Page 258 - Design meets Business:An Ethnographic Study of the Changing Work and Occupations of Creatives

246 Design Meets Business
Summary
In today’s society, the creative industry is popular, and collaborations be- tween creatives and business are increasing (Jones et al. 2016). In particu- lar, business have expressed interest in design (Elsbach & Stigliani 2012; Gemser & Leenders 2011; Calabretta & Kleinsmann 2017). The popularity of design in business is manifested, among others, in the recent wave of acquisitions of design firms by management consultancies (Kolko 2015). This dissertation research is set in this context and explores the changing work and occupations of creatives as consequence of collaborations with business. I conducted two qualitative field studies at two creative organi- zations, a design firm and an innovation hub. In accordance with the prac- tice approach (Nicolini 2012; Feldman & Orlikowski 2011; Bechky 2011), I explored patterns of recurrent behavior in the daily work of creatives. In particular, I focused on three domains of interest: interactions with arti- facts, interactions within occupations, and interactions with clients. Using grounded theory techniques (Strauss & Corbin 1990), I developed three chapters that reveal various empirical insights and theoretical contribu- tions to organization studies.
To begin with, based on an ethnographic study at the design firm Fjord, Chapter 2 of this dissertation research suggests that creatives’ interactions with artifacts at work have changed. In particular, it is suggested that designers now not only design tangibles (finished products like ‘screens’ or ‘web applications’) but also intangibles (abstract outcomes like ‘guiding a mindset change’ or ‘services’). As their work became more abstract, their material practices changed. Instead of adapting to the new situation and making their work more intangible, Chapter 2 shows that the designers continued former work practices. They made and used artifacts, like board games, some of which they never made before. Because designers are craftsmen, making and using artifacts allowed the designers to practice their craft and bring back fun in their work. Also, it allowed the designers to establish a sense of control in design processes that became increasingly ambiguous. Finally, it helped the designers to differentiate themselves from other occupations that worked in similar task domains. Taken toge- ther, this study suggests that designers enact material practices not only instrumentally, but also as a matter of habit – because they are craftsmen. For craftsmen, it might be difficult to let go of former material practices, not simply because they resist change but because they are intertwined with their material practices. Hence, when studying responses to changing