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The purpose of this paper is to investigate the feasibility of an end-to-end simplified and automated reconstruction pipeline for digital building assets using the design science research approach. Current methods to create digital assets by capturing the state of existing buildings can provide high accuracy but are time-consuming, expensive and difficult.

Using design science research, this research identifies the need for a crowdsourced and cloud-based approach to reconstruct digital building assets. The research then develops and tests a fully functional smartphone application prototype. The proposed end-to-end smartphone workflow begins with data capture and ends with user applications.

The resulting implementation can achieve a realistic three-dimensional (3D) model characterized by different typologies, minimal trade-off in accuracy and low processing costs. By crowdsourcing the images, the proposed approach can reduce costs for asset reconstruction by an estimated 93% compared to manual modeling and 80% compared to locally processed reconstruction algorithms.

The resulting implementation achieves “good enough” reconstruction of as-is 3D models with minimal tradeoffs in accuracy compared to automated approaches and 15× cost savings compared to a manual approach. Potential facility management use cases include the issue and information tracking, 3D mark-up and multi-model configurators.

Through user engagement, development, testing and validation, this work demonstrates the feasibility and impact of a novel crowdsourced and cloud-based approach for the reconstruction of digital building assets.

There is growing scholarly discourse towards COVID-19 pandemic and creative entrepreneurship in the perspectives of Global South. Extant literature lacks sufficient empirical evidence on the subject matter. This paper therefore provides insights into business models and business model shifts in response to the COVID-19 pandemic among creative entrepreneurs in Ghana.

In working towards achieving the purpose of the study, a qualitative design was deployed. Four artistic communities in three regions were understudied. The study conducted working interviews, Focus Group Discussions and field observations on the creative entrepreneurs.

The results showed a unique business model that captured ministries, agencies and departments; traditional authorities, foreigners and the diaspora community as key creative partners. The creative entrepreneurs equally proposed value via quality deliveries, attractive pattern mix, pure handy crafts, mart finishing, imbibing culture into productions and symbolic meanings. Their key activities include cutting and gluing, sewing and coloring, sketching and prototyping, annual Kente festivals, film shooting and editing. The creatives stream revenue through sales, advances, profit margins, contracts, gate proceeds, loans, friends and family support. The results also point at a regime of business model shifts among the creatives, deploying digitalization and diversification in response to the COVID-19 pandemic.

The research by design is limited to the qualitative tradition; despite knowing well about the quantitative approach that could have provided a wider scope and coverage for effective generalizability. Certainly, it would be of future research interest to design a comparative mix-method study to achieve a wider coverage feat. Indeed, the paper does achieve the goal of providing an original empirical account, hence making a valid contribution to knowledge in the area of study.

The knowledge on demystified business models relative to the Ghanaian creative entrepreneurs has practical implications for practice: first, it generates a ground-up knowledge as to what creative entrepreneurial business models are, why they exist and exactly how to create one in a Global South perspective.

These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.

The study is of high scientific value, creative entrepreneurial essence and public interest to better demystify creative entrepreneurial business models and theoretically framed them. It offers strong empirical evidence on COVID-19 induced business model shifts. These creative business models and the COVID-19 induced model shifts among the Ghanaian creative entrepreneurs imply continuous creative livelihoods, sustainable business models and assurance for innovation in creative entrepreneurship space.

Whether older or younger entrepreneurs may be better positioned to achieve performance outcomes for their ventures is a much debated question. Here, we draw on Galenson℉s theory of creativity to propose a contingency perspective for understanding the relationship between entrepreneur age and venture performance, suggesting that a venture℉s level of innovativeness plays a moderating role. Results from a representative sample of 1,182 nascent entrepreneurs revealed mixed support for our hypotheses. While a negative relationship was found between entrepreneur age and performance for those developing “innovative” ventures, no relationship was found between entrepreneur age and performance for those developing “imitative” ventures.