De plus en plus d'organisations se tournent aujourd'hui vers des activités de conception collectives pour concevoir de nouveaux produits, services, processus ou politiques publiques avec les usagers, employés, citoyens et autres parties prenantes. Résultat, nous savons organiser sous plusieurs formes l'innovation collective : généralement de l'innovation modérée avec des acteurs qui fonctionnent bien ensemble, au sein de collectifs qui fonctionnent également bien.Or, avant de traiter d'interactions au service de l'innovation, il faut reconnaitre que l'on ne perçoit pas toujours comment ces collectifs créatifs émergent. Pourquoi tel mutisme sur le temps zéro ? On dénote aussi un antagonisme en matière de pilotage de communautés, lequel est souvent mal perçu et potentiellement fatal. Nous sommes donc confrontés à une double ignorance : 1) sur l'émergence des communautés créatives, et de facto 2) sur le management de l'émergence de ces collectifs. Comment peut-on gérer sans être intrusif dans des contextes où il n'y a rien? Est-ce que l'innovation peut être une ressource dans ce processus et non pas seulement un effet? Si tel est le cas, alors il faudra comprendre comment et pour quelles raisons. Or, le problème est que la littérature a tendance à séparer les deux dimensions. On parle d'innovation, mais on pense souvent qu'elle est réservée aux collectifs « bien constitués » ; de l'autre on parle de collectifs, mais on ne pense pas que l'innovation puisse aider à l'émergence de nouveaux collectifs. La thèse démontre plutôt qu'il y a un lien très intime et profond entre les aspects « communautés » (relations) et l'action d'innover (car c'est de communautés créatives qu'il s'agit). Que l'action d'innover (la conception) renforce le collectif et que le collectif renforce la capacité de conception.Nous montrons que c'est précisément de cette question que traite le co-design. L'approche de conception se pose en effet comme un formidable espace de création de collectifs, là où d'autres méthodes échouent. Elle enclenche la mise en route de communautés créatives là où l'on n'attendait plus la moindre action collective. Plus précisément, la thèse aborde les trois questions suivantes : 1) Quelles sont les caractéristiques des collectifs et des contextes « pré »-communauté? 2) Quel est le rôle de la conception dans l'émergence de communautés créatives? 3) Comment piloter des communautés créatives dans la durée ? Par une approche qualitative et constructiviste, elle mobilise une foule de méthodologies : l'étude de cas multiples, la modélisation et l'expérimentation, ainsi que la recherche-intervention.L'axe I se penche sur des rapports interpersonnels encore plus déstructurés et des contextes d'innovation encore moins fertiles qu'anticipés. De ces rapports initiaux antagonistes émerge pourtant une capacité à se projeter collectivement dans l'inconnu grâce la mise en place d'espaces de conception. Le premier acte managérial de la genèse d'une communauté créative tient dans la capacité à transformer, par un espace de conception, des conflits en indécidables communs, sans forcément les résoudre.L'axe II démontre que les liens relationnels se renforcent dès que l'on parvient à pousser les acteurs à générer des concepts; à faire circuler les connaissances et à favoriser leur combinaison. Mais une fois cette transformation effectuée, la communauté doit se doter de ressources externes pour poursuivre son expansion. Le deuxième acte managérial consiste donc à remettre la communauté sous tension en ramenant des connaissances indépendantes pour préserver la part d'indécidable.Finalement, le pilotage de l'axe III offre des pistes de solutions aux différents enjeux intra et inter séances de co-design relevés en cours de route. Il identifie aussi deux actes managériaux supplémentaires : la consolidation de la valeur et de la communauté, ainsi que la résolution des propositions collectives et l'ouverture de nouvelles explorations. / More and more organizations turn to collective activities to design new products, services, processes or public policies with users, employees, citizens and other stakeholders. As a result, we know how to organize collective innovation under several forms : generally for moderated innovation with actors who work well together, within collectives who also function well. Yet, before discussing interactions for the purpose of innovating, we must recognize that we do not always perceive how these creative collectives emerge. Little is known about the moment it emerges. We also denote an antagonism regarding the management of communities, which is often badly perceived and potentially fatal. But then again, how can one stay on the touchlines when all the proper conditions are not in place a priori and when everything remains to be built?Thus, we are faced with a double unknown: 1) on the emergence of the creative communities, and de facto 2) on the management of the emergence of these collectives. How can we manage without being intrusive in contexts where there is nothing? Can innovation be a resource in this process and not only an effect? If that is the case, then we must understand how and for which reasons. Yet, the literature tends to separate both dimensions. It discusses innovation, but often portrays it as if it was reserved for "established" collectives ; or, on the other side, it discusses collectives, but it does not show how innovation can help in their development. Rather, the thesis demonstrates that there is a strong link between communities (relations) and innovation (for we are dealing with creative communities). That engaging in innovation (to design) strengthens the collective and that the collective strengthens the capacity of to innovate.We argue that co-design deals preciscly with this question. That this type of design poses as a tremendous space for the creation of collectives, where other methods fail, and that it gives way to creative communities where collective action was the least expected. More precisely, the thesis adresses the following three questions: 1) What are the characteristics of the collectives and the contexts "pre" community? 2) What is the role of design in the emergence of creative communities?; and 3) How to manage creative communities on the long run? By a qualitative and constructivist approach, it mobilizes a range of methodologies: multiple cases study, modelling and experimentation, as well as intervention research.Axis I deals with unstructured interpersonal relationships and contexts of innovation even less fertile than anticipated. Nevertheless, these conflicting initial relationships give way to a collective capacity to explore the unknown by the fact of engaging in co-design. The first managerial act of the genesis of a creative community lies in the capacity to transform, through a collective design activity, conflicts in common "undecidables", without solving them necessarily.Axis II demonstrates that the relational links strengthen as soon as actors engage in the generation of concepts; when they get to share and combine their knowledge in new ways. However, once this transformation has occured, communities need external resources to pursue their expansion. Thus, the second managerial act consists in putting back communities under tension by bringing in independent knowledge.Finally, the management of more elaborate and longer co-design initiatives in the third axis offers solutions to the various intra and inter sessions issues uncovered along the way. It also identifies two additional managerial acts: the consolidation of value and of the creative community, as well as the resolution collective proposals and the opening of new explorations.

Introduction: Patient-centred communication is vital to ensure a good patient experience in the emergency department. Visits to the emergency department leave patients disillusioned regarding the communication experienced and this increases patient dissatisfaction. There is a need to put the "patient" back in communication in order to make it more patient-centred and provide the patient the opportunity to voice their individual needs pertaining to patient-centred communication. The aim of the study was to co-design patient-centred communication in an emergency department. In order to reach the aim of the study the following objectives were set: To explore current communication in an emergency department as experienced by patients and healthcare professionals. To collaboratively co-design strategies to enhance patient-centred communication in an emergency department. Research design and methods: An Experience-based Co-design has been used. Unstructured observation was done to observe existing communication in the emergency department. Patients have told their stories through narrative-based film interviews and healthcare professionals have been interviewed to share their experiences regarding communication in the emergency department. The observation notes and interviews have been shared during a Co-design event. Patients and healthcare professionals have collaboratively analysed the data to identify key touch points and co-design strategies to enhance patient-centred communication in the emergency department. Results: Three (3) key touch points were identified namely; professionalism, communication and daily focus. The patients and healthcare professionals were equal partners to change the communication culture in the emergency department to be more patient-centred. This may lead to positive patients' experiences with an increase in patient satisfaction. Conclusion: The ultimate goal of this study was to raise awareness relating existing communication in the emergency department and collaboratively plan strategies to work towards patient-centred communication. / Dissertation (MCur)--University of Pretoria, 2017. / Nursing Science / MCur / Unrestricted

Runt om i världen svälter människor, samtidigt som mat slängs. Det är inte hållbart ur varken social, ekologisk eller ekonomisk synvinkel. Brödgruppen är en fristående del av Asylgruppen i Malmö, som jobbar med att ta hand om det bröd som dagligen slängs från kaféer och bagerier i Malmö. Brödet delas sedan ut till personer som behöver, ofta genom olika mötesplatser som jobbar med personer som är nyanlända i Sverige på ett eller annat sätt. Brödgruppen arbetar med självorganisering och många medlemmar har själva erfarenhet av flykt. Jag har hjälpt brödgruppen i sitt arbete genom framtagandet av en visuell identitet samt en hemsida. Projektet syftar att underlätta kommunikationen både internt och externt för organisationen. Min roll var att som designer använda mig av så hållbara designmetoder som möjligt för att leda ett co-design projekt med gruppens medlemmar. / People are starving worldwide, while food is wasted and thrown away as garbage. This is neither socially, ecologically or economically sustainable. Brödgruppen is a detached part of Asylgruppen in Malmö, who made it their job to take care of bread otherwise thrown away from cafés and bakeries in Malmö. The bread is then handed out to people in need, often through different venues for newly arrived swedes. Brödgruppen works in a self-organized manner, meaning many of its members have experience as a refugee them selves. I helped Brödgruppen in their work through developing a visual identity and a website for them. The project aims to favor both internal and external communication for the organisation. My roll as a designer was to use as sustainable design methods as possible to lead a co-design project with the members of the group.

In today’s world music streaming is the most dominant form of music consumption. Introducing platform capitalism to music streaming has changed the music commodity and its effects serve as a motivation for this thesis. The role of emotions in music listening is explored and design research is conducted to find unmet latent needs of users in respect to the emotional side of music.  Semi-structured user interviews are used to understand how users relate music to their emotional lives. Co-design workshops are conducted to identify unmet user needs and feelings. The data is analysed inductively and results treated through the theoretical lenses of emotional design (Norman D. (2003)) and psychological ownership theory (Pierce J.L., Kostova T., & Dirks K. Y., (2003)). The main themes generated by the research show that users want -- to know their music and their music service to know them; new ways to feel music, relive the “first time”; to connect music to their emotional and personal lives; to control music more easily. These findings motivate and inform the design of a conceptual artefact.

Utformningen av grafiska kommunikationshandlingar grundar sig ofta på en grafisk designers konstnärliga och intuitiva förmåga, vilket skapar litet till inget utrymme för inkludering av användaren i utvecklingen av en designlösning. Samtidigt tar användarcentrerade metoder en allt större plats inom design och designforskning, ett område där grafisk design verkar ligga efter andra designpraktiker. Denna uppsats bygger på frågeställningen: hur kan grafiska designers inkludera användare som medskapare i en designprocess? Uppsatsen utforskar tillämpningen av användarcentrerade designmetoder och syftar till att utveckla kunskap om hur en grafisk designer kan samarbeta med sina användare i utvecklingen av en grafisk designlösning. Genom tillvägagångsätt såsom Participatory Design och Co-design anordnades en sammankomst för gemensam utforskning av gränssnittsdesign. Designdrivna aktiviteter för kunskapsproduktion tillämpades i medskapandet med potentiella användare. Undersökningen visar på att användarna kunde känna sig som medskapare av information, men att ytterligare utveckling av workshopens aktiviteter är aktuellt för att de ska känna sig som medskapare av en artefakt. Undersökningen påvisar också att kunskapsutveckling krävs för att den grafiska designern ska ha den kompetens som behövs för att utforma och leda en sammankomst för gemensam utforskning, vilket kan ske om liknande användarcentrerade designmetoder introduceras redan under studietiden. / Graphic design concepts often seem to rely on the graphic designers’ artistic talent and intuitive abilities, offering little to no space for including end-users in the graphic design process. At the same time, human centered design is at a peak of interest within the field of design research, an aspect in which graphic design seems to be lagging behind. The research question in this essay is `how can graphic designers include end-users as co-creators in a design process?´. The essay explores the practice of human centered design and aims to develop knowledge about how graphic designers can collaborate with end-users in the development of graphic design concepts. Through approaches such as Participatory Design and Co-design a workshop within collaborative exploration was arranged and held. Design driven activities for the production of knowledge were explored. The study shows that the end-users were able to feel like co-creators of information, but that further development of the activities applied in the workshop is needed for the end-users to feel like co-creators of an artefact. The study also shows that in order for the graphic designer to be able to arrange and facilitate a workshop for collaborative exploration, the graphic designer needs further knowledge about human centered design. This knowledge could be provided during the time of study.

This report studies three storytelling subprojects within the field of cultural heritage to see how storytelling, co-design and cultural heritage can strengthen immigrants’ personal identity and contribute to their socio-cultural integration. It also aims to examine what factors contribute to a successful collaboration. The subprojects about local homeland culture include filmmaking with newly arrived children at Skövde Municipality’s mother tongue and reception unit, a storytelling project at Hjo folk high school and a digital book of recipes and stories within Cross media higher vocational education program at DaCapo in Mariestad Municipality. To answer the research questions semi-structured interviews were conducted with participants, potential users, and professionals. Additionally, a survey was carried out with participants of one of the subprojects.

This project is a site-specific ethnographic study of a culture around a community water tank that serves as a value-driven piece of architecture and has become an inconspicuous tourist attraction in the city of Växjö due to its peculiar acoustic property. At the onset, I draw parallels between an ancient underground temple called the Hypogeum located in Malta, where the physical dimensions of the space similarly shaped sensorial experiences in more nuanced ways than conventional architecture of its time. The core of my work here has three explorative angles. One, where I embark on interdisciplinary research approaches, to conduct field studies and investigate ways to empirically test how the physical properties of spaces shape cognitive impressions. A crucial need to express spirituality within an academic framework is proposed and a method of non-intentional design (NID) is introduced as my driving process for the study. Two, as a digital story, I conduct interviews and make the culture of this space visible to the public through an instagram account called #echoingawareness. And three, I present some of my experience building this slow and steady relation with the local municipality with a proposal to provide space on the urban planning table for bottom-up approaches where voices from such sacred spaces can be made more inclusive. I hope this could be a useful resource as a transdisciplinary study for future planning of urban architecture and design.

This work deals with designing a library of processor models used in embedded systems. Processor architectures are described using the ISAC language. The ISAC language is one of several outcomes of the Lissom project that is taking place at the Faculty of Information Technology, BUT, Brno. The beginning of this work is aimed to provide the introduction to processor architectures used in today's embedded systems. Remaining sections are devoted to presentations of exemplary processor architectures and the description of their implementation. This work is finalized by concluding the gathered experience with emphasis on the suitability of the ISAC language for architecture description and the efficiency of its simulation.

Bakgrund: Patienters ställning har stärkts genom Patientlagen som trädde i kraft första januari 2015 och betonar patientens delaktighet i vården. Trots detta är patientens ställning oförändrad eller till och med något försvagad efter lagens införande.   Syfte: Förbättringsarbetets övergripande syfte var att öka hemsjukvårdspatienternas delaktighetsupplevelse. Det specifika syftet var att ta reda på vad patienter, anhöriga och personal ansåg viktigt för delaktighetsupplevelsen i vården och utifrån det formulera och testa förbättringsförslag. Studiens syfte var att beskriva deltagande personers erfarenheter av medverkan i ett förbättringsarbete med metoden Experience-Based Co-Design (EBCD).   Metod: Förbättringsarbetet genomfördes enligt Nolans förbättringsmodell och EBCD. Kvantitativ datainsamling skedde genom en enkät före och efter förbättringsarbetet. Studien av förbättringsarbetet är en kvalitativ fallstudie och baseras på fokusgruppsintervjuer. Intervjumaterialet analyserades med kvalitativ innehållsanalys och abduktiv ansats.   Resultat: Förbättringsarbetet visade förbättrade delaktighetsupplevelser efter sex månaders förbättringsarbete och att den sammantagna nöjdheten med delaktigheten ökade. Studien visar att EBCD bidrar till olika grader av delaktighetsupplevelser beroende på vilka steg man deltar i och att metoden genererar förståelse och drivkraft hos personal. Metoden möjliggör även att se vården utifrån patientens perspektiv.   Slutsats: Förbättringsarbetet medförde lärande även om det mätbara målet inte uppnåddes. Att tillämpa EBCD hade stor betydelse då det påverkade de medverkandes motivation. / Background: Patients’ position and participation is strengthened through the Swedish Patient Act that came into force January 2015. Nevertheless, the patients’ position remains unchanged or slightly weakened.   Purpose: The overall purpose with the improvement work was to increase the patients' participation experience. The specific purpose was to discover what patients, relatives and staff considered to be important for experiencing participation and together formulate and test improvement ideas. The purpose of the study was to describe participants' experiences of using Experience-Based Co-Design (EBCD). Method: Nolan's improvement model and EBCD was used as improvement methods. The study is a qualitative case study, based on focus group interviews. To analyse the interviews a qualitative content analysis with an abductive approach was used. Results: Result showed improved participation experiences and that the overall satisfaction of participation increased. The study shows that EBCD contributes to different levels of participation experiences depending on what steps one participates in and that EBCD generates understanding and motivate staff. The method makes it possible to see the care from the patient's perspective. Conclusion: The improvement work resulted in learning even though the SMART goal was not achieved. Applying EBCD was of great importance as it affected the participants' motivation.

This paper explores the use of documentary-style video to support and explore Troubling Design in the field of the gender biased health care system. Women have been neglected within the health care system for centuries and their physical concerns are often not taken seriously by a respective doctor. This research project aims to co-design a film with women suffering from endometriosis. This approach is a way to produce evidence of women’s experiences and contrasts it to the evidence within research and the health care system to explore the connection and potential of documentary film for co-designing practices within the field of Troubling Design. At the same time, the documentary film is a story-telling tool to represent these women's neglected voices and communicate their narratives to the public. It attempts to highlight the advantages of the medium film within complex settings, such as the health care system. Thereby, it translates different ways of knowing about endometriosis to varying stakeholders involved while suggesting possibilities for an improved handling of the disease within the medical encounter. The study represents how qualitative research can inform the creation of a documentary film that reflects specific users’ experiences and solutions for their health care situation while offering the option for a more ethical approach to research at the intersection of filmmaking.