Professional Documents
Culture Documents
manifesto
THE ROLE OF
DESIGN IN THE
21st CENTURY
THE ROLE OF
DESIGN IN THE
21st CENTURY
DANISH DESIGNERS’ MANIFESTO:
A VISION FOR THE FUTURE OF DANISH DESIGN
page 3
Danish Designers is a professional hub for Design for “people, profit and
approximately 900 individual members, planet”
working professionally with design. Our mis-
sion is to promote the most intelligent use The “triple bottom line” concept was intro-
– as well as the understanding of the true duced at the turn of the century by the UK
value – of design and of the thinking, skills based consultancy firm SustainAbility. A
and capacities of Danish designers. We do growing number of corporations worldwide
this through a palette of services, address- have adopted the concept as a natural
ing the personal, professional and political consequence of both legislative and mar-
needs and interests of our members. ket driven demands for transparency with
regard to their environmental and social
PERSONAL identity commitments. In fact, it is expected by
• Career counselling responsible companies that they take their
• Mentoring social and environmental bottom line as seri-
• Design professional platforms ously as they have always done with regard
• Collegial support to their financial bottom line.
• Visibility through printed and digital media Already in 1987, the Brundtland commis-
• Recognition through the right to use mDD sion stated that the economic, social and
• Updated knowledge and information environmental development needed to be
• Security through dedicated insurance balanced, sending a crystal clear signal that
programmes economic growth is only responsible if it
“meets the needs of the present, without
PROFESSIONAL development compromising the ability of future gen-
• Business development counselling erations to meet their own needs”. At the
• Legal counselling same time, the commission pointed out
• Collegial support that a sustainable development also implies
• Contractual support that concerns for nature do not threaten
• Strategic advice people’s living conditions or undermine
• Professional identity a responsible, economic development. In
• Educational programmes, professional other words, sustainable development calls
workshops, symposia and seminars for constant balance between the three
• National and international network factors reflected in the triple bottom line;
• Professional matchmaking social responsibility, financial feasibility and
• Contact to possible clients the well–being of the natural environment;
• Updated knowledge and information between “people, profit and planet”.
• Participation in cross–disciplinary projects When we have decided to link design to Thus the role of
”people, profit and planet” as a fundamental the designer has
POLITICAL influence prerequisite for all our dispositions and a increasingly become
• Promotion of the competences and platform for our communication, it is based that of facilitating
potential of design and professional on the assumption that the very core of qualified choices
designers design and the role of the designer is – in by individuals,
• Representation in public and political every single phase of a project and in every enterprises or
working groups, committees and boards respect – to make the best possible choice society between
• Active participation and presence in between the alternatives at hand, balancing real and more
relevant political debates often contradictory interests, but also prof- sustainable
• Unified voice in public hearings iting from this tension in the endeavours of alternatives than
• Continuous contact to relevant creating true innovation. current ones –
organizations, political environments The objective of design has always been rather that creating
and media attractiveness and novelty – and about more of what’s
• Active in research and educational balancing the numerous options a develop- already there.
communities ment process offers. In a historical perspec-
• Representation in design communities tive the design process has most often had
and relevant bodies in Scandinavia, an artefact or another physical output as its
Europe and globally outcome – either as industrially manufac-
tured products, various forms of communi-
Danish Designers has existed in its present cative solutions or optimization of dedi-
form as a multi–disciplinary and inclusive cated, physical environments. In any case,
community of professionals since the estab- the needs of the user, functionality and
lishment in 1995. However, the roots of the sensual appeal – in combination with crea-
organization can be traced back to the late tive exploitation of the inherent qualities of
forties. the material itself – have always been the
page 4
takes place – have been designed, but often reports to web–portals and self–service–
simply by offering a better experience within systems. Other examples of communication
already existing parameters. design come from the ways with which we
search and share knowledge in our modern
Design can be applied to an artefact or a age with Google and Wikipedia as pioneers,
specific solution to a specific challenge, but but also how our ways of communication
it can also be applied to a context – be it a with each other changes rapidly as new
physical space or environment or a configu- user interfaces and social media are made All of the reports
ration. If the context is physical in the form available to us – such as skype, facebook presented until
of a room or a built structure, the design and twitter. In the physical world wayfinding date show the same
will often be labelled architecture, interior design enables us to find our way in com- results. Design
architecture or environmental design. By plex and often unknown environments. One used strategically
organizing space through objects, light and might say that the need for communication improves the overall
sound, activities and objectives – applying design and design that communicates – to performance of
the same parameters as earlier described facilitate all the deliberations we all have companies.
– not only the space, but also the relations to engage in on a daily basis – increases con-
and experiences for which the space is stantly as does the complexity of our lives
dedicated, are designed, which adds value to and our environments.
the transactions in question, as if it were an
object or a service. Until now, design has primarily been related
Obviously environmental designers are able to the aforementioned areas; physical ob-
to add lots of value to private spaces like jects – and to an increasing degree services,
our homes or the CEO’s office. But the real physical environments and communication.
and vastly untapped potential of interior Including all the subordinate categories
architecture and design lies in more public that, for a number of good reasons, will
spaces, where transparency and legibility, not be specifically dealt with in this publica-
light, sound and colours become a ques- tion. The domain currently being conquered
tion of safety and security, treatment and by design, however, is the more subtle and
care, health, life and death, such as for rather intangible; how do we reach the
example work environments and institu- goals we set? Some call it strategic design,
tions for education and care. The same goes others call it concept design while others
for spaces – or rooms – that are not even again prefer the concept of “design think-
considered as such by many, because they ing”. Irrespective of terminology, it covers
are out in the open; the design of streets the theory that design is a highly relevant
and squares, courts and yards. To design the approach to dealing with challenges, which
environments in which people work or play, does not necessarily call for a physical ob-
make decisions or philosophize, celebrate ject, a specific service, a dedicated environ-
or mourn is at least as important a role for ment or a new communicative tool to be
design as any of the previously described addressed and solved. Design has moved out
categories. of the domain in which a delivery is most
often a tangible answer to a brief and into
Design also determines the way we com- a domain, where design is seen as a valid
municate with each other – as individual to resource where large, complex challenges
individual and system to system, system to are at stake, and where the designer works
individual and individual to system. In this in close and equivalent collaboration with all
context, “system” might represent public kinds of other professional disciplines. Such
authorities of any kind, but also companies, challenges could be efficiency or profitabil-
organizations or movements. One of the ity related – most probably on long term,
most conspicuous examples of such com- or it could be related to local, regional or
munication design is the way companies national identity or external relations, to
through “branding” and identity design loyalty issues and internal relations in large
try to convince consumers to choose their corporations, to competitiveness and in-
product or service instead of a competitor’s novation capacity, democratic processes and
– both through media exposure prior to the engagement, cross–sectorial dialogue and
transaction, at the point of transaction diversity issues. Not to forget the probably
through packaging and both the physical most urgent of all challenges: the need for
and relational point of sales design. a more sustainable corporate and political
Along the same principles public authori- development and for a more responsible and
ties use communication design extensively balanced global order.
in their dialogue with enterprises and indi-
viduals through everything from flyers and
page 6
This rather radical change and enlarge- been made – first in Europe, then followed
ment of design as a concept and profes- by the US and several Asian countries –
sion – which is inevitable – calls for cautious examining the direct correlation between
guardianship of design’s original meaning corporations’ use of design and their per-
and its meaningfulness for the individual. formance measured in growth in revenue
Design as the key to better solutions to your and profitability as well as in their ability to
own specific problem, design as the door to attract and retain qualified staff and finally
experiences that move you and activate your in terms of corporate image and brand
senses, design as means to improve every– value. All of the reports presented until date
day life, to simplify what doesn’t need to be show the same results. Design used strate-
complicated and to make the inaccessible gically improves the overall performance of
accessible. Design as a way of making it companies.
easier for every one of us to understand and Growth is fairly easily measured. All the
to relate to the world and the local environ- other benefits from using design and work-
ment we are part of. ing with designers, however, might be rather
more complicated to assess and document.
Notably the effects deriving from improved
Overview and terminology efficiency, process optimization and qualita-
tive improvements may be difficult to prove
We already described how Danish Design- as deriving directly from the use of design.
ers currently see design as a concept and a This problem is accentuated when examin-
profession; as a vital tool to increase corpo- ing public institutions and enterprises, trade
rate, national and regional competitiveness unions, non-governmental organizations and
– ”design for profit”, as a significant factor in cultural institutions as well as corporations
terms of influencing people’s lives through within certain sectors with extremely long
the products and services, spaces and envi– development cycles, such as the medical
ronments, relations and experiences that industry. Notwithstanding, we dare to make
shape our everyday – ”design for people” the claim that even within those forms of
and as a pivotal resource with regard to competitive environments, design contribut-
promoting more sustainable products and es significantly to the overall performance.
services through the choice of materials and We already discussed that design is a
processes with consequences for sourc- source of attractiveness and meaningful
ing, manufacturing, use and disposal – in relations. Both are crucial elements in the
addition to the power of design in terms pursuit of attracting new “clients” as well
of promoting responsible choices through as in retaining existing ones – no matter
Design is also consumption and behaviour – ”design for whether they are actually customers as such
about rethinking planet”. or they are members, volunteers, satisfied
organizational In this chapter, we will elaborate on how citizens or applicants for vacant jobs.
and bureaucratic we beIieve that design can actually play an Design revolves around newness and is
traditions – not important role with regard to each one of about identifying and accommodating hith-
least through active the three levels. erto unmet needs. Private enterprises – re-
involvement of Moreover, and to link our views to the gardless of whether their market is made up
employees, clients political agenda, we will describe and com- of consumers or professional entities – are
and users and ment on each one of the three pillars on measured by their ability to innovate and on
through disclosing which most design policies are built; design whether they are perceived as leaders of the
and exploiting research and education, design support and pack or as followers and copycats.
resources that are design promotion. Finally, we will advance
already present in our own views on how design political initia- Design is about smartness – however, in
the organization tives within each domain realistically could the positive sense of the word. About doing
and among existing further design’s potential vis–a–vis some of things in smarter ways, choosing materials
stakeholders. the challenges it is expected to address in a and processes more intelligently, harvest-
not so distant future. ing more from already existing material and
human resources and minimizing capital in-
vestments through procedural and relational
Design for profit substitution, rather than new hardware and
new staff. In other words, design is – also –
Design’s significance as regarding the about saving both time, money and human
strengthening of the competitive capacities resources.
within the corporate environment is today Design is also about rethinking organiza-
rarely questioned. In particular during the tional and bureaucratic traditions – not least
last five–six years, a number of surveys have through active involvement of employees,
page 7
clients and users and through disclosing and well designed – most often visual – com- Design
exploiting resources that are already present munication is more easily and immediately fundamentally
in the organization and among existing understood – increasing the probability of builds on an
stakeholders. Not only does this contribute the user actually relating to the message analysis of what
to savings and improved efficiency. The work communicated. could possibly be
environment also benefits from it through done to improve the
more loyal and more dedicated employees – Design is also a means of promoting involve- perceived quality of
thus also the ability to attract more talented ment, inclusion and coherence by offering any given situation.
and qualified employees. access to products and services that are
Finally, design is about communication – often – and rightly so – perceived exclusive
about understanding and harnessing a com- and prohibited by many because of their
pany’s identity, its history and its message physical or mental impairment, or simply
to a defined audience. Design helps corpo- because they are different from the vast
rations, organizations and public bodies – majority. Sometimes product or services
even nations – to increase their brand value need to be designed specifically to such –
by communicating their values and ideas, often marginal – groups, but more often
their social responsibility and commitment than we think, a more inclusive approach
or their intentions to enter into commercial, to designing products and services – taking
social or cultural relations. Verbally as well into consideration the needs of both able–
as visually – in any conceivable format, and bodied and disabled users in the develop-
in virtual as well as in real life environments. ment process would benefit all. This concept
and methodology – often called Design-
For-All or Universal Design – is fortunately
Design for people being adopted by more and more sectors
and product and service categories, not
Design has always started with the aspira- least because such demands of inclusion
tions and dreams of the individual, its are currently being fronted by The European
acknowledged as well as unarticulated Council and are also articulated specifically
needs – long before concepts like user- in UN’s Convention on the rights of people
driven innovation and user-centered design with disabilities.
were introduced. Notwithstanding the fact Irrespective of whether one is disabled or
that design not always had positive effects not, the challenges we all face on a daily
on the user or humankind as such, that the basis tend to appear increasingly complex to
designer had envisaged or intended. most of us – even complicated. However, as
Design fundamentally builds on an analysis design and designers have clearly contribut-
of what could possibly be done to improve ed to this it seems quite probable that they
the perceived quality of any given situation. are also able to offer a reverse contribution;
Approached in a design methodological to simplify and to make things more com-
manner, the analysis will lead to a number prehendible and accessible. By removing the
of alternative scenarios – all of which repre- superfluous and focusing on the essential or
sent an improvement compared to the by making everyday choices easier and bet-
present. The ultimate choice will most often ter informed – not by fewer or more, but by
reflect conscious deliberations of differ- better and more instinctively legible alterna-
ent and often contradictory concerns. The tives – be it with regard to tangible products
most immediate and intuitive adoption of or environments or to the services, relations
any solution, however, seems to occur when and communication we rely upon.
human factor interests are given the same A quite new approach to the exploita-
weight and priority as the economical, and tion of design’s potential has materialized
for a number of good reasons. in a row of projects, often referred to as
Design respects the sensual sensitivity of service design. This concept covers design of
the user. Not only the visual, but rather the services in general – private as well as pub-
combined – and rarely rational – sensual lic. The private services have already been
reaction triggered by the experience. If the discussed in a previous chapter, as have the
solution resonates aesthetically with the measurable effects in terms of savings and
user, it will automatically be perceived as effectiveness in the public sector. Another
relevant, thus somehow appeal to any one – more subtle, but equally important effect
out of numerous forms of engagement. In within the public sector, however, is the
the case of a physical object, it might incite reduction or elimination of barriers between
usage or merely visual or tactile enjoyment. the individual citizen and the system that
A well designed service or relation invites design has proved to offer. Confidence and
the user into active engagement, while tolerance are fundamental preconditions
page 8
for a meaningful dialogue between the two than another; a responsible choice more
parties – achieved through adding familiarity attractive than a less responsible one. As
and relevance, by involving the user in the the future of the planet cannot be secured
development or customization of the service through technological innovation only, one
and by creating a physical and communica- of the roles of design will be to define the
tive environment, which resonates with the needs and aspirations that future technolo-
user’s feeling of comfort. All of which are gies should fulfil. Many emerging economies
key elements in the design approach. face a historical choice. Should their peo-
Knowledge of design and the ability to ple have the right to experience the same
evaluate any given product, service or mes- material growth as the western world and
sage is important to build an understanding thereby perpetuate our pressure on the
of space and the objects we are surrounded earth; far beyond the tolerance of the planet
by as well as the information and the experi- despite modern environmental techcnolo-
ences we are subjected to. Understanding gies and other good forces? Or should we
All designers have the intentions behind any given solution is concentrate on providing better alternatives
an influence on crucial in order to decipher the codes and sig- by designing products and services, urban
the future of the nals embedded in the solution – enabling us and rural communities, physical and virtual
earth through their to make better and more informed choices. infrastructures and visions of what a good
work, and they can Confidence in the products and services we life is that are compatible with the planet’s
all work towards meet as consumers and in man–made envi- ability to cope? The same questions, by the
more sustainable ronments leads to self–confidence through way, are at least as relevant to ask in our
solutions and a better understanding of our own identities own part of the world.
to optimize the and a more conscious relation to our experi- Not all designers can or should address
products, services or ences and our choices. Thus a fundamental such major, global issues. But no designers
environments they understanding of design is a vital element in can excuse themselves from taking respon-
work with within the any human being’s breeding. sibility. All designers have an influence on
limitations of the the future of the earth through their work,
task at hand. and they can all work towards more sustain-
Design for planet able solutions and to optimize the products,
services or environments they work with
Most people seem to agree that the great- within the limitations of the task at hand.
est challenges facing us are linked to the Conscious endeavours at decreasing the
very survival of the earth. Global warming complexity of a product will most often im-
is the most conspicuous and currently the prove the chances of recycling – at the same
most controversial development, but other time as it will most likely mean less raw ma-
problems are – either on a global scale or in terials and lower energy consumption in the
parts of the world – equally gigantic. The manufacturing phase. The contribution of
lack of access to clean water is threatening design in terms of new innovative solutions,
the subsistence of millions of people. The better material choices and smarter manu-
emission of various gases not only damages facturing processes often set new standards
the ozone layer but also damages the health within product categories or with regard to
and well–being of animals and human be- how we solve any given problem. As such,
ings. For the latter the quality of life is at design – in close and fruitful collaboration
stake while for the remaining population of with technological innovation – helps sub-
the earth the consequences are often seen stituting harmful processes and materials.
through the extinction of entire species. Cur- Good examples are found within such areas
rent reproduction prognoses point at a net as fixtures for light and electricity, water,
growth of the world’s human population of heat and light.
approximately 50 percent – all of which will One important factor for mores sustain–
fight with the rest of us for already scarce able production is the choice of materials
natural resources. Just to mention a few of and suppliers. In a globalized world, an
the realities that we face. increasing part of the actual manufactur-
Design and designers can neither save the ing takes place in poor countries. Thus, a
planet nor humanity on their own. However, meticulous choice of suppliers and demands
design and designers can make a significant of both environmentally and socially respon-
difference and contribute to a development sible behaviour could influence hugely on as
that matches the more optimistic rather different parameters as the living conditions
than the most depressive scenarios being of the workers and their families and the
discussed globally. overall environmental consequences.
Design is in its most basic form about More than three out of four decisions
making one alternative more attractive directly influencing on the final choice of
page 9
materials and manufacturing processes are practitioners and to others, for whom this
made in the design phase. Another relevant knowledge is of vital importance and value.
issue therefore is whether one can justify a A first step could be to conduct a thorough
material or component to be transported by mapping of the entire design field, on which
plane or container halfway around the world the visions for a future structure for design
if alternatives of equal quality and of local education in Denmark could be based. Such
origin are available. Fundamentally speaking, a map should cover both design schools
sustainable design solutions are about mak- under the Ministry of Culture and design
ing informed choices where concerns for the courses at numerous universities and poly-
planet carry equal weight to concerns for technics as well as the many two and three-
the user and the bottom line of the client year design programmes under the Ministry
for whom the design is developed. of Education. Such a mapping – within both
At the end of the day, the most important quantitative and qualitative parameters –
role of design today is to ensure that the has never taken place in Denmark before,
most responsible solution – whether design which unfortunately also means that no
driven or driven by technology – is also comprehensive map of Danish design educa-
perceived by the client and the user as the tion actually exists. Ideally, the end product
most attractive. One of the most effective of the mapping would be a precise and
ways of achieving this is to create products professionally evaluated portrait of each
that are more meaningful to the individual programme, followed by a strategy and con-
and that are kept and cherished rather than crete initiatives to encourage cross-discipli-
being disposed of and replaced long before nary and cross-institutional dialogue as well
their functional lifetime has come to an end. as synergies from joint research, educational
Moreover: to help individuals making respon- modules and development projects. As a
sible choices in their daily lives – based on whole, this would strengthen the entire area
knowledge and on desire rather than on fear as well as Denmark’s competitive advan-
and regulations. And finally – as designers tages in pursuit of attracting the brightest
have always done – to create a movement, students and the most interesting partners.
but this time around a movement where
concern for our common future and respon- Based on such a mapping a future restruc-
sible choices become the most important turing of the design educational setup
parameters for those who want to be seen in Denmark will build upon a more solid
as pioneers. platform of factual knowledge about each
As already mentioned, most design policies institution’s design professional, as well as
are built upon three pillars; design education economical and structural, strengths and
and research, design support and design weaknesses. Parallel with a coordinated
promotion. In the following, we will discuss strategy within the educational area, the
how each one – in particular and in combina- development of a coordinated design re-
tion – can contribute to profiting even more search initiative is crucial. Such an initiative
from design’s potential in relation to the – probably an independent research centre
challenges already listed. – would ensure dialogue and dissemination
of knowledge between the many different
institutions and stakeholders, in addition to
Design research & education conducting own research and being respon-
sible for sourcing and processing of relevant
A basic assumption in order for design to knowledge generated abroad. Whether
be taken seriously as a profession and as a part of the same entity or independently, The designer of the
relevant methodology vis-a-vis commercial, a similar role needs to be filled to ensure future is expected
social and cultural, as well as the complex overview of and coordination between the to deal with
global and systemic challenges we face educational programmes on a lower level to concepts like service
is the existence of sufficient scientifically guarantee the most complete picture of our design, strategic
valid knowledge about the effects of design, accumulated intellectual capital within the design, user-
about design processes and methodologies, design domain possible. This would offer an centered design,
the role of the designer and design theory unprecedented opportunity to schematize digital design,
as such. This requires both theoretical and which courses are offered at which schools experience design
project based research as well as active and at which level, which research is being or interaction
sourcing of knowledge and experiences from undertaken, which projects and collabora- design – and yet
abroad. And it requires relevant structures tive activities are taking place and which retaining their
and models, which can cater for the neces- international relations are being pursued role as creators
sary flow of knowledge from the source by whom at any given time. Moreover, the of beauty and
of the research to design students and access to knowledge and the most recent functionality.
page 10
research will be made more easily accessible of knowledge about existing and foreseen
to corporations and society at large. needs and barriers for innovation, but also a
Within numerous disciplines, Danish design targeted campaign to challenge the atti-
education holds a fairly high level. However, tudes towards integrating design, for many
there are also areas where there is clearly still representing new and undocumented
room for improvement. The designer needs methods and competences.
to know the referential cultural framework Bridging suppliers and procurers of design
of his or her profession to materialize the services through the promotion of a com-
core of the design tradition he/she wish to mon understanding and a common language
project. However, design has changed, as is most often referred to as design support;
has the role of the designer. Beyond add- one of the traditional design policy pillars.
ing aesthetical and functional value to an For many years, this mission has mainly
object, the designer is expected to fulfil a been delegated to Danish Design Center. Un-
vastly more complex role. The designer of til the turn of the century, DDC was primarily
the future is expected to deal with concepts a knowledge centre targeting industry and
like service design, strategic design, user– the design profession alike. From 2000 –
centered design, digital design, experience when the institution moved to new pres-
design or interaction design – and yet tigious premises including showrooms and
retaining their role as creators of beauty and conference facilities – the strategic priori-
functionality. This new role requires know- ties and profile have changed with changing
ledge about user involvement and analysis, political demands, public funding and leader-
an understanding of business strategies and ship. Today DDC appears to have a rather
commercial consequences, project manage- clear profile with strategic focus on commu-
ment capabilities and communicative skills nicating to the industry the value of design
in addition to knowledge of crafts, materials as a tool for innovation. In addition to their
and processes. own activities, there is also a stronger focus
Just like design education at all levels on regional design support and more direct
needs to be strengthened and more clearly contact to potential users of design through
differentiated to cater for an increasingly packages including analysis of the com-
varied demand for design competence by pany’s capability to and benefit from using
the market design as an approach to crea- design professionally.
tive and critical thinking needs to be offered Other activities are still part of DDC’s
elsewhere in the educational system – from contract with the Ministry of Economic and
the higher classes of elementary school Business Affairs, but with decreasing promi-
through post-graduate and further educa- nence, among others exhibition activities
tion. where budgets have been reduced signifi-
As the demand for design services changes cantly the last couple of years. Activities
and grows, mechanisms to adjust design ed- targeted at the design industry are no longer
Research show that ucation accordingly and progressively need a strategic priority for DDC, which makes
most companies to be developed to avoid sudden needs of the bridge building project somewhat more
would actually dramatic reforms. Even though – most prob- difficult than previously, even though colla-
benefit from ably – the need for designers will increase, boration with the design industry does exist.
integrating design each individual educational institution must One recent example is the development
into their daily ensure that the quality and focus of their of an entirely new designer database. The
operations, while programmes are assured continuously so more public profile, which to some extent is
those reporting that their graduates are able to apply their catered for through exhibitions, has ben-
the highest output competences to real life problems and make efited from the transformation of INDEX:
from investments a living from it from day one, thus also – the world’s largest design award – from
in design work both strengthening Denmark as a design nation. being an independent institution to being a
with internal and subsidiary of DDC, and from dedicated funds
external design to organize an international design week,
resources. Design support which took place for the first time in the fall
of 2009.
Another precondition for optimization of While the already mentioned activities
design’s potential is that decision makers in make up the nucleus of the Danish design
private and public companies and organiza- support policy, other government initia-
tions responsible for development of new or tives, that have not been part of the official
revaluation of existing products and services design policy to some extent, have had
know the value of design applied strate- greater effect on the aforementioned bridge
gically and professionally. This, however, building than the more dedicated initiatives.
requires an open dialogue and exchange The most ambitious initiative has been the
page 11
Programme for User Driven Innovation that tion to – to optimize the effect of the de- Design promotion is
in less than three years has co-funded more sign activities already invested in strength- also about showing
than 30 large-scale projects where design ening a company’s market position. who we are – or
methodology and competence have played rather who we want
a key role. Never before has the testing to be – to people
and documentation of design’s effects for Design Promotion from other parts of
private enterprises and public services en- the world.
joyed the allocation of larger funds. Through Design promotion is the term most often
a variety of cross-disciplinary projects the used on the communication of design to a
programme has offered valuable insight non–professional audience – to the inter-
into how broad the scope of design is and ested citizen, to visitors to Denmark and
the effects that design and designers have observers of what is happening on the in-
on innovation processes. Furthermore, the ternational design scene, to school children
programme has proven to be a unique op- and students – in short – to all for whom
portunity to focus on design, to build design an understanding of design means a better
capacity and knowledge and to showcase understanding of the material as well as im-
the fruitfulness of collaboration between material world around them.
designers and other professionals – not only Design promotion does happen in Denmark,
in Denmark, but also in the international but is as of today not an articulated part
design community. of the Danish design policy. To the extent
Quite recently it was decided to close the that the value of design is communicated
programme. However, Danish Designers to a wider audience, it is taken care of by a
believe that it would be highly relevant to museum like the Danish Museum of Art and
draw on the positive experiences from it Design, Trapholt, Koldinghus and Louisiana –
when discussing future strategies for design just to mention the most prominent, as part
support, focusing even more on cross–disci- of export promotion initiatives organized by
plinary, large scale and diverse projects. the Trade Council in collaboration with in-
Design is not merely a service one com- dustry, by other government bodies like the
missions from project to project and from Danish Arts Agency or through organizations’
designers or design firms, just like any other or institutions’ participation in international
consultancy service. For some companies events in Denmark or abroad. Finally – and
this way of working with design is ideal, yet in its very early stages – design has
provided that the conditions and infrastruc- made its way to the curricula of elementary
ture for finding the right partner is there. and secondary schools.
Rather less focus has been granted the Design is all around us – an omnipresent
documented value of employing designers factor in most people’s lives, though more
and integrating design and design thinking so in our own part of the world than many
into the organization. In most European others, emphasizing the improtance of be-
countries, economies like Korea and Japan ing able to understand design to read our
and the US the share of practicing design- environments, the products and services
ers employed in manufacturing or service we consume and the information we are
companies is significantly higher than in constantly subjected to. What is coinciden-
Denmark. This can probably be explained tal and what has been deliberate? Why one
by historical and structural differences, the solution and not the other? Which motives
typical size of companies and the sectors in were determining for any given solution?
which they are engaged, but both experi- And what kind of signals do I send to the
ence from abroad and research show that world around me through the material
most companies would actually benefit from choices that I make? Understanding design
integrating design into their daily operations, is fundamental for making conscious and
while those reporting the highest output informed choices, making us more discrimi-
from investments in design work both with nating consumers and better citizens. Seen
internal and external design resources. through such optics it seems puzzling that
design promotion is not part of the actual
We therefore recommend that the focus on design policy, but deposited in the care of
design as an integrated, internal resource undoubtedly highly competent cultural insti-
to strengthen design thinking, cross–disci- tutions, but also rather randomly at various
plinarity and innovation capacity in Danish ministries’ and agencies’, organizations’ and
companies – within manufacturing as well networks’ discretion.
as services, private as well as public – is By many people design is perceived as
strengthened. Finally, the concept of design something rather closely linked to lifestyle,
management needs to be paid more atten- fashion and purchasing power – a picture
page 12
that is manifested repeatedly every week- ing leg. For the same reason – as already
end in the newspapers’ supplements with announced – Danish Designers propose add-
focus on the home, on current trends and ing a fourth design policy pillar to the three
on “the good life” as they – as many people already existing – a pillar that hereinafter
do – see it. There is no reason to question will be referred to as
the role that design plays as a measure
of perceived wealth and prosperity. What
might cause some concern is the lack of fo- Design Commitment
cus on design as the actual source of wealth
and wellbeing. Our notion of a product’s The largest single procurer of products and
quality derives from our ability to decode services in Denmark – whereof a substan-
At the same time its form and function, its material quality tial part is developed and manufactured
– as the largest and its identity. Exactly the same ability domestically – is beyond comparison the
client account would enhance our judgement of a public public sector; national, regional and local
for numerous service if we were given the tools needed to authorities as well as public companies
manufacturers – the understand the motives and limitations, the and institutions. Some are already expe-
public sector ought professionalism and the genuine interest rienced users of design services, such as
to lead the way in that had been invested in creating a good the national railways DSB and the national
demanding higher experience for the individual. At the end of broadcasting company DR – either of design
quality and better the day we would all benefit from all of us as an integrated service or as specific design
designed products being able to render a more qualified appre- services like visual communication or digital
to increase the ciation of the services we offer each other. interaction design. This goes for ministries
user experience – Danish design is a reflection of Denmark, and state agencies, educational and cultural
whether the users just like Scandinavian design of Scandinavia institutions, health care and independent
are patients or and Italian design of Italy. Hence, design public companies. And yet, design is not
clients, employees promotion is also about showing who we even close to playing the role for the de-
or in any other are – or rather who we want to be – to peo- velopment of the welfare society we know
category. ple from other parts of the world, regard- that it can – based on both recent and
less of whether we want them to buy our long-term experiences – both in Denmark
products or services where they come from and elsewhere. In the most recent round of
or to spend their savings on a vacation in design support initiatives launched in 2007,
Denmark. In any case, it is relevat to discuss a fair amount of money was allocated to a
what picture we see of ourselves through limited number of pilot projects within the
the prism of design. Do we want to uphold area known as service design. Supported by
the image of Denmark and Danish design as the Programme for User Driven Innovation,
a craft-based society, almost exclusively con- a number of public institutions like hospi-
cerned with aesthetics and material quality, tals and municipal elderly care institutions
or do we wish to be seen as a society where have had the opportunity to test design as
the user is not only asked, but also involved an approach to address their specific chal-
in the development of products and services lenges. The unanimous verdict has been one
A new European and where corporate social responsibility is of great satisfaction among the participants
policy for innovation not merely a buzzword? A culture, where ac- and more importantly – among the end
– integrating design cess to the common goods, equality and the users. In other words, the assumption that
for the first time – freedom of speech and freedom of religion design has an important and unquestionably
will be launched in are not up for discussion. If we want to por- relevant role to play in the fiurther develop-
2010. tray Denmark as an interesting partner, as ment of the welfare society has been duly
a source of inspiration and as a role model confirmed.
for the 21st century, we need to support
initiatives that show how we have used and For this and a number of other good
use design to create and constantly improve reasons, further investments in address-
a society of which we – most of the time – ing some of the problems facing the public
can be proud. sector by involving design professionals
Despite the fact that Danish design has have to be made. Design professionals, but
developed radically during the last two not only designers. The best results have
decades it needs urgent renewal both at been achieved through inviting integrated,
home and abroad, and even though one of cross-disciplinary project teams where de-
the most classic images of Danish design is signers work alongside and on equal terms
a three-legged chair, anyone who has sat on with other professionals with backgrounds
Arne Jacobsen’s original “ant” chair has ex- in economics, social and technical sciences.
perienced its instability. Which we presume Perhaps even in close collaboration with
was the reason for adding a fourth, stabiliz- senior officials within ministries and govern-
page 13
ment agencies, regions and municipalities. lished and valuable identity: Scandinavian
What is important is that we generate more Design, a brand identity that surprisingly
experience from using design in complex is rarely used. One might wonder why the
public sector projects to benefit from the efforts at strengthening design – both in
same documented effects of using design Scandinavia and globally – are not more co-
as the private sector has benefited from ordinated than seems to be the case. We do
for a while – for the common good and for not believe that coordinated Scandinavian
every single citizen depending on his/her initiatives could or should replace national
relation to the public sector. initiatives, but we do see an untapped
Taking on a pilot role would seem a logical potential in adding a strong and historically
consequence of the weight that the pub- valid layer of Scandinavian Design to the
lic sector carries in our economy – trough three individual and national policies.
integrating design thinking and design in On the same note, one may ask why Den-
the endeavours at filling the growing gap mark has chosen not to make itself more
between ever increasing expectations from heard in the development of a European
the users of public services and the limita- design initiative. The Bureau of European
tions on the same services due to scarcity of Design Associations – BEDA – represents
both financial and human resources. At the design organizations and design schools
same time – as the largest client account throughout Europe and has worked for
for numerous manufacturers – the public decades to encourage the development of a
sector ought to lead the way in demanding European design policy. Partly as a result of
higher quality and better designed products this activity a new European policy for inno-
to increase the user experience – whether vation – integrating design for the first time
the users are patients or clients, employees – will be launched in 2010. During the pre-
or in any other category. Just like all Danish paratory work, a lot of inspiration has been
municipalities are obliged to have an archi- found in Danish initiatives throughout the
tecture policy, weighing architectural quality last decade or so, but it would be gravely
alongside all other relevant parameters exaggerated to give Denmark any credit for
when granting building permits and plan- having them turned into benchmarks for our
ning new public buildings, design policies European neighbours. With our solid experi-
weighing design quality as equal parameter ence and the position we have achieved as
to price and durability should be mandatory a design nation, we ought to play a much
when procuring products and services. more significant role in Europe – as well
Design is already – both in Denmark and in as on the international design community
a number of other European countries – a – than until today. Finally, it would make a
documented factor in the pursuit of better whole lot of sense to ensure that a future
relations between the individual and the Danish design policy alignes logically to and
system, the feeling of security in vulner- takes the new European platform into con-
able areas, social and ethnic integration and sideration.
better work conditions for both the people While already using design actively in the
who deliver public services and the citizens global promotion of Denmark, design plays a
who receive them. This knowledge needs to minute role within sectors such as inter-
be transformed into targeted initiatives to national aid and development and in other
exploit the potential that design represents areas where Denmark has global commit-
for further development of the common ments. Design has rarely been put to its test
good. Not only in the next edition design in development projects in the third world
policy, but also as an integrated and inevita- even though one of the most ambitious
ble part of all relevant policies where design design policy initiatives to date is INDEX:
effectiveness has already been proven. which in 2005, 2007 and 2009 alike offered
solid documentation for design’s capacity
as a relevant approach to complex problems
Danish design in a Scandinavian, and the consequences of poverty, natural
European and global context disasters and hazardous living conditions –
in areas where both human survival and the
The heritage we share with the other Scan- order of nature are at stake. Design should
dinavian countries – materialized in a joint be part of our global agenda and will only
visual language and in shared values – has get there if a global perspective on what
already been discussed. The three countries design can do is integrated into our agendas
– Norway, Sweden and Denmark – enrich on design research & education, design sup-
each other in this communion, but we also port, design promotion and design commit-
have the privilege of sharing a well–estab- ment.
page 14
Recommendations
As announced in the introduction a list of tangible and realistic
recommendations as to how we strengthen the role of design
in the 21st century will serve as a summary of the foregoing
discussion.
collaboration between crafts-based mate- bridging the gap between designers and
rial design and other traditional design design procurers through a joint knowledge
disciplines on one hand and other design sharing platform – both virtually and by
disciplines should be encouraged. encouraging the development of a real life
meeting-place.
page 15
www.danishdesigners.com
Editors
The 2008–2010 executive board, represented by Pernille
Grønbech, president, and Steinar Valade–Amland,
managing director.
Editorial assistance
Communication manager Helle Lorenzen, DJ
Graphic design
Pernille Ferdinandsen, stendhalunit.com
Print
Rosendahls Fihl–Jensen A/S