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In this paper, my claim is that employee ownership of industrial companies enables economic survival, democracy, and joint responsibility. My main focus is a case study of Ljuders Nickelsilfverfabrik and its change to employee ownership. In 1980, 36 of the 42 employees became owners. My research question is how have the economy and democracy in an employee-owned industrial company changed over the years? My main research method includes a 35-year in-depth longitudinal case study of Ljuders Nickelsilfverfabrik since its employee takeover. The empirical material includes documents, interviews, participant observations, and informal talks over the entire study period. My theory is based on the study by Connell Fanning and McCarthy (1983, 1986), who have compiled the critical literature on employee-owned companies and have asked why so few employee-owned companies exist in Western economies. They formulate six non-viability hypotheses for employee ownership, against which I present my empirical study and conclude that employee ownership is possible. From my case study in combination with the literature about organizational changes, I formulate a recipe for a successful employee takeover and collective entrepreneurship. The experience of Ljuders Nickelsilfverfabrik shows that a more complete business idea can subsequently unfold with the help of different people’s knowledge and experiences. Degeneration from democratic to more traditional ownership and control can be avoided by placing new people in leadership positions. The management must create legitimacy for a different organizational form for internal and external stakeholders.

This paper is a study of creating organization in the case of cultural projects; cultural entrepreneurship. This includes taking advantage of opportunities and using ones social capital through networks. It is a case study of Vandalorum which is an Swedish international art and design centre with a strong regional connection. They want to offer close collaborations between artists, designers and the creative industry. It is located in Värnamo in the south of Sweden and was inaugurated in April 2011 after an establishment process running over 15 years. Renzo Piano has created the architectural concept of Vandalorum, inspired by traditional Swedish materials and building techniques. The paper aims to discuss these issues.

Through interviews with significant actors over many years and secondary analysis of data collected by others the authors describe and analyze the establishment process of Vandalorum Art and Design Centre.

The case of Vandalorum shows that organizing a cultural project like Vandalorum is characterized by no well-defined starting and stopping point, but – quite typically for entrepreneurship as an organization-creation process – builds momentum and legitimacy narratively.

The originality lies in answering the question that the authors chose to focus on, which is embedded in the opening story of Vandalorum: how can such a cultural project become legitimized in a place like that, outside and rather far from any large city? In a changed cultural landscape with reduced public contributions, the claim is that it is crucial to legitimize the idea and project in relation to the main/key stakeholders. Such legitimization is a key entrepreneurial achievement.

There has been a growing interest in the field of strategic management to understand the relationship between the organizational capabilities of firms and (a) the direction of strategies pursued and (b) the impact on competitive performance. Much of this literature has been influenced by the resource-based view of the firm. As indicated in early formulations of this theory, one implication is that the organization of resources is equally important as the resources themselves. Accordingly, the organizational and integration of resources and knowledge can be viewed as a core facet of the organizational capabilities of firms that are difficult to imitate for competitors. This paper explores a particular kind of organization referred to as the “P-form corporation” (Project-Form), its organizational capabilities and options for strategic alternatives. The chapter addresses three broad questions: (1) What are the main characteristics of P-form corporations? (2) What are the capabilities acquired and developed by P-form corporations and how are these acquired? (3) How do these capabilities vary across different strategic alternatives in the P-form corporation? The chapter concludes with a discussion about the implications for strategy and management.

In the long term, all organisations may be temporary. Some, however, are more temporary than others. Temporary organisations are designed not so much with an eye on enduring as on accomplishing a specific task. In this chapter, the authors explore paradoxes, understood as persistent mutually defining oppositions that occur at the intersection of ‘the temporary’ and ‘the enduring’. To do so, the authors discuss the concept of memory, which we use to explore the process of preserving and reproducing memories of people and events as a bridge between the temporalities of organising that are past and were never intended to endure, and those that are ongoing. By reconstructing one case of the European Capital of Culture initiative, the authors discuss memory as critical to temporary organisations in the sense that temporary organisations always have a memory that affords continuity: hence are enduring. The authors argue that there is endurance in the temporary and temporariness in endurance: expressing the paradoxical essence of organising.

Project-based organization (PBO) can serve as a temporary organizational form in response to uncertainty or turbulent environmental conditions. An updated retrospective study of the Danish hearing aids maker Oticon illustrates the role of PBO (the so-called spaghetti organization) in guiding the company through a specific period of industry turbulence and the company leader's search for a more effective structure to organize innovation within the company. The spaghetti organization was experimental in two distinct senses. First, the spaghetti organization tested the limits of decentralization, bottom-up self-organizing innovation, and PBO. Inspired by the experience of just how dysfunctional hierarchy could become, Oticon's spaghetti organization tested the limits of nonhierarchy. And unlike the failed Brook Farm utopia of the 1840s, the utopia of radical project-based organizing at Oticon proved highly successful as a means of promoting innovation even if the spaghetti organization was not sustainable in its original form and required subsequent modification. Second, Oticon was essentially a natural experiment testing and refuting the complementarities-based claim that intermediate forms of organization which include elements of both hierarchical organization and team (or project-based) organization are inherently unstable.

This chapter proposes an institutional framework for analysis of strategy in project-based organizations. The chapter argues that an analysis of the strategy of project-based organizations must take into account the interaction between deliberate and emergent strategic processes in this type of organizations. The chapter then goes on to argue that achieving this goal depends on addressing the ‘multicontextuality’ of project-based organizations – the fact that deliberate strategic processes respond to external environment, while emergent strategic processes are rooted in the organization's project portfolio. Based on this analysis, the chapter advances an institutional framework for analyzing project-based organizations which couples the institutional logic of the external environment, with the institutional logic which emerges from the internal ‘project field’. To explore this framework the chapter analyzes the emergence of the central-producer system in the Hollywood motion picture industry during the first quarter of the 20th century, and the role that Irving Thalberg played in creating this system.

Project ventures are an increasingly prevalent organizational form in many industries. The management literature has stressed their flexibility and adaptability advantages. This chapter focuses on the learning implications of the source of flexibility most essential to project ventures: the ability to switch partners during project formation and execution. This partnering flexibility creates opportunities to respond to new knowledge about characteristics of project tasks and project partners. Partnering flexibility, however, also creates learning challenges. The short-term nature of relationships between project partners and the disintegration of the project team after project completion challenges the accumulation and transfer of knowledge to future projects. Beyond the introduction of related learning opportunities and challenges, we identify potential contingency factors in the project context that shape when partner flexibility will have beneficial versus harmful effects. On the organizational level, we propose that project-governing permanent organizations can support project-venture learning. On the industry level, we highlight potential learning benefits of standardized partner roles and coordination practices. Thus, our chapter introduces a multilevel contingency framework for the evaluation of both learning opportunities and challenges of partnering flexibility in project-venture settings. We formulate testable propositions focused on partner-project fit and project performance.