https://www.mdu.se/

This chapter proposes a way of understanding and cultivating places for radical innovation in operations. This chapter describes how, organisations can, instead of letting an innovation laboratory be its single economic and managerial priority, foster a decentralised, varied and emergent palette of places in use where radical innovation can occur. The chapter suggests that this can be done in lean production facilities and radical innovation be balanced with incremental innovation. 

According to Pettersson, design may be a process and/or the result of the process, a product. The area of design is multidisciplinary and involves several notions. One is in the subject field of Information Design, which includes language, communication, art, cognition and information science. These disciplines refer to the concept of information differently. There is therefore a need for a fruitful theory of information, terms and concepts in order to enrich the reasoning of design as information. Bates presents a definition of information and several fundamental information forms. There, she offers a theoretical framework, the main core of which is that information may take different forms related to architecture, graphic design, interior design, and interface design, etc. Such a framework may contribute to understanding the meaning of design. Bates’ theory is applied in a study involving spatial design in industrial environments. The conclusions of the study illustrates how design and information relate to a design process and a design product that enriches the understanding of the meaning of design.

This paper discusses the experience and learning from introducing programming in a museum exhibition design course. Thirty-seven information design students from Sweden, with no previous experience in programming, participated in the course in 2014 and 2015. The students' tasks were to create interactive exhibition stations at a county museum in five weeks. We introduced Arduino and Processing programming in the course to enlarge the information design students' repertoire and to find ways to develop the interactive aspects of the exhibition medium. We aim to identify and discuss challenges and strengths when introducing code as design material in design education. The education of future exhibition designers is an important matter relevant the TEI community.

In information design education, we strive to find methods that provide students with opportunities to explore different ways of learning and designing. We seek to support development of contextual competences that will be helpful in navigating an unknown future of design in society. A challenge in today's design education is to formulate and use methods that support design students in developing competencies in the space between basic form training and context-rich training. The aim of this study was to evaluate prototyping exercises in design education where the focus was in that in-between space. The study is based on 33 prototyping workshops done between 2008 and 2015 and involving 160 students and two design teachers. Four different approaches to prototyping exercises are described, examined and evaluated: "spatial prototyping," "multi-material prototyping," "physical prototyping," and a mix between the latter two, "physical multi-material prototyping." The results show that the prototyping exercises did support the learning of diverse competencies in the in-between space of basic form training and context training. However, the exercises were also counterproductive and met with different kinds of resistance. The results of the study invite to a dialogue on how different prototyping techniques can stimulate learning in relation to future design competences.

The main concern of this licentiate thesis is to discuss how built space is used for communication in the manufacturing industry, from a visual communication perspective. The thesis presents and develops the notion of 'communication space' and presents a model to describe the relation between different factors in the communication space.

In a multiple case study, six different cases from the manufacturing industry are described and analyzed to highlight how built space is used for communication in a lean production context. Research results on how built spaces such as improvement places, meeting places and a development workshop affect improvement processes and communication are presented. What the studied improvement areas, meeting places and workshop can be said to communicate about the improvement processes is analyzed.

The research results show that the built spaces in manufacturing industry are used for communication on two levels, both as places for interaction between employees and as a part of a communication process. The study also shows a relation between architecture from a specific time and the relation to the improvement work in the industrial context. How the results can be used to facilitate communication in the built spaces used for improvement processes in manufacturing industry is suggested in the thesis.

In this paper, one practice-oriented approach to incorporate nonexperts in early stages of innovation work is presented and analysed: the method of photo-based group discussions on innovation. The result is based on studies in 7 different organizations during 2013-2014. The method was developed as a response to a current innovation management problem in manufacturing companies in mid-Sweden, i.e. the problem how to enable all employees to use their talent and potential in relation to innovation initiatives on all levels. The results show how the photographs were used by the participants to negotiate different interpretations of innovation. The photographs were used for self-reflection, borrowing, inclusion and denominating actions. The results contribute to the theoretical understanding in the innovation management community of photographs in innovation processes. It does so by the introduction of the notion 'company-selfie' and the analyse of the photograph as a boundary negotiation artefact in groupdiscussion on innovation.

Abstract

Detta är en teknisk rapport om en fallstudie, utförd på en utvecklingsverkstad, 2007-2008. Som metod användes intervju, enkätundersökning, studier av tryckt material och arkitekturanalys. En rumslig förändring kopplas till aspekter som orientering, professionalitet, den anställdes känsla av värde för företaget, motivation och status. Andra aspekter i studien är rumslig gestaltning som signal för förändring, nöjda medarbetare, trivsel, framtid, attraktiv arbetsplats, verkstad i världsklass och effektivitet.

Resultatet indikerar att en rumslig förändring i den studerade utvecklingsverkstaden fungerar som en positiv visuell signal för en pågående förändringsprocess när det gäller organisation på avdelningen som helhet. I det empiriska resultatet har det blivit tydligt att förändringar av rumsliga element starkt kan förknippas med – och vara ett resultat av – agerad information (Bates, 2006). De övertygelser och förhoppningar som genomsyrar avdelningens ledning visar sig i form av effekter i de rumsliga elementen. I slutsatsen diskuteras studiens resultat kort i relation till Hawthornestudien (Mayo, 1933).

Abstract: How do Spaces for Creative Dialogue evolve and how are they experienced in practice? In this paper we will present findings on how space is experienced by informants in the structure of a dialog seminar in an innovation research project. We are investigating the relationship between the physical context and mental content, between the created mental space and the experience of physical space. In the project studied here, the aim of the research was to share ideas and also to develop strategies and methods for radical change in production systems in manufacturing industry from an engineering, innovation and design research perspective. In a way the research project itself was under the demand to be innovative and different competences had to work together. In the method of dialog seminars the explanation of the organisation is focused around the structure of the seminar, but the physical spaces is an unexplored part of the dialog seminar. The success of the innovation process today depends on the use of both organizational structure and physical space. Furthermore, the organizational structure and physical space must be designed to encourage the very communication that spurs innovation, a view put forward by Allen and Henn (2007). So, how was the project organised to encourage a dialogue that spurs innovation and how were the physical spaces experienced? Keywords: creative spaces; dialogue; thinking style; radical innovation.

Workspace design, as an enabling factor in innovation, is an emerging topic for innovation and design research. However, little research has been done on users’ experience on workspaces for innovation in a manufacturing industrial context. The aim of the dissertation is to develop knowledge and understanding of workspaces for innovation from a user perspective.

The dissertation is based on studies done in four manufacturing industries and in one design and innovation consultancy, with a focus on the employees' experience of the physical space in relation to innovation. The research method used was the photo elicitation interview. The 31 participants made photographs that served as a basis for verbal interviews to communicate the relationship they experienced between their workspace and innovation. The analysis and the interpretation of the material, supported by information, cultural and phenomenological theoretical perspectives, intend to contribute to the current scientific discourse in innovation and design.

A pattern was found in the results. In the manufacturing industrial companies, the majority of workspaces that users described as supporting or hindering innovation were motifs showing aculture promoting innovation in small steps. Their examples were found to be in close similarity to what previous research describe as characteristics of exploitative innovation. In the design company, the most photographed motifs were workspaces and objects that supported different variations of what previousresearch defines as characteristics for a culture supporting radical, explorative innovation.

The dissertation presents results contributing to the research on ambidexterity, with focus on a possible coexistence between different innovation cultures. The results indicate that spatial differentiation creates possibilities for coexistence between the two innovation cultures. Six spatial characteristics were found in the descriptions of the workspaces related to the marginalised explorative culture in the manufacturing companies.

The dissertation discusses the possibilities of creating spaces for explorative innovation (SEIs) and space as a tool for innovation. An initial version of a support for design is presented.

There are places in industry intended for communication regarding continuous improvement. This paper presents an observation of the state of practice today in one large and two medium-sized companies. It explores spatial design in

continuous improvement areas and how spatial design may hinder or support communication regarding

improvements. Although implementation and development of lean manufacturing is a subject for research in an

industrial context, the spatial design is not well developed as a supporting variable. Computers or digital

visualisation tools are not used in the improvement areas of the studied companies, even though the companies have

a highly automated production. The improvement areas serve as a complement to the integration of manufacturing

through computers. The improvement areas enhance the possibility to develop shared knowledge of how the

production works and to coordinate actions. The architectural and semiotic analysis of the spatial design for

continuous improvement in industry implies a different perspective and includes aspects of cognition, information,

communication and treats how and what the elements in the improvement areas communicate.

The paper present research results on how a spatial design can communicate and support

production performance in relation to lean production. The main concern of this paper is to

discuss the role of interior design and its affect on humans in a production system and to

contribute to a more profound understanding of lean production from a communicative aspect.

This paper is focusing on three case studies: a project studio, a prototype workshop, and a

development workshop in manufacturing companies. The study in the development workshop

is conducted during a period of two years, with an ambitious survey as follow up. The

two others are context cases to exemplify and investigate the role of interior design in an

industrial environment, with project studios as the main subject.

The research method chosen is case study methodology including a literature review related

to examples from the industrial case studies.

In industry, spatial design in interaction with visual artefacts can be used to reduce the 8th

waste by supporting effective communication, cross-functional work, decision-making processes,

reinforcing the project identity, facilitating project management, save time, shorten

led time for development projects and inspire employees to a positive view of the company

and the project.

In this paper we report on an attempt to let students, companies, and organisations themselves discover the kinds of technologies that could be useful when co-producing knowledge in a Master’s-level course in innovation and design. Traditionally, and for various good reasons such as security and stability, universities have had certain online tools and systems for collaboration, while companies and municipalities have had others. These systems support internal communication within organisations but do not necessarily enhance communication with external contacts. This use of different systems creates barriers to the iterative, recurring, convenient, non-hierarchical, and open online collaboration needed in an innovative design process involving multiple stakeholders. During a ten-week Master’s-level course in innovation and design in 2016 and 2017 the 38 students divided into five project groups established contact with five companies and organisations and could choose their own online tools in dialogue with them. This paper presents the students’ and organisations’ emerging practices during the process based on observations and reflective evaluations conducted during and after the course. The results are discussed in light of how socio-material assemblages formed in this special setting and how the results might be used to improve the teaching of online literacy in design collaboration. The result indicates that for co-production of knowledge in innovation and design projects, three new social media literacies would be useful: meta communication, peak performance, and design awareness.

There is a growing interest in the relation between workspace design and innovation. On the one hand, is the idea of designing an “innovation lab” that supports innovation. There are substantial financial investments involved when creating an innovation lab and there is evidence that such spaces can have short useful lifespan and some of them fail because they are not used as intended [Lewis and Moultrie 2005; Fayard and Weeks 2011]. On the other hand, workspaces can be altered by the users for short or long terms to support innovation activities. The users hence become spatial designers themselves. A gap exists in research on the underlying mechanisms, architecture, and dynamics by which organisations can create an environment supporting continuous improvements and radical innovation on both individual and organisational levels [Turner, Swart and Maylor 2013, Turner and Lee-Kelly 2013]. From design research we can contribute with a perspective on the underlying mechanisms and the dynamics in play in the area of workspace design and innovation. We can form the design research for the innovation labs, i.e. utopian specifically designed spaces for innovation, or the relationship between innovation, users and daily workspaces. We have chosen to acknowledge and study the complexity in relations between users, daily workspaces and innovation. Our hypothesis was that photo-elicitation could be a method to study that weave of complexity and research underlying dynamics.

In this article we discuss the method of the photo-elicitated interview (PEI), as a tool in human-centred design research with respect to context and workspace. A phenomenological perspective focus on the human experience, examine and clarify situations, events and experiences as they occurs spontaneously in daily life (Seamon, 2000). This article intend to provide background theories from phenomenology and examples from an empirical study to discuss if and how PEI is instrumental in getting information from interviewees about their relation to their workspaces and innovation. Although the phenomenological theoretical perspective is relevant and therefore used here to describe human relation to workspaces and discuss the method, our use of specific notions from phenomenology aims firstly to support the analyse of the method to inform design research, and is not intended develop the phenomenological concepts themselves.

The possibility that physical space can support or disturb processes for innovation in production systems is overlooked in the manufacturing industry and in research. This article rests on three studies in manufacturing industries and one in a design firm, with a focus on the employees' subjective experience of the physical space in relation to innovation. The employees made photographs and used keywords (followed up with verbal interviews) to communicate the relationship they perceived between physical space and innovation. The study shows that there is a relationship between company culture and the individual’s choices of physical spaces understood to support or hinder innovation. From the results, it can be concluded, that manufacturing companies which were studied form cultures that produce few spaces that support divergent thinking, while such spaces are prioritized in the design firm. This article show clean and orderly spaces for innovation in the manufacturing industry; for the design company, informal, collaborative, and visually simulative environments.

Providing an environment in which both radical innovation and continuous improvement can exist, i.e. an ambidextrous environment, is one of the biggest challenges manage­ment faces. While having an ambidextrous organisation is of central importance to the competitive advantage of a firm, there is limited understanding of how to manage it.

In this article, we are reporting on our research on the design of workspaces and the relations between design and ambidexterity in innovation. We studied the workspaces as artefacts in innovation cultures. We analysed relations between users and spaces that could enable an explorative innovation culture to emerge, and found spaces related to explorative innovation that coexisted with an exploitative innovation culture in production in the manufacturing industry.

The results indicate that to develop ambidexterity on an individual level in a culture dominated by exploitative innovation, one strategy is spatial differentiation. The result shows that artefacts relating to a culture for explorative innovation in the studied manufacturing companies are artefacts in a marginalised culture. We present six spatial characteristics for artefacts in the marginalised culture: undercover spaces, grey zone spaces, satellite spaces, chameleon spaces, temporal spaces and accession spaces.

It is important for the manufacturing industry to become more innovative. Doing what we always have done is not enough. External pressure and the required speed of change, requires industry to improve the management of incremental and radical improvement work. There is thus a need for new methods, tools, and processes to improve the innovative capabilities. In this paper we discuss the use of spatial design to support the management of radical improvement within the manufacturing industry. The designs of the physical spaces are in the paper presented as frames that are cultivating, facilitating and enabling radical improvement without imposing a regime of control and forced change. The spatial design enables the process and contributes to an ecosystem supporting radical improvement. To better manage radical improvement processes, one option suggested in this paper is to create five dedicated places - five enabling frames - for five phases in a radical improvement process, firstly to bring attention to the different phases of the process and secondly to support the actions in each part.

 There is a growing trend to embrace the idea of public participation in the work of museums, from exhibition design to collections. To further develop participatory cultures in museums, these negotiations and emerging practices should be examined more closely. This paper explores a museum’s whole-hearted attempt to engage with the societal issue of climate change and work with a high degree of participationfrom civic society when staging a temporary exhibition. We investigate experiences inthe process of building, measuring, separating and transgressing during the collaboration. Based on these explorations the paper presents three emerging and interconnected territories in the staging of participatory temporary exhibitions, the territory of aesthetics, the territory of action (autonomy), and the territory of unpredictability. The result contributes to research on public participatory practices mainly in museum context

Information and the design of information effect the situation in control rooms for automated industrial processes. The design conveys to the operators the state and changes of state of the process. According to the common view among control room equipment developers, issues for design in highly automated control rooms, include the operators likely ignoring information, being bored and are not noticing variations until the variation triggers an alarm. Such problems can have economic and environmental consequences. In the highly automated control rooms of the future, these risks of can be dealt with from various point of view. The current thinking behind human-computer interaction (HCI) design is engineering the ‘human factor’ instead of understanding the human situation. Visionary areas in computing might convert HCI product development processes to design-driven processes that focus on user experience. The TAIPA research project presented in this paper focuses on the user experience in two control rooms. Based on the results and previous research, we examine how the information might be given a tangible and ambient design to engage operators. This paper presents illustrations of aspects of future design for the control room.

Operators in highly automated control rooms are said to be constantly bored, and boredom is an emotional state that can have economic and environmental consequences. This article presents insights into users’ emotions and their role in the design of control rooms. The study focused on the users’ experience in two control rooms, where operators explored their emotions in relation to a situation, object, place, or action. Based on the results of the study and previous research, this article examines control room’s information design and makes recommendations on how it might be given a tangible and ambient form.

A challenge in today's design education practice is to formulate and use methods that support competences in the in-between-space between basic form training and learning that is relevant for designers in the future society. The aim of the paper is to discuss and to evaluate prototyping exercises in design education placed in that in-between space. Four different approaches to prototyping exercises are described, examined and evaluated in the paper. The prototyping exercises are engaging the students in the learning cycle phases of learning by experimentation and learning by experiencing. The result shows that the prototyping exercises did support learning of diverse competences in that in-between space but were also counterproductive and met different kinds of resistance in the students. This paper invites to a dialogue on how different prototyping techniques in design education might be used when educating designers.

Over the past ten years, the need for public spaces to deal with burning societal issues, such as climate change, has become even more important. Participatory theatre offers ways to meet the longing for shared forums by engaging large groups of people in exploring difficult social dilemmas. It can potentially empower participants to change their own situations and organizations. In a previous design research project Quantifying your carbon footprint, this gap was in focus. We will use the findings from the Quantifying carbon footprint project as an entry point and expand it with Life Cycle Assessment (LCA) on objects from the current museum collection and on daily life activities that have a carbon impact. The goal of the project is to explore and understand the climate and environmental impacts of lifestyles. The method used here are participatory theatre and co-design methods and pop-up exhibitions are used to engage young citizens in negotiating social norms and understanding their possible impact on CO2 emissions. The museum collections play a crucial role in the process of understanding how LCA calculations are related to mundane objects and reflecting on the temporality of social norms that are negotiated and re-negotiated through the way we handle products and objects in our everyday life. Developing new practices for museums involving participatory methods in order to engage young citizens in climate research. The results of the introductory meeting and study visit show that using the museum’s collection, the history and the value of things in the past centuries become clear and easier to reflect on compared to today’s unsustainable lifestyle – travelling and over consumption. Carbon Dioxide Theatre is an attempt to shape a shared space on a local level, in line with the priorities of the museum’s three years plan.

Information design is a practice and an academic field that views information through its representations, for example, through images, spaces, and texts. It is also human centered, not technological driven, in that its focus is on the users and their conditions and environments. As an academic field, information design is at an intersection of disciplines; cognitive science, media and communication, linguistics, visual studies, and art and aesthetics meet in information design. In our research, we have come to focus on the connection between aesthetics and visual-spatial information design; we are addressing the understanding of aesthetic matters in information design and its implications, using examples from the manufacturing sector.

Aesthetic aspects, along with a vitalisation of traditional discussions on aesthetic matters, can be a key to a better understanding of the design of working places in manufacturing industry of today. In this paper we address a rethinking of aesthetic matters and therefore also the aes-thetic in design practice, while examining examples of superabundant visual communication in industrial environments. The environments are studied from an information design perspec-tive. Theories discussed in the field of aesthetics are, for example, Jauss’ view on the con-cept ’poiesis’. Jauss’ line of thought are put to use, in this paper, as an alternative perspective focusing on the production of artefacts, compared to the more commonly perspective that highlights the concept ’aesthetic’ (Gr. ’aisthesis’) in a focusing on the perception of artefacts. In this paper the industrial environments are analysed as different fundamental forms of in-formation and Marcia J Bates’ notion of the nature of information is put to use in a visual- and spatial context. We argue that instead of underlining the relationship of aesthetic and architec-ture, it is more fruitful for the information design practice in manufacturing industrial envi-ronments, to highlight poiesis as a significant aspect of design. The analysis circle around three examples from industrial environments.

In this paper, we elaborate on how the future older person is characterised and what future ageing entails in relation to welfare technologies highlighting which actors, social and material, affect innovation governance and discussing who does not. Starting from a distinction between public, private, and academic perspectives we discuss how companies, public sector organisa- tions, and research-oriented actors construct future ageing through sociomaterial practices in the welfare technology arena. We base our reasoning on an ethnographic study conducted during the 2017 edition of the yearly MVTe-Mötesplats Välfärdsteknologi och E-hälsa Swedish event (in English: Meeting place for Welfare Technology and e-Health). We use the concept ‘welfare technology practices’ to describe how actors perform future ageing by producing and reprodu- cing a scenario where the positive effects of technology are assumed and the plurality of future older selves is overlooked. We problematise this view by reflecting on ageing as a complex so- ciomaterial process that calls for welfare technology practices and policies open to a pluralistic view of the future as futures. This study may inspire research that further explore how future ageing is constructed as well as support the development of welfare technology practices for addressing current blind spots.

From a theoretical perspective, this paper problematizes the future role of teachers in higher education, especially in the Swedish context, placing opportunities and raised challenges by blended learning in a historical context of distance education. Distance education was introduced in the late 19th century and has been offered by two main actors in Sweden: the correspondence school Hermods and universities. It has been viewed as a part of life-long learning, a concept introduced in the 1960s. The correspondence schools offered elementary education courses, and in-service training for various professions, while universities largely focused on higher education but also provided education or training commissioned by other organizations. Recently, the teaching requirements and role of the teacher in distance education have changed dramatically, from formulating exercises and commenting on students' work to giving videotaped lectures in English for an open audience. However, there is still a lack of appropriate guidance for teachers on effective pedagogical practice in the new settings. Specifically, there is an increasing need to support teachers in designing and creating effective videotaped lectures that are accessible for a dispersed audience. The TED talks seem to provide a role model for performance as a lecturer, but the average teacher hardly has time to both prepare regular face-to-face lectures and distance lectures, e.g. extensively rehearse before recording. The paper discusses how the challenges of future roles of teachers can be met when lecturing in front of a camera.

In the design research community, diverse narratives and ontologies are discussed in relation to sustainability. Relational ontology is proposed as an alternative to the dominant dualist ontology as a way to reconnect people with their ecological embeddedness and responsibility. This work presents a dialogical tool called 'teatime' created to introduce diverse, immaterial perspectives on sustainability in a co-design project with youth and researchers. The study explores the role of the teatime design in eliciting diverse narratives and forming a dialogical space. The results show that the teatime supported reflections on immaterial perspectives, bringing out relational and social values related to the ecological crises. This study uses a systematic evaluation to reveal a micro-material perspective on ways in which the teatime design and facilitation supported the inquiry process. We propose that the design practitioners take on the role of crafting dialogical spaces that support social relationships and evoke immaterial perspectives.

Preschool, understood as being both a physical and psychological environment, is, according to objectives in national curriculum, required to be inclusive for all those who attend it. Previous studies have identified the stereotypical norms of several everyday activities of preschools, including both interactions and premises. The aim of this article is to present and discuss a possible methodological idea of a 'provotype' as a model for re-representing empirical analysis based on different data types that are combined in a research process. Research concerning provotypes will be presented. The research method will be presented in detail and the analytical process described. In the results section, the provotype and its aspects will be presented. Both during the work with the provotype as well as afterwards we have learned that working with the 'provotyping (what we like to call the whole process of analysing the results, visualizing, discussing the form of it and our reactions to the provotype) involves several phases of exproration and those phases includes uncertainty. A provotype might be a good way of re-illustrating, or as we put it re-representing, results from case studies with a number of different data, as in this study.

Purpose

The purpose of this paper is to increase the understanding regarding how managers attempt to make purposeful use of innovation management self-assessments (IMSA) and performance information (PI).

Design/methodology/approach

An interpretative perspective on purposeful use is used as an analytical framework, and the paper is based on empirical material from two research projects exploring the use of IMSA and PI in three case companies. Based on the empirical data, consisting of interviews and observations of workshops and project meetings, qualitative content analysis has been conducted.

Findings

The findings of this paper indicate that how managers achieve a purposeful use of PI is related to their approach toward how to use the specific PI at hand, and two basic approaches are analytically separated: a rule-based approach and a reflective approach. Consequently, whether or not the right thing is being measured also becomes a question of how the PI is actually being interpreted and used. Thus, the extensive focus on what to measure and how to measure it becomes edgeless unless equal attention is given to how managers are able to use the PI to make knowledgeable decisions regarding what actions to take to achieve the desired changes.

Practical implications

Given the results, it comes with a managerial responsibility to make sure that all managers who are supposed to be engaged in using the PI are given roles in the self-assessments that are aligned with the level of knowledge they possess, or can access.

Originality/value

How managers purposefully use PI is a key to understand the potential impact of self-assessments.

Various methods to assess innovation are used in companies and organizations. Audits provide little support for day to day use and few explicitly address how companies can benefit from the audit results in terms of e.g. how to learn, formulate goals and operationalization. Based on a concrete example, this paper explores how innovation assessment can be considered a tripartite audit process designed to support learning and give an increased cultural support for innovation. In the paper the audit process will be discussed from the perspectives of what, who and how. 'What' address the tool and assessment area, 'who' focus on the people that participates in the assessment process and 'how' on the very assessment execution. The awareness of the notion 'innovation' among the 70 industrial companies in the Automation Region Network in mid-Sweden are typically low, and as a response to that a pilot study project Automation Innovation Region (AiR) started in 2012 to develop support for innovation. During one year 2014/2015, employees in five companies (N=44) participated in the study. The project developed a process, AiR Innowatch (Innowatch), combining a photo-based workshop on innovation, three workshops with themes on innovation climate, a web based weekly assessment tool, and a quarterly survey. The tools focus on innovation culture (what), the process highlights reflection, learning and integration (how) on assessment results from the perspective of individual, group and organisational (who) perspective. The goal was to design a learning based audit process that supports the companies to independently continue their work for increased innovativeness after the formal assessment process. This paper present the tools developed and the results from the pilot study as a base for discussion on auditing as a tool that supports learning and development of an organisational culture for increased innovativeness in established organisations. 

Despite the prominent role of norms and values in public education policy and practice social innovation studies have rarely investigated how these are converted into practical transformations in the educational sector. The study therefore aims to provide further insight into the impact of contextualized and materialized norms and values in educational social innovation, using a remodeling process of preschool facilities in a Swedish municipality as an illustrating case study. Seeking to ensure equal and inclusive play, learning and development, the studied process exposes the impact of materialized norms and values on enabling and disabling rooms, furniture and materials in the preschool facilities. As such norms and values impact social transformation process regardless of the contextual specificities, the results may be useful also in other preschools in Sweden and internationally.

We organised an elven day intense course in materiality for musical expressions to explore underlying principles of New Interfaces for Musical Expression (NIME) in higher education. We grounded the course in different aspects of ma-teriality and gathered interdisciplinary student teams from three Nordic universities. Electronic music instrument makers participated in providing the course. In eleven days the students designed and built interfaces for musical expressions , composed a piece, and performed at the Norberg electronic music festival. The students explored the relationship between technology and possible musical expression with a strong connection to culture and place. The emphasis on performance provided closure and motivated teams to move forward in their design and artistic processes. On the basis of the course we discuss an interdisciplinary NIME course syllabus, and we infer that it benefits from grounding in materiality and in the place with a strong reference to culture .

The biggest changes to the planet are made by humankind and action needs to be taken in order to guarantee a sustainable level of emissions for the planet (Rockström et al. 2009). In the project presented in this poster, we engage young citizens (from 15 to 20 years old), in critically reflecting on social norms and practices around climate goals and CO2 emissions, through participatory theatre methods. Only when those involved can get sufficient authority to determine and guide the research and the research agenda, can a project be truly participatory (Winschiers-Theophilus 2009). Participatory theatre offers ways to meet the longing for shared forums by engaging large groups of people in exploring difficult social dilemmas. It can potentially empower the young participants to change their own situations and organisations, as it is “likely to shake things into action or to “unfreeze” blocked situations ” (Shreyögg and Höpfl 2004).

Human activity has globally affected the earth's climate and ecosystems. The museum sector has agency in representing topics of societal significance and climate change. The experiment presented here, took place at a history museum in order to re-work human subject positions in the museum. The method of object theatre with a departure in an ecocritical perspective was evaluated. The result shows that the method might retain a colonial perspective towards animals and nature. Still, the method brings a change in who is the subject in the story, a possible shift in perspective and an incentive to care and act. The participants talks about the experience of a less abstract relationship to the object's origin and life cycle and a curiosity or a discovery of a knowledge gap. The method can be used to bring a greater attention to the needs of nonhumans in collaborative and participatory design processes.

Abstract: The overall research focus in the study is how photographs can be used in workplace innovation processes. This work-in-progress paper discusses photo-supported group discussions on innovation as an approach to incorporate employees in the development of a radically innovative culture. The method involves managers and engineers in a process that transforms their conceptions of innovation into visuals and words, and provides a possibility for collective reflection based on these formulations. Enabling all employees to use their experiences and knowledge in workplace innovation is an opportunity being pursued in Sweden. The paper is a starting point to discuss whether or not the method of photo supported discussion on innovation could be helpful to support a shift to a radically innovative culture. The concepts of downloading or presencing are introduced to analyse the method.

This work-in-progress paper describes the lessons learned when introducing Arduino and Processing programming into a museum exhibition design course. 20 information design students from Sweden, with no previous knowledge in programming, participated in the course. The students' task was to create five interactive exhibition stations at a museum in five weeks. As an experiment, Arduino and Processing programming was introduced into the course in 2014. The ambition with the experiment was to enlarge the information design students' repertoire and find ways to develop the interactive aspects of the exhibition medium. The aim of the paper is to identify and discuss challenges and strengths when introducing code as design material in information design education. The findings presented are based on the students' reflection stories. This work is in progress and we aim in the future to 1) continue the analysis of the material 2) with the findings develop the information design education further and 3) explore the relation between tangible and intangible experience of interactive museum artifacts from a designer's and a museum visitor's perspective. We consider this to be an important matter with branches into the TEI community. We appreciate any feedback on our work.

This book is about the Carbon Dioxide Theatre project, in which we explored how participatory theatre and participatory design can be used in a museum to create engagement with climate issues.

The Carbon Dioxide Theatre project focused on young people’s ability to reflect on and critically review social norms and practices around climate targets and carbon dioxide emissions, although the process affected all participants. Objects from the museum’s existing collections were central to the project to create reflections on past and present social norms.

With this text, we want to inspire you to explore how museums can develop new ways of working with collections and communication related to our cultural heritage and contemporary global challenges.

In the text, we have mixed descriptions of the process and the methods with personal stories from us in the project in order to share as many different perspectives of the project as possible with you. We hope that you will get inspired!

This research addresses the crucial role of the industrial sector in achieving a sustainable future amid escalating anthropogenic pressures. The study explores a Technology Center's perspective on and understanding of the future through two visual design workshops centered around the center's visualizations. The results show that, in the Technology Center, the current understanding of the visualizations in relation to the future is shaped by the idea of the visualizations as a support for making (new) things, for example new technologies, robots, systems for human-machine interactions, physical and digital spaces for industrial development. The results also show that the stories around a sustainable future evolved around economic and social sustainability, yet the narratives around the environmental aspects are less predominant. The paper contributes valuable knowledge at the intersection of sustainability, design, and industry. 

Keywords: visualization, sustainable future, visual design method, manufacturing 

Today, product realization is becoming more squeezed in time and the need to capture experience from previous projects is an important factor for being successful in developing new products and services. This paper aims to investigate the use of storyboard to highlight earlier experiences from a narrative theory perspective and in relation to contemporary cognitive theories regarding how external representations facilitate collaborative work. This paper will discuss and come up with suggestions as to why storyboard can be a supportive method through the use of narrative theories. One of the objectives of the actual research project is to assist industry in developing strategies and methods to capture “lessons learned” in previous projects and use earlier experiences to avoid repeating mistakes. This will then release working capacity to be used for creativity and innovations instead. The conclusion of the paper presents storyboard as a supportive method for capturing earlier experience from a product realization project. It also argues that it is valid to borrow the concept focalizer from narrative theory.