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THE STRENGTH OF THE PACK IS THE WOLFTHE STRENGTH OF THE WOLF IS THE PACK

Interdisciplinary collaborations at MADE – a case study

Shari Klein Master of Arts in Arts ManagementUtrecht School of the ArtsClass of 2012

Student ID: 2082262 HKU Supervisor: Arja Veerman External Supervisors Cultuur-Ondernemen: Joost Heinsius & Petra Befort External Supervisor Cult Dealer Enzo: Mariangela De Lorenzo

The design of this report was based on the design of the poster. Design report: Aleks Pietrzykowska (www.alekspietrzykowska.com) Design and concept poster, cover and symbols report: Jan Piet Joris & Corneel (www.jpjc.nl)

Binding: Boekbinderij F.H. DannerPrinting: Copyshop de KopijwinkelCover and poster: Drukkerij Pascal

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As an art manager in prospective, I have seen a lot of examples of what to do and what not to do when working with creatives and artists. Do’s and don’ts. During the course of 4 years I have done multiple internships that have given me a wide perspective on the way art manager’s work within the creative field. But what is the added value of a manager or leader within a creative team? Is this role really necessary? Art managers tend to structure everything according to their needs and preferences. Often they forget that creatives speak different languages, and in order to get all team members on the same page the art manager needs to understand and speak all languages. Empathy, flexibility and trust are important factors when leading a creative team in the right direction. One of the principles Covey (2008) explains in his book The seven habits of highly effective people’ is the principle of ‘First understand, then be understood’. I believe that when working with creatives, it is important to first understand what position each person involved has and what perspective he/she has in the project or process, in order for them to also show empathy for your role as an art manager. Is this term actually correct, if one looks at the way this role is filled in and performed? Do you, as an ‘art manager’ really manage the process or is the term management outdated within the creative field? And when you are involved with different (creative) disciplines, is there a difference to be seen in the role of the manager or leader? Working with different disciplines is often casted into the term interdisciplinary. These types of collaborations have become more popular and interesting within the creative field than ever before. One is seeing the added value of working with multiple disciplines, and looking for the boundaries within existing disciplines and working methods. How are these interdisciplinary projects and collaborations set up? But most of all: what should be taken into account when an art manager is involved in the process? Often, as art managers, we forget that it is our task to stimulate a structured environment in which creativity and innovation can flow freely and where the carriers of this creativity and innovation, the creatives, can reach their full potential.

FOREWORD

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This research was consciously performed in the form of a case study. By giving a practical insight into how interdisciplinary projects are set up within an existing organization, perhaps a more realistic point of view can be given on how these teams and projects are set up. A better perception can be given on the managerial or leadership role within this context. A case study took place at the creative platform MADE, based in the heart of Berlin. MADE is a platform and network that establishes a creative infrastructure for every possible creative discipline. The MADE space offers a white canvas for the projects that are set up, but also shows a clear signature of MADE in all ventures that are created. This research provided me with new insights in how a creative organization can be arranged and coordinated in order to establish an environment that contributes to the creative process and openness needed when setting up creative (interdisciplinary) collaborations. Visualization plays an important role at MADE, just as it has to me during my years of study at the Utrecht School of the Arts. Without the help of Margriet Hogenbirk, Anne van Iperen and Rianne Blekkenhorst, also known as the young and fresh Jan Piet Joris & Corneel (JPJC), my management product could not have looked the way it looks today. They have the ability to translate dry data and conclusions into something understandable for anyone. Visualizing the outcomes of my research has a central point in my research, and I would like to thank them deeply for the great management product we created together and the collaboration and professional relationship we developed over the past months. Also, without the help of Aleks Pietrzykowska the design of this research report would not have looked the way it looks now. Using the beautiful designed poster by JPJC as an inspiration for the design of this report shows the reader the importance of good design and graphic translation. Moreover, I would like to greatly thank the MADE team for offering me the opportunity to interview many team members and experience how special this space and group of people is. Thank you Nico Zeh, Nadav Mor, Linn Kuhlmann, TadiROCK, Alexis Dornier and Ilija Bentscheff.

Through out the course of my student years at the Utrecht School of the Arts, I have met people who inspired, motivated and refreshed my way of thinking as a professional, and I would like to thank the following people for showing me the directions that I could take in my personal and professional life: Nynke Winkler Prins, Johan Kolsteeg, Gabrielle Kuiper, Erik Uitenbogaard, Joost Heinsius, Petra Befort and Ernst Houdkamp. I would like to thank my best friend Lisanne

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Groenendaal for guiding me in the right directions at times when I needed it and sharing her creative insights with me. My parents, Susan Rycus and Rob Klein I would like to thank for always believing in me, showing me how to enjoy life and becoming a grown woman.

Utrecht, August 2012Shari Klein

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INDEX

MANAGEMENT SUMMARY

1. INTRODUCTION

1.1 Situation

1.2 Relevance

1.3 Objective

1.4 Research Question

1.4.1 Sub Questions

1.5 Limitations research

2.5 How to read this document

2. METHODS / RESEARCH SETUP

2.1 Conceptual framework 2.2. Research setting

2.2.1 Theoretical framework

2.2.2 Qualitative Research

2.2.3 Case Study

2.2.3.1 Semi-structured interviews

2.3 Validity

2.4 Reliability

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3. THEORY

3.1 Diversity & Creativity

3.1.1 Six-Trait-Snowflake Model of Creativity

3.2 Interdisciplinary collaborations

3.3 Team functioning

3.3.2.1 Actor-Network-Theory

3.4 Managerial or leadership elements in creative teams?

3.4.1 Leadership elements in creative teams

3.4.1.2 Developing creativity and innovation

3.5 Conclusion

3.3.1 Team functioning within interdisciplinary collaborations

3.3.3 What does an interdisciplinary working process look like?

3.3.2 Different working methods between disciplines

3.4.1.1 Leadership elements according to Amabile  et al.

4. CASE STUDY AT MADE

4.1 MADE

4.2 Categories created according to theory & data collected

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4.4.1 Eight leadership elements

4.3.1 Characteristics of the projects set up at MADE

4.3 Interdisciplinary collaborations within creative organizations like MADE

4.4.2 Path-goal theory

4.5 Patterns that are seen when an interdisciplinary team is lead at MADE

4.4 Leadership elements in interdisciplinary collaborations in an organization like MADE

4.6 Conclusion

5. CONCLUSIONS

5.1 Twelve categories of effectively developing and leading interdisciplinary project

5.1.1 Structure & blue print

5.1.2 Diversity

5.1.3 Flexibility

5.1.4 Process

5.1.5 Awareness

5.1.6 Communication

5.1.7 Attitude

5.1.8 Team functioning

5.1.9 (Working) environment

5.1.10 Different perspectives

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4.5 Patterns that are seen when an interdisciplinary team is lead at MADE

5.1.11 Leadership styles

5.1.12 Trust

5.2 A roadmap for interdisciplinary collaborations

6. MANAGEMENT PRODUCT

6.1 Data visualization

6.2 Interaction with app for application for iPhone and iPad

6.3 Interactive film

7. DISCUSSION

7.1 Validity

7.2 Reliability

7.3 Further research

8. AFTERWORD

9. REFERENCES

10. APPENDICES

10.1 Topics and questions for interviews

10.2 Interview transcripts

10.3 Conceptual Framework

10.4 Management product: poster

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MANAGEMENT SUMMARY

Bringing together different disciplines and creative minds within the creative industries can contribute to the search for new innovations and knowledge. Interdisciplinary teamwork capitalizes on a diversity of perspectives and practices that each discipline offers in hope of providing innovative solutions to multifaceted problems. In these uncertain times many creatives are seeing the added value in crossing the border of their discipline and learning from one another in order to gain a new and innovative insight into finding a solution to a given problem (in society). In order to establish a concrete and practical insight into how interdisciplinary collaborations and projects can be set up within the creative industry, the following research question was formulated and answered within this research:

In order to answer this main research question, this research was performed in the form of a case study at MADE. Semi-structured interviews were taken with the majority of the team members of MADE, in order to get a good insight in which way this experienced organization within the interdisciplinary field sets up and leads their projects.

“IN WHICH WAY CAN AN INTERDISCIPLINARY COLLABORATION WITHIN AN ORGANIZATION LIKE

MADE BE DEVELOPED AND WHAT SHOULD BE TAKEN INTO ACCOUNT WHEN LEADING THIS PROCESS?”

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In response to this research question information was ascertained regarding setting up and leading interdisciplinary teams within an organization like MADE. The way in which MADE develops and leads the interdisciplinary collaborations within their own space has a very distinct character; the MADE team is aware of the influence they can have as a team on the creative outcomes of a project. There are certain elements that they take into account when setting up and leading these projects. Practice and theory were coupled to form a series of twelve elements that show the preconditions when setting up and leading interdisciplinary projects. Moreover, these twelve elements can be seen as steps that can be taken in the pathway of setting up and leading an interdisciplinary team.

The following elements were established as a result of this case study: (1) STRUCTURE AND BLUE PRINT Little structure is needed (experience is enough). Too much structure can have influence on the synergy and overlap that is necessary; (2) DIVERSITY Different languages should be spoken. An interdisciplinary team is necessary in order to created and establish new interdisciplinary collaborations; (3) FLEXIBILITY A flexible attitude is necessary, moreover a quick change in perspective and trusting the process; (4) PROCESS The process should be seen as a middle point and learning point in a collaboration. Don’t only focus on the outcomes of a project; (5) AWARENESS Be aware of the phases that are present in a creative process, moreover the emotional curve that is present in these phases; (6) COMMUNICATION Maintain an open and free manner of communicating. As a leader of an interdisciplinary team, you have to be able to speak different ‘languages’; (7) ATTITUDE It is fundamental to have a tolerant attitude within an interdisciplinary team or collaboration. (8) TEAM FUNCTIONING The time that is present from idea to concept and from concept to a concrete plan is of utmost importance. Be aware of this process as a leader; (9) (WORKING) ENVIRONMENT The space where is worked has to be open and changeable; (10) DIFFERENT PERSPECTIVES Take the different perspectives that are present into account. All people involved should be willing to step out of their comfort zone; a flat organizational culture can help this process; (11) LEADERSHIP STYLES A supportive leadership style contributes to the working flow in interdisciplinary teams, and a friendly work environment; (12) TRUST Have trust in one another; experience of working with multiple disciplines can help create more trust amongst each other.

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These twelve elements can be used as guidance when setting up interdisciplinary collaborations and projects. The creative mediator or intermediary is the targeted audience for this management and leadership product.

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Combining different disciplines and creative minds within the creative industries can contribute to the search for new innovations. Interdisciplinary teamwork capitalizes on a diversity of perspectives and practices that each discipline offers in hope of providing innovative solutions to multifaceted problems. As Prof. dr. Wiljan van den Akker stated during the Conference on the Contribution of Sustainable Cultural Entrepreneurship, “75% of all major innovations is made in interdisciplinary research” (22-3-2012, Utrecht). In these uncertain times many creatives are seeing the added value in crossing the border of their discipline and learning from one another in order to gain a new and innovative insight into finding a solution to a given problem (in society). Kurtzberg (2005) states that teamwork is becoming an important part of organizational life. He mentions that it is critical for managers and scholars alike to better understand the factors that lead team members to both (a) perceive themselves and their team as creative and (b) actually produce quantifiable results. Staying closer to the topic of this final project, Garcia (2007) elaborates on the fact that “Collaborative practice not only extends its reach across all disciplines but across whole sectors and levels of society” (Garcia, 2007 p. 8). According to him there is a gathering recognition that we are witnessing the rise of an era of multi-dimensional collaboration and commercial advantage but this recognition also embodies, in and of itself, a powerful transformation in our ways of producing, consuming and relation to one another and to our world.

Wijdenes (2009) amplifies on the underlying mechanisms of group creativity in his article Creativity in collaboration. He states, “Perhaps the notion of ‘biosociation’ of Koestler (1954) is a candidate that can be applied to both the individual and to groups. Biosociation is opposed to the concept of association; the latter meaning that one concept ‘automatically’ leads to another. In contrast, bisociation refers to the mixture of concepts from two different contexts or categories of objects that are normally considered separate by the literal processes of the mind” (Wijdenes, 2009 pp. 35-41). Biosociation can therefore contribute to creativity and diversity within a group. When one mixes different concepts and perceptions about a (single)

1.1. Situation

1. INTRODUCTION

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topic, new contexts and solutions are gathered. Bringing together different disciplines can create these different concepts and perceptions. Bouncken (2009) describes an assumed chain of effects that can influence creativity and innovation. She explains how a cultural profile and cultural diversity affect creativity and innovation. ‘Cultural profile’ and ‘cultural diversity’ can be replaced by ‘creative profile’ and ‘creative diversity’. The latter could be perceived as a given discipline. A diversity of disciplines, and therefore diversity in the creative profile, a team member could essentially influence creativity and innovation in the product the team fabricates. The above statements show that there are methods and patterns in which creative collaborations are set. Moreover, it is obvious that there is a clear demand for unexpected and innovative solutions to problems that can be established often by a mix of different backgrounds and disciplines. Often there is a management role that comes into the picture of managing such a process. Sawyer (2007), describes the key to improvised innovation is as managing a paradox: “Establishing a goal that provides focus for the team – just enough of one so that team members can when they move closer to a solution – but one that’s open-ended enough for problem-finding creativity to emerge (…)” (Sawyer, 2007 p. 45). How can this paradox be managed? The role of the manager can have a large influence in establishing an open and creative environment. What are key elements that should be taken into account when such a creative process is managed? Are there differences that occur in the management approach when an interdisciplinary team is formed? Moreover, how is an interdisciplinary team established and formed? What is the role of a manager within an interdisciplinary collaboration? What is the influence of this role within an interdisciplinary collaboration? Can the management division influence the outcome(s) of a project? Is this role really necessary within an interdisciplinary collaboration? What qualities are needed when this management role is fulfilled?

In 2010, nine top sectors were assigned within the Netherlands. One of them is the Creative Industries. A report was written on the measures that are going to be taken in order to fulfill the ambition of the Netherlands having the most creative economy in 2020. “The creative industry (CCI) is getting into shape. As a

1.2 Relevance

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relatively young, dynamic creative industry, this sector has become a top sector within the Netherlands. The end is nowhere in sight. Driven by the advent of digital technology, new disciplines are created, such as serious gaming (a serious game is a game with a different primary purpose than pure entertainment. The main goal is to interact, recruit or select, teach or gain insight. A serious game may use multiple media: a paper-based board game or card game, a facilitated management game or computer game), or service design (service design is the activity of planning and organizing people, infrastructure, communication and material components of a service in order to improve its quality and the interaction between service provider and customers).

The self-consciousness in the creative industries is growing with the realization that creativity and the speed of innovation are essential to the knowledge economy. The sector can plan a vanguard here. Therefore, now is the time to tackle this chance” (Creative Economy Report, 2010 p. 5). An important statement the report makes clear is the fact that other sectors can benefit from the creative and innovative way of thinking and producing; this is exactly what is taking place in the CCI. Cultuur-Ondernemen often works in a setting where multiple disciplines collaborate. As an intermediary or manager within this context, there is relevance for them to use the findings of my research, in order to handle and work in a more efficient and effective manner. Moreover, promoting the work in interdisciplinary teams is something Cultuur-Ondernemen strives to do; the outcomes of my research can contribute to the managerial role within an interdisciplinary setting, and it will get more tangible and more evident. Both within the organization of Cultuur-Ondernemen and in their trainings and workshops given to stakeholders, the managerial and intermediary role within interdisciplinary teams can be given a framework. As cited by Jones in his article published in (Un)common Ground (2007) “The best form of knowledge transfer comes when a talented researcher moves out of the university and into business, or vice versa. The most exciting collaborations arise as a result of like-minded people getting together – sometimes by chance – to address a problem. Encouraging academics and business people to spend more time together should be a high priority” (Lambert Review of Business-University Collaboration, December 2003). This statement emphasizes the importance of an organization like Cultuur-Ondernemen. Bringing together business and creativity is something Cultuur-Ondernemen stimulates. Moreover, when creative teams are set up these often have an interdisciplinary character. By performing a case study at an organization that has experience in managing interdisciplinary collaborations, a connection can be made between

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Cultuur-Ondernemen and an organization that focuses on securing the creativity and authenticity of the creatives that are brought together. This case study will be performed at the creative platform MADE, located in the hart of Berlin. MADE connects different disciplines and challenges them to cross the borders of their own discipline, and experiment in finding interfaces between different disciplines.

In order to understand the context in which this research is performed, it is necessary to give a short explanation of what is defined by interdisciplinary collaboration, what the organization of MADE performs and what is meant with management and leadership in this relation.

Sanne Wiltink (2009) wrote a thesis (Managing Creative Teams in a new environment) on what the competence profile is of a manager within an interdisciplinary collaboration in a network organization. She stated that further research could be done in order to create a tool or multiple tools that could contribute to managing an interdisciplinary team and securing the creative process. This research can contribute in creating a better insight into how interdisciplinary teams are developed and what elements should be taken into account when managing such a process. From the data that are collected a tool can be created that could give a clear insight into these elements. The objective is to give a clear picture of all elements and aspects that should be taken into account when setting up and leading interdisciplinary collaborations.

1.3 Objective

1.4 Research Question

In this research I will strive to answer the following research question:

“IN WHICH WAY CAN AN INTERDISCIPLINARY COLLABORATION WITHIN AN ORGANIZATION LIKE

MADE BE DEVELOPED AND WHAT SHOULD BE TAKEN INTO ACCOUNT WHEN LEADING THIS PROCESS? “

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INTERDISCIPLINARY COLLABORATIONS

According to Collin (2008) interdisciplinarity can be defined as members of different disciplines working together on the same project; analyzing, synthesizing and harmonizing links between them into a coordinated and coherent whole; and working to either unify two or more disciplines or to create a new ‘interdisciplinary’ (hybrid) discipline at the interface of the mother disciplines. Creativity is stimulated when knowledge comes from other people and in different forms. As Robinson (2011) states, creativity is enhanced because we depend on knowledge and expertise from others. It comes “from stories, anecdotes, theories, systems of belief, and so on (Robinson, 2011 p. 211). This shows what the effect can be when working with multiple disciplines on a certain level. Creativity and innovation, for the most part, can therefore be found when working in an interdisciplinary team.

MADE

LEADERSHIP AND MANAGEMENT

Cummings and Oldham (1997), argue that a ‘supportive’ supervisory management style is more likely to contribute to creativity than a ‘controlling’ one since it enhances individual motivation. A controlling style is more likely to hinder individual motivation simply because it does not allow the creative process to flow (Deci and Ryan, 1985; Deci et al., 1989). As cited by Andriopoulos & Dawson (2009), “Thacker’s (1997) empirical study found that group members should see the leader as trying to be supportive of creativity; otherwise the creative process may be stifled. Leaders, it would seem, can either provide an ‘open forum’ in which members feel free to roam with new ideas and suggestions, or, conversely,

MADE was initiated out of enthusiasm to create a space, platform and network for an array of creative disciplines; this later turned into a collective. MADE is a platform that establishes a creative infrastructure for every possible creative discipline. You design your own space, to design your own art. MADE is a living platform, where you create a vision of something extraordinary and bring it to life. Three to four different DNA projects (larger projects) are set up each year at MADE. Moreover, there are often events held by external parties in the great space MADE offers.

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they can provide a tightly constructed set of rules and guidelines in which members have little latitude to express fresh thoughts” (pp. 202-203).

Within the context of this research, the leader and manager is thus seen as the person or the people that create(s) and articulate(s) a vision for the different disciplines involved in a collaboration. Moreover, the manager or leader can set a direction within a project. It is important for the leader to understand the context within which the team members work and “manage their human resources in order to support change, creativity and innovation” (Andriopoulos & Dawson, 2009 p. 208) within the collaboration. Leading a creative team involves more than a single leader or style of leadership; it involves a range of people and approaches that need to adapt and change over time to meet different contextual requirements and changing expectations and needs of all those involved in the complex dynamic process. Does this mean that there will never be an all-embracing theory of leadership?

1. In which way do interdisciplinary collaborations function within creative organizations like MADE? a. What are the characteristics of organizations like MADE? b. What are the characteristics of these interdisciplinary collaborations? 2. Which leadership elements are present when managing interdisciplinary teams within the creative industries? a. What are the specific characteristics of these management skills?

3. What leadership skills are used to develop interdisciplinary collaborations within an organization like MADE? a. What are the specific characteristics of these management skills?

4. What pattern(s) can there be seen when an interdisciplinary team is lead? a.

b. What is needed in order to improve this pattern?

1.4.1 Sub question

In which way is this pattern being used within existing interdisciplinary collaborations at MADE?

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1.5 Limitations research

Because this research was performed within a given time frame, there were some limitations that have occured in the execution of this research. The time spent in Berlin, in order to interview the team members of MADE, only was a period of five weeks, which means all interviews were planned within this time frame. Moreover, the organization of MADE was busy setting up a new project that premiered at the end of this five-week period; this is a fact that was taken into account when the interviews were taken (i.e. this busy time period can have an effect on the answers to the questions asked). Moreover, during the preparation for the visit to Berlin, interview questions were prepared for the artists that are involved at MADE. Unfortunately there was no chance to interview the artists involved in the interdisciplinary collaborations set up at MADE. A limitation is the fact that the different perspectives (both from the organization of MADE as the artists and creatives involved in the projects that are set up) were not collected. Only taking the data into account that were collected by interviewing the MADE team, doesn’t give a fully extensive perspective to the results and outcomes of my research. But it does give a good overview from an organizational perspective.

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This chapter will focus on the methods used for this research. Each method will be justified and briefly explained. Moreover, this section will elaborate on how the data were collected and what was taken into account when collecting all necessary data.

2. METHODS

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2.1 Conceptual model

Visual advise that shows the similarities and differences between the leader, team and space of interdisciplinary

collaborations

Management Product

Answer to Research Question

Analyze results Finalize conclusions Recommendations

Practical Research Interview MADE team

Context Research

Theoretical Framework

Research Question:In which way are interdisciplinary collaborations in an

organization like MADE developed, and what should be taken into account when leading this process?

Conclusions Theoretical Framework

Interview MADE Team

Definitions Research

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This research was performed in the form of a case study. This method of research was chosen in order to get a practical point of view on the subject of this re-search. A single case study can be a good research method to choose if one wish-es to gain a rich understanding of the context of a research and the process being enacted. This type of research strategy also has the ability to generate answers to the question ‘why?’ as well as the ‘what?’ and ‘how’ questions. Although there was no use of triangulation, which refers to the use of different data collection techniques within one study, this research approach gives a good insight into an organization that can be used as an example within the context of the research (interdisciplinary collaborations and projects).

The theoretical framework will form the basis of this research. An array of theories focused on the topics within this research form guidance in how the research is executed. The theoretical framework will function as a basis from which interviews will be taken. Theory on team functioning of creative (interdisciplinary) teams is explained; interdisciplinary collaborations is clarified; diversity and creativity is illustrated; working methods between disciplines; management and leadership elements when managing creative (interdisciplinary) teams is illustrated; and the working process of interdisciplinary teams is explained in more detail.

Qualitative research is not bound to the collection of numerical data. The researcher can adapt to the circumstances whilst doing research. The approximation is open and flexible; moreover one focuses on the backgrounds of the collected data. The experience is central within qualitative research methods (i.e. observation and interviews). The subjective meaning is the central point given by the researcher, which is the meaning that the researcher gives in a given situation (Verhoeven, 2007).

2.2 Research setting

2.2.2 Qualitative research

2.2.1 Theoretical framework

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Qualitative research is designed to reveal a range of behavior and the perceptions that drive it with reference to specific topics or issues. Descriptions of a quantitative approach are characterized by precision, while the descriptions of a qualitative research approach are characterized by richness. The latter justifies why there is chosen to do a qualitative research apposed to a quantitative method. The data that need to be collected need to be of a qualitative character, in order to answer the main research question.

“A case study is a research strategy whose main characteristic is that there is an intensive study of a social phenomenon with one or several research units” (Swanborn, 1996). The case study that will be done is deductive, implying the fact that this research is started with a theoretical basis, from which often a hypothesis is derived. By performing a case study a good insight can be given into how interdisciplinary collaborations work in practice. Apposed to the elaborate research that has been done on interdisciplinarity and interdisciplinary collaborations, there is a relatively small amount of research done in the form of a case study. Thus, by giving an insight into how interdisciplinary teams are developed and managed/lead within an existing organization, a clear picture can be given on the trends surrounding these topics. Moreover, theory can be put next to practice, in order to see if the theory written on these topics is seen in practice.

In order to gather data that can result in relevant and valid outcomes semi-structured interviews will be taken. “In semi-structured interviews the researcher will have a list of themes and questions to be covered, although these may vary from interview to interview” (Saunders, et al. 2009 p. 320). Semi-structured interviews are conducted with a fairly open framework, which allow for focused, conversational, two-way communication. They can be used both to give and receive information.

2.2.3 Case study

2.2.3.1 Semi-structured interviews

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Unlike the questionnaire framework, where detailed questions are formulated ahead of time, semi structured interviewing starts with more general questions or topics. Relevant topics are initially identified and the possible relationship between these topics and the issues become the basis for more specific questions, which do not need to be prepared in advance. Not all questions are designed and phrased ahead of time. The majority of questions are created during the interview, allowing both the interviewer and the person being interviewed the flexibility to probe for details or discuss issues. The choice for semi-structured interviews lays in the fact that this type of interviewing is possible within the time scale of this research. Keeping a list of topics and questions that will be used in the interviews can help the analyzing process after all data is collected.

Interviews were held with a number of team members from MADE. In total four interviews were taken. The entire MADE team consists of eight team members: TadiROCK, Nico Zeh, Alexis Dornier, Nadav Mor, Luise Biesalski, Philip Gaedicke, Ilija Bentscheff and Linn Kuhlmann. All interviews were recorded using digital technology and were professionally transcribed into an analyzable text. The original transcription is used to code the text. The words that are analyzed out of the interviews are leading and contextualizing for the research performed. A range of team members was selected to interview, in order to get a global and wide picture of how the organization functions and how the different roles and jobs are fulfilled at MADE.

WHO WAS INTERVIEWED?

WHY?

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Photo by Robert Wunsch, originally featured in BLONDE Magazine

INTERVIEWED WERE:

Nico Zeh – Co-founder of MADE & Matchmaker Nico Zeh was inspired by the massive creative energy that has been falling through Berlin and the amount of different creative people in the city. He saw so many creative ideas floating around. Having experience as an art manager in the creative field of Berlin, both he and Tadi Rock (co-founder) saw the potential creating a platform for this creative energy and all these people to meet, exchange and make things happen. Often there is a physical space and other facilities needed in order to enable ideas that are generated. Nico and Tadi wanted to create an infrastructure that works for creativity.

Nadav Mor – Project Manager MADEWith his background in marketing Nadav contributes to the online communication and marketing of MADE. The form of the website is constantly changing because of new projects and interviews with artists that are added. His collaboration with MADE started by getting to know co-founder Nico Zeh in his basketball team. By hanging around in the MADE space enough created a project management job for him within the MADE team.

Photo by Robert Wunsch, originally featured in BLONDE Magazine

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Alexis Dornier – Architectural Designer Alexis studied architecture both in Berlin and Sweden. Through his work as an architect he got in contact with Tadi Rock and Nico Zeh (founders MADE). They presented their idea of starting a collaborative space for Berlin, to eventually have a nourishing ground or platform to bring different people from different fields together. They asked Alexis to assist them in providing and building a competent space for this idea. One of the most important factors for creating the MADE space was to great a space that has a certain amount of signature and identity but also provides a white canvas for the content that is created within the walls of MADE. Next to the work at MADE, Alexis founded a product design and interior architecture company together with Ilija Bentscheff.

Linn Kuhlmann – Project Manager MADE & Fee Spirit Linn started here career with MADE during an internship. Her background in cultural sciences helped her get a focus on how you deal with art and art within organizations. MADE was an interesting place for her to combine organizational elements and creativity. Her work at MADE has been very broad: from organizational and production work to consulting on the creative collaborations that are set up at MADE. She has been able to taste different areas within the organization, such as talking to the artists that are involved in the collaborations but also being creative herself with her background in photography. Photo by Robert Wunsch,

originally featured in BLONDE Magazine

Photo by Robert Wunsch, originally featured in BLONDE Magazine

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MATERIALS

During each interview that was taken a list of questions was taken into account when the conversation started, in order to give the interviews the semi-structured character. Often the conversation elaborated on one of the questions or subjects for a while, but all questions were answered. The list of questions was developed according to theory collected on the subjects and focused on what the organization at MADE does. The resulting data was analyzed by firstly summarizing all data; categorizing all data; unitizing the data, by attaching relevant ‘bits’ or ‘chunks’ of the data to the appropriate category; and finally recognizing relationships and developing new categories between the existing one’s. Testable propositions were developed, as there was a search for revealing patterns within the data collected and recognizing relationships between categories.

PROCEDURE

Each interview took place at MADE in Berlin (Alexanderstrasse 7, Berlin). All interviews lasted between 25 – 30 minutes and were held in the informal and open setting that MADE offers. Interviews were carried out during the course of three weeks, starting from April 3rd – 17th, 2012.

Photo by Robert Wunsch, originally featured in BLONDE Magazine

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2.4 Reliability

2.3 Validity

Validity determines whether the research truly measures that which it was intended to measure or how truthful the research results are. In other words, does the research give the ability to follow up the research object? Researchers generally determine validity by asking a series of questions, and will often look for the answers in the research of others. When are the findings of this research really about what they appear to be about? This research has a valid character when the outcomes of the research give a good example and illustration of the way in which interdisciplinary projects and collaborations are set up and lead within an existing organization. Even though this research is focused on a single case, the caliber of this research lies in the fact that an example, or perhaps paradigm that might be seen in an organization that is similar to the organization used in this case study is revealed and taken as a guidance when setting up and leading interdisciplinary collaborations and projects.

Reliability refers to the extent to which the data collection techniques and analysis procedures yield consistent findings. The data collected is reliable when the measures yield the same results on other occasions; when other observers can potentially reach similar observations; and if there is transparency in how sense is made from the raw data collected. To meet the reliability measures stated above all questions in the interviews that were taken were connected to theory, which are focused on the subjects that are essential to the main research question and sub questions. The semi-structured interviews support the reliability of this research, as there is somewhat of a structure to be found in the questions and topics discussed during the interviews. The majority of the MADE team was interviewed in order to get a clear picture of the roles and team functions that exist within the team. As stated earlier, all interviews were recorded subsequently the interviews were listened to right after the interview was taken in order to pinpoint any topics that should be elaborated on more and which questions perhaps are not relevant in the context of the research.

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2.5 How to read this document

To give a clear picture of the structure of this report and the research that was performed, a brief explanation is given on how this document can best be read. The basis of this research is focused on theory gathered and is elaborated on in the theoretical framework chapter. Thereafter, the results are presented including the analysis of all data collected. A confrontation is made between the theory and collected data. In the next chapter an overall conclusion will be given on the outcomes of this research. Finally, the management product that is connected to the outcomes of this research is presented. The outcomes of the research are practically connected to a product that can be used by the creative manager that is involved in interdisciplinary collaborations or projects.

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The theoretical framework will give an insight in the theory that is written about the main subjects that are taken into account in this research. A number of topics will be discussed and explained in this chapter, namely: diversity and creativity; interdisciplinary collaborations; team functioning in creative teams and in interdisciplinary teams; different working methods between disciplines; the working process of interdisciplinary teams; management and leadership elements when managing and leading creative teams.

There is an array of theory written that focuses on the necessities and (pre) conditions for organizing teamwork and collaboration (e.g. Paulus & Nijstad, 2003; Sawyer, 2007; Reich & Reich, 2006; Wenger, 1998 & 2002). For instance Wenger (1998) sees diversity as an important measure in making mutual engagement in practice “possible and productive” (p. 75), engagement creating both collective and differential identities, roles and behavior among participants. Moreover, he states that shared accountability in a community of practice is characterized by accepting each other’s differences and the balancing of aberrant aspirations against the greater good of the enterprise. In other words, it can be said that diversity can contribute to engagement with both collective and mutual characteristics. One of the most important factors within a diverse team, preferable interdisciplinary, is the fact that there must be acknowledgement for each other’s distinctions. Ultimately, van Veggel (2005) argues that for designers and anthropologists to collaborate on product development requires “a totally new common language” (p. 9), which is to say a shared repertoire. For a new community of practice (Wenger, 1998), which can be seen as a group of people who share an interest, a craft, and/or a profession, to arise in such situations, mutual engagement and a sense of joint ownership also need to be present. When being engaged in each others thinking, information and knowledge are pushed into new territory, thus creating new perspectives and ideas on a subject or matter.

3. THEORETICAL FRAMEWORK

3.1 Diversity and creativity

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According to Csikszentmihalyi (1999) creativity ascertains a community of people who share ways of thinking and acting, who learn from each other and imitate each other’s actions. It is useful to think about creativity as involving a change in memes – the units of imitation that Dawkins (1976) suggested were the building blocks of culture. These so-called memes can also be translated into disciplines. New disciplines (or memes) can be achieved through interdisciplinarity. If one breaks barriers between disciplines, only then will creativity and innovation take place. To succeed in breaking these barriers, Csikszentmihalyi (1999) suggests to change the standards and constitute new criteria of determination of a creative and innovative [interdisciplinary] team.

A good example of a characteristic model for creativity is a model from Prof. David Perkins (1981). He calls this model the “Six-trait Snowflake Model of Creativity”. Each characteristic explains why it is necessary to have this characteristic when working in creative teams. One characteristic that is taken into account is the willingness to take risks and the ability to accept failure. This characteristic shows the value of working on the edge of a discipline in order to establish more innovative and creative solutions to a problem given. Moreover, being able to put your ego aside and having the ability not only to scrutinize and judge your own ideas or projects, but also to seek criticism in a project team is of great importance when working in a creative and diverse team. On the next page an overview of this model can be found.

3.1.1 Six-trait Snowflake Model of Creativity

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Figure 1: Six-trait Snowflake Model of Creativity

Commitment to a personal aesthetic

Inner motivation

Objectivity

Excellence in finding problems

Mental mobility

Willingness to take risks

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1. A strong commitment to a personal aesthetic

Creators have a high tolerance for complexity, disorganization, and asymmetry. They enjoy the challenge of struggling through chaos and struggling toward a resolution and synthesis.

2. The ability to excel in finding problems

Scientists value good questions because they lead to discoveries and creative solutions, to good answers

3. Mental mobility

4. A willingness to take risks and the ability to accept failure

5. The ability not only to scrutinize and judge their own ideas or projects, but also to seek criticism

6. A great inner motivation

Allows creative people to find new perspectives on and approaches to problems. Creative people have a strong tendency to think in opposites or contraries. They often think in metaphors and analogies and challenge assumptions as a matter of course.

As part of the creative quest. These people also exhibit the ability to learn from their failures. By working at the edge of their competence, where the possibility of failure lurks, mental risk-takers are more likely to produce creative results

Objectivity involves more than luck or talent; it means putting aside your ego, seeking advice from trusted colleagues, and testing your ideas.

Creators are involved in an enterprise for its own sake, not for school grades or paychecks. Their catalysts are the enjoyment, satisfaction, and challenge of the work itself.

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This model can be used when analyzing how interdisciplinary collaborations are developed. Are these characteristics taken into account when projects are set up? How can one be certain that these characteristics are present when new teams and projects are formed?

According to Geke van Dijk (2007) cross-disciplinary collaboration and knowledge sharing have always been powerful catalysts of innovation within the creative sector. In his turn, David Garcia (2007), states in (Un)common Ground that the most captivating and cutting-edge concepts no longer exist as isolated products, devices or website. He sees them as existing within a system or network, of both tangible and intangible elements that when put together, create the service consumers use and experience. It is clear, new kinds of products can no longer be made by one kind of profession. An interdisciplinary collaboration is therefore needed in order to create an overlap between disciplines and establish innovative and leading edge concepts and products. Creativity is stimulated when knowledge comes from other people and in different forms. As Robinson (2011) states, creativity is enhanced because we depend on knowledge and expertise from others. It comes “from stories, anecdotes, theories, systems of belief, and so on (Robinson, 2011 p. 211). This shows what the effect can be when working with multiple disciplines on a certain level. Creativity and innovation, for the most part, can be found when working in a team that consists of a range of disciplines and in an interdisciplinary manner. Klein (1990) explains that “Interdisciplinarity” is a synthesis of two or more disciplines, establishing a new level of discourse and integration of knowledge”. Interdisciplinary teams work using a shared conceptual framework, drawing together discipline-specific theories, concepts, and approaches to address a common problem (Bernard & Anita, 2006). Interdisciplinary teams share not only goals but also skills are shared. The combination of sharing skills and goals is a challenging fact. Searching for the values of not only sharing a common goal but also sharing each other’s skills brings working with multiple disciplines to a higher level. A new level of discourse and conversation is created and a new integration of knowledge and insight is established, because one shares not only goals. Different disciplines work together with a common goal, apposed to multidisciplinary work, during which each involved discipline has its own goal and ambition within a given project. Poggenpohl & Sato (2009) describe,

3.2 Interdisciplinary collaborations

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“disciplines that structure knowledge and maintain boundaries are seeking interdisciplinary perspectives in the search for new knowledge and solutions to persisting problems” (Poggenpohl & Sato, 2009 p. 138). This shows the trend that is evolving around and within organizations in seeking new knowledge and skills

. Hackman and Morris (1975) developed the inputs-processes-outcomes (I-P-O) model. This model helps organize and put together literature focused on creative teams. “Inputs encapsules all the necessary drivers of a team, such as its material or human resources, while processes denote the dynamic interactions among team members as they work together on the way to achieving their goal. Outcomes refer to the task and non-task-related results of a team’s operation” (Andriopoulos & Dawson, 2009 pp. 145-146).

3.3 Team functioning

TEA

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Figure 2: I-P-O model of creative team functioning

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Team inputs entails the design of a team, such as the size of team, the skills and abilities of team members and how long team members have worked to-gether. The team longevity encompasses the period during which a team works together. Out of a research performed by Katz and Allen (1982), where connec-tions were found between team longevity and innovativeness, an interesting finding was the fact that the longer teams worked together, the less innova-tive they became. Nyström (1979) and Payne (1990) suggest that there needs to be a restriction on the life of a team in order to enhance its innovativeness. A good example of an organization where the longevity is carefully managed is Lunar Design. Projects that last for several years are cut into smaller projects with clear and identifiable goals managed by a project manager. Moreover, employees are encouraged to get involved in a wide range of projects. Lastly, team members are asked to take part and contribute to projects, which do not necessarily fit into their existing portfolio of experiences; this is encouraged in order to add some new and fresh perspective to the problems they face. The encouragement to take part of projects that don’t necessarily fit in your alley of work is a good example of interdisciplinary collaborations. You cross the bor-ders of your own discipline in order to establish new insights and perspectives. The Task within this model focuses on the fact that creative work is not lim-ited to a particular occupation but can occur in a diverse range of jobs and tasks that can answer complex and ill-defined problems within any type of organization. Although the above stated theory arguments the creative capability of teamwork and collaboration, “teamwork does not always guarantee creativity and successful innovation” (Bouncken, 2009). The strong links teamwork has with creativity and innovation performance are, according to Bouncken (2009), even so important to clarify. He describes an assumed chain of effect a cultural profile and cultural diversity have on creativity and innovativeness. ‘Cultural pro-file’ and ‘cultural diversity’ can be replaced by ‘creative profile’ and ‘creative diversity’. The latter could be perceived as a given discipline. A diversity of disci-plines, and therefore diversity in the creative profile, shows that a team member could essentially have influence on creativity and innovation in the product the team fabricates. Below an example of how the assumed chain of effects accord-ing to Bouncken (2009) would look like with the implementation of a creative profile and creative diversity.

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Figure 3: Assumed chain of effects with implementation of creative profile and creative diversity

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Within this framework the quality of creativity and innovativeness is not mentioned. Hoegl and Gemünden (2001) present evidence that Teamwork Quality (TWQ) is related to the success of innovation projects. The two researchers define six components of TWQ: communication, coordination, balance of contributions by team members, mutual support, effort, and cohesion. Communication covers the frequency (time spent communicating), formalization (the degree of spontaneity with which members talk to each other), structure (communication with each other or via a mediator), and openness of the information exchange (no withholding of important information). Coordination describes whether the combination and status of individual tasks are synchronized and harmonized. By balance, Hoegl and Gemünden (2001) mean an equal number of contributions by each team member. Mutual support requires intensive collaboration and cooperation between team members. Whereas mutual support can foster innovation, competitive behavior can lead to mistrust and frustration. Effort describes how important the team’s work is considered to be in relation to other obligations of team members. Setting different priorities on the team’s task can lead to conflict among team members, whereas a high level of effort shared by all team members will contribute to TWQ. Finally, cohesion refers to the strength of the team members’ desire to remain on the team. Cohesion has three defined facets: (1) interpersonal attraction of team members, (2) commitment to the team’s task, and (3) group pride and team spirit. Just as those three factors will promote TWQ, their absence will lead to a lack of togetherness and belonging. Moreover, Hoegl and Gemünden (2001) state that the quality of collaboration in teams can be captured through the six facets of TWQ. Furthermore, TWQ shows a relationship with the success of innovative projects as measured by team performance (effectiveness and efficiency) and by personal success of team members (satisfaction and learning). Finally the significance of the relationship between TWQ and team performance varies with the perspective of the rater (team member vs. team leader vs. manager). Amabile (2002) researched the influence time has on creativity and innovation. The study suggests that time pressure affects creativity in different ways depending on whether the environment allows people to focus on their work, conveys a sense of meaningful urgency about the tasks at hand, or stimulates or undermines creative thinking in other ways. A Time Pressure/Creativity Matrix was developed.

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Creative thinking under low time pressure is more likely when people feel as if they are on an expedition. They:

Creative thinking under extreme time pressure is more likely when people feels as if they are on a mission. They:

Creative thinking under low time pressure is unlikely when people feel as if they are on autopilot.They:

Figure 4: The Time Pressure/Creativity Matrix, Amabile, Constance & Kramer (2002)

Creative thinking under extreme time pressure is unlikely when people feel as if they are on a treadmill. They:

Show creative thinking that is more oriented toward generating or exploring ideas than identifying problems. Tend to collaborate with one person rather than with a group

•

•

•

•

•

Can focus on one activity for a significant part of the day because they are undisturbed or protected. Believe tat they are doing important work and report feeling positivity challenged by and involved in the work. Show creative thinking that is equally oriented toward identifying problems and generating or exploring ideas.

Receive little encouragement from senior management to be creative. Tend to have more meetings and discussions with groups rather than with individuals. Engage less collaborative work overall.

•

•

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feel distracted.Experience a highly fragmented workday, with many different activities. Don’t get the sense that the work they are doing is important. Feel more pressed for time than when they are “on a mission” even though they work the same number of hours. Tend to have more meetings and discussions with groups rather than with individuals. Experience lots of last-minute changes in their plans and schedules

•••

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This matrix shows the influence time can have on the creative process; time pressure is a factor that can be taken into account when setting up projects where creativity and innovation have to take place. To finalize this explanation of the relationship between diversity, creativity, innovation and quality, Sawyer (2007) acknowledges that groups do better than individuals if the creative task is complex, demanding a diversity of skills, knowledge and perspective (domains) and demands improvisation. Group members should not be too familiar with each other, interaction must be challenging. He states, “if group members are too familiar with each other, interaction is no longer challenging, and group flow fades away. Only by introducing diversity, can we avoid the groupthink that results from too much conformity” (Sawyer, 2007 pp. 70-71). The domains that Sawyer (2007) mentions can be replaced with different disciplines; taking into account that disciplines have their own knowledge and perspective.

Geke van Dijk (as cited in (Un)common Ground, 2007) explains that “there are no hard rules for cross-disciplinary collaboration and knowledge sharing” (pp. 33-35). Are these rules needed in order to establish a less bumpy road as Van Dijk (2007) mentions? He explains that having more experience in working with multiple disciplines can be beneficial; it can secure the process and offer some routines. Another important note he makes is the fact that the role of intermediary or manager can often smooth this road. He explains that the success of cross-disciplinary collaboration and knowledge sharing partially lies in the engagement of the right people, and partially in focusing on the correct process. T-shaped people, as Van Dijk (2007) explains can be interesting within this context. T-shaped people can be characterized as having their own in-depth expertise in a specific discipline and also a broad general understanding of various other disciplines. This helps them to communicate and successfully collaborate with other experts. In a team of T-shaped people, everyone can discuss the broad outline of a service in terms of any discipline, and still make a specialist contribution to the project by working out details based on their own specific expertise. Such a team has enough overlap between the various experts in the team to be able to understand each other and communicate and mutually inspire, but also enough variety between the areas of special expertise

3.3.1 Team functioning within interdisciplinary collaborations

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in order to develop innovative service concepts. The lines between the various disciplines are blurry. Trying to define the borders where the expertise of one person ends and that of other starts, is not very effective. This often leads to territorial discussions aiming to defend an existing status quo. These discussions indicate an effort to control every detail and to avoid any risk. This is impossible and unnecessary, and it forms a barrier to exploration. T-shaped people can contribute to the level of trust within an organization or project team, as all team members have knowledge from different perspectives and therefore, create a level of trust.

Disciplines are subgroups of a larger academic culture, united by many overarching priorities, measures of success, and institutional norms. Yet, disciplines maintain their own specific values, processes, world-views and methods of communication. Hall, Stevens and Torralba (2002) analyzed the discourse of interdisciplinary consulting meetings. They identified discipline-specific patterns of communication and language as well as disciplinary differences that lead to conflict. One outcome of this research, was the fact that topics that ran counter to deeply held disciplinary objectives or could potentially threaten the wider network of representational technologies contributed to rifts between members of different disciplines. Cultural differences, and thus disciplinary differences can cause conflicts in interdisciplinary collaborations. Yet, the benefits of interdisciplinarity far outweigh the challenges. Effective interdisciplinary work is predicated on both a value for the diversity of perspectives and practices that each discipline can offer and awareness that each individual of a discipline cannot be characterized solely based upon their membership in a discipline. An example of a research that looked at the competences a creative needs in order to let the creative process have a natural flow is Amabile (1996). She explains in her book Creativity in context: Update to the social psychology of creativity (1996), how decisive the competence of ‘motivation’ is in a creative context. An interesting direction within the research on competences focuses on the polyphony of the creative person. Czikszentmihalyi (2004) shows that creatives have contrary characteristics and Christina Ting Fong of the University of Washington emphasizes that emotional polyphony is necessary for creativity to evolve. Taking this polyphony into account when working with multiple disciplines, is something that can make or break the creative process. A common language has to be created in order to get all involved disciplines on the same page.

3.3.2 Different working methods between disciplines

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The Actor-Network-Theory (ANT) is characterized by a multitude of interpretations and use. Although this creates uncertainty, it is also typical of this theory. The theory is constantly evolving. Both the three scientists, that can also be seen as the founders of the theory, Bruno Latour, Michel Callon and John Law, as well as others that are trying to create new insights into the theory and are constantly refining and changing it. ANT presupposes that everything keeps changing. Everything is constantly in motion. This can clearly be seen in the theory of ANT; the theory itself is always in motion as well. In addition, there are clear similarities with other concepts and ideas such as the foundation of Gilles Deleuze and Felix Guattari (1992), the sociology of knowledge from David Bloor and the process patching described by Anne Nigten (2009). ANT as a philosophy provides a picture of the world that revolves around change and relationships. In this worldview, human and nonhuman actors are not necessarily different from each other. Each actor is only one factor in relation to other actors. These relationships and the actors themselves are always subject to change. Moreover, ANT as a method is a sociological approach to studying processes. It focuses on how knowledge (or a product) is established. Within the context of this research, the focus will lie on how ANT can be used in studying processes and can therefore also be used as an analytical tool when analyzing the different working methods between disciplines. The method assumes a heterogeneous network of actors and examines how these actors develop relationships, maintain and disconnect regarding a problem. Precisely the relationships that occur within and between different disciplines can be the focus on which this theory can be used. ANT can both be seen as a philosophy and a method, but in order to use ANT as a method it is important to delineate, even though ANT argues that this should not happen.

3.3.2.1 Actor-Network-Theory

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To get a clear picture on what an interdisciplinary working process looks like, a coherent explanation of what interdisciplinarity should be given; this in turn will make a clear-cut picture of what an interdisciplinary working process might look like in theoretical terms. According to Choi & Pak (2006), interdisciplinary collaborations focus on cooperation’s between several disciplines; it involves two disciplines; members from different disciplines work together on the same project (they work jointly); all team members have shared goals; participants have common roles; participants surrender some aspects of their own disciplinary role, but still maintain a discipline-specific base; the disciplinary boundaries are blurred out; there is an integration and synthesis of an interactive collaboration; participants learn about and from each others common methodologies; epistemologically, new knowledge or perspectives and even a new discipline can be created; and the outcome is more than the sum of the individual parts. Christophe (2006) established a creative process model based on multiple theories that were created throughout the years. His Dynamic creative process model consists of 11 phases, namely: sensation, realization, preparation, saturation, frustration, intuition, illumination, evaluation, verification and acceleration.

3.3.3 What does an interdisciplinary working process look like?

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Phase 1

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Pope 2005

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Edwards 1986

Preparation

Wallas 1926 Edwards 1986

Saturation

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Bruijn 1990

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Figure 5: Dynamic creative process model (Christophe, 2006).

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different phases a creative process goes through. Moreover, knowing that there are different phases in a creative process can help when interdisciplinary collaborations are set up and coordinated. Each artist or creative that is involved in an interdisciplinary collaboration goes through these phases at different times.

Within the context of this research, it is of importance to give an explanation to the difference between management and leadership when managing or leading creative teams. According to Kotter (1996), it is leadership that creates change whilst management keeps things under control. Thus, whilst there is a need for both in organizations, leadership is the engine for transformational change, and thus creating an environment in which all employees and parties involved can work in unity. What theories exist that focus on different approaches into managing or leading creative teams? Is there a clear and distinct difference between managing a creative team and leading a creative team? Andriopoulos & Dawson (2009) mention multiple definitions of leadership; they conclude “leadership is the notion of influencing others in supporting the effective working of organizations” (p. 184). An evident difference Andriopoulos & Dawson (2009) mention between managers and leaders is the fact that “managers influence and direct others due to their recognized power, which is inherent in their position, while leaders go beyond that, by inspiring employees to work towards a shared goal” (Andriopoulos & Dawson, 2009 p. 184). If one looks at the definition made of interdisciplinary collaborations, and team functioning within interdisciplinary collaborations, sharing a common goal is one factor that is of great importance. Thus taking leadership skills into account apposed to management skills, fits better in the context of this research. What are key ingredients of leadership? As cited by Andriopoulos & Dawson (2009), Weihrich and Koontz (1993) argue that leadership consists of four main elements: (1) Power: leaders have power over their followers; (2) Understanding of people: leaders understand what motivates people. They are aware of their followers’ needs, ambitions and requirements; (3) Ability to inspire: leaders are able to envision the future of their respective industries and inspire the rest of the organization to follow their vision and achieve common goals; (4) A specific style: not all leaders share the same style. Some are more directive, others are more participative in their decision-making. Some place an emphasis on performance, others focus on motivating followers and creating cult-like environments.

3.4 Managerial or leadership elements in creative teams?

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There is a stream of studies that have identified the role of situational factors in the study of leadership; these are commonly known as ‘contingency theories’. One of these theories is the path-goal theory developed by Robert House (1971). This theory advises that the main job of the leader is to assist his/her subordinates to achieve their goals (set and agreed by both the leader and the subordinates) by providing the necessary support. The theory suggests that there are two factors that contribute to effective leadership that need to be taken into account. The first relates to subordinates’ characteristics, such as their wants, self-belief and abilities. The second refers to the working environment, consisting of elements, such as the task itself, the reward system and the relationship with colleagues (Weihrich and Koontz, 1993). Moreover, the theory suggests that there is no one best way to lead, but that the same leader can exhibit any or all of these behaviors depending on the situation. House (1971) identifies four leadership behaviors, namely directive leadership, supportive leadership, participative leadership and achievement-oriented leadership. Directive leadership is characterized by the specific direction and explicit direction given, whilst at the same time the leader focuses on work procedures to be done so that goals are achieved. The supportive leadership style considers the need of subordinates and their well-being; the leader creates a friendly working environment. Participative leadership allows followers to voice their opinion and take them into consideration before reaching a decision; this type of leadership typically increases team members’ motivation). Lastly, the achievement-oriented leadership style focuses on setting challenging goals and expects subordinates to achieve the set goals as best as they can.

Figure 6: Path-goal approach to leadership effectiveness (Source: Andriopoulos & Dawson, 2009).

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According to Tannenbaum et al (1996), the team leader normally has a potent and pervasive influence on team innovation and in particular team processes The leader brings task expertise, abilities and attitudes to the team that can influence the group design and group norms (Hackman, 1990; 1992; 2002), and, through monitoring, feedback and coaching, can help develop these processes, to assist the team to achieve its tasks (McIntyre and Salas, 1995) and to innovate. The level of team innovation is affected by the extent to which the leader defines team objectives and helps establish the team to ensure progress towards achiev-ing these objects. Making it clear who the leader is within a team is critical to the role of leadership fostering team innovation (regardless of whether leadership is shared).

Amabile (1998), Amabile et al., (1996) and Mumford, et al., (2002) describe elements that leaders need to possess in order to develop the conditions under which creativity and innovation can flourish. These eight elements contribute to leading and managing creativity and innovation, and should be taken into account when creative teams are set up and coordinated. Additionally, Cummings and Oldham (1997) claim that a ‘supportive’ supervisory management style is more likely to contribute to creativity than a ‘controlling’ one since it enhances individual motivation. A controlling style is more likely to slow down individual motivation simply because it does not allow the creative process to flow (Deci and Ryan, 1985; Deci et al., 1989). There are various authors that have described elements that leaders need in order to stimulate creativity and innovation. Below eight of these elements are explained in more detail. Expertise and technical skills focuses on the fact that leaders need to act as an idea advocates by sensing and moving ideas around the organization so that they can attract resources and gain acceptance (Cook, 1998). Second, it is necessary to evaluate ideas generated by different people within the organization. This is of great importance, in order to first identify the merit of different ideas and, second, to provide pathways for further development. Creating and articulating a vision entails the fact that good leaders are characterized by their ability to inspire others to ‘buy-in’ to their vision. A good example of an earlier mentioned organization, where this vision is created among all employees, is Lunar Design (a leading Silicon Valley-

3.4.1.1 Leadership elements according to Amabile  et al.

3.4.1 Leadership elements in creative teams

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based NPD consultancy). Leaders at Lunar Design express their vision not only effectively through formal communication channels, but also ‘walk the talk’ in supporting employees to think and act beyond current insight (Andriopolous and Gotsi, 2002). This, in turn, creates an environment where employees get a sense of ownership throughout the organization. Setting the direction Cardinal and Hatfield (2002), mention that leaders concerned with environmental scanning and who prefer to voice their opinion on what projects should be further exploited, tend to have a positive effect on creative performance. Leaders need to help teams to correctly define the task at hand and then initiate the generation of alternative ideas or concepts. Once different ideas are created and the organization agrees on the most appropriate ones, leaders then have to recognize the necessities for these new ideas to develop and the resources needed for their implementation. The role of the leader is therefore to manage resources and co-ordinate teams or groups of people to translate these ideas into products or services. This calls for an in-depth knowledge not only of the area that one works in but also a clear understanding and empathy of their organization as well as the industry in which they operate. Powers of persuasion encompasses the persuasive skills a leader often needs in order to vitally mobilize creative efforts, especially when one considers that creative people are not easily persuaded and tend to act autonomously during much of their working lives (Mumford et al., 2002). Communication and information exchange involves another social skill. Communication is vital to the creative process since the cross-fertilization of different ideas and concepts is more likely to lead to more and better ideas. Individuals tend to make more connections when they are exposed to a diverse range of sources and this will eventually lead to be more creative. Leaders of creative interdisciplinary teams need to stimulate this information exchange in order to give all team members a wide perspective on trends and tendencies within as well as outside the creative field. Intellectual stimulation points out the fact that creative employees are motivated by interesting and complicated problems that require considerable intellectual skills. Leaders of creative teams need to see the obligation for positive challenges in order to appeal to their employees’ need for self-actualization and fulfillment (Mikdashi, 1999). Leaders need to pursue projects that encourage intellectual engagement, a sense of personal achievement and a feeling of control over their professional lives. Involvement entails another social aspect that should be taken into account when leading or managing a creative team. A good tactic for effective leaders is to allow employees or team members to choose

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the projects that they wish to work on, or to strive to provide them with projects that they find attractive and challenging (Pelz, 1967). Autonomy lays on the research that has long suggested that creatives need ‘room to maneuver’. Autonomy allows creative individuals flexibility to experiment with new ideas and concepts. Too much control is often perceived by creatives as a loss of autonomy, whereas too loose controls may allow employees to focus on pursuing their own passions and measure an appropriate level of creative performance (Shalley and Gilson, 2004). To end this elaboration on leadership within creative (interdisciplinary) teams, an interesting trend and challenge is that effective leaders are often very skilful in evaluating which projects are suitable for the company’s portfolio. Leaders assess the potential of projects with the opportunities they afford for the intellectual engagement of employees. Andripolous & Dawson’s (2009) research showed that effective creative leaders tend to maintain very detailed databases, which describe the nature and duration of the projects that their employees have been involved with in the past. This shows that they can allocate potential projects that not only develop creative people’s existing skills, but also motivate them by giving them the opportunity to be involved in something new and interesting. According to Andripolous & Dawson (2009), leading change, creativity and innovation involves more than a single leader or style of leadership; it involves a range of people and approaches that need to adapt and change over time to meet different contextual requirements and changing expectations and needs of all those involves in these complex dynamic processes.

3.4.1.2 Developing creativity and innovation

Based on the research findings of West & Sacramento (2006), a number of practical recommendations were developed that can be applied in organizational settings where the intent is to encourage teams to be innovative. They formulated four main points. Firstly the team task must be involved in a whole task: one that is perceived as significant by the team and to the organization or the wider society; a task that varies in demands on each team member and requires each team member to use their knowledge and skills interdependently; moreover the task should provide opportunities for social contact between them; and a task that provides opportunities for learning, skill development and task development.

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Secondly, the group should be given time during the early stages of the innovation process, in an unpressured environment, to generate creative ideas of new and improved products or ways of working. This might mean taking time away from the usual work place or working in a relaxed, open and pleasant environment, that stimulates the creative and innovation process. Thirdly, at a later stage of the innovation process, if team members feel pressured, or uncertain, they are more likely to implement innovations, as long as extra group members create the demands and uncertainties, and the level of demand is not crippling. Lastly, group members must individually and collectively develop the skills to work well as a team, encouraging integrating group processes to ensure that they innovate effectively. This means continually clarifying and ensuring group member commitment to shared objectives; encouraging information sharing, regular group member interaction, and shared influence over decision-making; and encouraging high levels of emphasis on quality, and practical support (time, money, and co-operation) for innovation.

This theoretical basis gave insight into the theory that surrounds this research. A clear picture was outlined about the role of diversity and creativity within an organization and project team, what theory suggest as interdisciplinary collaborations, theory on team functioning was elaborated on, focusing on team functioning within interdisciplinary teams as well as the different working methods disciplines have; moreover, managerial and leadership elements within creative (interdisciplinary) teams were explained into more detail, and which leadership elements exist within creative teams according to the theory written on this topic. The next chapter will elaborate on the case study that was done at MADE in Berlin. The results of all interviews will be amplified and connected to the theory collected in this theoretical framework; this will result in an analysis that shows the similarities and possible exceptions between theory and practice as seen at MADE. After the analysis is made, the general and final conclusions will be stated in the conclusions chapter, followed by a brief explanation of the management product derived from all conclusions that are made.

3.5 Conclusion

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This part of the research report will focus on the results derived during the research period. A brief introduction to MADE will be given again, so the structure and anatomy of the organization is explained in to more detail. An explanation will be given on the way in which the interviews were performed and how the data collected was analyze. Moreover, this chapter will discuss the most important results and patterns seen in the results gathered. Relationships and trends in the results will be discussed; a clear picture will be given on the significance to the results gathered in this case study. The results presented in this section of the report are from interviews that were taken during a five-week period visiting MADE in Berlin. Four team members of the MADE team were interviewed. As stated earlier in this report, the team members that were interviewed were Nico Zeh (Co-founder of MADE & Matchmaker), Nadav Mor (Project Manager MADE), Linn Kuhlmann (Project Manager MADE & Free Spirit) and Alexis Dornier (Architectural Designer). The results will be presented according to the sub questions formulated at the start of the research.

MADE is a creative platform for artists from various fields, located in the heart of Berlin. It can be a gallery, a workspace, a studio, a stage, a laboratory, or a performance space – but most of all, it is a venue for interdisciplinary projects that invites artists to step out of their artistic routines. The goal of MADE is to enable a new kind of creative work by bringing together different artistic fields and offering a workspace and an inspiring biotope that allows new things to happen. MADE was founded by German contemporary artist tadiROCK, her partner Nico Zeh and their team in early 2010, supported by ABSOLUT Vodka, a visionary brand that fosters creative collaborations for over 30 years.

4. CASE STUDY AT MADE

4.1 A brief introduction to MADE

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In order to collect the necessary data, semi-structure interviews were taken with four team members of MADE. All interviews were transcribed and categories were derived from the theory and data collected and connected to relevant quotes. Subsequently, relationships were recognized and new categories were developed for these relationships; these relationships created patterns between the different categories. Each category is connected to a relevant sub question and the results out of the collected data will be explained. The below mentioned categories were established according to the theory illustrated in the theoretical framework and the data collected during the interviews held at MADE. Moreover, the choice for each category will be justified.

During the interviews taken at MADE, the structure of the projects and collaborations that are set up at MADE were a key topic during each interview. Moreover, theory was collected focusing on the structure of creative (interdisciplinary) teams and the structure of the process of the projects set up at MADE. Collin (2008), explains that interdisciplinarity can be defined as “members of different disciplines working together on the same project; analyzing, synthesizing and harmonizing links between them into a coordinated and coherent whole; and working to either unify two or more disciplines or to create a new ‘interdisciplinary’ (hybrid) discipline at the interface of the mother disciplines” (Collin, 2008 p. 103). This theoretical explanation of interdisciplinarity and interdisciplinary collaborations is connected to the practical insight that was gathered during the case study done at MADE.

A big part of the theory collected focuses on diversity. According to multiple authors (e.g. Paulus & Nijstad, 2003; Sawyer, 2007; Reich & Reich, 2006; Wenger, 1998 & 2002) diversity plays a big part in the creative and innovative character of (interdisciplinary) teams. It explains the value of working in a diverse team and what diversity can accomplish when seeking creativity and innovation.

4.2 Categories created according to theory & data collected

1. STRUCTURE AND BLUE PRINT

2. DIVERSITY

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Having a flexible attitude when working with different disciplines is a fact that came back in all interviews taken. In the theory collected on team work and leadership within (interdisciplinary) creative teams, flexibility was not mentioned as much as it was during the interviews taken at MADE. Does flexibility have such a big influence on leading an interdisciplinary team into the right direction?

Hoegl & Gemünden (2001) explain the effect of Team Work Quality (TWQ) in correlation to creativity and innovation. Two of the six components they describe to contribute to TWQ are effort and cohesion. TWQ is connected to the way in which the process is seen and followed. MADE focuses on the process in all projects that are set up; the process is often more important to the team and the artists involved than the final result.

In all interviews taken awareness was a term that came back multiple times. Being aware of your role within a team and being aware of the process the artists go through at MADE is a clearly present factor in all projects set up at MADE.

One of the components Hoegl & Gemünden (2001) mention in their TWQ-theory is communication. More specific, they mention the frequency in which communication around a project and team should take place, the balance between formal and informal communication, the structure communication should take place, and lastly the open character of the communication in teams. In interviews taken the importance of transparent communication was mentioned in a couple of interviews.

Having an open and tolerant attitude is a characteristic that was mentioned in many of the interviews taken at MADE. Moreover, Perkins (1981) describes characteristics for establishing creativity. The Six-trait Model of Creativity explains why it is necessary to have certain characteristics when working in a creative team. One of the characteristics is the ability to put your ego aside and having the ability not only to scrutinize and judge your own ideas or projects, but also to seek criticism in a project team is of great importance.

3. FLEXIBILITY

4. PROCESS

5. AWARENESS

6. COMMUNICATION

7. ATTITUDE

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The I-P-O Model of Creativity & Team Functioning is a good example of a model that focuses on the design of a creative team and the team functioning. The model is built up out of different components that all give an image of the team functioning of (creative) teams. Characteristics such as team inputs and team longevity are taken into account in this model.

This category is not necessarily a characteristic that this research is focused on, but because the working environment at MADE plays such a big part in the establishment and production of the projects, it is necessary to briefly state the effect of an open and free working environment in the context of this research. The space in which MADE sets up the projects and finally presents them, has a clear influence on the outcomes of the projects, and can therefore plays a key role in the development of interdisciplinary collaborations.

This category is also derived from the I-P-O Model of Creativity & Team Functioning. The model explains that creativity is enhanced when team members are asked to take part and contribute to projects, which don’t necessarily fit in their portfolio. During the interviews taken at MADE the flat structure of the MADE team came across clearly, and the fact that all team members contribute to all projects set up at MADE ensured this category to be taken into account.

Cummings & Oldham (1997) claim that a supportive leadership style contributes to creativity in and innovation apposed to a controlling leadership style. During the interviews taken at MADE one of the main topics discussed was leadership and which competences or styles you need in order to lead the projects into the right direction at MADE. The four leadership behaviors House (1971) describes are directive leadership, supportive leadership, participative leadership and achievement-oriented leadership. The theory suggests that there is no one best way to lead, but that the same leader can exhibit any or all of these behaviors depending on the situation.

8. TEAM FUNCTIONING

9. (WORKING) ENVIRONMENT

10. DIFFERENT PERSPECTIVES

11. LEADERSHIP STYLES

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Trust was a topic that came back during all interviews taken at MADE. Can T-shaped people can contribute to the trust level in an organization or project team? Van Dijk (2007) characterizes T-shaped people as having their own in-depth expertise in a specific discipline and also a broad general understanding of various other disciplines. This fact gives a level of trust within a team and organization.

MADE sets up, curates and leads the development of new interdisciplinary projects and collaborations within their own space. MADE has been doing this successfully for the past two years, and there is somewhat of a structure to be seen in the construction of the projects. The teams that are formed for each project mostly consist of two to three different disciplines or artists. Often artists themselves go to MADE and inquire if there is a possibility to collaborate with MADE, but there are also times when MADE curates a project themselves and looks for the right ‘match’. This all goes in proper consultation with all team members; all employees are involved in each project evenly and can contribute to each project and collaboration as much as they want. Depending on what type of project is set up and with what type of artists, a team member from MADE is asked to take some lead in the development of the project and keep contact with all people involved.

What characterizes the projects and collaborations set up at MADE? Even though the projects that are set up are clearly different from each other (different artists, different process, different outcome), there are some distinctive characteristics that come back when projects are set up at MADE, e.g. the artists involved are always from different disciplines and there is a certain time period in which the actual practical preparations take place of the projects. Choi & Pak (2006), claim that interdisciplinary collaborations focus on cooperation’s between several disciplines. Moreover, these collaborations involve two disciplines; members from different disciplines work together on the same project (they work jointly); all team members have shared goals;

12. TRUST

4.3 Interdisciplinary collaborations within creative organizations like MADE

4.3.1 Characteristics of the projects set up at MADE

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participants have common roles; participants surrender some aspects of their own disciplinary role, but still maintain a discipline-specific base; the disciplinary boundaries are blurred out; there is an integration and synthesis of an interactive collaboration; participants learn about and from each others common methodologies; epistemologically, new knowledge or perspectives and even a new discipline can be created; and the outcome is more than the sum of the individual parts. At MADE all the above stated characteristics according to Choi & Pak (2006) were clearly seen in the collaborations set up. During the time spent at MADE a new project was in the making and premiered. FUTURE SELF studies human movement; what it can reveal about identity and the relationship we have with our self-image. The installation mirrors our movement in light, creating a three dimensional, ‘living’ sculpture from the composite gestures of those who surround it. FUTURE SELF was created through a collaboration between a media artist collective rAndom International, a choreographer Wayne Mc Gregory and a composer Max Richter. There is a clear diversity in the different disciplines involved in this project, as well as the jointly matter in which they worked. Through the course of 3 months there were active preparations for this project; these preparations started in London and moved to Berlin in the week before the premier. Linn Kuhlmann mentioned that there is an emotional curve that often is seen in the projects that are set up at MADE. The artists involved in collaborations often start with a euphoric feeling; this later turns into frustration and a lost feeling and finally results in being happy with the end result again. These answers can be connected to Christophe’s (2006) theory, The Dynamic Creative Process Model he developed out of a range of theories he collected. This Dynamic Creative Process Model consists of 11 phases, namely: sensation, realization, preparation, saturation, frustration, frustration, intuition, illumination, evaluation, verification and acceleration.

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Figure 8: Dynamic creative process model (Christophe, 2006).

Phase 1

Sensation

Pope 2005

Phase 2

Realization

Edwards 1986

Phase 3

Preparation

Wallas 1926

Phase 4

Edwards 1986

SaturationPhase 5

Frustration

Vanosmael &

de

Bruijn 1990

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Phase 6

Frustration

Wallas

1926

Czikszent-

mihalyi

1996

Phase 9

Evaluation

Phase 10

Wallas

1926

Verification

Phase 7

Intuition

Policastro

1995

Phase 8

Wallas

1926

Illumination

Christophe & D

uijns

2006

Phase 11

Acceleration

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This creative process model gives a clear picture of the different stages a creative process has. Moreover, it gives a clear image of the different stages each artist can be in during the creative process; MADE is aware of this fact. The different perspectives of all team members contribute to the projects that are set up, because the team ‘understands’ how the artists work in an interdisciplinary setting. One of the reasons the team understands how the artists work in this interdisciplinary setting is because the MADE team also has an interdisciplinary character. The interdisciplinary appearance of the MADE team can give an insight into the different stages a creative process is built of.

This case study will give a practical insight into which leadership elements are present within an existing organization that sets up interdisciplinary projects.

Amabile (1998), Amabile et al., (1996) and Mumford, et al., (2002) describe elements that leaders need to possess in order to develop the conditions under which creativity and innovation can flourish. The eight elements are expertise and technical skills, creating and articulating a vision, setting the direction, powers of persuasion, communication and information exchange, intellectual stimulation, involvement and autonomy. These eight elements focus on leading creative teams, also teams in which multiple disciplines are involved. The projects that are set up at MADE need to be set up in a way that all team members understand each others vision and are on the same page when collaborating. When answering the question what leadership skills are needed in order to get artists out of their comfort zone and on the same page as all other artists involved, Linn Kuhlmann explained what the importance is of keeping an eye on the creative process between the artists involved. “During a two or three month period we always have to check on the artists and remind them to not fall back into their old and familiar rhythms and patterns. At MADE we focus mostly on the process of a project, and being aware of the fact that anything can change during the project period, we have to keep an eye on the working process of the artists” (L. Kuhlmann, personal communication, April 4, 2012).

4.4 Leadership elements in interdisciplinary collaborations in an organization like MADE

4.4.1 Eight leadership elements

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According to Andripolous & Dawson (2009), leading change, creativity and innovation involves more than a single leader or style of leadership; it involves a range of people and approaches that need to adapt and change over time to meet different contextual requirements and changing expectations and needs of all those involves in these complex dynamic processes. MADE’s core team consists of seven people. When a project is set up at MADE, all members are involved in the process. Moreover, there is no clear management team or leader at MADE; all team members contribute to the management process. Each project is looked at individually to see which team members expertise fits best to take the lead in the process. Just as Andripolous & Dawson (2009) amplify, a range of people is involved in the creative projects that are developed. The eight elements that contribute to creativity and innovation that Amabile (1998), Amabile et al., (1996) and Mumford, et al., (2002) mention, also emerged during the interviews with the team members of MADE. Each element will be discussed into more detail, and a connection will be made between the theory and the results of the interviews.

Theory (Eight elements that contribute to creativity and innovation)

Interviews at MADE

1. Expertise and technical skills – focuses on the fact that leaders need to be able to move ideas and concepts that are developed around the organization so that they can attract the necessary recourses and gain acceptance from all team members and artists involved.

1. In the projects that are set up at MADE the expertise of the team members is used excessively in order to gather the right recourses.

2. Creating & articulating a vision – good leaders characterize themselves by their ability to inspire others to ‘buy-in’ to their vision. All employees are involved in the creative process not only by formal communication channels, but also by stimulating each other to ‘walk the talk’.

2. The atmosphere at MADE is clearly one where all team members are involved in the process of the projects that are set up. This creates an environment where employees get a sense of ownership; this contributes to the transfer of ideas and visions all team members have at MADE.

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Theory (Eight elements that contribute to creativity and innovation)

Interviews at MADE

3. Setting the direction - Leaders need to help teams to correctly define the task at hand and then initiate the generation of alternative ideas or concepts. The role of the leader is to manage resources and co-ordinate teams or groups of people to translate these ideas into products or services. This calls for an in-depth knowledge not only of the area that one works in but also a clear understanding and empathy of their organization as well as the industry in which they operate.

3. Each project that is set up at MADE involves all team members, but there is always one team member that has an expertise that fits well with the project that is being developed. This team member can create the direction in which the project will be heading, but the value of the process is not forgotten: all team members are aware that anything can change in the course of the development of the project. Moreover, understanding the artists and the people involved in the projects is an element that is taken into account when creating an environment in which creativity and innovation can be established.

4. Power of persuasion - encompasses the persuasive skills a leader often needs in order to vitally mobilize creative efforts, especially when one considers that creative people are not easily persuaded and tend to act autonomously during much of their working lives (Mumford et al., 2002).

4. At MADE all team members are aware of the fact that when working with artists it is important to have persuasive skills that can show all involved parties the right direction. Both the MADE team as the artists involved in the projects that are set up lead each other into the right direction.

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5. Communication & information exchange - Communication is vital to the creative process since the cross-fertilization of different ideas and concepts is more likely to lead to more and better ideas. Individuals tend to make more connections when they are exposed to a diverse range of sources and this will eventually lead to be more creative. Leaders of creative interdisciplinary teams need to stimulate this information exchange in order to give all team members a wide perspective on trends and and tendencies within as well as outside the creative field.

Theory (Eight elements that contribute to creativity and innovation)

Interviews at MADE

5. During all interviews communication was mentioned to be one of the most important factors when setting up projects at MADE. Having good communication skills is vital for the projects that are established at MADE. Good communication skills entail being transparent in your communication and always interacting with colleagues.

6. Intellectual stimulation – creative employees are motivated by interesting and complicated problems that require considerable intellectual skills. Interdisciplinary collaborations already have a complex and heterogeneous character to them, which automatically makes these types of projects more interesting and challenging.

6. All projects that are set up at MADE are interdisciplinary. There is always a clash created between different disciplines and working fields. This often creates a challenging and visionary collaboration and therefore challenging leadership skills.

7. Involvement - A good tactic for effective leaders is to allow employees or team members to choose the projects that they wish to work on, or to strive to provide them with projects that they find attractive and challenging (Pelz, 1967).

7. As stated earlier, whenever a new project is set up at MADE, all team members are involved in the process. Moreover, the team is arranged differently during each project. This creates a sense of involvement and indulgence in a project.

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Theory (Eight elements that contribute to creativity and innovation)

Interviews at MADE

8. Autonomy - Autonomy allows creative individuals flexibility to experiment with new ideas and concepts. Too much control is often perceived by creatives as a loss of autonomy, whereas too loose controls may allow employees to focus on pursuing their own passions and measure an appropriate level of creative performance (Shalley and Gilson, 2004).

8. Too much control on the process is something all team members at MADE are aware of not to do. Because the team consists of some artists themselves, there is knowledge and experiences present about the influence too much control can have on a creative process: it cannot flourish. At MADE they try to find a balance in no control and somewhat of control on the creative process, because there are certain standards the projects have to reach.

According to Andripolous & Dawson (2009), leading change, creativity and innovation involves more than a single leader or style of leadership; it involves a range of people and approaches that need to adapt and change over time to meet different contextual requirements and changing expectations and needs of all those involves in these complex dynamic processes.

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4.4.2 Path-goal theory

Robert House (1971) developed the so-called Path-goal theory. This theory advises that the main job of the leader is to assist his/her subordinates to achieve their goals (set and agreed by both the leader and the subordinates) by providing the necessary support. The theory suggests that there are two factors that contribute to effective leadership that need to be taken into account. The first relates to subordinates’ characteristics, such as their wants, self-belief and abilities. The second refers to the working environment, consisting of elements, such as the task itself, the reward system and the relationship with colleagues (Weihrich and Koontz, 1993). Moreover, the theory suggests that there is no one best way to lead, but that the same leader can exhibit any or all of these behaviors depending on the situation. House (1971) identifies four leadership behaviors, namely directive leadership, supportive leadership, participative leadership and achievement-oriented leadership. At MADE there is a combination to be seen of all eight leadership styles. There is mainly a supportive and participative leadership style to be seen within the organization of MADE. As a leader and founder at MADE Nico Zeh mentions that building a structure is of great importance. Moreover, you need the right people in the right position: the most qualified people are put in this position. As a leader you need to be the captain of the ship and show the right direction. An interesting fact is that this type of leadership lies for a great deal on trusting the process and trusting the team. Enough trust will bring all team members in the right direction, but there is always the necessary focus and framework needed in order to create a structure. For each project another team member takes the lead within that given project. This choice is based on the content of the project and the expertise of the team member. The way in which the leaders of each project are chosen is a good example of participatory leadership: it allows followers too voice their opinion and take them into consideration before reaching a decision. In other words: the team’s opinion always plays an important role in the development of the projects set up and the leadership elements that are connected to each project.

FUN

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S OF TH

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SUBO

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Figure 9: Path-goal approach to leadership effectiveness (Source: Andriopoulos & Dawson, 2009).

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4.5 Patterns that are seen when an interdisciplinary team is lead at MADE

Whenever projects are set up in an organization, it being creative or non-creative, there is always a pattern to be seen in the structuring of the or-ganization. At MADE each project that is set up has a different charac-ter, but even though there is a distinct difference between all projects (different artists, different process, different outcome), there is a com-mon path that is followed in order to reach a certain goal in a given time. Nadav Mor (Project Manager) emphasizes the fact that there is no blue print used for the projects that are set up at MADE. “There are no exact steps that are taken for each project. That is the beauty of this whole thing: you can’t take one blue print of one project and say, “oh, this is how it happened before, so this is how it is going to happen again” (N. Mor, personal communica-tion, April 4, 2012). During the interviews the word ‘blue print’ was used a lot to explain that there is no necessary structure the MADE team works with, but there are interesting facts that are often seen in the process of each project at MADE. Linn Kuhlmann (Project Manager) explained that there is a certain emo-tional curve that she sees in many of the collaborations. It starts with euphoria that turns into frustration and a lost feeling and finally results in being happy with the end result again. Even though this curve can’t be put on every project that is set up within MADE, it is something that returns in many of the collabo-rations. Another pattern that the MADE team notices is the fact that what is thought of at the start of a project never ends up being the end result. Nico (co-founder MADE) mentions that focusing on the moment is a main focus for him in life. When you work interdisciplinary there is no blue print that you can use, there is nothing that you can use as a guideline; there is no need to think about this, because always something new that does not yet exist is created at MADE.

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A more tangible structure that is seen when projects are set up and developed at MADE is a pattern of moments that comes back, namely: (1) an idea is developed; (2) the concept around this idea is created; (3) a timeline for the project is set up; (4) a budget is made for the project. The first step (developing an idea) can take many months, which eventually ends up in the evolvement of a concrete concept that will be exploited over a time period of two to three months. Alexis Dornier (Architectural Designer) points out the fact that even though a pattern has evolved through the projects at MADE; this pattern should also be broken one day. This pattern is something that the MADE team is aware of, and sees as a burden for the creativity and flow of a project. If you start collaboration with total objectivity and an open mind for anything to happen, more creative and innovative results will appear. This is what the MADE team encourages the artists that are involved in the projects to do as well. This way all people involved in the project can learn from one another and create something that lays on the edge of all disciplines involved. MADE describes themselves as a type of diplomat. It is about negotiating the content of the projects and the different points of view with the artists involved. It is about bringing together two parties and being the intermediary in between these parties.

This chapter presented the results of all interviews taken at MADE. Moreover, the literature gathered was held against the results collected in order to give a clear image of the similarities and differences between the two. All patterns that could be seen were presented and an analysis was given. Out of the interviews and theory gathered a list of twelve categories were formulated, namely: (1) Structure & blue print, (2) Diversity, (3) Flexibility, (4) Process, (5) Awareness, (6) Communication, (7) Attitude, (8) Team functioning, (9) (Working) environment, (10) Different perspectives, (11) Leadership styles and (12) Trust. In response to these categories, there are a few conclusions that can be made that were the strongest to come out of the data collected. Firstly, it was clearly stated by the interviewees that too much structure in an organization that sets up interdisciplinary projects and collaborations could have a negative effect on the open character of the projects. If there is just enough structure, all possibilities are taken into account. Secondly, diversity is a term that came forward in all interviews taken. The MADE team is diverse; this is a conscious decision when the team was formed: diversity contributes to the

4.6 Conclusion

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level of creativity and innovativeness. Thirdly, the MADE team always keeps the creative process in mind; the process is respected and carefully followed. Trust plays an important role in all projects that are set up, and this level of trust contributes to the respect to the creative process. Both trust in the process as in the artists and people involved in the collaboration. Fourthly, there is a clear combination of leadership styles to be seen at MADE. Mostly a supportive and participatory leadership style is used. The team’s opinion plays an important role in the development of new projects. Fifthly, there is somewhat of a pattern to be seen in the projects that are set up. At the start of a project there is always a clear idea; this idea is further developed. From this idea a clear concept is created, and from this concept a timeline and budget are built. Finally, MADE sees themselves as a diplomat and mediator between the content of the projects and the different points of view of the artists and people involved. MADE brings together two (or more) parties and is the intermediary between these parties.

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5. CONCLUSIONS

This chapter will present the strongest and most important outcome of this case study and relationships and trends in the results are discussed. Moreover, new observations, interpretations and new insights that have resulted from this case study in comparison with the theory collected will be presented. A clear picture will be given on the significance to the results gathered in this case study. Each of the twelve categories that were formulated out of the results of this research will be further discussed and the most important outcomes will be stated. Moreover, three main categories derived from the final twelve categories that were created explain the three central points that should be taken into account when setting up an interdisciplinary team. Namely, SPACE, TEAM and LEADER. These three elements stand for the basic fundaments that should be taken into account when working interdisciplinary.

SPACE

TEAMLEADER

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All interviews and theory put next to each other concluded into twelve categories that can effectively help develop and lead interdisciplinary projects. Each category will be explained into more detail and a clear illustration is given on how it can contribute to developing and leading interdisciplinary projects. These twelve elements can give an insight in the process of setting up and leading interdisciplinary teams. By demonstrating a fair amount of structure in the establishment of interdisciplinary projects and collaborations a guidance can be given that can help set up these projects. The twelve elements presented should not be seen as a tool to be able to establish an environment and organization that can be used in any given interdisciplinary setting. It can however be seen as an example and pathway that guides you in a more trusted environment and organization.

It is necessary to have somewhat of a structure when you are setting up interdisciplinary projects. Too much structure, however, can result in no or a lower level of synergy and overlap or crossover that can exist between the artists involved in the collaboration. This level of structure can be established if there is a clear division of tasks within the team. To create the level of synergy that is necessary for all disciplines to feel comfortable within a team, it is necessary to be aware of the influence too much structure can have on the (creative) process. If boundaries are set too much, the people involved in the collaboration can get the feeling there is no freedom in creating something that perhaps exceeds the boundaries given in the first place.

5.1 Twelve categories of effectively developing and leading interdisciplinary project

5.1.1 Structure & blue print

At the start of this research the relevance for this case study was given, by explaining the trend evolving around working in an interdisciplinary manner. Other sectors can benefit from the creative and innovative outcomes of the CCI. MADE connects different disciplines and challenges them to cross the borders of their own discipline, and to experiment in finding interfaces between different disciplines. Results of these unique and uncommon collaborations contribute to the level of creativity that you can find when looking for an exclusive and incomparable solution to a given problem.

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When setting up interdisciplinary collaborations, it is essential to also have an interdisciplinary team that builds these collaborations. Diversity and different perspectives ensure there are different ‘languages’ spoken, and that all people involved are on the same page. Speaking different languages is of utmost importance when setting up teams with people from different backgrounds and with total different characters. The diversity of knowledge and understanding from the people involved, contributes to the level of creativity.

As a leader of an interdisciplinary collaboration it is necessary to have a flexible attitude. You have to be able to switch perspectives quickly, but also have to be able to trust the process. Different people have different perspectives, which also brings along the fact that all people work differently. Being flexible when working with different disciplines is therefore a basic element that should be taken into account in order to secure the creative process, and give all people involved the space that they need. Moreover, a semi-structured planning is necessary to set up projects of a certain level. This semi-structured planning can contribute to the level of organization that is necessary within the set up of a new project. This planning should take basic elements that come into the picture of setting up any new project, namely: starting with an idea, developing a concept from this, establishing a timeline, and a budget that fits the standards of the project. The better the preparation in the concept phase, the better the result is and the more flexible you can be when setting up an interdisciplinary collaboration.

When setting up interdisciplinary projects it is important to see the process as the center point in the collaboration. The process is where the magic happens. The movement in which a project alters itself is the most valuable element when working interdisciplinary. All people involved learn from each other and should acknowledge the fact that they learn while working on an end product. Therefore, it is important to focus on the process apposed to only the outcomes of a project.

5.1.2 Diversity

5.1.3 Flexibility

5.1.4 Process

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As a leader of an interdisciplinary collaboration it is important to be aware of the different phases of a creative process. Often there is an emotional curve that can be seen in the projects set up at MADE, and as a team it is important to be aware of the creative process and emotional power artists can have [when working together]. This awareness can give an example to all people involved in the collaboration and build an environment where awareness for creativity and inventiveness is respected and appreciated.

An open and free manner of communicating is of fundamental importance when working in a diverse and interdisciplinary team. Because all artists have different (creative) backgrounds, the leader needs to be able to speak different ‘languages’ to make sure all people who are involved in the collaboration are on the same page. As a leader you should ask questions and let everyone ask each other questions. A transparent manner of communicating is necessary in order to get all people involved notified in a consistent and pleasant manner. Honesty and sincerity in communicating contribute to the level of trust and respect within an interdisciplinary team.

As a leader and participant of a creative and interdisciplinary team it is important to keep an eye on the attitude of the people involved in the collaboration. An open and tolerant attitude is necessary at all times during the creative process of a project. This attitude can contribute to the open and progressive character that is needed when working with multiple disciplines in an interdisciplinary team. Stand open for (positive) criticism from team members, so that all people involved can learn from each other and step out of their comfort zone.

5.1.6 Communication

5.1.5 Awareness

5.1.7 Attitude

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The space and environment where interdisciplinary projects are set up have to be open and changeable. A creative space contributes greatly to the creative process, and the leader must be aware of this fact. An open and free atmosphere can enrich the creative process and establish the circumstances that are necessary when working in an interdisciplinary team. Offering a white canvas on which the disciplines involved can create anything the crossover discovers, can make a difference for the outcomes of a project.

When working in an interdisciplinary setting, it is necessary to take all different perspectives that are present in the team into account. As a leader of such a team you pull artists out of their comfort zone: the disciplines involved should stand open for a change in their familiar way of working. A flat organizational structure can contribute to the creative and innovation process of an interdisciplinary project; because there is no strict hierarchical structure in the way work is performed. Therefore, this flat and free organizational structure can contribute to the openness that is necessary when motivating artists to step out of their comfort zone, and taking all perspectives that are present into account.

When new interdisciplinary projects are set up, it is important to take enough time for the creative process. The period during which the idea turns into a concept, and the time during which the concept is developed into a concrete plan is a very important and fruitful period. As a leader you have to be aware of this fact and set an example for the rest of the team. Monitor the way in which the team functions during the entire course of a project. Enough time has to be reserved for the concept development phase, as well as the implementation and execution phase

5.1.8 Team functioning

5.1.10 Different perspectives

5.1.9 (Working) environment

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A supportive leadership style is necessary when a creative (interdisciplinary) team is lead. This leadership style takes the needs and well being of all people involved into account. The leader creates a friendly environment; this environment is necessary when working with different disciplines, because a trustworthy environment should be created. This leadership style can contribute to this authentic and honest way of working; it establishes the preconditions needed for different disciplines to work with each other. This way a fruitful and flourishing climate is created when new (interdisciplinary) collaborations are set up.

The team that sets up interdisciplinary projects should trust the creative process. If the team and leader of the team have the experience and expertise from different perspectives (this is also known as being a T-shaped person), this can contribute to the level of trust in the collaboration. Being a specialized generalist, and having a wide perspective on creativity and creative processes creates an environment where all people involved in the creative process feel at ease and trust one another in what is being created. As long as there is trust amongst each other, and the process is seen as the middle point and focus in an interdisciplinary collaboration, the outcomes will always be of high quality.

The twelve steps stated above can contribute when setting up interdisciplinary collaborations and teams. Moreover, the leader within this setting is guided in finding a suitable way in which these teams are formed and lead. Next to the leadership role, the team and space play an important role in the establishment of such partnerships. The TEAM, LEADER and SPACE are the three elements that are central when interdisciplinary teams are set up at MADE, and this can thus be seen as a guideline when setting up interdisciplinary collaborations within the CCI. Because this research was based on a case study it is important to take into account that the practical element that is derived from the interviews taken, is based on the organization at MADE; there are of course many other methods

5.2 A roadmap for interdisciplinary collaborations

5.1.12 Trust

5.1.11 Leadership styles

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of setting up interdisciplinary collaborations. The outcomes of this research can thus be seen as a guideline and roadmap when working in interdisciplinary settings, and not as a method that stands above all other systems and rituals when setting up and leading interdisciplinary teams and collaborations.

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The outcomes of this research have resulted in the form of a management product: a practical translation of the general conclusions of this research. This management product can be used when a creative manager or leader is involved with multiple disciplines and is in need of a roadmap or guideline that can help establish the necessary conditions in such interdisciplinary teams and collaborations. This management product has multiple dimensions that all contribute in their own way to a coherent whole.

The general outcomes and conclusions of this research will be presented in a visually strong manner. Visualization is an important factor in this sense, because it can give a clear explanation of the outcomes of this research in a creative and original way. This management product was developed together with a graphic design collective Jan Piet Joris & Corneel. The three girls that form this collective (Anne van Iperen, Rianne Blekkenhorst and Margriet Hogenbirk) have a distinctive way of working: often there is a strong interactive element to the designs they make. The poster they designed that is connected to the outcomes of this research also has an interactive and strong esthetic character to it. The interactive character of this data visualization is the fact that this poster is also used as an invitation to the defense for this research. The poster can be folded to the size of an A5 sheet of paper, so that it can easily be sent. The receiver opens the poster by folding it in a certain order, and reads each part of the poster (from research question to the entire view of the poster) so that the outcomes of this research are presented in a clear and understandable way. Working with graphic designers in this way is a conscious choice: it is in some way an interdisciplinary way of working. Connecting the data that was collected to the translation of graphic design gives this research another dimension.

6. MANAGEMENT PRODUCT

6.1 Data visualization in the form of a poster

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6.1.1 Purpose

This poster can be hung wherever either the leader of an interdisciplinary team or any of the team members would like to refer to the twelve elements that show the pathway of setting up and leading interdisciplinary teams and collaborations. This poster has a strong esthetic character, and perhaps doesn’t have much of practical use. Nevertheless, this poster shows the value of visualizing information that for many was first dry and hard to understand into something creative and visually appealing. Moreover, this poster symbolizes working interdisciplinary, as this was the way in which this poster was created.

Visualizing the outcomes of this research has taken a clear position in this report. The graphic and imaged portrait of the results that were acquired out of this research gives the art manager and creative in the context of this research a different and more tangible product then just written words. That is why the choice was made to develop a poster that shows the outcomes and conclusions of this research. The front and back of this poster are divided into three diamond forms; these three diamonds stand for space, team and leader. The front of the poster shows the front of the diamonds and the back of the poster reveals the back of the diamonds. Together they form a whole. The team, leader and space are connected to each other and together form the pack. The facets of the diamonds stand for the diversity, wherein a diamond also stands for something undefeatable; this refers to the ideal situation for a good establishment of an interdisciplinary team and the way in which it should be lead. Moreover, the diamond shines all colors of the rainbow when light shines through, which refers to the diversity needed within a team. Within the gold lines, a wolf head can be found. There is a reason why these lines have a gold color: it stands for a golden collaboration and a golden ratio. Moreover, the head of the wolf is a symbol for the leader within the pack. The title is split in two: the front has the first part of the title of this research and on the back of the poster the second part is printed in a mirror image. The paper of this poster will be of very light thickness, so that the text can lightly shine through. The text is mirrored, except the words ‘wolf’ and ‘pack’. The transparency of the paper and the fact that there is a front and back to this poster, communicates the openness and accessibility of an interdisciplinary collaboration.

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The three elements that are added to the poster are connected in a distinct way to the shapes that are seen in the poster. Below an explanation for each element (space, team, leader) is explained into more detail. The final version of the poster can be found in the appendix.

SPACE

Creating a changeable and open space, in which interdisciplinary collaborations are set up, is a necessary factor. The transparency and front and back of this poster communicate the openness and accessibility that is necessary in these collaborations.

TEAM

Diamonds stand for diversity and the undefeatable team that comes out of this diverse connection of disciplines. The colors of the rainbow that shine through the diamonds refer to the diversity that contributes to the creativity of an interdisciplinary team and the rhythmic process a team goes through.

LEADER

The wolf is the leader of the pack and situated in the center. All diamonds form an entity, and this coherence is only created when the team, leader and space are connected to each other and together form a unity. This pack is always aware of the different phases in a creative process; the entire picture of this poster represents the diverse range of phases all people involved can go through. Flexibility and trust in the process contribute to the level of creativity.

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6.2 Interaction with app for iPhone and iPad

To add a digital and more interactive element to this management product, a prototype for an application that can be used on either the iPhone or iPad will be developed. This app can be seen as a project management tool that can show the pathway of an interdisciplinary collaboration. All team members can score each other according to the twelve elements that were derived from this research. This application is connected to social media websites such as Facebook, Twitter and LinkedIn, so that others can see how you are scored according to each element. FOLLOWING THE PROCESS

Within a team all team members can upload audio and video captions of what they are working on, so that the entire team can follow the process of each team member. If some team members live in different cities this can be very useful, as everyone involved can be part of the process and keep each other up to date in an easy and practical way without being in the same space. This also refers to one of the outcomes of the research: having a changeable and flexible workspace. A lot of collaborations are taking place over a long distance, which means there is not always physical contact. This can also been seen as a flexible and changeable working space, as the place where each team member works can change each day.

ENDORSING TEAM MEMBERS

This application has a way in which each team member can endorse each other according to the twelve elements; future potential collaborators can subsequently see this. You can pick the people you would like to work with according to their score on certain elements. If you are looking for someone that can lead the process of an interdisciplinary collaboration, perhaps someone that got a high score on the element Leadership Style could be perfect to connect to your next project. Next to the score in the form of points (1-10), each team member has the ability to add personal feedback and justify why that score was given on the specific element. This aspect of the app gives another dimension to the level of communication and assessment value each team member can have during the collaboration. Each team member gets constructive feedback according these twelve elements.

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In order to give each project team the ability to customize the twelve elements according to their collaboration, the app asks you at the start of a project if there are specific elements that should be taken into account during the project. E.g. ten elements can be chosen at the start of a project that connects best with that specific project. This way, not all elements have to necessarily be taken into account when this app is in use.

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This research focused on how you can set up interdisciplinary projects and collaborations and what you should take into account when leading this process. Because this research was performed through a case study, it gives a clear image of the way in which MADE, the organization used in this case study, establishes the interdisciplinary projects within their own space and what they take into account when leading this process; their experiences in this field contribute to the level of the projects that are built. This chapter will elaborate on further research that could be done and discusses any limitations or changes that occurred during the research period.

According to Saunders et al. (2009) “validity is concerned with whether the findings are really about what they appear to be about” (p. 157). This research was performed by doing a case study. MADE, the organization used in this case, is markedly different than other organizations in some ways. For instance, the fact that MADE has a very distinctive space available that they designed themselves. The space offers a very special and extraordinary environment that can contribute to the creativity and innovation that is created when interdisciplinary projects are set up. Therefore, the fact that MADE offers this space should be taken into account when this example is used in other cases and organizations. It should be considered that the outcomes and results of this research can therefore not be generalized, and should be seen in the context of this case study.

7. DISCUSSION

7.1 Validity

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7.2 Reliability

Reliability refers to the extent to which the data collection techniques and analysis procedures yield consistent findings. To test if the data collected are reliable, the following three questions should be answered according to Easterby-Smith et al (2008:109):

1. Will the measures yield the same results on other occasions?

Because this research was performed in the form of a case study, it should be taken into account that the outcomes of the research are based on specific case, and therefore cannot be placed in all types of interdisciplinary settings. Because MADE is a qualified and skilled organization on the set up and execution of interdisciplinary projects, the results are reliable as a good illustration of how such projects and collaborations should and could be established.

2. Will similar observations be reached by other observers?

Because of the semi-structured nature of the interviews, there is a level of structure to the interviews taken; this contributes to the level of reliability.

3. Is there transparency in how sense was made from the raw data?

The data collected is presented in this research report and moreover, introduced in a more visual and tangible form. The information gathered is pored into a management product that can be used by the creative manager when working in an interdisciplinary setting. The transparency of the data is therefore clearly to be seen.

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7.3 Further research

This research didn’t touch every possible aspect that could be taken into account surrounding the topics discussed. There is always further research that can be done.

ARTIST’S PERSPECTIVESFuture research can be done by also taking the artists perspective into account when researching the development of interdisciplinary collaborations and projects. This can give a broader perspective and perhaps more fundament to the conclusions made from the data collected.

MULTIPLE CASE STUDIESBy doing multiple case studies at organizations and/or collectives that work interdisciplinary can give a broader perspective on the implementation of these twelve elements. In order to test if the twelve elements are seen in other collaborations.

TESTING TWELVE ELEMENTSFurther research can be done by testing the twelve elements in existing interdisciplinary teams and newly set up teams. By testing the operation of these twelve elements, a better insight can be given on the implementation of the elements.

TESTING APPIn order to get a better insight in the practical operation of the app, different prototypes should be tested amongst people that could possibly use this application for future collaborations and projects. Every time a prototype is made of the app, this can be tested amongst both the artists that are involved in an interdisciplinary collaboration, as the leaders or organizations that set up interdisciplinary projects. If there are enough assessments gathered the app can be developed into a well-working and well-established practical tool when working with multiple disciplines in an interdisciplinary manner. It should be kept in mind that when this app is tested, the twelve elements that are derived from this research are connected to MADE. Because MADE has a very specific organizational character, and these elements are connected to the outcomes of interviews held and observations made, the generalizability should be questioned at all times when this app is developed, tested and finally launched.

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7.4 Limitations to research

A central limitation to this research was the fact that it was not possible to interview a number of artists involved in the projects set up at MADE. Getting the perspective of both the organization behind the projects and the artists involved, would have given more depth and a broader perspective on what should be taken into account when developing interdisciplinary collaborations and what should be taken into account when leading this process.

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8. AFTERWORD

Throughout the course of the time that I have been doing this research and been writing all my thoughts and findings onto my computer screen, I have learned so much. I learned from my experiences during the first weeks of trying to find a direction in my research. Recognizing the frustrating feeling all people around me were talking about, and that I had never experienced as much in my career at the HKU until this point. I learned from my trip to Berlin, and the interviews I did at MADE. The welcoming character of this organization and the free spirit all team members have in order to establish an environment where really anything can happen. I learned from the city Berlin, with its open and tolerant reputation, the creativity and diversity in people that I met there and talked to about my research. I learned how time pressure could assure you to push yourself in the right direction in a relatively fast time pace. I learned that creating a blog (www.sointerdisciplinary.wordpress.com), that showed anyone who was interested in my research, really helped me reflect on the findings of my research and the process that I was going through as a soon to become art management professional.

Working in an interdisciplinary manner myself gave me an amazing insight into how important certain guidelines and codes in collaboration can contribute to perhaps the ‘perfect’ partnership. While working with Jan Piet Joris & Corneel (also known as Anne van Iperen, Rianne Blekkenhorst and Margriet Hogenbirk), I realized that when working with creatives, and therefore different disciplines, the outcomes can be totally different than you perhaps thought at the start. I caught myself forming the question I had given to JPJC into something visual far before they had started doing this themselves. Eventually the design JPJC made of the general outcomes and conclusions of my research had a total different character and appearance than I had brainstormed about myself. Just like the process the MADE team is aware of: the outcomes of a project will never be the same as anyone thought at the start of the project.

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I learned that by sharing my thoughts about my research with a diverse range of people, gave me great insight into what is relevant and what not, how I could best present my findings and how not, what I should definitely not forget and what I should just totally leave out, and how helpful the people around me can be.

Thank you to all that helped me realize all the above life lessons, you know who you are!

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10. APPENDICES

10.1 Questions for interviews team MADE

IN WHICH WAY ARE THE INTERDISCIPLINARY COLLABORATIONS SET UP AT MADE?

1.

WHICH LEADERSHIP OR MANAGEMENT SKILLSARE USED TO DEVELOP THESE INTERDISCIPLINARY COLLABORATIONS?

What are the characteristics of these interdisciplinary collaborations?

What are the specific characteristics?

ARE THERE PATTERNS THAT CAN BE SEEN WHEN INTERDISCIPLINARY TEAMS ARE MANAGEMENT/LEAD WITHIN MADE SPACE?

a.

2.

3.

a.

Is there any way this pattern can be improved (if necessary)

b.

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CODE:TI_NM_MS Transcript Interview Nadav Mor – project manager MADE

Date: April 4, 2012 – MADE (Alexanderstrasse 7, Berlin)

Relationship to work: Interviewing one of the project managers at MADE and someone that works more on the practical side of the projects and events that are created at MADE, gives me a good insight in how each team member is involved in the establishment of the projects. What makes working at MADE so different from working in a different organization? Moreover, Nadav has a background in marketing and is in charge of the MADE blog. How does having this background influence the style of working and position within the team?

Significance to research: A range of team members of MADE is interviewed in order to get a good insight and perspective on how interdisciplinary projects and collaborations are set up and what is taken into account when managing/leading it. As this research is a case study of MADE, it is necessary to get as wide of a picture of the organization as possible.

NADAVMADE NOT MADE SPACE! ROLE: hard to define. Officially I am a project manager, but I don’t even know what that means. We all do a little bit of everything down here. The major tasks that I do: I take care of the online stuff, from the text, to the website and what it looks like, social media (what are we going to post, etc), what the voice of it is. Also I develop projects. We have VOV (Vision of Visionaries), I do these projects. I develop the questions, I am the creative director of all the videos made for MADE. Behind the scenes work.

10.2 Interview transcripts

Explanation of interview

Purpose: getting a better insight into how the MADE team is set up and works when developing and setting up interdisciplinary projects.

97

No, I joined randomly (we don’t really believe in coincidences) in the summer of 2010. I worked for free for almost a year. Officially I have been working here since summer 2011. It started in March 2010, and I joined in August 2010.

Shari

Nadav

Shari

Nadav

Shari

How long have you been working here? Since the start?

I am an Israeli. I have been living in Berlin for 6 years, and I have studied Marketing (I like marketing). I met Nico. Everything happens for a reason! Good things and bad things all come into your life, as a person or space/project, and we try to take it for what it is. Nico and I play basketball, and he offered me to come by in the space, and so I did. I came here and I never left. I was a student until a few months ago, worked for free. Do anything you can do, work. I used to sit here

for hours reading books, until I got asked to do something.

Just two years now. Time flies! What is your background?

I would like to introduce my research to you, so you know what my questions are going to be focused on. I am studying art management at the Utrecht School of the Arts, and my thesis will be focused on how you develop interdisciplinary collaborations within the creative industries and how you should “manage” it. I put “manage” between parentheses, because I have noticed that this word or role is not really liked in the industry, and I understand why because there is a bad association or wrong interpretations of it as well. Through interviews and perhaps observation I would like to find out how you work here at MADE and how you set up the teams, develop them and how you keep an eye on the collaboration (if so). I would like to know in which way the interdisciplinary collaborations at MADE function within the organization of MADE? You do different kinds of things, but how do these collaborations/projects stand within MADE? How do you set it up?

98

There is no blue print. There are no exact steps that are taken for each project. That is the beauty of this whole thing: you can’t take one blue print of one project and say “o, this is how it happened before, so this is how it is going to happen again”. You are dealing with people, very unique people: artists. I’m not saying that they are more problematic or different, but these artists put their blood, sweat and tears into something. It is very delicate! We have TadiROCK, who is an artist herself. She has had a lot experience on the business side as well. And we have Nico who has a music background, and myself who has a marketing background. And we have architects. Depending on the project and the artists involved, everyone comes in when they are needed. And that is why the team is like that. That’s why it’s not just one person or two people, but a whole bunch of people. With different backgrounds. Which makes the team so unique and it works well. And again, we have TadiROCK who is an artist herself, and she knows what it is like to work on a project for 3 or 4 months, put it on display and have people judge it. So, we are all aware of that. It is very important. I am not an artists, I can’t draw a smiley face, but through the experience of working with artists and having an artist working here and she knows and she reminds us that this is their life and soul, we need to do this and that. Having a diverse team and having the structure that isn’t really a structure. It’s not really a structure; it’s very very flexible, kind of like the space. The space is four walls and a ceiling, but inside it fits exactly what is needed. Our team is kind of like the space: we are very flexible, different shapes, different colors. I’m an Israeli dude, we have German people, we have people come and go out. It is kind of organized chaos.

Nadav

I noticed that already, just being here 1,5 days. Shari

99

You never know who can walk in. We have famous people walk in; we have had students walk in here. It is always fun! It makes me feel old, because I just finished my masters a couple of months ago and now I am giving an interview.

Shari

Shari

No, your not! Things go quick, let’s put it that way!

Nadav

Maybe this is a difficult question. Even though every project that you set up here is different, are there characteristics that you see that come back in the teams that are set up at MADE? Maybe you can mention a few words or characteristics that you could say that is something that you could really pin point?

Nadav

Nadav

It’s crazy how things fly, that’s why you have to take every moment and enjoy it!

I think the key is process. Both the artist and we understand that this is a process. Things need to happen in a certain order, and things need to be given certain attention in time in order for them to be completed. You can’t run (“you have to do this, and this and this with it), things take time. The process and being aware…Awareness is also very, very important. We always take three months to do a project, but if we can add an extra month to a project to make it better, if we have another €50.000 is it going to be better? I don’t know. But we are aware and focused on the whole process. The end result of everything is important. The end result of your thesis is going to be super important, obviously. The whole process of it is as important, if not more important! I always say: You have the Mona Lisa, it’s a beautiful painting but imagine if there was a camera in the studio of the man painting and thinking, and going crazy. How much cooler would that be than just seeing the end result?! That’s why we document the whole working process. Every project of ours is documented, videos and photos and the whole process. We don’t only film the opening premier, but we also film the whole process. With Erikah Badu we show the performance, but we also show her here in sweatpants, no make-up, working. Process and awareness is very important!

100

I was wondering, because I am of course doing a management study. I would like to know some more about the management or leadership side of what you do. What skills do you think you need when you develop these interdisciplinary collaborations?

Nadav

ShariWhen these teams are set up do you make sure, as a manager in this sense, that everyone knows that? Do you mention it? Do you say I hope everyone realizes that the process is the most important? Do you make sure everyone is on the same page?

By now we understand what is going on, the artists also know. Usually the artists that come here know what goes on here. We have a timing, we know when things are going to be ready and when they need to be ready. Everyone knows their ‘thing’. Yet again, you have to stay flexible in your own role. We had a week to do this, but we needed two weeks, so we are going to work a bit harder.

ShariYou learn from your experiences. Of course! So process, awareness. These are two characteristics that always come back in the projects?

They have to! Flexibility is also very important. Because, again (this should be in the paper and about MADE): This is not the artists normal environment. Artists usually work in their own studio or in a work space, and they work alone. A painter would sit at home and paint. But here they come to a space that is not theirs. We welcome them with open arms, and then usually they work with other artists, with whom they have never worked before. They do things they have never done before. Erika sat here (she is not the perfect example), but she performed with an acoustic string quartet; she had never done that before. The artists step out of their comfort zone. They have to be aware of that and of the whole comfort zone thing, and we also have to be aware that these guys need the help and support from our team. Whatever it may be. Comfort zone and flexibility are two other things that are important!

Nadav

Shari

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Nadav

I would say everything you learn at university, throw it out the window! Because, all leadership and management models. We spend 10-12 hours a day here and it is all about personal contact and personal relationships. Yes, we have a leader and yes we have leaders, but it’s not about you go do this and report it to me in two hours. It’s about exchanging, talking and doing things together. An interesting quote that I often go back to, that I follow and that we try to follow, is: “The strength of the pack is the wolf, and the strength of the wolf is the pack”. So the MADE team is only as strong as its members are. Yes, we have a leader (TadiROCK and Nico) they are the creative force behind it. But they couldn’t be leading without us being there. And we couldn’t be here without their leadership. It’s a give and take kind of thing. The whole hierarchy kind of thing, have a boss or no boss, we don’t really follow that.

Nadav

Someone said this. Or it developed within the team of MADE.

Ok, in this sense you were the leader. Maybe not even consciously.

Shari

I said it.

Shari

I try to lead when it’s needed. Nadav

When do you know when it’s needed? Shari

When something isn’t happening. When there is trouble.

Nadav

ShariSo, it’s trouble shooting?

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Hopefully it doesn’t come to trouble. When you see an opportunity to step in and say: “Hey, I got this”. Nico and I are basketball players, when you are a team there is one captain, but if he doesn’t have the team or pack around him, then he is just a wolf. But if the whole team doesn’t have this one guy that says “Hey, guys relax, calm down I got this”, then it’s not going to work. It’s give and take. Sometimes when there is a lack of leadership, someone has to step up and say “I got this”. That is what I do when I play basketball, and it’s what we do here. The structure is very flexible, and if the two leaders see that Nadav has an idea let’s give him this one.

Nadav

That’s also part of leadership. This is also what I’ve experienced that a lot of people have a wrong point of view of what leadership and management actually is.

Shari

I think the strength of a leader is to know when not to lead. And when to let someone have the spotlight. But when to let someone do their thing.

Nadav

This is a question: is this also needed when you work with artists? As you said before, these are people that do this with their heart and soul, so you have to stay back and when you have to step in.

Nadav

Shari

You have to know when to stay back and when to say “no, there is not enough money, there is not enough time”. That is what we are here for.

Can you maybe give a little bit more specific characteristics? What characteristics do you need?

Shari

103

A lack of ego. The ego thing is very important when being part of a team and as a leader or manager. You have to have a little bit of ego, in terms of knowing what you are worth and knowing what your talent is and role is. But if someone can do something better and will take credit for it, then you have to give it to him. Because it is for the greater good, and that is what I would wish, if I would have one wish, is if we could focus on that more. To have the whole team strengthen in terms of putting ego aside. I write texts, I don’t get any credit for it. Which is fine, but the ego thing is important within this structure. This is also connected to how you take criticism and to learn from your mistakes, turning your negative thoughts into positive ones. That is very important! Learning! Every single day you learn something new! It goes back to awareness and to ego. “I can do this!” but “Yes, you can, but here is someone that can do it better”. And being aware of this! Letting go is also a very important part in this. When you talk to Nico he will probably say a lot of the same things.

Shari

Nadav

It has a lot to do with flexibility. It is kind of the umbrella.

But, again: the other side of it is to be confident in your talent and say no, I got this, trust me. And then see what happens. It’s all about balance; you have to be flexible and you have to say “no, I know what I am doing”. It never comes to screaming, shouting or fighting, and it never will come to that. Because we know what is going on. If you disagree, you develop, change, learn and grow and try again.

Nadav

But this environment kind of offers you that as well. There are also places where you would like to do that, but if you fail you get punished.

Shari

104

There are places where you don’t reach a certain sales number, then you are out. It’s a whole different world. I worked at Coca Cola for a year as an intern. As an intern you don’t really have pressure, because you get paid so little and so little expected of you. But I liked it, because whatever I did that was extra was very much appreciated! But here it is different. If I do something here, it’s me. I learn, I grow, I talk, I do and even this interview gives me the opportunity to think about what’s going on here.

Nadav

ShariWhat I am also interested in, just like I said before, the projects that are set up might be different from each other, but do you see any patterns in the way you manage or lead these interdisciplinary collaborations? Things that you always see come back. It is clear that you have to be flexible and let things go and know when to get in. But is there any concrete pattern that you see? Someone walks in…

Something that is very unique to MADE is that the artists also have to understand something. They come with an idea and they put their idea out there for us to kill, criticize, to love, to hate, to tear into pieces. It takes a lot of courage for them to come in here as well. It takes a lot of courage for someone like Erika Badu to come in and say I want to do an acoustic show without a microphone. She’s never done that! Every pattern in every project, the artists that come here with a very clear idea of what they want to do, and then it ends up being something totally different.

Nadav

But they are aware of the fact that that can happen? Shari

Sure! Nadav

So, that is something that you always see?Shari

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The clash, in a positive sense, of two artists and two disciplines coming together that is also very interesting pattern. I can’t really describe it. It’s cool to see how they exchange how their thoughts. It’s cool to see how that happens here. In terms of the question (management): you are going to have to talk to business people.

Nadav

ShariThat’s why I am interviewing different people from the organization.

NadavThe actual management of the artist side I think you get into more technical tings like time, budget, that I try to stay away from.

Why? Shari

It’s not my job and I don’t like numbers, because numbers are boring. I never like math because there is always one answer and that’s it. 5 + 5 = 10 Me, I like to talk.

Nadav

Why? Why is it 10? I share that thought with you. Shari

With words and with marketing you can change things. “What if you didn’t have a 5 + 5? What if you took the 5 and put in a 7?”

Nadav

I understand what you mean. That’s why I am interviewing multiple people within the team of MADE.

Shari

I am not saying that it has to be improved, but I was wondering if there is any way or anything that you think could be improved here in terms of the way that the collaborations here are managed?

106

Probably. We did start have a weekly meeting on Mondays, which is very good! We sit for two/three hours and we discuss everything. That is sort of an evaluation/update.

Internal communication. I didn’t need to think a long time about that. I think the internal communication in general is super important! Anything between people, between groups of people. Anything: between your boss, between your friends. Internal communication not only of specific things (this date, this needs to happen, etc.), but also the feelings of people. Like “I feel this wasn’t good, because…”.

Nadav

Do you have evaluations?Shari

NadavNo.

Do you think if that would happen, do you think that would contribute to the projects?

Shari

We don’t have evaluations about numbers and stuff, but we sometimes have updates; it’s nothing official. Once a month we sit down.

Nadav

Do you think it would work if you had evaluations? Shari

Nadav

That’s also important! It’s internal communication. Shari

That’s a very big improvement. We have been doing this for about a month now.

Nadav

These are weekly meetings that talk about everything that is going on within the organization right now, but do you have evaluations that happen after the projects have ended.

Shari

107

Yes, we have a rap up kind of thing. Nadav

With the artists? Shari

Both, with and without the artists. That is part of the meetings. There is this model about group building. You come together, you work, you wrap up and you summarize.

Nadav

To have closure? Which is important! Shari

If you just let it go you don’t learn from itNadav

Is there anything that you would like to share that you haven’t shared yet? Something that I should definitely take into account? Something that I should mention or not mention?

Shari

You said at the beginning that management is kind of contradictory. And even in this world of business and art. You know that Absolut Vodka is our partner and a lot of people don’t understand what is going on here. They are not aware of how a brand, who wants to make money, can they do something like this. No logo’s, no nothing, no admissions at the door. We are proving that it can happen! And it can succeed, but it takes time. We are not selling bottles here; that is not the goal. The goal of MADE is to create art and to promote creativity. Absolut is a brand that has proven a track record with artists, from Warhol, to Keith Haring back in the day. Taking their bottles and doing these different Absolut campaigns. So they know what they are doing, and what they are doing here. They are our partner and not our sponsor. We talk to them about the projects and the creativity and about the message behind each project. It’s a partnership and not a sponsorship. This is something you don’t see a lot in the business world today.

Nadav

108

It’s unusual to see a brand. Usually the brand is the sponsor. Maybe I can mention that in my research, it’s not something that I focused on. I hope to talk to Alexis as well about the space. The space itself already has so much influence on me just being here and having a certain environment and being able to change everything you want; this has so much influence on how you are inspired and how you work and deal with things. That could be a whole new research!

Shari

I was thinking about doing a paper about MADE, but I figured it would be weird. To wrap it up: when I saw people crying during a performance, I thought we are doing something good! We want to inspire people, I was inspired, you are inspired. I wish we had a camera so we could somehow see the reactions of people when they first walk in here. It doesn’t matter if they know a whole lot about MADE or nothing, it’s always that they are amazed!

Nadav

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CODE: TI_LK_MS Transcript Interview Linn Kuhlmann – project manager MADE

Date: April 4, 2012 – MADE (Alexanderstrasse 7, Berlin)

Relationship to work: Interviewing one of the project managers at MADE and someone that works more on the practical side of the projects and events that are created at MADE, gives me a good insight in how each team member is involved in the establishment of the projects. What makes working at MADE so different from working in a different organization?

Significance to research: A range of team members of MADE is interviewed in order to get a good insight and perspective on how interdisciplinary projects and collaborations are set up and what is taken into account when managing/leading it. As this research is a case study of MADE, it is necessary to get as wide of a picture of the organization as possible.

LINNROLE: My role is helping with the organization of the projects, like the technical stuff. Also when it comes to organizing the drinks of the event. Everything that comes with organizing an event, from chairs to…also I work on the blog with Nadav. I write posts, do research, take care of all artists and see if they have anything new what we can post. Also I do some graphic stuff, like putting things together for the info page, or anything that should be .pdf style. Moreover, I take care of the emails that come in from artists and people that are interested in MADE. Project interviews. It’s not like PR, but more (in German it is called Acquise). Exchanging with the artists that want to work here.

Explanation of interviewPurpose: getting a better insight into how the MADE team is set up and works when developing and setting up interdisciplinary projects

110

The first contact is via email. Then we have the first meeting - it depends if it’s something I am dealing with I meet the artist alone or maybe with one other person. If it is not really said that it is going to be a big project, we can have smaller groups to get to know each other, show the people the space. It is the most important thing that they first get an introduction and see what the space is, and see what they are able to do and change. That can be a small group. It depends: sometimes it is all of us (read: the team), sometimes it’s just two of us or one. The next step is to meet the whole team and share our ideas; say what we are planning and introducing the new artists. Kind of get to know the whole atmosphere and spirit of our team, so everyone can ask questions and get inspiration.

ShariYou are the first contact person they have?

LinnYes, I am.

How did you start working here? Shari

I started with an internship. I studied cultural sciences. In my studies I was dealing with art and organizations, so I found this spot very interesting combining organizations and creativity. I was hoping to realize what I learned during my studies, and it is actually the perfect space, because I could just try different areas from organization to talking with the artists and also being creative myself.

Linn

You can mix everything you have in you, that’s nice! I was wondering in which way do the interdisciplinary collaborations that are set up here – they are of course a very central part of the organization – but how do they get set up? What is your involvement in that? You have the first contact with the artists. How does that start?

Shari

Linn

Who decides on who gets invited and who doesn’t? Shari

111

There was one project ‘Scratch & Cut’, where we had Eclectic Method (VJ), Danielle Gonsalez (glitter art) and we had a third party, who was Jonas Divaritz from Sweden; he was doing installations. We had three, and for that project we also had a curator (Lucas Fiarize), we met him a year before already talking about the possibility to do something. We came up with the idea to do a big remix of directions of art.

We all do. If it’s me that says “I met this artist the other night and he wants to stop by”, everyone can invite someone and meet with people. I am the one who receives all the emails, so I decide if it is actually interesting to send to everyone. If I know that it is just not fitting at all, I just answer.

Linn

Do you get a lot of questions? Do you get a lot of emails? Shari

It is also different kinds of questions. Some people really don’t get the idea behind MADE and how MADE works, and they just want to exhibit their work. And sometimes there are people that want to do an event, which is also not our idea of working. These are people that I have to say no to, but sometimes it is good to get to know them, because it might be interesting and show them our space. Of course there are some that are no option.

Linn

When the team is set up, what are distinguishing characteristics that you see that come back in the teams that are set up?

Shari

You mean the combinations of two artists that come together? Linn

It is always just two people or does that differ?Shari

Linn

112

ShariSo he was the spin in the web?

LinnHe was between the artists and us but it wasn’t like we were giving him the whole responsibility. It was just him that brought the artists together. Also for the series ‘The Moments’, chapter 1 and 2, there were also pop and soul musicians, and we had the string quartet and we had a painter. This was not a DNA project (we call our big projects DNA projects).

ShariBecause it’s the DNA of MADE?

Yes! This was only a smaller project where three people clashed. It doesn’t have to be two, it can also be three

Linn

ShariBack to my question: are there any characteristics that you see that come back every time? Something that is very distinguishing.

LinnWhat combines them all is the openness of doing this. I can’t say people are all of a certain age or from a certain background or a certain kind of art form or level of popularity. It is more the same idea and flexibility and tolerance. It’s more morals and a way of emotional thinking that brings them together; being really open, positive, optimistic and brave, I would say.

That’s a good one! Because I suppose that when you get to meet the artists, you look for those kinds of characteristics in them: someone that is open and brave.

Shari

Well, it is our goal to pull people out of their comfort zones. These people want to do something new and want to be a bit innovative. Maybe these are the characteristics that can be found in any of the artists that work at MADE. Step out of their comfort zone.

Linn

113

My next question is also about what kind of skills you would need as a manager of within the team of MADE. You have to pull people out of their comfort zones, what kind of skills do you think you need to be able to do that?

Shari

LinnFirst of all, you need to always check the idea of the whole thing is still alive. They have to realize that they have to do something new and not fall back into their old rhythm. It can happen that in the end they fall back into their old patterns and just do one task and stay with it. But our idea is to do those tasks and always stay open for changes that you can decide to take. During that 2-3 month period we always have to check on them and remind them and see if we can get some more out of them. Because as a normal creative person you set you ideas and you want to realize it, and you stick with that idea. For us it’s about the process, and being good at the end and not being perfect already at the beginning and stick with something.

Are there any specific characteristics that a manager or leader here needs in order to be able to do that? You say very concrete that you have to remind people, so I guess you have annual meetings with them to talk about how the process is going, but what do you need as a person or any of the team members here?

Shari

LinnLike I said, optimistic, tolerant, flexible, spontaneous also! One thing can change in an hour and the whole project can go into a totally new direction. Also because we have 7-8 people in the team from one direction something can fly in and the discussion can change to a new direction. You have to change your own perspective very quickly and find new solutions and ideas. That has a lot to do with the team that we are, there are not two people that decide on the whole project, but always have the exchange of all members in the team. Which can draw you in a different direction all the time.

ShariIs that a good thing?

114

Yes, I think so. Because that way we think about all the opportunities that we could do and find the one way that we all want to go. It can also be tough obviously, because you can have a whole imagination of the whole thing, and suddenly half of the team sees that something else would be better. So it’s obviously a challenge!

Linn

ShariThat’s true. When you set up the interdisciplinary teams, and its working. Even though the teams are totally different every time, do you see patterns in how they work together and how you as MADE is involved in the process? Is there something that comes back every time even though it’s a different collaboration?

LinnThat’s tough. Maybe you can say that there are always different levels of how complicated or complex the whole thing is. In the beginning everyone is inspired and euphoric. Everyone has many ideas. The next point is where you have to set borders to the ideas and give it one direction, put a net around it. Maybe at one point you might get a bit lost, and then we have to catch everyone again and put them on the same spot. Maybe you can say that there are levels of being emotionally very high and then being realistic and thinking about what we can do, what is good to do, and what we should do that is best. And at the end you might be going up again, because you see that you are working on something that is coming to life. I’m not sure if you can put that graphic on every project, but it is something that comes back a lot. It’s the same with every individual! With my own projects I have the same: I think in the beginning of everything I can do! And then I think about what I actually can do, and I think about how I should realize it and it starts to get a bit tough. At the end when you know what you are working for and it is actually working out, the level goes up again. This is a normal and natural creative process.

ShariUsually the projects here are about 2-3 months? So you do have a time schedule?

LinnYes.

115

No, not necessarily. They are always about the same time. We have the preparation time of about 2-3 months. This is active preparation; before that we have conversations for months. And then one month of an exhibition and after the exhibition is done we have the work afterwards, meaning that we still might have some contact with the artists, sending over some pictures of people that saw the work or comments, any special links on web pages or in magazines. The project is not entirely over, it still keeps going a bit.

Has there ever been an exception for the time? Are you DNA projects, for example, longer?

Shari

Linn

ShariThis is kind of project based, of course. One project goes over into another; you never have a still moment here?

And if we have still moments, we have those little projects going on. There might be a few weeks without any DNA project, but then we have smaller ones.

Linn

ShariIs the project that is coming up at the end of the month a DNA project? So you have been working on that for a while?

LinnYes, for about 2-3 months.

When you see that pattern, do you think that there could be any improvements in the way that you are working right now?

Shari

LinnNo, actually I don’t think so. There can always be improvements in how you organize your team or how many meetings you have, but it is nothing that really has to do with the structure of the DNA projects. I really like the structure how it is. How we meet people, how we discuss it. There are normal changes that can occur in any organization or institution. Problems that might come up from time to time, but I am very happy here, because we are very honest and open. We try to talk about stuff, if something is not going very well, we sit down and talk about it.

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Also, with MADE it’s maybe different than other institutions, because we are very interested in creating the process. We like talking to the artists and not setting the idea at the beginning of the project and then taking a few months to realize it. That is what I meant by falling back into old patterns. Many artists are just used to that, that they have an idea and they want to realize it and the creative process is all up to them and is finished after the first or second talk with the curator. At MADE we try to be part of that process all the time, and sometimes have to remind the teams that we are part of it. And that they can also learn from us. It’s not us interfering with the creative work, it’s more like giving and taking. We want to give them our experience on how we work and did it the last two years. Also, we know our audience very well. We know what they already know and what they are used to seeing at MADE, so we can push the artists into a new direction of which we know that this could be extremely interesting for our audience, because they haven’t seen something like it before. If the tenth artist wants to do a light setting, and is very fascinated about it, we can say that everyone of us knows the slides of the lights by heart, so you don’t have to use the rainbow anymore. You have to do something new! Pushing them to new levels. We also have our experience with stuff.

ShariAnyone can say if there is something wrong?

LinnYes, of course. It’s quite regular. It has to be like that, because we are also in a very open room. We are not having three rooms with little groups of people, we pass each other all the time; it’s very important that we talk about things immediately.

ShariNadav said that as well, he said that if something doesn’t work, you could always go up to each other and say that it’s not working. But at the same time you have to be confident of what you can do. So it’s kind of finding a balance in that. I think that also might have something to do with how the artists are brought into the whole process as well: let them go and let them do their thing, but also be aware of the fact that you sometimes have to put a pause on it or slow them down.

Linn

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Of course! You show that to everyone, and all people are excited to see what you can do with the lights. But you have seen and done that before, I understand that. I think I have enough for now. Is there anything that you would like to say that you haven’t said yet, or anything that I shouldn’t forget to mention?

Shari

LinnI think it is always very interesting to see the interdisciplinarity of the team in correlation to what we are working on here. Creative artists work with different people, is kind of a mirror of how our team functions and why I think it is functioning well, because we are all very different characters that are on the same page. We share the same visions and have the same idea; otherwise we would just get into fights every day because we are so different. I think that is very important for MADE, and that is something you don’t find very often in institutions. You often see a gallery or museum, and that is totally ok, because for them it is good like that, the people are just very similar in how they are educated and how they think. That is good for those institutions, but for MADE we are all very different. We bring that inside the space.

That is very interesting! You see a lot of organizations where they don’t practice what they preach. You practice what you preach! You put up interdisciplinary teams and projects, and you are an interdisciplinary team as well. I think that is a very interesting fact! This is something that I will definitely mention in my report.

Shari

Otherwise if we would be 5 people all interested in urban art and street art, then there would only be street artists coming over. I am meeting totally different people than the others and the architects are totally different people, and that is also very interesting!

Linn

You inspire each other because of that as well? Shari

LinnYes!

Thank you very much! Shari

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CODE:TI_AD_MS Transcript Interview Alexis Dornier – Architectural Designer

Date: April 5, 2012 – MADE (Alexanderstrasse 7, Berlin)

Relationship to work: Interviewing the person that designed and created the space gives me an interesting insight into how the working space of the MADE team and artists influences the process and results of projects. Talking to a team member that has such a distinct background in architecture will give me an insight into how different perspectives and disciplines within the team also influence the process and result. What makes working at MADE so different from working in a different organization?

Significance to research: A range of team members of MADE is interviewed in order to get a good insight and perspective on how interdisciplinary projects and collaborations are set up and what is taken into account when managing/leading it. As this research is a case study of MADE, it is necessary to get as wide of a picture of the organization as possible.

ALEXISROLE/BACKGROUND: I studied architecture, here in Berlin and also in Sweden. That is how I was trained, to be an architect. This is also how I got in touch with Tadi and Nico. They were presenting their idea of starting a collaborative space for Berlin, to eventually have a nourishing ground or platform to bring different people from different fields together. And, they were asking me if I could assist in providing and building a proper shelf for this. The question was: ‘How would a space look like and what should it have to provide for the most amount of different disciplines, people of anyone that could potentially work on something

Purpose: getting a better insight into how the MADE team is set up and works when developing and setting up interdisciplinary project

Explanation of interview

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Kind of from start to finish in a way?

Of course the projects that are set up here are the main focus of what MADE does, but you are also working on things for Abslolut?

and also what was majorly important to me and to us was to create a space that has a certain amount of signature and identity but also provide a white canvas for the content that is made. That is how I met these people, which are now my friends.

Apart from my work here, I founded a company with Iija and we are working on product design and interior design and also architectural concepts. We are here also to help currating the projects and to bring different people together and eventually look for the perfect match and think of bringing together the players that are working. Moreover, help assist through the conceptual phase of an artists projects to look at the spatial lay-out and how it could be structured and organized and ultimately presented.

Shari

AlexisYes, on the side. We are also working for other people and on our own projects and products.

You work here? This is your working space for those projects as well? That is very nice, that you can also do that here!

Shari

AlexisWe usually have our office in some other place, but we are here most of the time anyway, so why not just work here.

You mentioned that you are part of the process of putting together the teams. How does that go? How do you set up a project? How do you pick the right artists/disciplines? How do you do that?

Shari

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It is a very organic process. It can’t be structured or a one-dimensional way, it is not always the same. It happens through coincidence, that we meet somebody that is striving to do something here. We also specifically approach people that we find could be an appropriate match. It involves a lot of thinking and spontaneous action to come up with a potential pair that matches, because it has to be conceptually interesting and has to work on the personal side. Time schedule wise, it is a complex and organic procedure that we are going through every time. We, of course decide a lot by deciding on the people that are invited and on their content. There is always an interesting moment where we sort of analyze the comfort zone of an artist, of he/she does. Also we try to push or motivate this person to eventually create something else. We ultimately think that creativity of any sort of work, shape or figure has common roots. These common roots, regardless of what you do, seem to be the common denominator of everything. This is what everyone has in common: the urge to do something.

Alexis

You stimulate them to try to get out of the normal path that they follow?

Shari

That is our ultimate wish. If you have to work with another discipline or another person, you automatically (most of the time) do that step. For us, we have succeeded if we can surprise people with the end product, or whatever shape it is, that it is something else added to the body of work to this specific person. Let’s say that this fine artist is ultimately leading a play or doing performance art of any sort, because that is something we are interested in. We are interested in what it does or how it looks when the artist is out of his own environment.

Alexis

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What also is common between the projects is that there is a final state, or finished state. The finished state is being presented in the space. This is interweaved with the space. I don’t think we have ever done a project out side of MADE or been presented out side of MADE, because we think this gives the connection between the disciplines. Also the orientation point, because we don’t simply want to be an enabler or a party that enables or finances things. We also want to grow; we have our own network that we stimulate through that. It has a lot to do with this specific location. The second thing is that there is a great amount of performance thing happening. Ultimately there are different stages of a project; sometimes it leads into a show or performance that is of some interdisciplinary character, but also has a bi-product or product, which is either a sculpture or spatial installation. This has two different moments: one moment is on the opening or premier night, and there is an exhibition. There are two different things and mostly this is how it goes. This was not our intention, but this is how it has evolved and has a certain pattern in a way. But at some point we also want to break that pattern.

ShariTo create something new together with another discipline.

AlexisExactly! This is what we always try to motivate, is to do something or try something else. This is ultimately where the magic can happen! Most people are very firm the stuff they do, but as soon as you put them into a different context or environment they start opening up or closing up.

Every time it is different of course. Even though each project is different, one thing they definitely have in common is that they want to make something. It is interesting, because I talked about this with Linn and Nadav already, and my next question also focuses on the characteristics that you see that come back in all projects. This might be difficult, but one thing you see that comes back in each project is that they all want to do something and make something.

Shari

Alexis

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A very crucial point is selecting the team. You have to have team members that are of specific and different fields also. In order to elaborate and develop a project like we do here, it is very important to have a team that knows very different points of view. For example, I as an architect might see things differently as Tadi, who is an artist or Nico, who is more a communicator in a broader sense and a networker. This is also in line with the idea of a brand. MADE is in fact something like a brand that stands for creativity and everything we do. If you boil it down to A + B methodology of things. Once again, the most important thing is to have a team that is varying in their skills and coming from different fields.

Because we also want to distribute something we want to work up to a peak point, that we slowly build up to (like one day or week) where we present it to the public or our network. Not being a typical gallery, where you passively go to and look at things that are finished, we also want to involve the audience into something that is somewhere in between theater and installation art. It has a beginning and an end. Because we think, just like finishing objects, it can also happen (so far it hasn’t happened yet), that we passively present things that have been made. This is a common thing within the company throughout all projects. Also for the next project we want to do something different. The next project might have some weird sculptures or something where you come in, you look and stay for half an hour and then leave.

So you are aware of the fact that there is pattern existing and you want to break through that pattern.

Shari

Alexis

Alexis

ShariIt can be different every time. There is nothing that has to be the same? Because I am doing a management study, I find it also interesting to see what you do as an organization and team in order to set up these interdisciplinary collaborations and projects. What skills do you think you need as a leader or manager within MADE?

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With our example is that we are coming from the architectural side, but we also touch the side of art. What is out there to evaluate? What is out there in forms of art forces, meaning we do a great deal of research when it comes up to what has been done and what has not been done. We are very much working within the web of course, to feel the strings of what is out there and to be sure to create something new. That is us from our architectural point of view. Then there is also something that should focus on the performance or the play or whatever shape it will have. How is this being organized and structured. What is the space lay-out or exhibition set up being designed in a broader sense? Also in collaboration with the artists. This is very important to know, because the space is very specific. It has some very specific features and they shall be implemented in the content of the art project. It is not like you have a white cube scenario, and it doesn’t matter if the art piece is in Stutgart, Koln or New York. It will always be bound in the space. This involves some thinking about the lay-out. From the communicational point of view; MADE is not only this space, but also a growing network that seem to be interested in something new. When working on projects, we also think about how we can make it marketable in a sense. Make it understandable for an audience, this is also very important! It is like making a little campaign for every project that we do, involving ideas of communication for that specific project. Even the invitations, because we don’t want a typical invitation. We always want something that connects to the project and has a similar mechanic to it. For example when we did ‘Valse automatic”, involving the robot, the invitation were glasses that you need for entering an industrial sight. This is just a small example, but it is one component of the little MADE campaign that also involves the performance and also involves communication components, such as a video teaser and

things like that. We are almost a kind of agency.

ShariIf you would make it more specific, what would these skills entail?

Alexis

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ShariIt is interesting to see that, though. There is never a blue print for something here, Nadav said that as well, but it is very clear that it is from MADE every time. That is something that makes you a very strong team. It is very clear that it is from MADE, even if it something different every time.

Meaning it is some sort of ambassador or brand. Some sort of communicator that stands for something and it is only possible to build this up through content. We have our tools of communication that should also go beyond the tools of classical communication. Facebook, films and little e-vites or things like that. We use all these tools, but we try to transport what we find is interesting and matches the best to the ideas. Also in the team we have a great amount of thinking involving how to market projects. This is also very different!

Alexis

Back to managing and leading. Do you see a pattern in the way you work? Do you see any patterns when these teams are set up and the whole process, from beginning to end?

Shari

It involves, apparently it is in the nature of creative people to not be so simple, but what they all have in common is that they have a difficulty to find the best solution for whatever we try to do. Meaning, it involves a great deal of talking and dialogue; with sitting down with the people and really opening their eyes for new ideas. Also, making them aware that this is not ultimately a product but to also make them think of things about how they would like to present the art. To bring this all down, is a great deal of work.

Alexis

Do you have, maybe without knowing, certain questions in the back of your mind that you will always ask the artists when they are here?

Shari

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I don’t think so. There is always an interesting moment of the ideas they have. They come with a vague idea and this sometimes gets transformed, mostly through the dialogue with us. In the beginning it is definitely not going to be the end result. This might also be a pattern. In the beginning you can have a completely different picture of what the end result can be.

Yes, there is always room for improvement. We started off almost into the blue; the more projects we do, the more experienced we get. We are more a sort of diplomat. It is about negotiation of content and points of view; it is about negotiating with the two parties and bringing them together; being some sort of diplomat. MADE is like a diplomat in a broader sense, but also ads its own opinion. Ultimately, it will not solely be about the artists. This is what I think is the most different characteristic of MADE with other platforms. If you take artist A and butcher B working on something, then C would mean not there mere combination, but also something that is more than the parts of the sum. There is our identity and our opinion in each project. Our opinion is formed through the different parties that we consist of, once again us from the architectural point of view, from the communicational point of view and strategic point of view. It is never just the mere A + B.

Alexis

ShariThat is a pattern though, I think. I also heard that from Linn and Nadav.

Once again, talking is the most important. Trying to find the best solution and try to push everyone into the maximum of what they can do and make better. There is a constant learning curve or curve of improvement with the projects. It starts very simple and ends very complex, and sometimes it starts very complex and ends simple. 80% the time it might not be the same as we had envisioned before.

Alexis

When setting up these projects, is there anything you think you could improve?

Shari

Alexis

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The amount can be improved. More projects. This is also what we are thinking of, is to make more projects of less complexity. To go through this process of collaboration several times per year; not only four times a year but double. To create even more and to reach more people and more artists; to make this sort of a 24/7 lively environment. This, of course, has to do with capacity and the amount of complexity one project has. I would like to back with the complexity of the projects and add quantity, without loosing the quality. This is something we are aiming for: to create new projects and also new formats. We have started implementing debate rounds and talk series; we want to find different ways of using the space, not only by doing DNA projects, but also having spontaneous gatherings, actions, and whatever we can think of. My personal point of improvement would be to set up more projects. Not only focus on the four very big projects, but also have smaller projects.

ShariIs there anything that you think could be improved now? If there is nothing, than that is also fine of course.

Thank you!

Alexis

Shari

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CODE: TI_NZ_MS Transcript Interview Nico Zeh – Founder MADE

Date: April 17, 2012 – MADE (Alexanderstrasse 7, Berlin)

Purpose: getting a better insight into how the MADE team is set up and works when developing and setting up interdisciplinary projects. Relationship to work: Talking to one of the founders of MADE gives me a good insight into what should be taken into account when managing/leading a team of creatives that coordinate and develop interdisciplinary projects. You need to speak different ‘languages’ in order to get all team members on the same page. Talking to one of the people that set up a space and created an environment where it is possible to establish these projects openly and interchangeably.

Significance to research: A range of team members of MADE is interviewed in order to get a good insight and perspective on how interdisciplinary projects and collaborations are set up and what is taken into account when managing/leading it. As this research is a case study of MADE, it is necessary to get as wide of a

Explanation of interview

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ShariYou are one of the founders of MADE. Can you tell me a bit about your background and where the idea of MADE came from?

NicoThe idea came from TadiROCK. She is actually the spirit behind the space and an artist, also I was inspired by the massive creative energy that is falling through Berlin and the amount of different creative people in the city; there are so many ideas floating around. We were working in the creative and cultural area for the last couple of years; Tadi as an artist and me as an art manager and doing projects with creatives. We saw the potential creating a platform for this creative energy and all these people to meet, exchange and make things happen. Most of the time there is a physical space needed and other things that are needed to enable ideas. We wanted to create an infrastructure that works for creativity.

ShariIt started about two years ago, right?

Nico

NicoThree years ago. For one year we were developing the idea and the space, but we opened to the public two years ago.

ShariI think people have been receiving it very well.

We are dreamers, but we never dreamed that things would be happening like they are in such a short amount of time.

That’s great! I would like to introduce shortly what I am doing here, because I don’t know if everyone knows this into detail. I am studying Arts Management at the Utrecht School of the Arts, and I am doing a master right now. For my final project and thesis I decided to use you as a case study in my research. Because my research is about how you can develop interdisciplinary projects and collaborations and what you have to take into account when you manage/lead a process like that. That is how I ended up here. A friend of mine recommended me to contact you.

Shari

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Most of the time it starts with an idea. There is an idea that fascinates the team and everybody involved. Somehow it’s a long process from an idea to an actual concept. The concept is being developed by the team and the idea is just an idea if you don’t know how to realize it and make it happen. The entire process starts by developing the concept. How can we realize the idea, how can we bring it to life? That is something that I love doing here. Because we are a team that consists out of so many different thinkers: there are architects, there are fashion people, myself with an entertainment and music background and strategic marketing background. We all come from different angles and perspectives on the case and ideas. The artists and creatives of course, they also have different perspectives. Sometimes they already bring in someone that they want to work with on an interdisciplinary level and sometimes it is just an idea that they have and then we try to add our point of view and ideas on the idea given.

Most of the time an artist walks in and has an idea, and we take the idea that we like. We find the idea or the idea finds us. It has been doing pretty well the last two years. If you want to do interdisciplinary projects, I think the most important thing you have to watch out for is and take care of is communication. It is very important to have transparent communication, so everyone knows why we are at a certain status and why certain decisions are being made. You have to know what everyone is thinking. I have to understand what you are thinking, in order to add my thoughts and ideas to yours; you can work with that. If you don’t understand each other, you can’t work. It’s a matter of inspiration and inspiring each other. That is what I like, because inspiration for me is energy. If you

I have been interviewing a few people in your team, and I think it will be very good to talk to you because you are one of the founders. I would like to know where it starts when you start setting up a project within MADE?

Nico

So, it can happen from both sides? You as a team can have an idea, but an artist can also walk in and have an idea?

Shari

Nico

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are inspired, you get excited, you have energy to get you motivated to invest yourself and your time, your thoughts. The more inspired you are, the more motivated you are. The more motivated you are (…) you are only motivated by things that you care about. Caring about anything, even if its cooking for a friend or cooking with a friend, or whatever you do. The more you are into something, the more you care about something, the more passion you have (and you only have passion for things that you care about); things that you care about, you go more into details. Speaking of your own child: artists often see their work as their own child or baby. Because they care, they care about everything, because they are passionate about it.

The more people are involved and into what we are doing, it is only possible when everyone is on the same page. This is all about understanding, being passionate and motivated about it; everyone is then very keen and focused on the details. In the details is the magic. That’s it. You can do an event, or go to an event, but you will always see the details. The candles, the food, you see only three drinks, but the drinks are very beautiful. All these details have so much influence on the entire picture. Even if the result is not as a stage of 100% at the end, people witnessed something where everyone involved gave 100% passion, love and energy. This is the beauty of a project.

For us it is not about sitting down (…). Here there is a certain state of mind: everyone should check their ego at the door. There is no ego; leave your ego outside. Ego is not a bad thing, but nobody should be blinded by ego, because ego somehow has people not opening up. It keeps them holding on to one idea. If you are working with artists that are not able to open up, then it is hard to really take them somewhere new, take them out of their comfort zone, out of their daily routine. Therefore, we create interdisciplinary work, because if you work interdisciplinary you have to step out of your comfort zone, you have to open up, because you are working with someone on the other side. We are not here thinking that at the end there must be the most beautiful painting the world has ever seen, and everyone is on his or her knees crying, because it is so beautiful. This is not what it is about. It is all about the creative process. The focus

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is on the process. If everyone is motivated and passionate about what they do, they bring in the love, attention and care and all the details of the process, the result will be beautiful anyway! Then it can’t fail. But if you are only focused on something that you don’t even know about; that’s the thing about interdisciplinary projects: you don’t know the result, because you always create something new, that hasn’t been done before. There is no blue print. There is nothing that you can use as a guideline. There is no need to think about this. For me focusing on the moment is a purpose of life. Look at the actual status of who you are and who you are with.

ShariIf I might be a little bit more concrete. I understood that everyone is involved on the same level. There is not someone that says: “This is what we are going to do today”. I noticed there is a pretty flat structure. Nico

But you have to have a structure.

You as a founder, what kind of leadership or management qualities do you need in a setting like this, in order to set up these interdisciplinary teams?

Shari

You need to build a structure. You need the right people in the right positions. The most qualified people in the right function. Then you need to be a captain of the ship and give direction. Being in control. It is a lot about trusting the process, and trusting the team. But still you need to keep it all together and all focused; you need to keep it all in the given frame of the project. MADE is a project as well, so there is also a framework for MADE that needs a structure. You also have to find the right structure for the projects. Every time we decide who is going to be in charge of what.

Nico

So, you decide that every time? Every project is different. Shari

Yes. Sometimes it’s better to have the architects and designers leading a project. If it is all about music and entertainment, then I step in and lead the team. At the end we all exchange, but there always needs to be one “in charge”.

Nico

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ShariWho is in charge for this coming project?

Alexis is in charge, and I am backing him up as a wing. But he is in charge, because it is all about designing a space and an installation, and creating the right atmosphere within the space

Nico

Now I have a better picture of how you do that. First I thought everyone was involved in each project evenly, but there is someone in charge in a sense.

Shari

NicoI like to compare it with a soccer team: you have to have the goalie, but you also have to have the guys shooting the goals. If all 11 players would be running up and down the field, it would not even survive 10 minutes. It would take away all the energy that you have. You have to have a structure and position for each member, and you have to have the best guy in the best position. Who is good at shooting goals? Who is good at defending? Then you have a coach on the sideline or a key player in the mid field to lead. Whatever you are best at. This doesn’t only apply to interdisciplinary project, but for everything you do in life or working with a team.

Even though there is no blue print for the projects you set up, is there any type of pattern that you see that comes back in the projects that you set up?

Shari

In the process? Nico

ShariYes, anything.

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Nico

ShariYou learn so much from those moments.

NicoYou only learn from these moments. It’s like life: you only learn when there is crisis. You don’t learn when everything is perfect, because then you think everything is always going right and you did right. Maybe you did do it right, but maybe you did it right because you experienced a crisis before that made you do it right.

First we have an idea, then we develop a concept, and out of the concept we define a timeline and budget line. The pattern is again very philosophical: it is letting go. Trust the process, and be aware of the details and the developments that average that. It is like being aware of teaching your child the first steps, or riding the bike for the first time. You have to watch, and also be able to let go and trust the process. The better you are prepared in the concept phase, the better the result. So take your time during the concept development. Take your time before you really start, take your time to re-think and really be honest and truthful. Say what you think! Because one the ship is rolling out, you can’t get it back. Once you are in the water, you can’t fix it. Be honest and say what you think, even if it hurts. Even if it takes away two or three weeks of working process. Even if you have to tell the artist that this is not the right direction. Stand open for discussion; don’t be a Nazi with your idea, but be straight up. It doesn’t help with the production if at the end you suddenly say “Hey, I said this at the beginning, maybe it would have been better…”. Things like that should be said out loud. Don’t be afraid to have discussions and to go into situations that hurt. There have been a lot of tears here already and painful talks, but you need to have them. Even for you, there will never be a project that will not hurt you. There is a saying: “Everything that is meant to last, doesn’t come easy”. That is so true. I have never had a project that went smoothly or evenly. It went through smoothly sometimes, but in the beginning or during the process there is always a bumpy moment.

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ShariLast question: is there anything that you think could be improved in what you are doing right now here at MADE?

Everyday we are learning to improve ourselves. Because we never stop; hopefully we will never stop.

Nico

ShariAnything concrete that you think could be improved. It doesn’t matter what.

NicoTime and structure. Because you don’t have a blue print or structure, you always react on situations and creating a situation takes time; you have to sit down and you have to think and re-think. The more you understand of the process, the better you should be at creating a structure that allows you to have more time to exchange. I think that is something very important! Find time to exchange, talk, to develop things. Just like in life: you get caught up so quickly in your daily routines. You get caught up so quick into a working pattern. The more you talk, the more you exchange, the more you get inspired, the more you get challenged, the more you are not in a routine. The more you are not in a routine, the more you are aware and awake. The best structure is a structure that works but always is open, new and challenging.

ShariLike the space.

Yes, just like the space. Just like myself: I sometimes don’t know where to start. There is so much to do, and I just sit behind my computer and work. But I would much rather sit down with these people and talk. Sometimes I sit with this team for over a week and I didn’t even find time to talk. That is not ok. It should be different.

Nico

So, that is something that could be improved? Shari

This is something that needs to be improved always. We aren’t on the wrong track, we have just been facing some challenges.

Nico

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ShariOf course, you learn from the things that you have been doing.

Nico

ShariThank you!

You should; some people don’t, which is bad. Because then they get stuck in a routine and call agencies to work with them, and then these agencies bring other agencies. Then you are actually working like companies like CocaCola that are very stiff in their patterns. Be open, be flexible, trust the process, but most of all TALK! Open your mouth; don’t be scared to create situations that might hurt. Only through pain, you will learn. But I see that you have some nice social skills, and I think that you will do fine. Don’t freak out! Don’t think that there are situations where you think the world is ending and everything is falling apart. Just believe that everything is for a reason. It really is. See things positively. Everything happens for a reason in a good way! If you see it in a good way, you will learn from it and grow from it. If you just fall down in tears and cry, and blame it on the world, and everything is so bad and don’t see it on a positive side, then it will come again. Until you learn from the first case and move on. This is something I had to learn pretty early in life. This is something that I wanted to pass on to you. Try to look at things in a positive way. It is hard sometimes, but it is true. If you look back you understand why it happened. My apartment burned down, and after half a year I realized it was necessary for that to happen to me to move on. Because I couldn’t let go.

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10.3 Conceptual Framework

Visual advise that shows the similarities and differences between the leader, team and space of interdisciplinary

collaborations

Management Product

Answer to Research Question

Analyze results Finalize conclusions Recommendations

Practical Research Interview MADE team

Context Research

Theoretical Framework

Research Question:In which way can an interdisciplinary collaboration

within an organization like MADE be developed and what should be taken into account when leading this process?

Conclusions Theoretical Framework

Interview MADE Team

Definitions Research

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