Tsp Then LEGACY of DESIGN EXCELLENCE - Tsp Now

Total Page:16

File Type:pdf, Size:1020Kb

Tsp Then LEGACY of DESIGN EXCELLENCE - Tsp Now Philosophy LEGACY OF DESIGN EXCELLENCE - tsp then LEGACY OF DESIGN EXCELLENCE - tsp now Spitznagel Reputation: TSP Design Philosophy: - Excellence Great Design Enhances People’s Quality of Life - Integrity - Design leadership provides quality control and consistency to projects - Skilled Designer - Design mentorship creates a design culture - Convincing & Cordial - Integrated design approach: energy team member, regional design leader, PIC, PM, PA, - Easy Familiarity with People & Community production team members, and market leader - High Expectations - Visual collaboration: client workshops & internal charrettes - Tight Organization & Discipline - Regional design leader, PIC, and market leader determine the team for high profile projects - Fairness - The right tools at the right time - Ingrained Sense of Humor - Intuitive/unexpected/inspirational/innovative design - Camaraderie & Teamwork - Knowledge-based results - Highly Proficient - Support marketing with design documents (project phase packages, storyboards, etc.) - Monitored, Critiqued & Rewarded - Client goals + TSP goals = ‘the story’ - Respect & Devotion - TSP design leadership document is a living document - content is applied to weekly PM coordination calls, quarterly presentations, spring conference, fall conference, and then updated appropriately - Design must consider efficiency, cost of construction, and cost of operation - Planning (programming, master planning, etc.) is the ‘bridge’ between client and design - Evolve & connect all TSP offices into one design firm - Design marketing is part of the fee - Mentor young designers/expect 2-3 competitions per year-per region Philosophy Philosophy tsp DESIGN philosophy: design redefined TSP’s design philosophy is based on creating an ‘experience’ in every project. Our imagery tells a story about the people who inhabit the spaces we create. Education Healthcare Community “The creative design process begins at a very personal level but cannot “A client doesn’t always expect great design, we have a reside there and be successful. Success comes with collaboration between responsibility to provide it.” - Troy Miller, Education Market Leader client and design team.” - Paul H. Boerboom, Principal/Senior Architect “It begins with honesty. Ask tough questions through collaboration, “Creativity is as strong a commodity to TSP as the ability to control project and trust intuition.” - Kent Larsen, Healthcare Market Leader product, schedule and budget. It is the only aspect of our profession that cannot be controlled by logic. Intuition, insight, and perception are used to set “Passion. Confidence. Knowledge.” - Michael Jamison, Principal TSP apart from their competition and attract clients who appreciate what creativity does for their company.” - Daniel J. Zutter, Senior Architect “Result of a dialogue, inspirational and emotional.” - Richard Gustaf, CEO “My philosophy for Architecture is driven from a viewpoint that every project “Unexpected solution.” - Ron Mielke, Principal should have an identity that is unique; and that incorporating basic design principles/thoughtful design does not have to increase the construction budget. The gratification is when the client/public experience the building and this uniqueness is realized and welcomed.” - Aimee Bolton, Associate Architect Philosophy EXPERIENCE • STORY • DISCOVER • DESIGN • PLANNING • DIFFERENTIATE • EFFICIENCY • IDENTITY • PROFIT • PASSION • RESULTS • INFORM 90% WORKSHOP #3 60% Quality Control,Coordination, and Presentation to Owner 90% WORKSHOP Refine CD’s #2 WORKSHOP Refine/ #3 Finalize 50% WORKSHOP Create/ 30% #2 Confirm WORKSHOP End DD/ #1 Start CD’s End CD’s Transition Transition WORKSHOP Discover/ design Workshop production Workshop Define #1 to Production to Construction PREDESIGN & SD PHASE DD & CD PHASES Process Kick-off Workshop #1 SD Input Collaboration Outcome (Design Fuel) (Decision Making/Consensus) (Deliverables) • Project goals (owner’s needs & vision) • Extent of project site & scope • Site & building diagrams (three options) • Owner information (master planning, programming, FF&E • Project program (all voices heard) • Verify project budget inventory, etc.) • Phasing plan (if necessary) • Verify project schedule • Trends/issues/ideas (from relevant projects) • Master plan initiatives (if applicable) • ‘Big idea’ sketches/design concept direction • Visual inspiration (design fuel) • User groups (determine design adaptability & flexibility) • Listening session • Specialized design issues (experience/knowledge base) • Sustainability goals (energy team’s benchmarks) • Preliminary project program • Documentation/deliverables Process Workshop #2 50% SD Input Collaboration Outcome (Design Fuel) (Decision Making/Consensus) (Deliverables) • Description of space needs • One design direction • Existing conditions analysis (if applicable) (including FF&E, technology, etc.) • Define materials (exterior & interior) • Three design options (plans & images)/refine to one design direction • Updated project scope needs • Verify the extent of sustainability • Comments on Workshop #1 deliverables (goals/initiatives - energy team) • Space information sheets • Present/discuss outstanding issues • Verify contents of all spaces with user groups • Project narratives (all disciplines) (technology, FF&E, environmental design) (security etc., existing conditions) • Final project program • Finalize program with user groups • Preliminary cost estimate (50% SD) • Prioritize design features for potential VE efforts • Updated project schedule • Preliminary sustainability document (50% SD) • Preliminary code analysis (big items) Process Workshop #3 90% SD Input Collaboration Outcome (Design Fuel) (Decision Making/Consensus) (Deliverables) • Comments on Workshop #2 deliverables • Present/finalize design (all drawings & product choices) • Design drawings (all disciplines) • Finalize any outstanding issues (environmental • Present (finalize sustainability goals & initiatives with • Product information (specifications) design, infrastructure/code’s impact on design, etc.) energy team) • Space information sheets - • Provide any final Information from owner (product- • Present/finalize user group information, cost estimate with appendices (all disciplines) based, facility data, etc.) (including VE items & inventories) • Project narratives (all disciplines) • Present/finalize narratives from all disciplines • Project program • Finalize project schedule • Sustainability package (energy team) • Code analysis (all disciplines) • Site & building analysis (existing conditions) • Cost estimate (including VE/alternates) • Project schedule (including phasing) Process Results Satisfaction Profit Recognition • Recognize TSP’s opportunity to separate our client from • Creativity is as much of a commodity as time & money are, • In ten years, TSP will be recognized as one of the top-ten their competition with exceptional design results TSP will profit from design excellence. AE firms in the country • Stay ahead of the client’s increasingly aggressive time • The design team will reconcile profit and design results on • Three state AIA awards per office, and one national award lines and challenging budgets with leadership from our every high-profile project for the firm per year experienced staff (who maintain client relationships and • Profit is the result of consistency, focus, support, and deliver services that exceed expectations) • Design competitions open doors and allow for design prioritization mentorship and maturation • Knowledge-based design & creative vision will continue to • Design is not value-added. Consistency, efficiency, and clarity grow TSP as a design firm • TSP will continue to evolve and upgrade our public of the design process grows profit margins. presence through electronic media, print media, speaking • Timely design input + timely decision making = profit engagements, advertisements, and community involvement to represent ourselves as a high-design firm Results Process The TSP design process is driven by the collaborative workshop experience. Visuals are not only the means to translating, testing, and layering ideas—they also become a critical tool for achieving consensus within the team. Ultimately, great design enhances ‘quality of life’. The ‘story’ of a building evolves from the unexpected. RENEWALDISCOVERYREMEMBER INVITECONNECTLEARN MOVEMENTEARTHENERGY RESTOREADAPTPRESERVE PERFORMANCEEXCELLENCEPRIDE COLLABORATERESEARCHEDUCATE Process.
Recommended publications
  • Defining Design Facilitation: Exploring and Advocating for New, Strategic Leadership Roles for Designers and What These Mean for the Future of Design Education
    Dialectic Volume I, Issue I: Position Paper Defining Design Facilitation: Exploring and Advocating for New, Strategic Leadership Roles for Designers and What These Mean for the Future of Design Education paMela napieR1 and teRRi wada2 (edited by Michael R. GibsOn)3 1. Indiana University Herron School of Art and Design (iUpUi), Indianapolis, Indiana, Usa; Principal in Collabo Creative, Indianapolis, in, Usa 2. Indiana University Herron School of Art and Design (iUpUi), Indianapolis, Indiana, Usa; Principal in Collabo Creative, Indianapolis, in, Usa. 3 The University of North Texas, Denton, Texas, Usa; Producer and Co-Editor, Dialectic, a scholarly journal of thought leadership, education and practice in the discipline of visual communication design published by the aiGa Design Educators Community (DEC) and Michigan Publishing. sUGGested citatiOn: Napier, P. & Wada, T. “Defining Design Facilitation: Exploring New, Strategy Leadership Roles for Designers and What These Mean for the Future of Design Education.” Edited by Gibson, M.R. Dialectic 1.1 (2016): 154-178. dOi: http://dx.doi.org/10.3998/dialectic.14932326.0001.110 Copyright © 2016, Dialectic and the AIGA Design Educators Community (DEC).All rights reserved. poSItIon PapER Defining Design Facilitation: Exploring and Advocating for New, Strategic Leadership Roles for Designers and What These Mean for the Future of Design Education PamELA nApIER & tERRI Wada (EDItED by mIChAEL R. GIbSon) Examining current prevalent trends in design practice and education Over the past decade or so, design as a professional and academic discipline has seen much momentum and growth in interest from areas of both study and practice outside design. Over the course of the last decade, the buzz around design thinking as a transferable “method of creative action” 1 for developing and implementing innovative ideas has grown into broad assortment of ex- ecutive education offerings and workshops.
    [Show full text]
  • Managing Uncertainty and Expectations in Building Design and Construction
    SmartMarket Report Produced in Partnership with: Managing Uncertainty and Expectations in Building Design and Construction Premier Industry Partners: Industry Partners: ■ Design and Construction Intelligence SmartMarket Report McGraw Hill Construction Managing Uncertainty and Expectations in Design and President Construction Kathryn E. Cassino SmartMarket Report About McGraw Hill McGraw Hill Construction Executive Editor Research & Analytics/ Harvey M. Bernstein, F.ASCE, LEED AP Construction Industry Insights & Alliances McGraw Hill Construction’s data, Editorial Advisor and Chief Author analytics, and media businesses— Vice President, Industry Stephen A. Jones Insights & Alliances Dodge, Sweets, Architectural Record, Harvey M. Bernstein, F.ASCE, LEED AP Editorial Director and Engineering News-Record— Michele A. Russo, LEED AP create opportunities for owners, Senior Director, Research & Analytics Burleigh Morton Managing Editor architects, engineers, contractors, Donna Laquidara-Carr, LEED AP building product manufacturers, Director, Research Communications and distributors to strengthen their Michele A. Russo, LEED AP Senior Director, Head of Marketing market position, size their markets, William Taylor prioritize prospects, and target and Reproduction or dissemination build relationships that will win more of any information contained Creative Manager, Media business. McGraw Hill Construction herein is granted only by contract Juan Ramos serves more than one million or prior written permission from Art Director customers through its
    [Show full text]
  • Design Leadership Skills Questioning the Difference Between Design Leadership and Generic Leadership in SME Manufacturing Organisations
    Design leadership skills Questioning the difference between design leadership and generic leadership in SME manufacturing organisations Author: Jennifer Alnelind & Cecilia Alvén Supervisor: Olle Duhlin Examiner: Lars Lindkvist Date: Spring 14 Subject: Thesis Level: Master (60hp) Course code: 4FE66E Abstract Title: Design leadership skills - Questioning the difference between design leadership and generic leadership in SME manufacturing organisations Authors: Jennifer Alnelind & Cecilia Alvén Supervisor: Olle Duhlin Examiner: Lars Lindkvist Course: 4FE66E, Företagsekonomi IV, examensarbete, 15 hp Purpose: The purpose of this study was to describe and develop what set of skills a design leader require and if these differentiate them from the generic leader in SME organisations. Theory: The themes and concepts we have based the research on is first and foremost design leadership and skills. We have utilised studies by for example: Miller and Moultrie (2013), Joziasse (2011), Turner (2013) and Mumford et al. (2007) in order to develop an extensive theoretical framework. Methodology: We have approach this research in a deductive and qualitative manner through a descriptive and somewhat exploratory design. We have conducted six semi-structured interviews with leaders at manufacturing SME organisations in ‘Småland’. Conclusion: Through this research we have established a set of skills that a design leader requires in manufacturing SME organisations. In conclusion we found that the design leader requires well developed generic leadership skills in form of; learn/adapt, speak (convey information), listen (attentive), motivate, inspire, analyse, manage, problem solve, project manage, observe, plan and apprise as well as design specific skills; draw, synthesize, envision-imagine-visualise, edit, design and employ technology. We also identified the difference between the design leader and generic leader, whereby we found a slight difference, even though most generic leaders interviewed utilise aspects of design leadership due to positions interlinking.
    [Show full text]
  • Design Update
    Design Update CREATING CITYCENTER MGM MIRAGE’s urbane and sustainable “city within a city” redefines Las Vegas CityCenter is for people who want the Las Vegas they’ve never seen before. Jim Murren, Chairman and CEO, MGM MIRAGE This is the future of Las Vegas—CityCenter is in an entirely different category. Bobby Baldwin, President and CEO, CityCenter CityCenter is the best example anywhere of a REINVENTING collaborative design process. Art Gensler, Founder and Chairman, Gensler LAS VEGAS Once a generation, Las Vegas reinvents itself. In the Rat Pack era, it embraced midcentury modernism. Then, The Mirage and Bellagio remade The Strip as an entertainment resort 12/16/09 destination. Early in this new century, MGM MIRAGE CityCenter Grand Opening envisioned a “city within a city”—a new symbol of Las Vegas that, in the words of CityCenter’s Bobby Baldwin, combines “the vitality of Las Vegas with the experiences tourists seek in great cities around the world.” In 2005, master plan in hand, MGM MIRAGE asked Gensler to join it and make CityCenter a reality. How our team helped reinvent Las Vegas is a case study in design leadership. Contents The vision 2Making it happen 14 The challenge 4Greening CityCenter 18 Design leadership 6The vision realized 22 Catalyst for ideas 8Project and team information 24 Branding the destination 10 Gensler Design Update CityCenter 1 CityCenter aims to transform Las Vegas as a new symbol at its core. Bobby Baldwin, President and CEO, CityCenter A CITY WITHIN A CITY THE VISION It took strong design leadership to bring the initial Bobby Baldwin on CityCenter: “This is one of the few CityCenter gives The Strip an urban core—a new plan and building program to a fully realized vision places in the world where we had a completely clean city-scale development that supports a rich, full, 24/7 of an urbane and dynamic place, the heart of a new canvas—and the resources for the best of everything life.
    [Show full text]
  • IIT-ID-Pathways-Report-2020.Pdf
    IIT Institute 2020 of Design Report Lead with Purpose Design’s central role in realizing executive vision This research was jointly initiated and undertaken Lead with Purpose: The 2020 IIT Institute of Design (ID) Report 1 through partnership with these organizations: © 2020 by IIT Institute of Design (ID). All rights reserved. Quotations appearing in this report attributed to IIT Institute of Design (ID) 2020 Pathways Study respondents have been lightly edited for readability and clarity. We use imagery of the ID community in this report to represent design work. These are not research photos or photos of research respondents. 2 Lead with Purpose: The 2020 IIT Institute of Design (ID) Report Contents Introduction 4 Scale your design operations. 37 Embrace the Flywheel of Design. 38 Ask, listen, and learn. 6 The Flywheel of Design has four parts— Design—not why, but how? 7 all of them key. 39 Understand our research methodology. 7 Design Leadership 39 Hear from our diverse respondents. 7 Problem-Driven Pathway 40 Put our findings to work for your organization. 7 Generalized Design Competency 41 Seven critical trends will help you frame the Specialized Design Competency 42 future of your organization. 9 Remove all barriers and pave the Grasp two vital, urgent truths about Intent-to-Effect Pathway within design—and what they mean your organization. 43 for your organization. 12 Clarify language. 44 Integrity needs to be design’s M.O. 13 Understand the business. 45 Change—particularly seamlessness— Assess impact. 46 begins at home. 15 Customer-centric means people-centric— Lead the way. 47 so apply the ethic internally, too.
    [Show full text]
  • Design Excellence Policies and Procedures
    Design Excellence Policies and Procedures Chapter 9 Design­Build February 1, 2016 Chapter 9, page 1 of 20 Table of Contents Chapter 9: Design­Build 9.0 INTRODUCTION, OVERVIEW, AND APPLICABILITY 9.0.1 Applicability 9.1 BASIC FRAMEWORK 9.1.1 Planning Prior to Release of the Pre­Solicitation Announcement 9.1.2 PBS P­100 Requirements for Design­Build 9.1.3 Incentives 9.2 ANNOUNCING THE OPPORTUNITY 9.2.1 Industry Exchange 9.2.2 The Pre­Solicitation Announcement 9.2.3 Articulate Design Excellence Goals 9.2.4 Describe the Project 9.2.5 Describe the Two­Phase, Design­Build Process 9.2.6 Pre­Proposal Conference 9.3 PHASE 1 9.3.1 Overview 9.3.2 Goal 9.3.3 Maximum Number of Highly Qualified Offerors 9.3.4 Announcing the Short­List 9.3.5 Phase 1 Evaluation Panel 9.3.6 Make­up of the Evaluation Panel 9.3.7 Mandatory Voting Members 9.3.8 Mandatory Nonvoting Peer Advisor 9.3.9 Suggested Nonvoting Advisors 9.3.10 Mandatory Evaluation Factors 9.4 PHASE 2 9.4.1 Overview 9.4.2 Special Pricing Considerations 9.4.3 Source Selection Evaluation Board (SSEB) 9.4.4 SSEB Make­up 9.4.5 Mandatory Evaluation Criteria 9.4.6 Stipend 9.4.7 Discussions – Oral Presentations 9.4.8 Initial Oral Presentation: Scope and Content 9.4.9 Initial Oral Presentation: Participants and Agenda 9.4.10 Initial Oral Presentation: Timing and Scheduling 9.4.11 Initial Oral Presentation: Technical Equipment and Support 9.4.12 Initial Oral Presentation: Recording 9.4.13 Initial Oral Presentation: Written Materials Chapter 9, page 2 of 20 9.4.14 Initial Oral Presentation: No Scoring or Evaluation
    [Show full text]
  • Cultivating Creativity: Leadership, Organizational Culture, and Organizational Support for Design Teams
    University of San Diego Digital USD M.A. in Leadership Studies: Capstone Project School of Leadership and Education Sciences: Papers Student Scholarship & Creative Works Fall 10-7-2019 Cultivating Creativity: Leadership, Organizational Culture, and Organizational Support for Design Teams Nick Porter University of San Diego, [email protected] Follow this and additional works at: https://digital.sandiego.edu/solesmalscap Part of the Graphic Design Commons, and the Leadership Studies Commons Digital USD Citation Porter, Nick, "Cultivating Creativity: Leadership, Organizational Culture, and Organizational Support for Design Teams" (2019). M.A. in Leadership Studies: Capstone Project Papers. 63. https://digital.sandiego.edu/solesmalscap/63 This Capstone project: Open access is brought to you for free and open access by the School of Leadership and Education Sciences: Student Scholarship & Creative Works at Digital USD. It has been accepted for inclusion in M.A. in Leadership Studies: Capstone Project Papers by an authorized administrator of Digital USD. For more information, please contact [email protected]. Running head: CULTIVATING CREATIVITY 1 Cultivating Creativity: Leadership, Organizational Culture, and Organizational Support for Design Teams Nick Porter University of San Diego CULTIVATING CREATIVITY 2 Introduction Creativity can be defined as the ability to generate, promote, discuss, and realize new ideas and solutions to challenges (Özarallı, 2015). It is the most important quality of graphic designers, who are expected to use their imaginations to visually communicate ideas that engage, educate, and captivate (Bortz, 2019). Although graphic designers tend to be creative by nature, creativity does not emerge regardless of circumstances—it is a phenomenon that can only exist under certain conditions.
    [Show full text]
  • Fashion Design Education As Leadership Development
    Fashion Design Education as Leadership Development Timo Rissanen Parsons School of Design, USA [email protected] Abstract This paper explores design education as leadership development, specifically in the teaching of sustainability to fashion design students. Leadership development refers to the generation and fostering of leadership capacity in others, in this case in fashion design students by their instructors. Fletcher & Grose (2012) outline a vision of new roles for the fashion designer, including designer as educator- communicator, designer as facilitator, and designer as activist. This paper connects these ideas to leadership development and explores overlaps between ideas of ‘citizenship’ and leadership. Issues of sustainability are too complex for any individual person or company/organization to solve alone; solutions require leadership across the hierarchies of different organizations in the global fashion system. Following Kotter (2013), the paper makes a distinction between leadership and management. Management is a set of tasks such as staffing, budgeting, and planning, while leadership is about vision, behaviour and bringing about useful change not limited to a particular part of an organizational hierarchy. Farr (2010) approaches teaching as leadership in secondary education, and the ideas translate to tertiary education relatively easily. This paper responds to the questions: Can design educators be creators of leaders of change? What successful strategies exist for such an approach? The paper sets a research agenda, in part arising from examples of leadership demonstrated by alumni. Keywords: design education, leadership development, sustainability, pedagogy ISBN: 978-989-54263-0-0 Introduction In this paper I explore design teaching as leadership development, more specifically in the context of teaching fashion design at university level.
    [Show full text]
  • Core Responsibilities of Design Leaders in Commercially Demanding Environments *
    INAUGURAL PRESENTATION AT THE DESIGN LEADERSHIP FORUM CORE RESPONSIBILITIES OF DESIGN LEADERS IN COMMERCIALLY DEMANDING ENVIRONMENTS * RAYMOND TURNER AND ALAN TOPALIAN LONDON, UNITED KINGDOM [ Final draft: 10 December 2002 ] LITTLE OF SUBSTANCE has been published on design ESSENCE OF DESIGN MANAGERS’ ROLE leadership. Senior practitioners in business and design are struggling to understand what is involved in leading DESIGN MANAGEMENT is about delivering effective design. Unfortunately few published references offer design solutions in an efficient, cost-effective way. any guidance or inspiration. Design managers need to master a wide range of skills Is there a real difference between design leader- as they often address very difficult problems. ship and design management, or is ‘design leadership’ One can distil the essence of the design manager’s a new buzzword for an old subject? Frontline expe- role under five headings: rience over many years points to the conclusion that n Design people there are significant differences. In summary, design n Design budgets management is essentially reactive while design leader- n Design timetables ship is essentially pro-active. n Design work n Design infrastructure. SEPARATE SKILLS SETS First, managing design people — that is, everyone involved in design activity (whether design trained or THE DIFFERENCE between reactive management and not) such as end-users, clients, consultants, in-house pro-active leadership generally lies in asking the right designers, technical specialists and suppliers. questions. Peter Ellyard, at the Futures Foundation, Second, managing design budgets — ensuring that sums up the fundamental differences between the two all expenditure on design is explicit and deriving maxi- as follows: “Instead of asking what the future will be mum value from such investment.
    [Show full text]
  • Engineering Design Team Leadership in Undergraduate Design Teams James Righter Clemson University, [email protected]
    Clemson University TigerPrints All Dissertations Dissertations May 2019 Engineering Design Team Leadership in Undergraduate Design Teams James Righter Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Righter, James, "Engineering Design Team Leadership in Undergraduate Design Teams" (2019). All Dissertations. 2331. https://tigerprints.clemson.edu/all_dissertations/2331 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. ENGINEERING DESIGN LEADERSHIP WITHIN UNDERGRADUATE DESIGN TEAMS A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Mechanical Engineering by James Allen Righter May 2019 Accepted by: Joshua D. Summers, Committee Chair Gregory Cranmer Oliver Myers Marissa Shuffler ABSTRACT The objective of this research is to develop an understanding of the emergence and distribution of leadership behaviors in engineering design teams. This research was conducted with undergraduate engineering students and explored leadership behaviors within design teams in a variety of contexts. Undergraduates were selected for the study since they possessed similar education and skills as a novice engineer in industry. A mixed methods approach incorporated qualitative and quantitative techniques including interview, case study, and protocol study instruments. The use of these methods enabled the exploration of leadership in both natural and controlled environments to capitalize on the research advantages of each. Interviews were employed to understand faculty perceptions of leadership in design teams.
    [Show full text]
  • Collaboration in Construction Project Delivery
    To edit footer choose “Footer” from the Insert tool bar and then choose “Edit footer”. After editing choose “Close header and footer”. Collaboration in Construction Project Delivery Strategic Implications for Technical Consultancy Firms Master’s Thesis in the Master’s Programme Design and Construction Project Management CARL TÖRNEMAN Department of Technology Management and Economics Division of Service Management CHALMERS UNIVERSITY OF TECHNOLOGY Gothenburg, Sweden 2015 Master’s Thesis E2015:105 MASTER’S THESIS E2015:105 Collaboration in Construction Project Delivery Strategic Implications for Technical Consultancy Firms Master’s Thesis in the Master’s Programme Design and Construction Project Management CARL TÖRNEMAN Department of Technology Management and Economics Division of Service Management CHALMERS UNIVERSITY OF TECHNOLOGY Göteborg, Sweden 2015 Collaboration in Construction Project Delivery Strategic Implications for Technical Consultancy Firms Master’s Thesis in the Master’s Programme Design and Construction Project Management CARL TÖRNEMAN © CARL TÖRNEMAN, 2015 Examensarbete E2015:105/ Institutionen för Teknikens ekonomi och organisation, Chalmers tekniska högskola 2015 Department of Technology Management and Economics Division of Service Management Chalmers University of Technology SE-412 96 Göteborg Sweden Telephone: + 46 (0)31-772 1000 Chalmers Reproservice Göteborg, Sweden, 2015 If everyone is moving forward together, then success takes care of itself - Henry Ford Collaboration in Construction Project Delivery Strategic
    [Show full text]
  • Design and Society in Modern Japan: an Introduction Ignacio Adriasola, Sarah Teasley, Jilly Traganou
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Royal College of Art Research Repository Design and Society in Modern Japan: An Introduction Ignacio Adriasola, Sarah Teasley, Jilly Traganou Review of Japanese Culture and Society, Volume 28, 2016, pp. 1-50 (Article) Published by University of Hawai'i Press DOI: https://doi.org/10.1353/roj.2016.0021 For additional information about this article https://muse.jhu.edu/article/668013 Accessed 17 Oct 2017 09:56 GMT Design and Society in Modern Japan: An Introduction Ignacio Adriasola, Sarah Teasley, and Jilly Traganou It is common practice across milieus as varied as branding, advertising, exhibition reviews, and popular discourse to ascribe a particular set of aesthetic and other unique qualities to design production from different nations. British fashion is often described as “eccentric” or “individualistic,” for example. Dutch furniture and graphic design is labeled “conceptual,” and German automotive design “well-engineered.” Within this global cloud of preconceived, often carefully-marketed images for national design production, “Japanese design” possesses one of the most recognizable profiles, albeit one with multiple personalities. Notions of minimalism, Zen, wabi-sabi, and cute are often ascribed as inherent attributes of Japanese design. This profile operates across media and disciplines, from graphic design to architecture and interiors, product and furniture design, and fashion and newer industries like interaction or experience design. On the one hand, we hear of “Zen minimalism” associated with architecture, interiors, and the simple lines and matte surfaces of sophisticated product design, and on the other hand, a sort of frenetic hyper-cute sensibility associated with youth culture and digital design.
    [Show full text]