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With COVID-19, while questioning the coverage areas, duties, and functionality of objects that are indispensable for our lives, we see that objects destroy the weak and the design itself eliminates the non-immune and the weak in some cases. In this process, it is of great importance to reconsider design for the reason of existence of humanity and to develop new design concepts from a holistic perspective. The decolonisation of design, social innovation, and transformations of production and consumption forms in relation to the crisis are possible with speculative design approaches. In the new world order, designing forward-looking nanotechnologies with measureless and extraordinary scenarios will be the beginning of new alternatives. Emergency situations overcome the fluid modernity in our lives and the new developing normality is possible with design projects covering emergency situations. While each crisis creates its opportunities in itself, transition design needs to be planned by adopting an interdisciplinary understanding of how to initiate and direct change in social and natural systems through design. In this study, the reconstruction of COVID-19 social distance alerts on objects in the light of science and technology will be examined.

Designing with a positive lens is inspired by positive psychology, which turns attention away from the treatment of dysfunctions and toward the encouragement of human strengths. I present a positive design method that is inspired by Appreciative Inquiry and draws on a comprehensive theory of design from sculpture. By incorporating a comprehensive theory of sculpture as a guide for designing with a positive lens, we can take advantage of design lessons from the arts, and strengthen the positive design movement in all stages of the design development process. From a theory of sculpture we see that designing includes forming. Forming, in turn, always involves two opposed energies, which can be thought of as a warm and a cold, or an inside and an outside, force. By using a theory of sculpture to guide designing with a positive lens, we reframe our attempts to create new information and organization designs so as to make them achievable even though the positive designer is not an artist. Design thinking and design processes based on a theory of sculpture can ease our dependence on artistic creativity and expand the organizational impact of a positive lens.

This paper aims to highlight the need to place focus on ensuring soft factors in construction projects’ design management and to discuss whether soft factors are hidden success factors.

The presented data is a result of findings from two master theses. The approach is qualitative research and consists of nine semi-structured interviews with design managers and two case studies involving document analyses, meeting observations and descriptions of seven interviews.

This empirical study demonstrates that soft factors are considered important for design managers’ achievement of a successful design process. Focus on soft factors promotes good communication and will improve team performances. Factors are hidden because they are invisible and immeasurable. Furthermore, soft factors are not defined as assigned tasks and are, therefore, easily neglected. Designers are hesitant to explore the possibilities of new technology owing to the fear that they will forfeit human interaction.

This paper is limited to the presentation of empirical findings. Therefore, theory is not a basis for the study but rather a framework for the discussion.

The results in this paper broaden the understanding of human behaviour during the design phase. This knowledge should be considered when the project’s delivery model is designed as it will safeguard actor concerns during the ongoing technological transformation.

This paper contributes knowledge of the view regarding soft factors among project actors. It expands the traditional understanding of value by adding soft factors to the traditional success measures of time, quality and cost.

The role and potential contribution of a positive lens to the design of systems and organizations is the focus of this essay. The positive lens refers to an emerging perspective in the social sciences that emphasizes a positive stance toward our capacity to construct better organizations and technologies through a positive discourse. Joining a positive lens onto organizing with the transformative power of design thinking opens new horizons and uncovers previously overlooked possibilities for creating organizational and social well-being. We discuss the core practices that drive design and argue that they hold the key for applying a positive design attitude.

Currently, the state of practice in experimental design centres on orthogonal designs (Alpizar et al., 2003), which are suitable when applied to surveys with a large sample size. In a stated choice experiment involving interdependent freight stakeholders in Sydney (see Hensher & Puckett, 2007; Puckett et al., 2007; Puckett & Hensher, 2008), one significant empirical constraint was difficult in recruiting unique decision-making groups to participate. The expected relatively small sample size led us to seek an alternative experimental design. That is, we decided to construct an optimal design that utilised extant information regarding the preferences and experiences of respondents, to achieve statistically significant parameter estimates under a relatively low sample size (see Bliemer & Rose, 2006).

The D-efficient experimental design developed for the study is unique, in that it centred on the choices of interdependent respondents. Hence, the generation of the design had to account for the preferences of two distinct classes of decision makers: buyers and sellers of road freight transport. This paper discusses the process by which these (non-coincident) preferences were used to seed the generation of the experimental design, and then examines the relative power of the design through an extensive bootstrap analysis of increasingly restricted sample sizes for both decision-making classes in the sample. We demonstrate the strong potential for efficient designs to achieve empirical goals under sampling constraints, whilst identifying limitations to their power as sample size decreases.

The study applies a multimodal approach to position aesthetic innovation, i.e., the strategic use of aesthetic design attributes, such as color and shape, as an institutionalized aspect of competition, rather than as a firm-specific differentiation strategy, in settings that favor the symbolic meanings of products. Empirically, the study offers a detailed case study of the personal computer (PC) industry to examine the institutionalization of aesthetic innovation as a dimension of competition across industrial firms. The study examines the color and shape of PCs over the 1992–2003 period and situates changes to these attributes in the competitive conditions that characterized the industry, paying particular attention to the introduction of the Apple iMac in 1998. Furthermore, it examines the discursive manifestations of aesthetic innovation by content analysis of reviews of PCs and interviews with industry executives. Findings demonstrate that, in a period coinciding with a decline in demand for PCs and an overall mature market as well as with the introduction of the iMac, the majority of firms engaged in aesthetic innovation and used a greater number of aesthetic words in describing their PCs.

Strategic option generation is a fundamental step in strategy formulation. Several lenses have been proposed to explain its foundations, including the microeconomics positioning school, and the resource and capabilities based view of the firm. These approaches are largely based on inductive and deductive logics, which are not the logics that provide strategic options that are potentially novel, profitable, and largely differentiated from competitive offerings. In this chapter, we propose a unifying framework of the cognitive foundations of strategic option generation. Building on five fundamental cognitive acts – imitation, framing, analogical reasoning, abductive reasoning, and mental simulation, this proposed model both synthesizes the extant literature and provides guidance about promising avenues for future theoretical and empirical research.

Over the past few years, mathematical and computational models of organizations have attracted a great deal of interest in various fields of scientific research (see Lin & Carley, 1993 for review). The mathematical models have focused on the problem of quantifying the structural (mis)match between organizations and their tasks. The notion of structural congruence has been generalized from the problem of optimizing distributed decision-making in structured decision networks (Pete, Pattipati, Levchuk, & Kleinman, 1998) to the multi-objective optimization problem of designing optimal organizational structures to complete a mission, while minimizing a set of criteria (Levchuk, Pattipati, Curry, & Shakeri, 1996, 1997, 1998). As computational models of decision-making in organizations began to emerge (see Carley & Svoboda, 1996; Carley, 1998; Vincke, 1992), the study of social networks (SSN) continued to focus on examining a network structure and its impact on individual, group, and organizational behavior (Wellman & Berkowitz, 1988). Most models, developed under the SSN, combined formal and informal structures when representing organizations as architectures (e.g., see Levitt et al., 1994; Carley & Svoboda, 1996). In addition, a large number of measures of structure and of the individual positions within the structure have been developed (Roberts, 1979; Scott, 1981; Wasserman & Faust, 1994; Wellman, 1991).