Danish Design 2020

8/13/2019 Danish Design 2020

1/66

DANISHDESIGN2020

The Vision of the

Committee


2/66

The Vision of DANISH DESIGN20

Committee


3/66


4/66


5/66

6

In recent years, developments in the use of designhave blurred the boundaries between design and arange of related activities. Design has come to mean

more than giving form; it has increasingly become astrategic element in innovation processes in privateenterprises and public organisations.

The Danish government expects design to becomean even more powerful driver of innovation inthe future. In the autumn of 2010, therefore, thegovernment asked a group of six people to articulate

a vision for the future Design 2020. The purposewas to suggest how design can be strengthened and

used in order to contribute to growth, productivity,and innovation areas in which Denmark facessubstantial challenges. 1

In this paper, we the Design2020 Committee present our overall vision for design in 2020. Wealso describe the long-term challenges faced by theeld of design, and how these challenges could beresolved in order to realize the vision. Our focus

1 See the appendix: The Mandate of the Design2020 Committee.For a description of Denmarks challenges, see Denmark 2020:

Knowledge Growth Prosperity Welfare, 2010, The DanishGovernment.

Design, stripped to its essence,can be dened as the human capacityto shape and make our environmentin ways without precedent in nature,to serve our needs and give meaningto our lives.

John Heskett, 2002

FOREWORD


6/66

7

areas include design as giving form to products

and services and as a driver of innovation, designresearch and education, and branding of design fromDenmark and our region.

The Committee met six times between November2010 and May 2011 and discussed the above-mentioned focus areas. The Danish Enterprise &Construction Authority and the Danish Ministry

of Culture acted as secretariat. We receivedvaluable input and inspiration from the DesignReference Group 2, from distinguished internationalguest speakers from some of the best designinstitutions around the world, and from variousdesign institutions, organizations and companies inDenmark. We express our gratitude to all those whohave contributed to and inspired our work.

2 The Design Reference Group is chaired and organized by theDanish Enterprise & Construction Authority and consists of thefollowing members: The Confederation of Danish Industry, theDanish Chamber of Commerce, the Danish Design Council, theDanish Design Association, Danish Designers, the Danish FashionInstitute, Danish Fashion and Textile, the Danish Design Centre,the Danish Agency for Science, Technology, and Innovation, the

Danish Ministry of Education, the Danish Design School, and theDanish Ministry of Culture.

The Design2020 Committee hereby presents

its vision and recommendations to the Danishgovernment and Parliament. It is our rm belief thatdesign can contribute to improving the quality ofpeoples lives, create economic value for businesses,and make the public sector better and moreefcient. It is our hope that these recommendationswill be transformed into a new and forward-lookingstrategy for Danish design.

Members of the Committee: Dr. Johan Roos, Moving Minds, Sweden

(former President of Copenhagen Business School)(Chairman)

Managing Director Anders Byriel,KvadratA/ S

Designer Louise Campbell Managing Director Jacob Holm,Fritz HansenA/ S

Rector Elsebeth Gerner Nielsen,Kolding School of Design

Professor Yrj Sotamaa,Aalto University, Finland


7/66

8

2.1 The vision

In short, the Committee envisions that, in 2020,Denmark is known worldwide as the design society.By that, we mean a society that, at all levels and ina responsible way, has integrated the use of designto improve the quality of peoples lives, createeconomic value for businesses, and make the publicsector better and more efcient.

In the following, this vision will be explained andexpanded. It is important to note that this is avision, not a strategy or a detailed plan. We havemade no attempt to ll in all the details or imagineall possible obstacles along the way. Rather thanchallenges, objectives and means, we use the termslandscape, vision and roadmap. Instead of precision,we offer perspective.

Nor have we prescribed an exact plan for how thevision should be realized. The process of realizingthe vision should be discussed and negotiated withall the relevant stakeholders in society. We suggestan inclusive, bottom-up approach allowing allstakeholders to have their say.

We also want to stress that we have not intendedto propose a concrete policy i.e. a program

THE VISION OFTHE DESIGN2020 COMMIT


8/66

9

for government actions and remedies. Indeed,

the Danish government, authorities, and publicinstitutions can and should be very instrumental increating the right framework conditions for designand innovation. But this will never be enough to fullthe vision.

The fullment of this vision requires that all parties including private enterprises, public entities,

and individuals take part in shaping the future. Judging from the feedback received from Danishdesign organizations, leaders in private companies,and other stakeholders throughout the process ofshaping this vision, the time is indeed ripe for jointaction. Therefore, with inspiration from PresidentKennedy, we ask not what society can do fordesign, but what design can do for society.

2.2 A third-generation design policyOur vision is about creating the conditions forprivate, public, and third-sector organizations tothrive and generate value for the Danish society atlarge. It is not about increasing regulation or stateintervention. However, policies matter. 3 In the 90s,

3 According to a recent study, there is a positive correlationbetween national design policy and national competitiveness.Gisele Raulik-Murphy,Comparative Analysis of Strategies forDesign Promotion in Different National Contexts, 2010, PhDdissertation, the University of Wales.

Denmark was among the rst countries in the world

to adopt a design policy. Among many issues, specialemphasis was placed on awareness of the potentialof design for enterprises outside of the originaldesign sector. In the 21st century (2000-2009), manycountries launched second-generation design policiesemphasizing the dissemination of knowledge on howto use design and, in the Danish case, on creatingbetter-functioning markets for design services.

Many countries are now in the process of formulatingso-called third-generation design policies, whichemphasize the use of design as an important toolfor cultivating innovation and meeting societalchallenges. 4 The Committees vision rests on thisassumption, and we recommend making this the coreof Denmarks next generation of design policies.

A policy for design as a driver of innovation shouldbenet Danish start-ups and create new businessopportunities, but it should also focus on areasin which Denmark and Danish enterprises havecompetitive advantages compared to the rest of theworld. Thus, the key drivers in a new design policy

4 Mapping of International Design Policies and the Strategies forLeading Design Schools and Research Institutions, 2011, Quartz +CO for the Danish Enterprise & Construction Authority and theDanish Ministry of Culture.


9/66

10

knowledge-sharing, design education and research,

branding, etc. should help to sustain Danishstrengths, making the best even better.

Denmark should by no means copy the designpolicies of other countries. We must continuouslystrive to create our own particular path, combiningartistic creation with research-based knowledgeabout users, market, culture, and society. And we

must use the unique Danish design and industrialheritage and the best of our collective efforts asstepping stones in order to realize the vision ofDenmark as the design society.

2.3 Realizing the visionOur vision is indeed very ambitious. However, takinginto consideration the innovative potential of design

that is, the ability of design to create better andmore efcient solutions - it is clear that nothingless will do. When exploited to its fullest potentialand used responsibly, design (broadly dened) cancontribute considerably toward creating a bettersociety. Around the world, countries such as Finland,Korea, and Singapore are realizing the new promiseof design as an enabler of value creation, andsubstantial public and private investments are beingmade at local, regional and national levels in design

research, education, and promotion. If we want

Denmark to remain a global leader within the eld ofdesign, we have to act now and forcefully.

In Denmark, as in many other Western countriesat the moment, resources for new investments arescarce. An economic crisis, an aging population, anda growing demand for better welfare services haveled to tighter scal constraints. However, the very

promise of design as a driver of innovation is in itsability to do more with less. Hence, we should notand need not compete with other countries whenit comes to new investments in programs aimedat supporting designers or the use of design bybusiness. In order to exploit the potential of designas an enabler of value creation, Denmark needs tobecome much better at integrating the design-driven

approach into investments in society. In building thewelfare society of tomorrow, we must make surethat due consideration is given to develop designand its potential to improve society.

In the years leading up to 2020, Denmark isinvesting much more than DKK 100 billion in trafcinfrastructure, new hospitals, daycare institutions,public schools, homes for the elderly, and universities.Furthermore, private Danish foundations and


10/66

11

A denition of designIn its original sense, design means to give form. As such, design

has its roots in art. The designer shares the artists ability tocreate i.e., to develop something that has not been seenbefore. However, in contrast to the artist, the designer is boundto address a specic need or function. Design can, thus, bedescribed as a creative processand as the result of this process.

This unique combination of creativity and purposefulness hasattracted a great deal of attention in recent years as a tool for

innovation. Disciplines outside of the design sector per se seekto understand and adapt the innovative capabilities of design byexamining and copying the various stages of the design process.How does the designer think? What kind of knowledge is createdin the design process? How are ideas developed into solutions?How can design be used as a tool for user-driven innovation?What kind of tools does design offer to facilitate dialogue andknowledge-sharing across different disciplines? As such, design

could be broadly considered as the bridge, for example, betweencreativity and innovation, technology and the user, scientic andcommercial disciplines.

The development of the uses of design has had twoconsequences. First of all, design can now be used strategically and, second, design becomes a particular way ofthinking. Thedesigners way of working and thinking can be utilized by others,

for example, as the basis for management. In this way, otherpeople can tap into the creative capabilities of design for thepurpose of transcending known or unknown borders and barriersand thereby increasing innovation. Although strategic designand design thinking have their roots in the eld of art, they are,rst and foremost, knowledge disciplines with strong ties to thesocial sciences.

Design which is commonly understood as products of a certainquality and the process of crafting these products - is nowinternationally recognized as part of a knowledge-intensive eld

characterized by innovation, multidisciplinarity, and strategicprocesses. According to a recent mapping of international

design policies, new and emerging design disciplines such asstrategic design and design thinking are gaining focus in policiesfor design, innovation, industry, and education. Recent designpolicies, thus, tend to focus on design as a strategic tool forinnovation, economic progress, and job creation. In addition tothis, there seems to be an increased international focus on usingdesign as a tool to meet grand challenges in society.

Supranational institutions, such as the EU, have also recentlyrecognized the potential of design by emphasizing theimportance of strategic design as a driver of innovation in theprivate as well as in the public sector and by introducing aEuropean Design Innovation Initiative.

Due to this expanded notion of design, it is difcult to give anexact description of the term design. The EU proposes the

following denition: Design is a tool for the realisation ofinnovation. It is the activity of conceiving and developing a planfor a new or signicantly improved product, service or systemthat ensures the best interface with user needs, aspirations,and abilities and allows for aspects of economic, social andenvironmental sustainability to be taken into account.

In conclusion, design has come to mean more than giving form;it is increasingly becoming a strategic element in innovationprocesses in the private as well as in the public sector.

Sources:Mapping of International Design Policies and theStrategies for Leading Design Schools and Research Institutions, 2011, Quartz + CO for the Danish Enterprise & ConstructionAuthority and the Danish Ministry of Culture.Design as a Driverof User-Centred Innovation, 2009, EU.Europe 2020 FlagshipInitiative Innovation Union, 2010, EU.Conclusions on Creatingan Innovative Europe, 2010, EU. CoxReview of Creativity inBusiness,2005, The British Design Council.


11/66

The Danish design DNA

Design reects the essence of a nations identity. The buildingblocks of the Danish design DNA are, among other things,the cooperative movement, democracy, legal rights for all,the welfare society, nature and the sea, freedom, equality,and respect for all individuals. Design is not only embeddedin our fundamental values, culture, and aesthetics but alsoin Danish products, services, and solutions. Design embraceseveryone and is present everywhere in the public space.

The concept of Danish Design is world-famous. It wascreated during what has been called the Golden Ageof Danish design from the 1950s to the 1970s. Behind thisconcept is a unique design tradition created on a foundationof Danish heritage with a humanistic approach. Conceptssuch as being user-centered, having an understandingof materials, and having the desire to create functional

products of superior quality for the ordinary citizenhave been central ingredients in the brand that we todayrecognize as Danish Design. Names such as Arne Jacobsen,Poul Kjrholm, Poul Henningsen, Brge Mogensen, and Hans J. Wegner are not just Danish design classics. They are iconsof design throughout the world. This traditional Danishdesign has contributed to the fact that Denmark is oftenregarded as a design country.

Danish designers are known for a special Nordic orScandinavian style. A unique combination of skills such asuser awareness, simplicity, and functionalism characterizesand differentiates design from Denmark. Danish designersare able to combine aesthetics and functionality in way thatmakes design accessible and meaningful for every citizen.It is a cultural, humanistic, and social approach to design rather than a market-driven approach. This capability isembedded in Danish design and shared by only a few othercountries.

12

companies are investing heavily in areas such as

the built environment5

, healthy food for children6

,and metabolic diseases. 7 Design should be madean integral part of such large investments from thevery onset in order to ensure quality, efciency, anduser friendliness. If we seriously believe that designcan improve society, we need to become better atapplying design consistently to all relevant areas ofsociety.

Our vision will be realized the day it is no longernecessary to explain and motivate the value ofdesign or promote its use to Danish companiesand public organizations. This is the day whendesign will have become an interwoven part of thepsychological, social, and economic fabric of Danishsociety. This is the day when design will be as naturalto Danes as caring for the environment.

The starting point is very good. The Danishhumanistic tradition and the legacy of our historicaldesign traditions inuence and inspire contemporaryDanish design, differentiating Danish design fromother design positions in the global market. The

5 www.realdania.dk/English.aspx6 www.foodoife.dk/Opus/English.aspx7 www.novonordiskfonden.dk/en/index.asp


12/66

Fotos venligst udlnt af Ted Lahn, Mads Armgaard, Dansk Design Center, Columbus Leth, Nicolai Perjesi, Gregers Reimann, Kim Wyon, Det Gode Kkken, Ireneuz Cyranek, Redia og Leif Orkelbog-Andresen

13

Danish design DNA consists of a holistic mind-

set, a multi-facetted approach, and user-centredprocesses. This contributes to innovation and bettersolutions for complex problems.

Hence, Danish design has always included thecharacteristics of newer movements, such asstrategic design and design thinking. Denmark has aunique starting point to become a full-blown design

society, and in order to succeed in this, we mustnot only sustain and build on our strong position inform-giving design but also embrace new trends indesign disciplines.

If Denmark is to maintain its status and image as asociety with a strong design identity, and if Denmarkis to become better at harnessing the innovativecapabilities of design, we have to adjust our coursenow. Doing so requires not only a mobilizationof the necessary means and resources but also astrong and coordinated focus by Danish decision-makers in the private and public sectors, who mustlearn to appreciate the design-driven approachas a particular mindset. It requires a coherent anddurable strategy to realize the vision of Denmark asthe design society a society that, at all levels andin a responsible way, has integrated the use of design

to improve the quality of peoples lives, create

economic value for businesses, and make the publicsector better and more efcient.

In the following chapters, we outline four importantareas within the eld of design where action shouldbe taken in order to realize the vision:1) design as a driver of innovation,2) design competencies,3) design research and knowledge-sharing, and4) branding of design from Denmark.These areas should form the pillars of a new nationaldesign strategy.


13/66


14/66


15/66

Figure 1

16

Traditionally, companies have used technology asa source of innovation and development. However,in recent years, more and more companies have

discovered that design can be an equally importantsource of innovation. Design can improve products,services, and processes by making them moremeaningful to people. In other words, design is anenabler of innovation because it can innovate themeaning of products and services. This, in turn, leadsto a signicant growth and protability because, whenproducts are more meaningful, users attribute to thema higher perceived value.

Roberto Verganti maps the innovation of rmsin accordance with two dimensions: Technologyand meaning. In addition, innovation can be eitherincremental or radical in both dimensions. Vergantitherefore identies three possible innovationstrategies:1. Market-pull innovation, which begins with ananalysis of user needs and then searches for solutionsto those needs. It aims at giving users what theyask for, leading to incremental improvements. Forexample, in the case of light bulbs, this type ofinnovation may lead to different bulb shapes (a ame-like bulb) or wattages (e.g. 10 W).2. Radical innovation of technology or technology-push innovation, which reects the dynamics ofadvanced technological research. For example LEDs,which are now spreading throughout the lightingindustry, stem from research in the 1920s whichfollowed the typical pattern of scientic discoveryand technological development. Technology-pushinnovation has been the focus of past strategiesand policies because technological breakthroughshave a potentially disruptive impact on industriesand are often the source of long-term competitiveadvantage. However, recent studies have shown that

technological breakthroughs are only potentiallydisruptive: To capture their value fully, rms mustunderstand how to use those technologies to createmore meaningful experiences to users, i.e. they haveto combine technological breakthroughs with design.3. The radical innovation of meanings or design-driven innovation, which is propelled by a rms visionof possible breakthrough meanings that have morevalue for people (in retrospect, people often seemsimply to have been waiting for them). Design-driveninnovation has the capability of creating more valueand stronger brands, and competitors can hardlyimitate it. Sustained competitive advantage andlong-term prot can, therefore, come from radicalinnovation in technology and meaning, possibly linkedtogether.

Source: Roberto Verganti: Design-Driven Innovation, 2009.

RadicalImprovement

RadicalChange

IncrementalImprovement

IncrementalChange

Innovation

TechnologyMarket

Pull

TechnologyPush

DesignDriven

Meaning


16/66

LEGO Group are already using design as an importantand integral driver of innovation in order to increasetheir competitiveness and prepare for a future with amore intense competition for natural resources. SomeDanish companies, like Grundfos, are also makinga mark by developing solutions that are affordableto consumers in the developing world. Also, smalland medium-sized companies are gradually openingtheir eyes to the innovative capabilities of design.Furthermore, Denmark has a range of well-performingcompanies based on product design and designservices such as Pandora, Kopenhagen Fur, Designit,Kontrapunkt, 1508, as well as a large number of smalland medium-sized companies with design as theirmain theme not only in products but also in theirculture and communication.

The ever more widespread use of design and the evermore blurred limits of design as a concept mean thatthe strategies for how to use legal design protection

differ among enterprises and sectors. Someenterprises work with so-called open innovationand develop their designs so swiftly that formalprotection is not very important while others,especially companies using form-giving design, areinterested in robust design protection. Unlike patents,design protection differs greatly between countries,which is a problem for many exporters.

In the last decade, Denmark has suffered a declinein productivity growth. Furthermore, this declineis more signicant than in most other WesternEuropean countries. On average, Danish enterpriseshave become less innovative when measured by theEuropean Commissions CIS review. In recent years,Denmark has dropped to a mediocre place. 10

10 Denmark in the Global Economy - Competitiveness Report 2010,The Danish Government; http://epp.eurostat.ec.europa.eu/portal/page/portal/microdata/cis.

17

0 %

10 %

20 %

30 %

40 %

50 %

60 %

70 %

80 %

90 %

POLHUNSVKESPNLDUKNORFRADNKFINITASWECZEAUTIRLPRTBELDEU

52 %

Includes companies with at least 10 employees. Innovation activities are defined as having provided product, process,organizational or marketing innovation, or activities focused on introducing new products and/or processes.Source: Community Innovation Survey, CIS2008.

Figure 2: The share of innovativecompanies, 2006-2008.

The Community Innovation Survey (CIS),

organized by Eurostat, charts the share ofcompanies with innovation activities. Thesurvey shows that around half of Danishcompanies had innovation activities in theperiod 2006-2008.

The CIS2008 is not fully comparablewith previous editions of the CIS due tochanges in the population surveyed and inthe CIS questionnaire. However, it can beshown that the share of Danish companiesshowing product or process innovation hasdropped compared to earlier years. Source:Community Innovation Survey, CIS2008and past editions of CIS.


17/66

18

0% 20% 40% 60% 80% 100%

Step 1: The company uses design but not in asystematic manner.

Step 2: The company uses design for the final f inish,

shaping or styling when something new isdeveloped.

Step 3: The company uses design as an integrated,although not decisive, element in the companysprocesses when something new is developed.

Step 4: Design is a central and decisive elementin the business foundation of the company. 96%

87%

86%

57%

Includes companies with at least 10 employees. Innovation activities are defined as having provided product,process, organizational or marketing innovation in the period 2007-2010.Source: The Design Survey 2010 by Epinion for the Danish Enterprise & Construction Authority (FORA).

The Design Survey, organized by Epinion for the Danish Enterprise & Construction Authority, charts the use of design inthe business model of Danish companies. The survey shows a positive relationship between the use of design and theinnovation activities of a company. When design becomes a more integrated and central element in the business modelof the company, the likelihood of the company having innovation activities increases. More specically, when asked, alittle more than half of the companies that make use of design but not systematically, state that they have innovationactivities. In comparison, almost all the companies that use design as a central and decisive element in their businessfoundation state that they have innovation activities, cf. gure 3.

Figure 3: The share of companies with innovation activities in relation to their use of design, year 2010.


18/66

Analyses show that there is a positive correlationbetween the level of investment that companiesmake in design and their innovation capability. 11 According to a recent Danish study, companiesusing design as a central part of their innovationand business processes are more innovative thancompanies that only use design to add a nal stylingor nish to their products. 12 The study, thus, indicatesthat companies can become more innovative if theyintegrate design into their innovation and businessprocesses. Danish companies need to accelerate thispositive development, and future Danish policiesshould enable it.

Design-driven solutions to societal challengesGlobalization has not only transformed the world ofbusiness but also brought on a new set of complexand grand societal challenges, which requirenew and complex solutions created in public-private partnerships. 13 Climate change, pollution,and congestion problems in many major cities,

11 The Design Survey 2010 by Epinion for The Danish Enterprise& Construction Authority (FORA); Design as a Driver of User-Centred Innovation, 2009, EU; www.designfactnder.co.uk.

12 The Design Survey 2010 by Epinion for The Danish Enterprise &

Construction Authority (FORA).13 Europe 2020 Flagship Initiative Innovation Union, 2010, EU.

and a growing demand for health care and otherwelfare services are examples of such challenges.Design-driven innovation can play a key role in thedevelopment of new solutions to such challenges bydesigning business systems, manufacturing processes,services, and products that consume as fewresources as possible, thereby reducing the impacton the environment.

Moreover, in the near future, many Westernsocieties will face substantial challenges due toan increasingly aging population, large segmentsof which are older than 70 or 80 years. Welfareservices, such as the healthcare system, will needto improve without receiving additional funding. Anumber of successful Danish service design projectsand experiences from the British Design Councilhave shown that design can be an efcient tool indeveloping innovative and cost-efcient solutionsthat are better suited to meet the real sometimesunrecognized needs of consumers within eldssuch as healthcare. Furthermore, design can beused to nudge or change behavioral patterns orhabits for example, reducing trash in the streets bydesigning more attractive garbage receptacles.

19


19/66

Keep Denmark Clean partnership to reduce wasteDenmark spends DKK 500 million annually to cleanup after itself. In this context, garbage dumped atrest areas and along our roads presents a challenge.

In addressing this challenge, the Danish DesignCentre has teamed up with the organization HoldDanmark Rent (Keep Denmark Clean) and thedesign consultancy Goodmorning Technology todevelop new, innovative solutions. The result hasbeen the preparation of eight specic solutions,ranging from the refurbishment of rest areas andsmart waste solutions in cars to a new businessconcept using waste as a resource.

It has been crucial to involve the user in the designprocess in order to ensure that the proposals canactually solve the problems. All of the solutionsare, thus, based on thorough research andethnographic studies of user needs and behavior onroads and at rest areas.

As the waste challenge is not only Danish butglobal, it is estimated that there is an exportpotential for Danish companies that seize thisopportunity. The organizations behind the projectare currently in dialogue with stakeholders andother companies about the possibility of testingand producing various solutions.

Source: www.ddc.dk / www.holddanmarkrent.dk

20


20/66

New and intelligent solutions such as these not onlyreduce energy consumption and improve publichealthcare for the greater good of the climate, theindividual, and society in general, they also give theservice provider a competitive edge in the globalmarket. Thus, design is not simply an important toolfor business; it is also a highly relevant instrument formeeting societal challenges and developing publicservices with higher quality, better usability, andlower costs.

Design-driven approaches to innovation canincrease growth in DenmarkThe importance of design grows as companiesand organisations use design-driven approachesto innovate and improve products, services, andprocesses and to engage users. The design-drivenapproach mediates between technology, business,and end-user perspectives, thereby substantiallyimproving the success rate of innovation processes.More and better use of design cultivates creativityand the willingness of both private and publicparties to experiment with new and better solutions.A more widespread use of design can be a verystrong impetus for improving Denmarks innovativecapabilities and growth.

Design Bugs Out improving the British healthcare system

Among the many challenges of the healthcaresystem is how to keep hospitals clean and safe. Inthe UK, design is seen as a tool to keep hospitalfurniture and equipment clean, thereby reducingthe risk of infection in British hospitals.

Along with the British Department of Health andthe National Health Service (NHS), the BritishDesign Council challenged the UKs design industryand manufacturing community to design andprototype new hospital furniture and equipmentthat will help reduce infections incurred in thehealthcare system. The Royal College of Art waschallenged to develop quick wins, while a nationaldesign competition was thrown open to designersand manufacturers.

The designers brought their creative approachto problem-solving, including their unique wayof understanding users, making things visible byprototyping and iterating. This resulted in thedevelopment of new functional furniture andequipment that benetted both staff and patients.

Besides these benets, recent forecasts showa potential return on investment of 23 per 1investment and an additional 11.3 million inturnover for participating manufacturers anddesigners involved in the Design Bugs Out project.

Source: www.designcouncil.org.uk

21


21/66

CHALLENGE SOCIETY Exhibition at the


22/66

3.3 RoadmapA transformation into a more innovative societycannot be achieved by the government or theprivate sector alone it requires collaboration. Anumber of steps along the road can be identied:

Establish public-private design partnerships The public and the private sectors should join forces in partnerships committed to thedevelopment of solutions to societal challengessuch as climate change, pollution, scarcity ofnatural resources, city congestion, and healthproblems. None of these problems can be solvedby single brilliant individuals or enterprises. Themagnitude and complexity of these challengescall for partnerships and collaboration. Suchpartnerships could be facilitated by a more openmindset in public institutions and authoritiesand by more exible and innovation-friendlyprocurement rules. The possibility of creatinga public-private Grand Challenge Fund,merging public funds available for innovationand development with resources from privatefoundations in order to support the developmentof design solutions to grand challenges, should beinvestigated.

CHALLENGE SOCIETY Exhibition at theDanish Design Centre (DDC)

The world is transforming, creating complex, societalchallenges. Educational systems and health caresystems are under pressure, and the future sees fewerhands to care for the increasing number of elderly.In general, the model of the welfare state is underpressure. The Danish Design Centres exhibition,CHALLENGE SOCIETY, shows how design can meetsuch challenges. It is not a question of inventing newaccessories for the world, but of inventing new waysto design the world. It is necessary to design systemsand services that match the complex demands of thefuture public and private sectors, both individuals andcompanies. The DDC is not claiming that design is thesolution to the worlds problems. But it can help.

DIN A model for design driven innovationThe Danish Design Centre has developed a modelfor design driven innovation. The model is based onuser-driven innovation, design principles, and designmethods. The purpose is to increase innovation,precision, and successful implementation in the privateand the public sectors. The model is based on practicalexperience from projects and concepts concerningsocial challenges. Throughout 2011, the Danish DesignCentre will exhibit cases, and discuss how and whydesign thinking can help solve some of the grandchallenges of our society.

23


23/66

Danish enterprises should improve their innovativecapabilities and approach to innovation The various bodies organizing Danish enterprises

(Confederation of Danish Industry, Danish Chamberof Commerce, etc.) should develop a joint strategyfor using design as a driver of innovation. Suchan effort would also strengthen Danish productdesigners and strategic design consultancies,thereby creating a better functioning Danish marketfor design services.

Design companies should be more proactive andbetter at demonstrating user benets, includingcost and resource savings Designers and design companies should be more

active in cooperating across all borders national,mental, and inter-disciplinary and expand theirunderstanding of client needs both in the privateand the public sectors. Design companies mustbe able to demonstrate that their service is cost-efcient and that it adds value to processes as wellas products. Thus, design services and productsshould be sold not on a nice-to-have basis butrather on an efciency and life-enhancing basis,inferring that even though good design increasesvalue, it is not necessarily an extra cost.

Different IPR rules (Intellectual Property Rights)should not be a barrier for Danish design companies Denmark should argue for an international

reconciliation of the various design protectionsystems.

Design should consistently be used to developbetter and more efcient public services andsolutions The design-driven approach should be made an

integral part of planning and realizing large societalinvestments such as new hospitals, educationalfacilities, urban development, infrastructure,etc. This would not only make an importantcontribution toward ensuring the quality, efciency,and user-friendliness of such investments and theirresults, it would also be a source of continuousdevelopment of new products and competencieswith a signicant commercial potential. In order toachieve this, Denmark must maintain and build onits strong position in form-giving design but alsoembrace a broader perspective of design such asservice design, strategic design, and design thinkingin order to meet societal and environmentalchallenges.

In procurement, the public sector should not onlytake into consideration short-term purchase costs

24


24/66

but also focus on total life-cycle costs, thus takinginto account maintenance and repair costs aswell as implied costs or benets in other relatedareas. Well-designed products and services willoften save money or resources in the long run.Well-designed furniture can last for centuriesand age with beauty; well-designed buildings mayincrease employer satisfaction and productivityor speed up patients healing processes; and well-designed web services may decrease user costs,misunderstandings, and waiting time, therebyincreasing user satisfaction.

In developing new solutions, public entities at alllevels should be more open to experimentationand innovation and get rid of risk-averse,zero-fault, or not-invented-here attitudes.Furthermore, design competencies should comeinto play when public bodies evaluate and selectprojects for public support.

Improve the dissemination of knowledge aboutthe use of design as a driver of innovation The dissemination of knowledge to companies

and public institutions on how to use design tostrengthen innovation and efciency should beimproved by a clearer division of labour or a betterstructure of the institutions in this eld.

Now, how can success in adopting and using designto drive innovation be measured?

3.4 Measurement or success criteriaFirst of all, measures for innovation exist and arepublished annually e.g. the Global InnovationIndex or the EUs CIS indicators. In 2020, Denmarkshould have strengthened its position considerablyby such indices.

Secondly, the value of design could be measured bythe revenue of new products and services and byits contribution to the improvement of the qualityof life and society. The possibility of measuring thedirect impact of design in these areas is l imited, butDenmark should strive to develop more rened toolssuch as The Design Survey 14 in order to achieve this.

14 The Design Survey 2010 by Epinion for the Danish Enterprise &Construction Authority (FORA).

25


25/66

The Good Kitchen


26/66

service design in the public sector

The number of senior citizens is growing, and someseniors tend not to eat enough, which affects theirhealth and quality of life. In the future, senior citizensare also expected to demand better service and a widerselection of meal services.

In order to address current and future challenges,The Good Kitchen was formed as a partnershipbetween the Municipality of Holstebro and the designagency Hatch & Bloom. Design anthropologists madehome observations to explore what might explain thelack of appetite among the elderly. This, along withuser workshops and kitchen observations, led to thetransformation from a municipal kitchen with a onesize ts all attitude to a more holistic, restaurant-inspired experience: The Good Kitchen, whichincludes a new and improved menu with a more exibleselection of foods, a new corporate image, and ongoinguser involvement and dialogue.

For senior citizens, this new concept has resulted inincreased satisfaction with the overall meal experienceand a better appetite among malnourished seniors. Thestaff is now experiencing a greater sense of professionalpride and commitment, and the number of customershas increased signicantly.

The Good Kitchen received the Danish Design Prize2008/2009 in the Service Design category. In 2009,the project also received the innovation prize fromLocal Government Denmark and was nominated for theofcial German Design Award.

Source:Why Service Design? Simple Solutions toComplex Challenges, 2010, The Danish Enterprise &Construction Authority, The National Board of SocialServices, and Danish Regions.

27


27/66

4.1 LandscapeOne of the most important long-term investmentsany society can make is building competencies.In light of the recent focus on design as a driverof innovation, design competencies are becomingincreasingly relevant for companies and publicentities. Design competencies, broadly dened, arebecoming important for many people not directlyinvolved in design activities, and cutting-edge designskills are vital for designers if they want a position infuture markets for solutions to all kinds of problems.If Denmark is to become the design society, it isessential that the right design competencies areavailable to companies and to the public sector.

New competencies for designers and for peopleworking with designDanish design is rmly rooted in a highly-acclaimedform-giving practice. However, as the concept anduse of design evolve, the role of the designer evolvesas well. Design is becoming an important part ofstrategic, cross-functional, and multidisciplinaryinnovation activities, which implies a broader rolefor the designer, building bridges between differentdisciplines and transforming input into solutions.Designers are beginning to value the T-shapedmodel of education, which combines a vertical

specialization with a horizontal capability ofcooperating with other disciplines.

The development within the eld of design alsorequires others working with design (e.g., managers,

DESIGNCOMPETENC

28


28/66

specialization with a horizontal capability ofcooperating with other disciplines.

The development within the eld of design alsorequires others working with design (e.g., managers,

engineers, researchers, policy makers, etc.) to beeducated on how to leverage the value of design.They need to learn how to incorporate design into acompany strategy, how to attract and select talenteddesigners, how to brief and lead a design team, and

Figure 4T-shaped peopleThe concept of T-shaped people originates with the designand innovation consultancy IDEO. The T-shape consists ofa vertical and a horizontal bar. The vertical bar representsdepth of skill and professional specialization. The horizontalbar represents the ability to collaborate across disciplines.

In order to contribute to the creative process of a teamproject, all members must possess deep professionalknowledge, be able to share their perspective, and understandthe perspectives of the other team members.

The T-shaped model has acquired a wide currency in designcircles as a representation of the desired skills for designers.For IDEO, however, it represents the desired skills of allmembers of multidisciplinary design teams.

Following this lead, the challenge of creating T-shapedpeople in the Danish design eld does not apply todesigners alone. Design can only full its promise in acombined effort shared by engineers, business people,politicians and civil servants, social scientists, etc.

Ability to apply knowledge across situations

Functional/disciplinarySkill

BROAD

DEE P

29


29/66

The landscape ofDanish design educationThe concept and use of design have evolved andbeen reinvented over recent years, and Danishdesign programs have evolved along with them.The background for these design programs is theknowledge base and skills that originate fromcraftsmanship and design as an art form, butthe concept of design has migrated to and beenreinvented in other disciplines. To understand thisdevelopment, education in design can be divided intodesign and design-related programs.

Danish design education is under the aegis of theDanish Ministry of Culture, the Danish Ministry ofScience, Technology and Innovation, and The DanishMinistry of Education.

The Danish Ministry of Culture is responsible fordesign education programs that originate fromcraftsmanship and have their knowledge base in art,materials, and design as a form-giving discipline. Thesedesign programs are now accredited with bachelorand masters-level degrees, and the programs haveexpanded from form-giving into disciplines such asstrategic design and design thinking.

The Danish Ministry of Education is responsible fornon-university higher education programs and thevocational training of skilled professions including,

30

how to prot from design. The path to excellencein design passes through a better understanding ofdesign by other players. In particular, this implieseducating managers on design management.

This evolution is reected internationally, as manyforeign design schools and universities are focusing toan increasing degree on multidisciplinarity and designthinking in their curricula. Furthermore, internationalcooperation within the eld of design will becomemore and more important. 15

The importance of art-based design competenciesEven though Denmark needs designers equipped withnew analytical tools, it is very important to stress thatDanish design is rmly rooted in an artistically-basedmaterial- and form-driven practice. It is, therefore,vital for Denmark along with expanding the notionof design by using it as a driver of innovation to payattention to sustaining and strengthening the positionof design as an art form. As such, design contributesin a multitude of ways to innovation, and in order forstrategic design or design thinking to thrive, design in

15 Mapping of International Design Policies and the Strategies forLeading Design Schools and Research Institutions, 2011, Quartz +CO for the Danish Enterprise & Construction Authority and theDanish Ministry of Culture.


30/66


31/66


32/66

33

to make people working with design understand betterhow to leverage the value of design.

Looking ahead from the current landscape of designcompetencies, we envision the following scenario in2020.

4.2 Design competencies the Committees visionIn 2020, Denmark is a society in which people andinstitutions are inuenced by and are a part of theunique Danish design tradition with the courage toexperiment with innovative solutions: Design competencies and creative competencies

are an integral part of education at all levels inDenmark, from primary to tertiary education.

Denmark is a frontrunner in educating T-shaped

designers with a combination of highly specializedskills and general competencies such as creativeproblem-solving, a global outlook, and the abilityto work in cross-disciplinary teams.

A substantial number of graduates from thesocial, natural, and technical sciences, especiallyengineering and business, have competencies indesign-related problem solving.

The Danish design schools have enhanced theirsolid Scandinavian grounding through material-and form-based design, and at least one schoolis among the worlds leading design institutions measured by international student applications,visiting scholars, and global reputation.

Danish design graduates appreciate the needfor design to permeate into the broader society,and they have a global outlook, internationalexperience, and are internationally competitive.

Danish design programs attract highly-qualied,international design students, staff, and researchers.

4.3 RoadmapThe path to better design competencies can be laidout as follows:

Creativity throughout life At its core, design identies and solves problems in

a creative and innovative way. Therefore, everyoneshould have the opportunity to nurture and developtheir creative capabilities throughout life. This shouldbe reected in the entire educational system fromelementary school to post-graduate level. The abilityof children, teenagers, and adults to develop ideas


33/66

34

must be strengthened, and they should be giventools to help them develop, organize, prioritize, andrealize an idea in collaboration with others.

Better, more exible, and more specializeddesign programs In order to achieve world-class and internationally

competitive design education, the educationalinstitutions must build the best possibleenvironments for teaching design and developing

design solutions. Therefore, all institutionsand programs should continue to be evaluatedaccording to established international criteria,especially the Bologna Criteria. These include,e.g., critical mass in the individual institution,cooperation with business, and quality of research.

Denmark has an abundance of design educationprograms, and the quality of these programs

could be strengthened by increasing coordinationand cooperation between the programs in orderto achieve a higher degree of quality throughspecialization.

There is a need for a much greater degree oftransparency in the Danish design educationsystem, and it should be possible to obtain aclear overview of the various design programs

in Denmark, which is not easily done today.

Furthermore, it should be made easier for studentsto transfer credits between different institutionswithin Denmark and the EU.

Focus on new and emerging design disciplines New and emerging design disciplines such as

strategic design and design thinking should bean integral part of the curriculum in the variousdesign and design-related educational programs.This will enhance the problem-solving capabilities

of students. Competencies within the eld ofinnovation processes and methods in particular,ideation/creativity, understanding users, andconducting experiments (data gathering, dataanalysis, etc.) are becoming increasingly relevant asdesign problems become more complex, expandingfrom products to services to solutions. In general,design education can benet from being more

open to the developments outside of its owndisciplines and more inclusive in its approach tothe outside world.

Strengthen design as a human-centred,applied art form Art-based design education cannot and should

not be separated from aesthetics and material-

based craftsmanship since these skills are the very


34/66


35/66

Design2innovate collaborationbetween Kolding School of Design,the University of Southern Denmark,and businesses

With a special commitment to creatingresponsible economic growth, Kolding Schoolof Design in Denmark is one of the main playersin a major regional project focused on inspiringcompanies to innovate through design.

The project will, among other things, focuson the use of innovative design techniquesin businesses and organizations and on user-involvement and user-driven innovation.Design2innovate will offer a course in design-driven innovation targeted at companies withno design experience. In addition, the projectwill organize a new DesignCamp in autumn 2011and set up a series of events called DesignUpdate, which will present companies and

designers at the international forefront ofdesign. In the long run, the project aims atdeveloping a specialized cradle-to-cradle/sustainability program for companies, andDesign2innovate is currently developing aconcept for a reverse internship, offeringcompanies the opportunity to camp out at theschool for a while.

The project, which was kicked off on 4March 2011, runs for nearly four years and isfunded by the Region of Southern Denmarkand the European Regional DevelopmentFund. Project partners are the Universityof Southern Denmark, Kolding School ofDesign, Spinderihallerne Vejle, IBC, The LEGOGroup, Dong Energy, Design City Vest and theTriangular Area of Jutland.

Source: www.designskolenkolding.dk

36


36/66

37

Strengthen the collaboration between designeducation, business, and the public sector

The collaboration between design education,business, and the public sector should beenhanced. Internships for design students andstaff, corporate guest lectureships, and jointdevelopment projects enable design students andtheir teachers to practice their skills, gain insightsinto the world of business and public service, andprovide companies and public authorities with

their knowledge and skills. Stronger ties to businessand the public sector will ensure that designprograms provide designers with relevant skills.

Designers should increase their understandingof the dynamics of business (strategy, businessmodelling, and project management) in orderto integrate design value better into theworkings of business. In addition, business skills

(entrepreneurship, innovative business models forcreative rms, developing a business plan, managinghuman resources, and organization) are needed ifmore designers are to create, manage, and growlarger design rms. Thus, business skills should notonly be part of the curriculum in design education,they should also be bolstered through close andongoing cooperation with business.

4.4. Measurement or success criteria

How can progress and success in this area bemeasured?

First of all, design graduates should be able toachieve the same level of income and employmentas other graduates with equivalent qualications.Today, many design graduates suffer from higherunemployment, especially in the rst years after

graduation and many must eventually nd anoccupation in activities or jobs not related todesign.16

Secondly, the quality of design education shouldbe subject to evaluation in order to ensure thatthe quality meets high international standards. Thisquality evaluation could be done by an international

board.

16 A Danish analysis shows that designers from universityeducation programs more often nd employment within thedesign sector than designers from non-university educationprograms. However, the unemployment rate is higher for

designers with a university level education. Et billede af danskdesign, 2007, Erhvervs- og Byggestyrelsen.


37/66

538

5.1. LandscapeDesign research is a relatively new academicdiscipline that is still developing. It borders on a

multitude of disciplines and offers new ways toidentify, re-dene, and solve problems. New insightsand discoveries in the eld of design can improvedesign education and lead to the invention ofnew products, services, and concepts that benetcompanies and providers of public services. A strongeld of design research is a prerequisite for anysociety that wishes to utilize the full potential of

design-driven innovation.

The promise of design researchOverall, design research offers two promises:1) Practice-based design research through whichdesign researchers collaborate with researchers

from other disciplines and with businesses orinstitutions, which can lead to incremental as wellas radical innovation. This kind of design research iscomparable to the services of professional designersand design consultancies.2) Theory-based design research, which is essentialfor building the knowledge base of design disciplinesand for making design knowledge valuable for

people working with design. This kind of designresearch is comparable to the development andtesting of concepts, models, and theories done inother academic elds.

Traditionally, design has been a skilled professionbased on vocational training rather than a knowledgeprofession based on research. The culture of a skilled

profession poses a challenge to the development

DESIGN RESEARKNOWLEDGE-SH


38/66

39

of design into a knowledge profession. It is theresponsibility of the design research community to

bridge the gap between well-established researchdisciplines within the natural and social sciences andthe humanities in order to support and enhance thetheoretical and methodological qualities of design.

On the other hand, research communities from otherelds must be equally open to working with designat the theoretical and methodological level. To some

extent, this is already happening in managementand engineering as illustrated by Alto University inHelsinki, the new Singapore University of Technologyand Design, the D-School at Stanford, ETH in Zurich,the Politecnico di Milano, and similar initiativesto merge design and other elds of research andeducation. The Creative Enterprise Design platform,launched at the Copenhagen Business School in

2010, is also a way to expand research and educationin design from a narrow focus on creative industriesto a broader application to enhance innovation,productivity, and growth.

It is, however, important for design research not toget lost when entering into collaboration with otherresearch disciplines. In order to remain relevant

and have an impact design research must have a

substantial focus on practice-based research as wellas artistic research 17, building on the methodology

and thinking which is essential and unique in design.

Danish design researchDenmark holds strong positions in practice-basedas well as theory-based design research. In thelast decade, Danish design research has taken abig step forward. This is documented by a recentinternational audit. 18 In order to become the design

society, design research needs to continue to bestrengthened, matured, and accelerated optimally,embedded in a national educational and researchstrategy.

So, what is the vision for Danish design research in2020?

17 The term artistic research describes a kind of research basedon art and not on science. Internationally the terms practise-based research and arts-based research are also used to denethis kind of research.

18 Evaluation of the Design Research under the Danish Ministry of

Culture Overall 2004-2009, 2010, the Danish Ministry of Culture.


39/66

DCDR The Danish Centrefor Design Research

The Danish Centre for Design Research aims to promotedesign research in Denmark in general and to contribute to theestablishment of a strong design research environment thatembraces the schools of architecture and design in particular.This research environment has been the foundation for thecooperation between the four schools involved in designresearch under the Danish Ministry of Culture.

The Danish Centre for Design Research engages in active

collaboration with private enterprises. The goal is tomake the results of design research available to Danishcompanies. Thus, the DCDR aims to facilitate the exchangeof knowledge about design research and the identication ofpotential areas of collaboration for researchers, schools, andenterprises on a national as well as an international level.

The Danish Centre for Design Research is charged with:

gathering and disseminating knowledge about designresearch in the participating educational institutions

coordinating ongoing research and facilitating theinitiation of new research projects at individual schools aswell as in partnerships involving several schools as well asprivate enterprises

supporting research environments that engage in activeresearch activities that enable participating researchers to

qualify for positions as assistant and associate professorsin the university system

establishing a collaboration with other researchinstitutions in Denmark as well as abroad and formingnetworks and consortiums within the area of designresearch

hosting seminars, conferences, symposiums, etc. striving to increase external funding for the centres activities

acting in an advisory capacity for research students Source: www.dcdr.dk and the Danish Ministry of Culture

40


40/66

41

5.2. Design research and knowledge-sharing the Committees vision

In 2020, Danish design research signicantlyleverages Danish design education and contributessubstantially to innovation in the public and privatesectors: Danish design research has matured and reached a

high international standing. Danish design research is acknowledged as an

important research discipline and integrated inmany other elds of research.

Design research is a key element in driving Danishinnovation and in the development of designprofessions.

Danish design research is actively used by and developed together with Danish designeducation, business, and the public sector.

5.3. RoadmapThe following roadmap could be instrumental instrengthening Danish design research.

Strengthen design as a research discipline Design research is often multidisciplinary and tends

to ignore the traditional demarcations of research

elds. Radical innovation often takes place in theintersections between knowledge elds; yet, design

research faces challenges in the form of ercecompetition for research funds. Design researchmust improve its quality and competitivenessand build stronger research consortiums withinacademia and with public and private partners.This development should give a boost to designresearch in the competition for public researchfunding (i.e., the Council for Independent

Research and the Council for Strategic Research).Research projects that target societal challengesand integrate design with science, technology,sociology, anthropology, etc. would strengthenDanish research and innovation.

Steps should be taken in the Danish designschools to initiate PhD-programs focusing onhigh quality research, including artistic research,

thereby providing platforms for unrestricted and,potentially, visionary work.

Establish Named Professorships in design anddesign-based research through internationalcompetition Danish research institutions must compete with

the best in the world. In order both to generate

visibility and to attract talent, a number of


41/66

42

chaired or named professorships (time-limited,high-status professorships) should be established.

The professorships should be based on privatedonations similar to the two existing LEGOProfessorships at the Massachusetts Institute ofTechnology (MIT) and the International Institute forManagement Development (IMD) in Lausanne.

Increase the coordination of design researchand knowledge-sharing

Danish design research is carried out in a numberof elds and in different research environments.Therefore, a national strategy mediating andcommunicating design research should bedeveloped in order to ensure coordination acrossall these different elds.

Postgraduate design research programs shouldcontinue to be developed. This implies

strengthening and coordinating various design-related research programs.

There should be a clearer division of labourbetween the many museums and institutionsthat disseminate design knowledge. At least oneinstitution should offer an entirely contemporaryoutlook on design, showcasing cutting-edge designand design solutions to Danish and international

audiences.

Create a better and internationalized designresearch education

Danish design research should have a regional,national, and global perspective and collaboratewith research institutions and businesses abroad.Denmark should work actively to attract talentedinternational students and faculty to contributeto academic programs and research projects on alllevels.

Build bridges between design research andbusiness and the public sector Close collaboration between design research

and business and the public sector is mutuallybenecial and should be strengthened. Researchcan play a key role in the development of newareas of business or as a source for spin-outs(companies founded on the basis of research

results). The knowledge and insight created bydesign researchers should, therefore, be madeavailable to business and public institutions so thatthey can make use of these new insights in, e.g.,innovative and sustainable materials and processes.Moreover, collaboration with companies, etc., willallow researchers to test their results continuouslyin practice and, thus, broaden the scope of their

research.


42/66

Redia a company founded indesign researchRedia is a software and design company specializingin rethinking digital dialogue through innovativecommunication tools. The company is two years oldand employs a multidisciplinary team of 9 people.Clients include Arla, Polfoto, and a large number oflibraries and museums.

Redia is an offspring of very fruitful collaborations

between the Aarhus School of Architecture andthe Computer Science Department at AarhusUniversity. The joint program, called InteractiveSpaces, combines design, computer science, andengineering in research and development projectswith a strong industrial focus.

All projects are co-funded with industry partners

on a 50/50 basis, and all projects have produced6-7 scientic publications per million Danish crownsspent. The collaboration among design research,computer science, and industry puts a creativepressure on all parties to ensure a payoff in theirspecic areas.

Bringing substantial added value, the collaboratorslearn from each other. The companies learn toengage designers and research; the computerscience departments learn about end-user valueand the value of testing through prototyping;and the design researchers learn about scienticmethodology from process to publication. It hasheightened the research prole of the design

department at Aarhus School of Architecture andmade it one of the nest design research units inthe world.

Once launched with its original partners, Redia tookover the commercialization of the product. It is nowin use in a number of cultural institutions, and it hasbeen adapted to tourism agencies, and as a local

information channel. After two years, Redia retainsa close collaboration with the Alexandra Institute.The collaboration ranges from commercialization to joint research centered on PhD students from theAlexandra Institute.

Source: www.Interactivespaces.net / www.redia.dk

43


43/66

44

5.4. Measurement or success criteriaHow can success in this area be measured?

First of all, research in general is relatively easy tomeasure on the input side, i.e. the cost side. However, aswith innovation or education, what really matters is theoutput. The output of design research should not onlybe measured by citation indices or academic rankingsbut, ultimately, by the impact of design research onsociety, i.e. on businesses and the public sector.

What matters most is that highly esteemed andinuential scholars have an impact on research agendas,policy, and business practises. This requires a criticalmass of students, graduate students, and researchers.As in sports, a sufcient number of active participantsis a prerequisite for an elite and vice versa.

Since research is a very long-term investment,however, one will have to rely on a mixture ofindicators measuring both input and output.

Second, the design research eld can be measuredby its share of national research funds and privatefunding and by its quality, size and volume, based onincreased interaction with top international research

institutions.


44/66


45/66


46/66


47/66


48/66

49

Furthermore, we must acknowledge that Denmarkis a small country and that our image especially in

distant parts of the world is unclear and, to someextent, outdated. 22 In order to increase the awarenessof design from Denmark in, e.g., Asia and SouthAmerica, it could be instrumental to join forces withother Scandinavian countries with which we share agreat deal of our design DNA. Scandinavian Designis already an established brand, and we should nothesitate to use this brand as a vehicle for promoting

design from Denmark.

With respect to design, Denmark is not an island.Our design tradition is heavily inuenced by designpractice and philosophy in, e.g., Germany and theother Nordic countries. Therefore, many Danishenterprises and designers do not necessarily thinkof themselves, and do not brand themselves, as

particularly Danish. They recognise themselvesas part of a Copenhagen Metropolitan Region,an Oresund Region, a Scandinavian or a Nordictradition. Thus, branding is not just about the one-way promotion of a particular image abroad. It isalso about listening and entering into dialogue with

22 Action Plan for the Global Marketing of Denmark, 2007,

The Danish Government.

the world surrounding us, nding out what we canlearn from foreign design practises. Branding will

only truly succeed if we can offer something thatthe world around us nds relevant.

Another challenge within the eld of branding isthe lack of coordination between government andbusiness. Designers and design-driven companiesoften market their products and services withoutemphasizing their Danish origin. Meanwhile, the

government and the public sector use manyresources to brand our national strengths, values,and perceived virtues often, with little or noinvolvement from the private sector. A higher degreeof cooperation between public and private sectorbranding activities would undoubtedly be mutuallybenecial and create a stronger Danish brand.

In summary, if Denmark is to become known as thedesign society, it is necessary to update the image ofDanish design, use existing and future investmentsas showcases, cooperate with our Scandinavianpartners when relevant, and increase coordinationamong the various branding activities.

The question is: How should design from Denmark

be perceived in 2020?


49/66

50

6.2 Branding of design

the Committees visionIn 2020, Denmark is known as the design society: Denmark is a global showcase for how design can

be used to improve the quality of peoples lives, tocreate economic value for business, and to makethe public sector better and more efcient. Designprofessionals, university students and faculty,executives, and policymakers from all over the

world will come to Denmark to experience thebenets of design throughout society.

Denmark is a global design hub, attractinginternational design talent and companies in needof new solutions.

Design from Denmark is an internationally-recognized brand that combines the well-knownstory of Danish product design, characterized

by simplicity, form, function, and aesthetics,with a new story of how Danish companies incollaboration with the public sector and educationand research institutions have created a uniquecapability to implement human-centred design as adriver of innovation.

6.3 RoadmapThe road to fame on the international scene isundoubtedly long, but the following map may beinstrumental in achieving success.

Tell the story of Design from Denmark andDenmark as the design society The Committees vision of Denmark as the

design society should be at the centre offuture government marketing activities. A newcommunication platform should be developed andmade available for all companies and institutionsthat brand design from Denmark. The platform

should focus on design as an important elementin a certain Scandinavian lifestyle or experiencein which design is a central element, such asarchitecture, fashion, food, and social behavior,as well as the very fabric of the welfare statemodel. Furthermore, a special focus should beput on attracting international decision-makers(politicians, executives, investors) and design talent

(students, researchers, design professionals).


50/66

51

Coordinate existing and future branding activities The government should in close collaboration

with companies and institutions that brand designfrom Denmark on an everyday basis continue tostrengthen its coordination of activities that brand

design from Denmark globally. The coordinationwill increase impact by utilizing the synergiesbetween different branding activities and byaligning the various images of design from Denmarkbeing portrayed abroad.

Use multiple and diverse communication channels It is important for Danish design to communicate

to all relevant audiences and interest groupsinternationally. Denmark should, thus, seek to hostdesign-related events, arrange visitation programsto Denmark for international design VIPs, participatein high-prole design events abroad, and makeextensive use of the Internet, social media, and newmobile communication devices. The communicationactivities should be tailored for the relevant target

groups, taking into account their geographiclocation, cultural background, and age.

Host international design events In 2010, Denmarks participation in EXPO, Shanghai,

was praised for its presentation of Danish values,including an iconic architectural pavilion. TheMunicipality of Copenhagen is considering whetherto apply to host the small EXPO in 2022. IfCopenhagen is selected, designed solutions shouldbe made a central part of the EXPO theme.

The World Design Capital seeks to highlight theaccomplishments of cities that are truly leveraging

design as a tool to improve the social, cultural, andeconomic life of cities through a year-long programof design-related events. Designating Copenhagenas World Design Capital in 2020 would furtherstrengthen Denmarks international position indesign.

Finally, the possibility of creating a Danish eventfocusing on design-driven solutions to societal

challenges should be investigated. The event


51/66

World Design Capital in Helsinki 2012

Design embedded in everyday life is the

overarching theme of Helsinkis year as World DesignCapital (WDC) in 2012, comprising a wide rangeof events and projects related to design and itsmanifestations.

Helsinkis Design embedded in everyday life linksdesign to innovation from the very beginning.Design brings the users point of view to processes

in which solutions to peoples needs are sought.This approach to design ensures that the solutionsare suited to everyday life and appropriate forusers. Thus, design helps to make new innovations,technologies, and systems sustainable. Embeddeddesign brings together human needs, aestheticqualities, and functionality.

In Helsinki, the initiative is expected to brand Finlandas a design and design-minded nation in whichdesign underlies all processes and brings social,economic, and cultural improvements to the citizensof Helsinki.

Source: www.worlddesigncapital.com

52


52/66

53

could be based on a competition, inviting leadingdesign schools and design companies from all

over the world to develop solutions to particularchallenges. Potential synergies with INDEX: whichalso addresses societal challenges must, of course.be taken into consideration.

6.4 Measurement or success criteriaHow do we know when branding activities are

successful?

Branding may be the area in which success is hardestto measure. Like beauty, the output of branding is inthe eyes of the beholder and can, in principle, onlybe assessed subjectively. Even though internationalbenchmarks such as the Anholt-GfK Roper NationBrands Index23 exist, it would be very difcult to

isolate the effect of design branding on Denmarksoverall position with this index. Furthermore, therehave been efforts to create particular competitivedesign rankings, but such surveys are sporadic and

23 The Anholt-GfK Roper Nation Brands Index measures therange of a countrys brand image by combining six dimensions:Exports, governance, culture & heritage, people, tourism and,investment & immigration. Source: www.gfkamerica.com/

practice_areas/roper_pam/placebranding/nbi/index.en.html.

the methods tend to vary over time. Therefore, oneshould not rely heavily on these rankings. 24

That, of course, does not make measurementimpossible. Indirectly, factors such as the numberof international decision-makers within the eld ofdesign, design talents, and investments attractedto Denmark, the amount of international mediacoverage of design from Denmark, the level ofexports of design products and services, and our

position in the above-mentioned rankings are allpositively affected by a successful branding effort.

Another objective is to ensure that upcoming Danishdesigners are represented at the leading exhibitions,collections, and competitions in the world.

24 E.g.,Building a Case for Added Value through Design, 2003, NZ

Institute of Economic Research.


53/66


54/66

55

Udvalgets visionUdvalgets vision er, at Danmark i 2020 er kendt ver-den over som frende designsamfund et samfund,der ansvarligt og p alle niveauer anvender design tilat forbedre kvaliteten af folks liv, til at skabe vksti erhvervslivet og til at gre den offentlige sektorbedre og mere effektiv.

Visionen vil blive prciseret og uddybet i det fl-gende. Det er vigtigt at understrege, at der er tale omen vision og ikke en strategi eller en handlingsplan.I stedet for udfordringer, ml og midler, anvendesderfor udtrykkene landskab, vision og kreplan. Ud-valget fokuserer p de langsigtede perspektiver fordansk design ikke p kortsigtede midler og ml.Af samme rsag fremlgger udvalget heller ikke en

prcis plan for, hvordan visionen br realiseres, dadette br drftes og afklares sammen med de rele-vante interessenter.

Det skal ogs understreges, at udvalget ikke har hafttil hensigt at foresl en politik for dansk designeller konkrete designpolitiske initiativer. Regeringen,myndighederne og de offentlige institutioner kan og

br vre medvirkende til at skabe de rette ramme-

betingelser for design og innovation, men dette er ikketilstrkkeligt, hvis visionen skal realiseres.

Realiseringen af visionen krver, at alle parter herunder virksomheder, individuelle designere ogprivate institutioner tager medejerskab og bidrageraktivt til at forme fremtiden. At dmme ud fratilkende givelserne fra danske designorganisationerog andre berrte parter er tiden moden til en fllesindsats. Udvalget sprger derfor - med inspiration fra

prsident Kennedy - ikke hvad samfundet kan grefor design, men hvad design kan gre for samfundet.

En tredjegenerations designpolitikMen designpolitik spiller naturligvis en rolle. I 90ernevar Danmark blandt de frste lande i verden til atvedtage en designpolitik. Designpolitikken af frstegeneration fokuserede bl.a. p designs potentiale for

virksomheder, der ikke normalt anvender design. Inullerne (2000-2009) blev der i ere lande lanceretandengenerations designpolitikker, der fokuserede panvendelsen af design, og i det danske tilflde p atskabe bedre fungerende markeder for design.

Mange lande er lige nu i frd med at formuleretredje generations designpolitikker med fokus p

design som innovationsdriver i erhvervslivet og i den


55/66

56

offentlige sektor. Udvalgets vision tager udgangspunktheri, og udvalget anbefaler, at dette ogs bliver kernen

i Danmarks nste designpolitik. En sdan politik brmedvirke til at skabe nye forretningsmuligheder forivrksttere og virksomheder men ogs understttevidereudviklingen af eksisterende erhvervsmssigestyrkepositioner. Hovedelementerne i en ny, inno-vationsrettet designpolitik dvs. designuddannelse,designforskning, videnspredning og branding brunderbygge danske styrkepositioner med henblik p at

gre de bedste endnu bedre.

Danmark br ikke kopiere andre landes designpolitik-ker. Vi skal formulere en designpolitik, der tager ud-gangspunkt i eksisterende styrkepositioner og i dendanske designtradition, som kombinerer kunstneriskskaberkraft med forskningsbaseret viden om brugere,marked, kultur og samfund.

Realiseringen af visionenUdvalgets vision er ambitis. Men ambitionsniveauetmodsvares af designs potentiale for at skabe bedreog mere effektive lsninger. Design kan i hj gradmedvirke til at skabe et bedre samfund. I udlandethar bl.a. Finland, Korea og Singapore investeret be-tydelige offentlige og private midler i at fremme bru-

gen af design som en katalysator for vrdiskabelse.

Hvis Danmark skal bevare sin plads blandt verdensfrende designlande, er det derfor ndvendigt at

handle nu.

I mange vestlige lande, herunder Danmark, er derp.t. begrnsede ressourcer til nye investeringer. Enkonomisk krise, en aldrende befolkning og stigendeeftersprgsel efter bedre velfrdsydelser begrnserressourcemulighederne. Men da design anvendt sominnovationsdriver netop indeholder et lfte om at

gre mere for mindre, er der hverken behov foreller grund til, at Danmark melder sig ind i den inter-nationale konkurrence om nye investeringer i sttte-ordninger til designere og designvirksomheder. Forat udnytte designs potentiale som innovationsdriverskal vi i Danmark generelt blive bedre til at integreredesign i strre samfundsinvesteringer eksisterendesvel som kommende. Design skal spille en strre

rolle end hidtil, nr vi bygger fremtidens velfrds-samfund.

I rene frem til 2020 investeres der mere end 100milliarder kr. i trakal infrastruktur, nye hospitaler,daginstitutioner, folkeskoler, plejehjem og univer-siteter. Desuden investerer private danske fondeog virksomheder kraftigt i omrder som byggeri,

fdevarer og sundhed. Design br helt fra begyn-


56/66

57

delsen gres til en integreret del af sdanne storeinvesteringer for at sikre kvalitet, effektivitet og

brugervenlighed.

Danmark har et godt udgangspunkt for at blive etfrende designsamfund. Den humanistiske traditioner med til at lfte dansk design op p et srligtniveau. Den forbinder Danmarks historiske design-traditioner med nutidig dansk design og differen-tierer dansk design fra vrige designnationer. Dansk

designs DNA er karakteriseret ved en holistisk ogtvrfaglig tilgang samt et strkt fokus p brugeren,hvilket bidrager til innovation og bedre lsninger pkomplekse problemer.

Dansk designs DNA rummer sledes mange af deaspekter, der kendetegner nye designdiscipliner somstrategisk design og designtnkning. Danmark har

dermed et unikt udgangspunkt for at blive et frendedesignsamfund. For at n dertil er det ndvendigt atfastholde og udbygge vores strke position indenfor formgivning samt at omfavne de nye tendenserinden for designomrdet.

Hvis Danmark skal bevare sin plads blandt verdensfrende designlande, og hvis Danmark skal blive

bedre til at anvende design som innovationsdriver,

er det ndvendigt at justere kursen nu. Dette krverikke kun en mobilisering af de ndvendige midler og

ressourcer men ogs et strk og koordineret fokusblandt beslutningstagerne i Danmark. Det krver ensammenhngende og langsigtet strategi for at reali-sere visionen om Danmark som frende designsam-fund et samfund, der ansvarligt og p alle niveaueranvender design til at forbedre kvaliteten af folks liv,til at skabe vkst i erhvervslivet, og til at gre denoffentlige sektor bedre og mere effektiv.

I det flgende beskrives udvalgets visioner og forslagtil kreplaner for re omrder, hvor handling er nd-vendig, hvis visionen skal realiseres:1) Design som innovationsdriver,2) Designkompetencer,3) Designforskning og videnspredning, og4) Branding af dansk design.

Disse omrder br danne fundamentet for en ny,national designstrategi.


57/66


58/66

59

for at skabe rammerne for udvikling af nye design-lsninger med kommercielt potentiale. Offentlige

indkbere br fokusere p totalkonomi snarereend indkbspris samt, hvor det er muligt, inddrageaedte omkostninger og besparelser p andrebudgetter end indkberens eget. Endelig br denoffentlige sektor vre mindre risikoavers og mereben for nye ideer. Designkompetencer br kommei spil i udvlgelsen af offentligt stttede projekter.

Formidlingen af viden om design som innovations-

driver br forbedres gennem en omstrukturering el-ler en klarere arbejdsdeling mellem de institutioner,der formidler viden til virksomheder og offentligeinstitutioner om designs innovative potentiale.

2. Designkompetencer

Vision:I 2020 er Danmark et samfund, hvis medlemmer oginstitutioner er prget af den unikke, danske design-tradition og har mod p at udforske nye, innovativelsninger: Designkompetencer og kreative kompetencer er

en integreret del af alle uddannelser i Danmark, frafolkeskolen til de videregende uddannelser.

Danmark er frende i uddannelsen af T-formededesignere med en kombination af dybe, special-

iserede designkompetencer og brede, generellekompetencer ssom kreativ problemlsning, globaltudsyn og evnen til at arbejde i tvrfaglige teams.

Et betydeligt antal kandidater fra samfundsviden-skab og naturvidenskab, srligt fra ingenirviden-skab og handelshjskole uddannelserne, er i standtil at anvende designkompetencer i lsningen afkomplekse problemer.

De danske designskoler har udbygget deres solide,skandinaviske fundament inden for formgivning, ogmindst n af skolerne er blandt verdens frendedesignskoler mlt p omdmme samt antallet afinternationale ansgere og gsteprofessorer.

Kandidater fra danske designuddannelser forstrbehovet for, at design anvendes bredt i samfundet,og de har globalt udsyn, international erfaring, og

er konkurrencedygtige p internationalt niveau. Danske designuddannelser tiltrkker hjt kvali-cerede, internationale studerende, undervisere ogforskere.


59/66

60

Kreplan: Livslang kreativitet skal styrkes ved at give alle

brn, teenagere og voksne redskaber til at ud-vikle, organisere, prioritere og realisere en ide isamarbejde med andre.

Danish Design 2020

Documents

Transcript of Danish Design 2020