This paper presents work aimed at improved organization and performance of production in housing renovation projects. The purpose is to explore and demonstrate the potential of lean work organization and industrialized product technology to improve workflow and productive time. The research included selected case studies that have been found to implement lean work organization and industrialized product technology in an experimental setting. Adjustments to the work organization and construction technology have been implemented on site. The effects of the adjustments have been measured and were reviewed with operatives and managers. The data have been collected and analyzed, in comparison to traditional settings. Two projects were studied. The first case implied am application of lean work organization in which labor was reorganized redistributing and balancing operations among operatives of different trades. In the second case industrialized solution for prefabricated installation of prefabricated roofs. In both cases the labor productivity increased substantially compared to traditional situations. Although the limited number of cases, both situations appeared to be representative for other housing projects. This has led to conclusions extrapolated from both cases applicable to other projects, and contribution to the knowledge to improve production in construction. Vrijhoef, R. (2016). “Effects of Lean Work Organization and Industrialization on Workflow and Productive Time in Housing Renovation Projects.” In: Proc. 24 th Ann. Conf. of the Int’l. Group for Lean Construction, Boston, MA, USA, sect.2 pp. 63–72. Available at: .
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Productivity in construction is relatively low compared to other industries. This is particularly true for labour productivity. Problems that contribute to low labour productivity are often related to unorganised workspace, and inefficient organisation of work, materials and equipment. In terms of time use, site workers spend time on various activities including installing, waiting, walking etc. In lean production terms time use should be value adding and not wasteful or non-value adding. The study reported in this paper has endeavoured to measure the time use and movement applying an automated data system. The case study reflected a limited application to a specific kind of activity, namely doors installation. The study investigated time use and movements based on interviews and on automated detection of workforce. The interviews gave insights in the time build-up of work and value-added time use per day. The automated tracking indicated time intervals and uninterrupted presence of site workers on work locations giving indications of value adding time. The time measurements of the study enable comparison of time use categories of site workers. The study showed the data system calculated the same amounts of productive and value adding time one would expect based on the organisation and characteristics of the work. However, the discussion of the results underlined that the particular characteristics of individual projects and types of team work organisation may well have an impact on productivity levels of workers. More application and comparative studies of projects and further development and extension of the automated data system should be helpful.
We provide greater theoretical precision to the concept of productive opportunities of Penrose. We show firm emergence as a recursive cycle of changing productive opportunities. We show how those opportunitiesresult from the technological base of the firm and are associated with the particular characteristics of the technology.We also show how productive opportunities require the assembly of different internal and externalresources, and therefore partners. We address explicitly how the firm and its potential partners perceive uncertainty and single out the different mechanisms used by the firm to address uncertainty—envisioning, pooling, and staging—to secure resources from external partners and exploit the identified productive opportunities in a timely manner.
The Dutch floriculture is globally leading, and its products, knowledge and skills are important export products. New challenges in the European research agenda include sustainable use of raw materials such as fertilizer, water and energy, and limiting the use of pesticides. Greenhouse growers however have little control over crop growth conditions in the greenhouse at individual plant level. The purpose of this project, ‘HiPerGreen’, is to provide greenhouse owners with new methods to monitor the crop growth conditions in their greenhouse at plant level, compare the measured growth conditions and the measured growth with expected conditions and expected growth, to point out areas with deviations, recommend counter-measures and ultimately to increase their crop yield. The main research question is: How can we gather, process and present greenhouse crop growth parameters over large scale greenhouses in an economical way and ultimately improve crop yield? To provide an answer to this question, a team of university researchers and companies will cooperate in this applied research project to cover several different fields of expertise The application target is floriculture: the production of ornamental pot plants and cut flowers. Participating companies are engaged in the cultivation of pot plans, flowers and suppliers of greenhouse technology. Most of the parties fall in the SME (MKB) category, in line with the RAAK MKB objectives.Finally, the Demokwekerij and Hortipoint (the publisher of the international newsletter on floriculture) are closely involved. The project will develop new knowledge for a smart and rugged data infrastructure for growth monitoring and growth modeling in the greenhouse. In total the project will involve approximately 12 (teacher) researchers from the universities and about 60 students, who will work in the form of internships and undergraduate studies of interesting questions directly from the participating companies.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
The city of Amsterdam is well-known for its creative citizens, innovative use of public spaces, and bottom up and informal (citizen) initiatives. Many of these initiatives are endorsed and - after some time - formalised by local government. However, some need to be relocated or disappear due to densification-strategies. This is particularly the case in contexts of urban growth and not unique for Amsterdam. Depending on the specific circumstances, densification strategies compensate densification with nature conservation and/or public space programs. Densification is a contested approach – chiefly because it often entails quantitative approaches that are abstracting specific places into numerical value and generalized policy ambitions that do not resonate with the creative language and practical wisdom and imagination at play in the specific places. Often, these strategies also involve uncertainty regarding their relationship with informal citizen initiatives. Particularly in the urban fringe, we see a variety of initiatives that have developed over the years and which have obtained temporary approval for their activities. In this pop-up research we explore if, and how techniques of research by design contribute to making productive these confrontations – between formal and informal resources, between practical wisdom and generalised knowledge, between local creative-artistic and more general quantitative approaches - with the broader aim to create more sustainable and liveable cities.
