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CHARISMATIC, COLLECTIVIST, ANO COLLEGIAL ORGANIZATIONS. SOME RECENT EXTENSIONS OF MAX WEBER'S TYPES OF ORGANIZATIONS This article looks at three recent attempt to describe organizations barely discussed by Max Weber. These organizational types are Biggart's (1989) "charismatic organizations," Rothschild-Whitt's (1979) "collectivist organizations," and Waters's (1989) "collegial organizations." The organizations captured by these ideal types are not based on rational-legalistic authority. lnstead, they describe such organizations in which the structure of the organization does not interfere with some form of value rationality. These organizational types show that value rationality may well survive within some organizational structures.

TEAM BUILDING, SOCIAL ORGANIZATION OF MANAGEMENT This paper describes the way in which a change to team organization was reflected in, and simultaneously affected, the way in which the management's work is organized. Using ethnographic data from the House, as I will call this workplace, located in Helsinki, this paper shows how the House's organization changed from a traditional bureaucratic model into a self-directed team-based organization. Out of the House's four most significant managers, two took an active tack, and participated to the meetings arranged by the two active teams. Two other managers, in turn, largely withdrew from team work. Consequently, the two active managers' influence in the House was enhanced to that extent in which the House's most important managerial processes were delegated into new teams.

This paper examines jewelry as a tangible form of memories. People carry memories of their lost loved ones in their pieces of jewelry, but to do this, they need to attach their intangible memories to the physical forms of jewelry. This paper examines the tangibility of memories in jewelry through American and Finnish women’s stories about their meaningful jewelry. Its theoretical background lies in Durkheim’s and Simmel’s notions about how people use wearable things to communicate parts of themselves to others. It is based on a qualitative analysis of the stories women told me about their meaningful jewelry.

In this pictorial, we illustrate steps towards a novel approach that situates connected technologies for older people as resources. In contrast to mainstream approaches in gerontechnology that consider elderly as frail and passive, we aim to complement older people's vital competences by designing technologies that can be used in less prescriptive, and broader ways. The pictorial describes our design process in which resourceful strategies were identi-fed through thing ethnography and used as inspiration to create a series of new connected objects conceived as resources.

Social design has a history that goes back several decades. Following Victor Margolin’s recent work, social design has been animated by utopic visions that inspire it and gives it its raison d'être. These utopic visions have had their roots variously in technology, architecture, or politics. In this paper, we argue that there are also new forms of social design that are not utopic, but build on other premises. We distinguish two new forms, molecular social design, and sociological social design. The former is happy to change society one step at the time without a larger vision. The latter builds on sociological theory and targets through it those social structures that reproduce social inequalities by maintaining practices that lead to those inequalities. Our example of molecular social design is Katja Soini’s IKE project in Helsinki, Finland; while our example of sociological social design examines the Design Innovation & Citizenship program in Glasgow, Scotland and its engagement with a remote island community.

This paper proposes to reshape the discussion design schools about the relationship of design practice to research. Many universities now have very successful design departments that educate high-level design practitioners. But the rapid growth of these departments, popular as they are with students, has meant that there has been very little time to step back and reflect on the nature and development of academic design in its new environment. Consequently, the formation of an academic design practice that can take its rightful place among other academic fields has been slow. In this paper we will propose a model of academic design and critically asses its qualities, as well as the challenges that lie ahead for this new species of academic design practitioner. The model builds on recent work dealing with forms of abduction in design, and on a few papers that describe the development of research programs at Aalto University.