Collaborative Design

As invited lecturer at the national conference ‘Museum week. Future & visions’ in Stockholm, Sweden, I focus on the broad outreach work in the regional millennium project ‘Framtidstro i Västernorrland’ (Faith in the future in the County of Västernorrland). During the year 1999 and the spring of 2000, I have worked as curator and project leader for this project at the Västernorrland County Museum in Härnösand in North Sweden. The overall ambition of the regional millennium project, which I have formulated and implemented together with museum colleagues, is to make parts of the County Museum’s planning and production resources available to persons with good ideas from various parts of society. In the project, we actively reach out to and welcome persons and organisations that want to develop their ideas about activities for the benefit of society in North Sweden. Together, we discuss questions like: Which ideas, images and things from present-day society are worthy of preservation in the museum? Which ideas from persons and organisations are to be chosen and developed in the millennium project? An infrastructure has been organised that makes it possible to discuss and analyse the ideas together with invited researchers and professionals in the project’s continuous seminar Symposium Millennium, but also to examining the ideas in practice in the temporary working groups and the more permanent committees, where the actual work in the various sub-projects is carried out. The whole regional millennium project is permeated by the idea of participation and cooperation. By organizing an infrastructure where 1) the ongoing seminar series and 2) the variety of sub-projects are closely linked to 3) a temporary exhibition characterised by its changing form and content, the Västernorrland County Museum is able to carry out extensive participation activities with actors in various parts of the County of Västernorrland. The participation activities include cooperative work on issues about the future in North Sweden, in and by means of, for example, art installations, heritage festivals, documentary film and critical seminars – formulated and carried out by actors both outside and inside of the museum. When the regional millennium project ‘Framtidstro i Västernorrland’ was completed in the spring of 2000, a total of 273 associations, companies and organisations in 81 cities and towns in the County of Västernorrland had been involved.

En partant d’une description des bouleversements introduits par la transition numérique et des technologies capacitantes qu’elle promeut, nous montrons comment les opérateurs sont parfois en demande de plus d’innovations numériques pour améliorer leurs conditions de travail et les services rendus au public, pour autant que celles-ci ne soient pas substitutives et excessivement rationnalisantes. Les démarches d’innovation collaborative soutenues, de manière en partie paradoxale, par le haut management contribuent à faciliter ces mutations.

Octavio Paz's time in Japan, reopening the Mexican Embassy in Tokyo after WWII, led to a lifetime of collaborations with Japanese intellectuals and artists, beginning with his co-translation of Matsuo Basho's Oku-no hosomichi (as Sendas de Okú), and continuing on through a series of renshi/renga-inspired projects with artists such as Katayama Toshihiro. This essay demonstrates the lingering influence of the neo-renshi collaborative ethos on Paz's oeuvre in the half-century following his time in Japan.

Abstrak Tulisan ini bertujuan untuk membahas praktik terbaik pemberdayaan ekonomi masjid. Disfungsi masjid merupakan masalah utama dalam studi manajemen masjid dan telah menjadi konsentrasi di Kementerian Agama Republik Indonesia. Toko Baitul Pangan atau Tobatan dianggap eksis di tengah sumber daya yang terbatas melalui strategi kolaboratif. Logika kualitatif digunakan untuk mendukung penelitian ini. Kami menemukan sejarah, manajemen Islam, dan proses membangun kolaborasi. Tobatan lahir melalui perspektif orang dalam. Ini memberikan pengetahuan baru dalam studi masjid yang harus dikembangkan berdasarkan kebutuhan lokal. Selanjutnya, kemampuan Takmir untuk berinovasi menjadi kunci utama dalam mengatur manajemen Tobatan. Mulai dari rekrutmen, keuangan, hingga rantai suplai kolaborasi. Skema Tobatan telah dijelaskan dalam kekuatan nilai-nilai Islam (ta'awun, ifa al-'Aqd, al-'adl, amanah, iman). Selanjutnya, terdapat tiga tahap dalam membangun kolaborasi, yakni penilaian, negosiasi, dan implementasi. Studi ini merekomendasikan pentingnya mempromosikan nilai-nilai Islam dan mengidentifikasi kebutuhan masjid daripada mengikuti tren masa lalu. Kata kunci: Masjid, pemberdayaan ekonomi, strategi kolaboratif, manajemen Islam.

In December 2017 Prof. Carl Steinitz visited Brazil, with the support of IEAT/UFMG – Institute of Advanced
Transdisciplinary Studies, Federal University of Minas Gerais - to the International Visitor Chairs Program. At
that time, he coordinated important meetings with the students, professors and researchers, highlighting the
participation in “Geodesign South America 2017”.
As part of his activities in Brazil, an interview was registered, and can be watched on youtube channel of
Geoprocessing Laboratory from the School of Architecture, Federal University of Minas Gerais:
https://youtu.be/2VVm-64YukY
We invited the Architect Rafael Lemieszek Pinheiro, representing the group of PhD candidates, to conduct the
interview

The paper explores the concept of “openness” in the design filed. In particular, it suggests a broad interpretation of the relationship between “openness” and design by analysing the use of the expression “open design” between 2000 and 2017. This expression is related to words such as, for example, co-design, crowdsourcing, open innovation, making and open manufacturing, which can be synthesized by the concepts of open source, collaboration and access. The paper, finally, express through a critical point of view the reasons why open processes in design have limitations.

... to performance in design collaboration? PETRA BADKE-SCHAUB*{, ANDRE NEUMANN{, KRISTINA LAUCHE{ and SUSAN MOHAMMED{ ... Both, similarity and accuracy have been shown to influence team performance (Edwards et al. 2006, Lim and Klein 2006). ...

Web 2.0 and social media have opened a new collaborative trend in interactive documentaries. The current assumption seems to be that if people send content to a factual website than the result is a collaborative documentary. This chapter challenges the simplistic assumption that “participation” is equal to User Generated Content (UGC). It starts by questioning what UGC is, where the term comes from, and what the implications are of such forms of collaboration in the context of interactive documentary praxis. It is claimed that UGC is just one way to participate in an interactive documentary, and that a variety of other options are possible, and are being explored (for example by Katerina Cizek in Highrise and by David Harris in Global Lives).
It is also argued that UGC influences the database of the documentary, but not its structural form. In the last five years, a variety of documentary projects have experimented ways of involving users in content production: The Johnny Cash Project, Mapping Main Street, 6 Billion Others, Man with a Movie Camera: Global Remake,  Life in a Day, One Day on Earth etc… are all projects that ask users to participate by adding photos, audio, text or video content. What those projects do not do is to extend collaboration to levels of collective governance that could change the interactive framework that defines the project itself. The political consequence of such emphasis on UGC is the assumption that the individual has a voice but should not have control on how it is used. Using content sent by people that have no control on how such material is finally used, like in the case of One Day on Earth, is potentially antithetic to the rhetoric of openness and democratic expression behind the participative culture movement.
Depending on the “type of collaboration” demanded (user-testing ideas, crowdsourcing research material and content, commenting, editing existing footage, translating subtitles etc…), “who” is invited to participate (the people being portrayed in the documentary or the audience/users) and the “phase” that is influenced by such participation (pre-production, production and/or post-production) the participative documentary acquires a different form. There is no such thing as a typical or standard, participative documentary – there are logics and levels of participation that can be used in documentary production.
The chapter ends by suggesting to analyse strategies of collaborations through three main questions: Who is invited to collaborate? When is this collaboration happening? And what is the participant allowed/empowered to do?

There are many similarities between museums and universities, but also more than a few differences. Focusing on the views on collaboration in these institutions, we will, in our opening remarks, investigate collaboration as a way of working together in the everyday work of museums and universities, that is, long-standing collaboration based on shared issues where different skills are explored and utilised. Hence, the curator, the designer, the pedagogue and the researcher, to name but a few, continue to act within their areas of expertise, but they also meet in common areas of long-standing, collaborative work. In our opening speech, we will discuss collaboration at the intersection of museums and universities from three points of departures: 1. research, 2. organisation, and 3. career.

Collaborative design is a good approach to obtain good results together with team and/or group effi- ciently and effectively. Our focused problem is to build the large scale poster for college promotion and the publicity of entrance examination. The mis- sion of building poster is important, therefore it is necessary to do information sharing as well as de- cision making in order to realize good performance and accountability in the process of design collab- oration. Kansei Engineering, i.e Affective Engi- neering, has been newly employed for the sake of realization of good performance and accountabil- ity, too. This paper describes the detail of an ap- proach to perform collaborative design enhanced by Kansei Engineering and demonstrates how to apply some kind of Web system into large-scale poster building as an example of information-sharing and decision-making support system.