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Session Chair: Prof. Monika Hestad, Oslo School of Architecture and Design
Location:IDE Arena
Presentations
Magic or not? Creative Cues, SECI and ba for Creative Knowledge Generation
Tarja Pääkkönen, Satu Miettinen
University of Lapland, Finland
Creative approaches used by designers and artists, or arts-based initiatives, have often been investigated by management and organization scholars.This article presents an exploratory single case study by blending sensemaking and empathic service design approaches. It explores how creative cues and design approaches in facilitation may aid in creating new work opportunities for a small case company in different industrial contexts, as well as support prototyping the case company´s vision, values and identity. The aim is to support designers and creative professionals in their contextual settings.
Theoretically, the article links the use of creative cues as found in design and arts-based methods in interorganisational collaboration with the seminal knowledge creation model by Nonaka and Takeuchi (1995) and colleagues. It is suggested that the case company together with the university research team has been involved in creative knowledge creation, stretching to third parties. The contribution suggested to the original SECI model is the entanglement of creative cues in ongoing sensemaking in a company´s own and its clients´ situations. Creative cues blend knowledge and knowing throughout knowledge creation as a possibility. Such knowing can rather be nurtured than managed and may raise awareness of power and structures next to divergent outcomes.
From critical field to critical practice and back
Johannes Willem Heesbeen
Loughborough University - London, Netherlands, The
This paper is structured as follows. We first review the formative years of design and the business context that continues to define its practices. Taking into account the cultural transitions of the time, we argue how the opportunistic drive to market underpins current design discourses. To pivot this view, we look into the generalised framing of design and innovation that presents a false impression of natural coherence and efficiency. We argue that this impression of systems invites praise and criticism to that system and suggest that by removing the field perspective, we can reveal how design practices are clustered in niches that are self-sustained in their specific context. We conclude by arguing that it is these niches of design practices that cause field level criticism to fail in its aim to challenge the design discipline as a whole.
