70% of the change initiatives fail to achieve their objectives (Kerber & Buono, 2005). Peak4 is a consultancy firm that helps companies implement change by focusing on culture, human interactions, and personal guidance on four levels: physical, mental, emotional, and spiritual. The project’s objective is to explore how creativity techniques can be used to increase the impact of the Peak4 programs by analyzing the client’s needs, values and expectations with a more standardized approach.

Readiness for change was found to be an important factor in the implementation of planned change initiatives. It influences both the innovation process of an organization, and the organizational culture, both a focus of the Peak4 service. Creativity is the fuel of innovation. The use of creativity techniques can target the client’s motivation, readiness for change, and acquire insights into the situation and different perspectives within the client’s organization, targeting knowledge of multiple levels of deepness. Moreover, the use of surprising creativity techniques, fits the style of current Peak4 interactions. Peak4 currently uses the initial client inquiry as a foundation for their design and change process. However, a problem changes when more information on the context is uncovered throughout the process. A more iterative approach is advised to tackle the Kerber and Buono problem, and improve the Peak4 impact.

With the current growth of Peak4, change and professionalization are high priority. This comes with the concern that a more rigid structure and approach is not in line with Peak4 values and culture. The most important strength of the Peak4 is its strong, personal connection with the client, resulting in tailor made programs with sustainable impact.

The greatest opportunity for a to be designed toolkit can be found in the sales phase of the Peak4 process. Focusing on the beginning of the process allows the follow up steps in the process to retain their experimental nature while providing opportunities for further standardization. It also provides the chance to initiate a bold move for a real connection, that creates a trustworthy environment and relationship. This interaction initiates an iterative approach. It sets the tone for a real partnership and allows Peak 4 to carefully select projects that match the Peak4 strategy.

The Discovering Desire toolkit offers a sales interaction that allows the consultant to co-create a clear project brief with a potential client in a challenging but supportive way making the client feel inspired and empowered to change as it offers the client a taste of what a Peak4 partnership could be like. It consists of a session, a canvas, and a facilitator manual. The canvas ensures that at the end of the session, both parties have a tangible product that illustrates the patterns that underlie the client’s problems, a shared vision statement, and suggestions for next steps. To fit the experimental nature of Peak4, the blueprint inside the manual can be used to design a session of your own. Every Peak4 consultant can put their own twist to their client’s session.

Free spaces are a characteristic of the Amsterdam identity. However, due to the scarcity of space and the pressure of the commercial market, these creative, free-spirited, subcultural places are pushed to the abyss. Amsterdam seems to be losing its distinctive and diverse character, making room for a monoculture. The municipality of Amsterdam wants to secure these places and create room for new spaces. But how do you ensure that the municipality actually protects these subcultures? Due to pressure on urban land, often available places are temporary, social projects of this kind are often used as merely urbanism, after which
the surrounding area is gentrified. It does not take long before the initiative is pushed aside by commercial parties. It is therefore necessary to find permanent places for these initiatives. Embedding free space in the regular area planning will secure this permanency to some extent and will liberate space for this purpose.

The project is done in the context of the visual thinking Agency Flatland. The aim of this project was to explore reverging in the context of visual thinking.

Reverging is the phase that bridges the diverging and converging phases in creative facilitation. The goal of reverging is to revisit and rearrange the options generated in the divergent phase to create a better understanding of all the options to select the best ones in the converging phase.

The initial design statement was to make reverging more deliberate at Flatland instead of implicit at Flatland. As reverging is a deliberate activity (Kalina, 2018: Heijne & van der Meer, 2019).

DISCOVER
To better understand the project's topic, a literature review, interviews with Flatland, and case studies have been conducted.

The literature review concluded that reverging is essential for creating a shared understanding of the options generated in the divergent phase. Moreover, it was found that sketching and visualizing help externalize (tacit) knowledge. This enables the sharing, grounding, manipulation, and generation of ideas. Finally, transdisciplinary learning and knowledge creation can be supported by boundary objects, allowing the translation, transfer, and transformation of knowledge.

The interviews with Flatland reveal the different skills and characteristics needed as a facilitator or illustrator at Flatland, why visual thinking works according to Flatland, and how they would identify reverging in the Flatland process.

The case studies disclosed that the Flatland methodology is more a process flow to hold on to instead of a strict step-by-step plan that needs to be followed. Additionally, it revealed the success factors, risk factors, and requirements for fruitful reverging in visual thinking.

DEFINE
Based on the findings from the discovery phase of the project a general model was constructed to bring all the findings together. The general model served as the starting point for the design requirements and opportunities.

In addition, reverging at Flatland has been described and analyzed more in-depth. The analysis revealed that there was no common knowledge about the concept of reverging. However, it was found that reverging was done at Flatland, but more unconsciously rather than deliberate. Two types of reverging moments at Flatland have been identified: (1) reverging exercises done with the client during a session and (2) the activity called whiteboarding, which is a separate session without the client to make thinking steps based on the output from the previous session.

This project focused on the second type of reverging moment because it is a formatted and formulated phase at Flatland, setting a clear boundary for highlighting the problems and developing a design. The main difference between reverging at Flatland compared to the rules described in theory is that it is done without the client. This may lead to the not-invented-here syndrome, which often results in the client's difficult acceptance and implementation of the outcome, according to Buijs & van der Meer (2013).

DESIGN BRIEF
Based on the output from the general model, design opportunities have been identified. The chosen opportunity for this project was to guarantee client ownership by involving the client more in the whiteboarding reverging process. A design statement and requirements have been formulated to guide the final design’s creation.

Additionally, the metaphor of a magic map maker has been formulated to describe the selected opportunity. This narrative was used to make the findings from the research more concrete and get the conversation started.

DESIGN
Different creative sessions have been held to come up with the starting point for a solution to guarantee client ownership. Based on the input from the co-creation sessions different minimum viable products were created iteratively. These have been discussed with Flatlanders and adapted according to the feedback obtained during the iteration rounds.

DELIVER
The final design, the whiteboarding tool, consists of three sub-parts:

The Flatland workstyles, based on the narrative of the metaphor of the magic mapmaker, balancing the map maker and wizard workstyle throughout the entire process
The Flatland journey is adapted from their current setup of the general project flow. The whiteboard phase was not included yet. The Flatland journey aims at making that explicit. Revealing the problem in the focus area (whiteboarding phase) of reverging steps happening without the involvement of the client and therefore the client potentially lacks ownership of the final outcome
In order to solve this problem finally the Whiteboard canvas has been developed to help Flatland involve the client in the whiteboarding phase and make their reverging steps explicit so they can be shared and discussed with the client.

CONCLUSION
The impact of this project was created through (1) the research, (2) the metaphor, and (3) the tool.

The research highlighted the discrepancy between the literature and Flatland’s way of working. The gap served as the initial starting point for giving recommendations to Flatland and coming up with the final design.
The metaphor served as a narrative for Flatland to talk about the highlighted problem and reflect on their workstyle.
The whiteboard tool served as an intervention to do the whiteboarding in a more structured manner with the client's involvement. The canvas has been tested with members of the Flatland team and is ready to be used in Mural, Photoshop, or real life!

To conclude the project, the limitations have been highlighted, and future research directions have been proposed.

Happiness is something we, as humans, seek to attain yet we are not entirely familiar with what exactly it means. Typology of fundamental needs (Desmet & Fokkinga, 2020) explains comprehensively, yet detailed enough, the needs we must fulfil in order to be happy. An average person spends a third of their life at work (Pryce-Jones, 2010) and in that one-third of life, how those needs get fulfilled or harmed influences the happiness of an individual. Scholars of positive psychology argue that “positive states help people to thrive, mentally flourish and grow psychologically” (Frederickson, 2001). At the same time, happy people have been proven to be up to 20% more productive (Sgroi, 2015). Therefore, not only as a social responsibility should an organization put their focus on employee happiness but as an economic benefit as well. However, the vast science of happiness and the nature of the context (an organization) makes it an “open” or “wicked” challenge (Bijl-Brouwer et al., 2019). The challenge starts from analyzing happiness of employees within an organization, then introducing initiatives to improve happiness and finally, tracking the progress and effectiveness. However, the current scenario and limitations of happiness within organizations combined with the multi-faceted nature of happiness hints towards an even bigger challenge: achieving a happiness mindset.This project is an attempt to operationalize the typology of fundamental needs within the context of an organization in order to aid in achieving a happiness mindset. Borrowing knowledge from systems thinking and phenomenological hermeneutics, a theoretical framework is developed which is translated into a practical approach and tested on 4 different cases. The learnings and real life narratives obtained from this practical approach are utilized in developing the final outcome: “Ajar Process”. It is a 4 step process: Awareness, Alignment, Action and Acknowledgement. It starts with making the participants aware of the typology of fundamental needs, making them capable of sorting their real life experiences according to the need fulfillment. This awareness is then mutually aligned with all participating individuals, so that the perception of what happiness means in that context is similar for everyone. This prompts meaningful conversations leading everyone into a pro-active attitude, coming up with mutually decided initiatives to improve the happiness through need fulfillment. Eventually, the effectiveness of those initiatives is evaluated and a decision is made which step of the process to go to next. In this way, the process never ends and a repeated use results in a happiness mindset. Design concepts are proposed per step of the Ajar process which aid in executing that step effectively. Ajar process is presented as a service expansion for Emotion Studio (design agency) where they would offer to execute the first sprint of the process within the organization and hand it over to them for future executions.

A creative session is a lot more than a session of generating ideas. It’s part of a much larger goal of delivering innovation in a company. It is necessary to get everyone on board and motivated. And when the motivation levels reached, then beautiful things can happen. In order to achieve a certain motivation level, It’s imperative that people feel the engagement during the creative session. Being engaged in the creative session is not just about paying attention. With positive emotions, people would stimulate themselves to put more effort and energy which formulates a positive loop. And game is the main media as the fun-generator. There is a huge opportunity that puts the game experience to the creative session to explore and examine business challenges, to improve collaboration, and to generate novel insights about the way the world works and what kinds of possibilities we may find there in a playful way.With the collaboration of the serious game company &RANJ, the graduation project focus on developing a toolkit for the creative session based on gamification methodology to stimulate engagement of participants. And eventually, HomeTree - a gamified toolkit that includes four sequent mini-game challenges within a complete story to support participants with diverse backgrounds to get committed to the creative session process in a playful and tangible manner is designed to fufill the project objective.

Change can be defined as deliberate activities that move an organisation from its present state to a desired future state (Harigopal, 2016). A form of facilitating change is to organise a creative session, which is a group process of applied creativity with the ultimate goal to create a product. The product is the desired future state of a creative session and does not have to be tangible. Most importantly, the product has to be further developed or implemented after the creative session in order to achieve a successful process of change.
LEF Future Center facilitates breakthroughs by organising creative sessions for the Dutch Public Works and Water Management (Rijkswaterstaat). LEF is the context of the research and the aim of this thesis is to enhance change in their creative sessions. The scope of this research is set on creative sessions of which the problem owner desires an outcome that requires implementation into the associated organisation.
First, complete understanding is created on how a creative session facilitates change. Organisational change management and integrated Creative Problem Solving (iCPS) were compared in a literature review. Revealing that iCPS follows similar steps to organisational change management. Afterwards participant observations complemented the research to understand how LEF facilitates change in sessions. The most promising opportunities that resulted from the research are; (1) Ensure a thorough understanding of the problem as given by the problem owner. (2) Define and phrase the goal of the session. (3) Compose a diverse and balanced resource group. (4) Document creative sessions. (5) Inform the problem owner on its role as a change leader.
To ultimately influence the implementation of change over the full process, the design focuses on the beginning of the LEF-process. The intake meeting is chosen as the specific context for the design.Considering this meeting could educate all partakers on their respective roles regarding the goal of the creative session, whilst engaging in all elements of an intake meeting. The partakers of an intake meeting are the facilitator, problem owner and account manager.
The final design resulted from three evaluation sessions, performed during actual intake sessions at LEF. The Intake Session is the new form of starting the preparations of a LEF-session.
The Intake Session is a combination of context specific table and clear instructions, which supports all partakers to fulfil the meeting in three phases. The first phase is introductory. The second phase critically identifies the purpose and reason for the LEF-session. Hereby the partakers give shape to the LEF-session together. The tangible aspects of the table, remind the partakers of all intake elements. During the third phase of the Intake Session, all partakers will evaluate what is in their power to reach the goal of the session and wrap-up with a picture of all that has been written on the tabletop.

The physical aspects of the Intake Session fit with LEF’s identity and support all partakers. LEF is aware of their prominent opportunities to enhance change. However, LEF lacks a sufficient intake where these opportunities are used. The ‘Intake Session’ provides an essential physical and visual reminder of how to make a good start in the LEF-process, so LEF can flourish during the creative session and facilitate a breakthrough.