’ is dark, with black-and-white-striped walls, leather furniture, and special audio and video equipment – music: start from jazz to easy listening (classi­cal music/symphony).

• Last stage – ‘swimming pool’ – “that’s when I come up with my best ideas” (using plexiglas writing pad to record these ideas).

b. Three elements of creation:

• Suji, the theory of knowledge.

• Pika, inspiration.

• Iki, practicality, feasibility, and marketability.

Edison claims that ideas are one (1) percent inspiration and 99 percent perspiration. Now, NakaMat says, it’s one (1) percent perspiration and 99 percent “ikispiration.”

2. Techniques for Group CT

2.1 Brainstorming (Osborn, 1953)

2.1.1 Osborn’s method

2.1.2 Trigger session

2.1.3 Recorded round robin

2.1.4 Wildest ideas

2.1.5 Reverse brainstorming

2.1.6 Individual brainstorming*

2.2 Synectics (Gordon & Prince)

2.2.1 Active listing/constructive group behavior

2.2.2 Goal orientation

2.2.3 Itemization

2.2.4 Changed meeting roles

2.3 Lateral Thinking (Edward de Bono)

2.3.1 Six Thinking Hats

2.3.2 The Creative Pause

2.3.3 Simple Focus

2.3.4 Creative Challenge

2.3.5 Search for Alternatives

2.3.6 The Concept Fan

2.3.7 Working at Concepts

2.3.8 Provocation and Movement (PO-Provocative Operation)

2.3.9 Arising Provocations

2.3.10 Escape Provocations

2.3.11 Stepping Stone Provocations: Reversal, Exaggeration, Distortion and Wishful Thinking

2.3.12 The Random Input

2.3.13 Movement (Active Mental Operation): Extract a principle, Focus on the difference, Moment to moment, Positive aspects, and Under What circumstances

2.3.14 The Stratal “Sensitizing” Technique (Strata or Layers)

2.3.15 The Filament Technique

NOTES: The individual CT techniques may also be used in group ideation; while group CT tools may also be applicable for individual ideation. These subroutine is rather unusual in practice. Lateral Thinking techniques are applicable for both individual and group thinking.

CREATOLOGY – The New Science of Creativity

Creatology is the scientific study of creativity and the creative phenomena developed in the Philippines by a creativity research group headed by Rafael Nelson M. Aboganda and Ricardo S. Cortez (deceased).

Creatology, in general, is the study and investigation of the total process of creativity, the environment and conditions under which this process occurs, the resulting “creative product” and the ways and means in which it may be facilitated and developed. It also examines the creative personality of the creator—inventor, innovator, scientist, technologist, entrepreneur, industrialist, writer, author, poet, artist, etc.

Origin and definition of term

Creatology is a hybrid of the Latin creatus (create) and the Greek logos/logus (science, study).

The study of creativity is traditionally within the province of the social sciences more particularly related to psychology and sociology. However, it also correlates its inferences, deductive or inductive, on the findings of other social, natural and physical sciences such as anthropology, biology, physiology, physics, mathematics, and historical researches in some instances.

Thus, the principal objective of creatology is to give a description of the creative performance of the creator and the resulting product, provide explanation of the processes, methods and techniques; factors, conditions and settings; and other elements attendant to the act of creation, initially in the Philippine setting.

Research methodology

The methodology of creatology has been primarily derived from the tools used in psychology and other related social sciences for the simple reason that the study of creativity in western sciences is traditionally under psychology. However, new methodologies are emerging in recent investigations. It has been observed that creatological studies should be an inter-disciplinary and intra-disciplinary investigation going beyond the psychological-sociological traditions in the advanced countries. It has also been theorized that creatology can evolve into a new branch of social science having its own research methods.

Nonetheless, the new methodology presently used in creatology has been named “salunggalian” approach [rooted from Filipino (Tagalog) words salungatan (contradiction) and tunggalian (conflict)] that deals with the investigation and interpretation of observed data in the creative phenomena under conditions of contradiction and conflict. The method is akin in process to Hegelian thought in which two apparently opposed ideas, the thesis and antithesis, become combined in a unified whole, the synthesis—better known as Hegelian dialectics. Another emerging method is the systems approach, a local adaptation from management science, cybernetics and psychology-sociology.

The salunggalian method was adopted and used in creatological studies due to observations in case studies undertaken among Filipino inventors. In the creative studies, there are observable tensions that exist between two conflicting or interacting forces, elements, or inventive ideas, between new inventions and old inventions, new products and old products, etc. Usually a creative synthesis resolves the contradiction and/or conflict or opposing issues.

Research activities and initial findings

Preliminary research activities on creatology commenced many years ago in early 1972. By mid-70’s more than 120 case studies of Filipino inventors were completed with particular focus on the process of invention development: from the conception of ideas to R&D and product development, market launching and commercialization, and product maturity. However, by the end of 1970s, creatological research has been intermittent due to lack of funds and support from other researchers on creativity as well as funding institutions.

Nevertheless, initial findings have been summarized, thus:

Observations, measurements and experimentations – Initial studies have been carried out by way of refractory or uncontrolled investigation. Preliminary observations and experimentations are leading towards a new concept of creativity, i.e. that “creativity and intelligence are a whole.” The initial data, however, is insufficient to point to the validity of this new interpretation. Even though many creativity researchers, both local and foreign, are pointing to this direction as early as 1960s and 1970s until late 1980s. New observations, however, have been brought up in 1990s and early years of this decade (2000s).

Classification and analysis – Due to insufficiency of data and methods of measurement, no classification and analysis have been made in detail, though preliminary classification has been done. Primarily, creatological studies have been classified into four major areas of investigation, initially patterned after the psychological studies as a starting point, this are: 1) the personality of the creator (creative person), 2) the conditions in which creation comes about (creative environment), 3) the process of creating (creative process), and 4) the product created (creative product).

Suppositions – From initial observations and data collected, some preliminary suppositions have been derived for the furtherance of research activities:

1. Creativity is not an individual totality but has natural (organic), societal, cultural, factorial, conditional and environmental unity working as a whole.

2. Creativity is a combinatorial act of the creativeness and intelligence of the individual.

Many books by many authors have presented studies and observations similar to these suppositions. Most of the studies were undertaken under the umbrella of psychology, sociology and anthropology. Creatology would like to look at the phenomenon in terms of “creativity” per se.

Significance of the current “creatological” studies – This study of creativity under “creatology” is expected to result in, among others, the following:

1. It will establish the formulation of a new scientific study of creativity that is not totally dependent on psychological-sociological studies but founded on all the disciplines of the social sciences, of which psychology is a branch, and correlated with other disciplines beyond social sciences and extending to related/co-related natural-physical sciences.

2. It will establish a new way or approach in understanding and appreciation of the arts, design, literature, architecture; the creation of technical inventions and social innovations; and others.

3. It may result in the development of a new science originated in the Philippines.

Note: Creatology was introduced by Rafael Nelson M. Aboganda and Ricardo S. Cortez in early 1972. Its first working paper was published by the Philippine Inventors Commission (PIC) in October 1972. Researches on creativity under this new science is currently undertaken by the Likhaan Institute Foundation, Inc. (LIFI), an institutional member of The Likhaan Group, Inc. [For more information, log on to www.likhaan.com or email to: likhaangroup@likhaan.com]

Macropolis, Micropolis and Microtun

New Approaches to Development Planning and Management

Backdrop. There are many approaches to development planning and management. In late 1970’s, the “wedge concept” was proposed by Dr. Carlos A. Fernandez and developed by several officers and staff of the Development Academy of the Philippines (DAP). The wedge concept, which cut across Philippine agro-ecological zones, contends that development planning should take into consideration the interaction and interrelationship of the five agro-ecological resource zones: small islands, coastal, lowland, upland and highland areas.

In 1980, Likhaan conducted in-depth study of the “wedge concept” and introduced an “Agro-Industrial Rural Community Development Systems and Formations Using the Wedge Concept,” which was submitted as a working paper for the Mindoro Agro-Industrial Rural Community Development Project (MAIRCOD) of DAP. From this working paper, the development management systems (D·M·Sä) framework for development planning, social investigations and community research was developed.

However, it was noted that development planning are mostly undertaken by local governments and considers only their territorial jurisdictions neglecting the “wedge concept” as an overall framework. In fact, within the territorial areas of the cities, the wedge concept never come to mind among development planners and managers. Thus, in 1995, Likhaan proposed “micropolis” as a new concept for development planning and management that utilize the wedge concept and DMS as the overarching framework for planning and management.

Nonetheless, it was obvious at that time that Metro-Manila has been rapidly growing—enlarging—to the North and South direction. Its uncontrolled growth in the last 40 years has connected it to other neighboring urban centers in the north, east and south—Navotas-Malabon, Valenzuela (Polo), Meycauayan, San Jose del Monte, Marikina, Antipolo, Cainta, Taytay, Angono, Binangonan, Pasig, Tagig, Pateros, Las Piñas, Parañaque, Muntinlupa, Bacoor, Imus, San Pedro, Santa Rosa, and Biñan. Sooner than we think, Metro Manila will reach as far as Malolos City, Calumpit and Baliwag in Bulacan; Rodriguez (Montalban), Cardona, Morong and Tanay in Rizal; Calamba City, and Los Banos in Laguna; Santo Tomas, Tanauan and Lipa City in Batangas; and Rosario, Tagaytay and Trece Martires in Cavite. This has a radius of 50-60 km, half of metropolitan Tokyo.

Considering this development, Likhaan proposed a new development planning concept and management tool: “macropolis” in 1996. Similarly, the “microtun” concept was also introduced as a planning concept and management tool for urbanizing municipalities and enlarging cities outside Metro-Manila, Metro-Cebu and Metro-Davao.

The whole macropolis-micropolis-microtun concept embraces the original “wedge concept” and “development management system (DMS),” which now provide a simple framework for understanding development planning, human settlement renewal, socio-economic development, fiscal administration, and environmental management by virtue of a whole set of practical theories, methodologies, systems, tools and techniques, and project implementation activities.

Presented below are the basic concept of “macropolis, “micropolis,” and “microtun”. [Initial discussions on “macropolis” was presented in the Creativity Journal (Volume 1, No. 1, 3^rd Quarter 2008). More details will be presented in succeeding issues of the CreativityJournal.]

Macropolis

“Macropolis” is a development planning area consisting of large cities or an urban area in which there are several cities whose suburbs meet or nearly meet. It is also a development management approach for socio-economic and physical/human settlement development in general, and community development in particular.

Macropolis, as a development management tool, is a human settlement strategy towards integrated development of vast urban areas—several large cities—taken from the perspective of national and regional development starting with existing core areas of each city. It seeks the organized redevelopment of cities or urban areas into integrated built-areas in its totality. Considerable attention is given to the major elements of human settlement, e.g. road networks, commercial/industrial centers, urban environment, population dynamics, etc. with special focus on the redevelopment of densely populated areas or slums/squatter colonies.

“Macropolis” literally means enlarge city from Gr. makros, long, enlarge + polis, city. Macropolis is a term coined in 1996 by Likhaan. Macropolis is the larger version of “micropolis” introduced earlier by RNM. Aboganda.

Macropolis is different from “megalopolis” (Gr. mega, great + polis, city) which is an area containing large cities or an area in which there are several large cities whose suburbs meet or nearly meet. Megalopolis is also called “megapolis,” an extremely large and populous city. Megalopolis is defined by J. Gottman (who introduced the term) as vast, continuously urban area, covering any number of cities. It is an urban area containing over 35 million people. Greater Tokyo Area in Japan, the largest city in the world, has a population of 39,188,400 (February 2008 est.) with an area of 16,410.57 km² and a density of 2,388 per km². It has a radius of around 100 km. across the main core of the city.

Micropolis

“Micropolis” is a development planning area consisting of a large barangay or cluster of three to seven small- and/or medium-sized barangays. It is a sub-unit of a “macropolis.” It is also a development management approach for socio-economic and physical/human settlement development in general, and community development in particular.

The barangay is the basic political unit in the Philippines. A barangay is a contiguous territory with a population of at least 2,000 except in highly urbanized cities where such territory can have a population of at least 5,000. Some barangays in Metro Manila have population of 40,000 to 50,000 or even more. In fact, Barangay 176 (Bagong Silang) in Caloocan City—the biggest barangay in the country—has a population of around one million people and has 250,000 voters living in only a few hectares.

Micropolis, as a development management tool, is a human settlement strategy towards integrated development of urban or urbanizing barangays (communities) starting with its dominant urban patterns. It seeks the organized redevelopment of cities-within-cities or the small urban areas like puroks (neighborhoods), barangays or cluster of barangays of the metropolis, small cities and municipal poblacion in the Philippines, with considerable attention given to densely populated areas or slums/squatter colonies.

Micropolis literally means small city from Gr. mikros, small + polis, city. “Micropolis” is a term coined in 1995 by RNM. Aboganda, current chairman/president of The Likhaan Group, Inc.

Microtun

“Microtun” is a development planning area consisting of a cluster of three to ten barangays or a municipality as a whole. It is a sub-unit of a “micropolis.” It is also a development management approach for socio-economic and physical/human settlement development in general, and community development in particular.

“Microtun” is a human settlement strategy towards the integrated development of urban and rural barangays (communities) or municipal communities starting with urban or urbanizing areas and the integration of its rural areas into a distinct development area. Similar to the etymology of micropolis and macropolis, “Microtun” was derived from Gr. mikros, small + tun, town. It seeks the systematized redevelopment of small towns-within-towns or minor cities.

The term “microtun” was introduced by Likhaan in 1996.