IN PURSUIT OF THE DESIGN ICON

Selena Joy Griffith School of Design Studies, College of Fine Arts, University of New South Wales, Sydney, NSW 2052, Australia selena.griffith@unsw.edu.au

Jens Martin Skibsted Skibsted Ideation A/S, Skoubogade 1, 1158 Copenhagen K, Denmark, Scandinavia info@skibstedid.com

ABSTRACT The dream of many designers, design managers and the organizations for which they work is to produce a product capable of attaining icon status. The benefits of this for reputation, brand and profitability are obvious. Less obvious, however, are the factors that influence the generation of designs of this calibre. This paper explores the anatomy of an iconic product and the factors that may impact on its ascension to such status. Understanding these factors and addressing them in the management of design could potentially increase the chances of creating products with iconic qualities. Considerations for design managers including assembling the team, creating the project vision, anchoring the project, developing the product and taking it to market, and whether the pursuit of a design icon is the right strategy will be discussed in some detail. The interconnectedness of the project stages and the importance of parallel and integrated activities between the development team and other functional units within the organization will also be covered. This paper is informed by primary research involving interviews with leading design practitioners, managers and researchers. Selected insights from these interviews are included in the discussion along with descriptions of recurring themes identified by the authors. Numerous design icons from the Swiss Army Knife to the Concord are identifies and icons are categorised from a humble masterpiece such as the paper clip that reaches iconic status over a long period of time through its functional qualities leading to immense popularity, to an instant icon such as the Apple iPod which becomes an icon as soon as it hits the shelves. The concept of denotation and connotation, where the original content disappears leaving only connotations in the resultant icon is presented along with other vectors that may impact on the development of design icons.

INTRODUCTION In June 2008 one of the authors of Instant Icon - Om produkter der skaber exceptionel vrdi og hvordan de bliver til (Instant Icon), and a design academic met by chance. A discussion between them arose about design in general, then more specifically design icons, the writing of the book, and the findings the authors had made. The dialogue continued for some months and has resulted in this paper. Many quotes, throughout this paper have been taken directly from interview transcripts for the Instant Icon book and generously provided by its authors.

IN PURSUIT OF THE DESIGN ICON Within design and business circles there is much discussion about the value of creating a design icon. This can be seen in the statement made in 2006 by Geesung Choi, then chief design officer for Samsung. We need a product that can represent Samsung and that consumers can spontaneously associate with us. An iconic product. This was in response to the 2005 challenge of Samsung Chairman Kun-Hee Lee that

Samsungs products must meet global premium standards. In order to do that, we must strengthen competitiveness in soft areas, such as design and brand, and leap over emotional walls in addition to functional and technical ones. (Freeze and Chung 2008) The question for many companies is whether pursuing a design icon is the correct strategy, and if so how to go about it.

HISTORICAL CONTEXT It is very difficult to give the exact date that creative pursuits such as architecture and art and music began. They have existed for a very long time and are mature in comparison with industrial design. Icons in an architectural sense have existed for millennia. The Mesopotamians built ziggurats, Egyptians built pyramids, Greeks built temples such as the Parthenon, Romans built aqueducts and colosseums. Industrially designed, iconic products, however, are a relatively new phenomenon that we can give a fairly exact date to. They arose with the industrial revolutions of the late 18th and early 19th centuries. The industrial revolutions occurred when major changes in agriculture, manufacturing, production, and transportation impacted greatly on the socio-economic and cultural landscapes in Britain then Western Europe, North America, and eventually most of the world. (Hobsbawm, E 2003) Innovations in manufacturing, originating in the textile industry and spreading to other industries meant mass production became a reality and industrially designed products emerged. New innovations began to impact on almost every aspect of daily, life and have continued to do so ever since. Most innovations originated from the Western world, primarily Europe and the United States, giving a very western interpretation to product design and development. It is from this pool of industrially designed product that iconic products were born.

WHAT IS AN ICON For the purpose of this paper, design icons are defined as products that gather a cultural meaning that is greater than the sum of their specification. This new meaning becomes more prominent than the purpose of the product. It lasts longer than the expected life cycle of the product. The product is then culturally successful. It is celebrated through curation, media exposure and critical acknowledgement. Iconic means objects that can stand the test of time. Able to live throughout trends and epochs and are able to keep their own value and individuality, maintaining individuality far beyond the individual that created them living a life of their own. - Marc Newson 2008 Many companies make the mistake of mixing the meaning of icon and blockbuster. Geesung Choi of Samsung identified the need to produce an iconic product, but also stated in the same speech I think we need to figure out what it will take to come up with something everyone in the world must have. That would really mean we were a premium global player. Culturally successful products (icons) can become, but are not always blockbusters that sell more than any other products and are consumed in large quantities. It is a difficult task to produce an icon and it is equally difficult to produce a blockbuster. To produce both together is extremely difficult. It is wonderful if this can happen but often failure occurs not because of trying to make an icon but through trying to make a blockbuster at the same time.

COMMON CHARACTERISTICS OF ICONIC PRODUCTS Its very difficult to put your finger on, or indeed create an equation that allows you to predict, what makes an icon. But it is definitely due to several factors rather than a single one. - Michael Sodeau Iconic products share a number of common characteristics that can be summarised as follows:

Connotative and denotative success One common feature of all icons is that they succeed both connotatively and denotatively. Both the connotative and the denotative communication of a product are therefore important and may be addressed by different parts or individuals in the organization. If both are achieved the result is an icon. The Connotative: Connotation is the associated or secondary meaning a product has in addition to its explicit or primary meaning. The product suggests or implies something beyond its features and functions. Possible connotations of Coca Cola are freedom, individuality and democracy Marketers are concerned about connotative messages of products as these can be leveraged to promote consumption. For example, you

should drink Coca Cola because you are an individual or because you like the idea of freedom or because you support a democratic ideology. The Denotative: Denotation relates to the physical attributes of the product that signify directly or literally its purpose or function. Technical teams are focussed on the denotative. They are concerned with size, shape, materials, number of buttons etcetera.

New Typology Creation New typology creation occurs when denotative meaning is at its strongest. If this is in place and the connotative meaning of the product mixes well with it then an icon is likely to result. New typologies are quite rare, but if they are genuinely useful they represent a positive achievement. I think they happen by chance. - Jasper Morrison 2008.

Innovation Innovation occurs on both connotative and denotative levels. Technically and social innovation are both important and can contribute to the element of surprise that creates new typologies. Most successful innovation is purpose driven, addressing identified problems or opportunities. [Icons happen] when a new idea, a new technology or/and a new typology fuse to a right product. Alfredo Haberli 2008. The use of technology, especially new technological applications, create the conditions for changing the fundamental structure of a project and give the designer the opportunity to create a completely new image. The history of the chair is the history of the evolution of the technologies to build a chair. Stefano Giovannoni 2008.

Element of surprise Products tend to evolve linearly. An element of surprise can occur when an evolutionary leap is made. This can be related to use, function or aesthetics. It helps build the character or personality of the icon. It can contribute to the development of a new typology of product. It is not that crucial for slow icons which grow on people. For fast icons too much of a surprise can extend the acceptance time. Classic design icons, because of their reliance on aesthetics, are often visually surprising. iconic status usually comes through innovation and the shock of the new. - Tom Dixon 2008.

Individual personality / character Iconic products tend to have their own personality or character that sets them apart from similar products in the same genre. Iconic is unique, it points out something that no one has done before, different from the generic. Claesson Koivisto Rune 2008.

Remarkable aesthetic Iconic products are usually visually distinctive. This contributes the individual personality of the product. Most ICONS are graphically complete and instantly recognizable. - Ross Lovegrove 2008.

Cultural success / Meaning Iconic products need to have relevance and that is brought about through cultural success or gathering of cultural meaning. This occurs over time. icons are those products that are representative, stand for the culture in which they are used or located, representative of movement, religion, moment, a period of time, cultural activity Most iconic to you are change-related. What made that stand out, it stood out because it stood for something. Hence the significance, it is catalytic, why do they represent it, sometimes they can be catalytic for the

cultures or movements etc. they build towards their fulfilment of their iconic status. They are central to that movement, making it stronger. Through the success they become more iconic. Survival of the fittest, group selection, facilitates the group in which it is located, the culture, supporting the success of the group. - Adam Thorpe 2008.

Longevity Truly ionic products remain so for long periods of time. Well past their prescribed lifetime and beyond that of their creators. Time makes the difference, somehow. An iconic product is first marked by a strong originality, unique and innovative qualities. However, to be really iconic, it needs to last in time and history. Design projects are somehow simple stories that have a simple logic around shapes, fabrication and adapted use of the materials. Only their pertinence and a certain untemporality make them become iconic. - Ronan and Erwan Bouroullec 2008.

Context / relevance All iconic products have contextual relevance such as cultural, functional, technological, temporal or historic. This can develop around the product as a story or lore. There can be story or narrative related to the object, which make[s] it iconic: Like the Ferrari Daytona. The car is actually Ferrari 365 GT/B but since it had places 1-3 in Daytona race in 1969 it became called Daytona even though it has not ever officially been the cars name. - Ilkka Supannen 2008 An icon can only be in context of technology, social culture and the right time period Alfredo Haberli 2008

Vision All those interviewed felt that a vision for the design is required, especially in the development of an instant icon. This could come from the client, designer, team, organization or a design leader. It needs to be clear and applied consistently over the project and does In organizations where there is an entrepreneurial design leader with a vision it does not have to happen in the design phase. If a company does not have this it is very important to have these specific competencies in the design team. A product without an idea is worth nothing. For an idea you need vision. For a vision you need to know the past. - Richard Hutten 2008.

Liangnappe Designers tend to agree that there is something resident in all iconic products that cannot be quantified or qualified that makes them so. Something impossible to define or derive a formula for, it is best described by the Creole term liangnappe meaning a little something extra or unexpected. It seems that we do not really know what are the immaterial and material aspects that make products iconic. We cannot decide one day that we make iconic design and then just do it. One could argue that it is beyond our understanding and control. The design becomes iconic out of use and its position in the world. - Ilkka Supannen 2008.

DIFFERENT PATHS TO ICONIC STATUS Skibsted has identified three paths products can take to attaining iconic status (Skibsted and Aagard 2008). These are based on the time it takes for the product to attain icon status. Democratic Icons: These could also be termed slow icons. These products take a long time to become icons. They are usually of plain or simple design and generally functionally good and useful. Users become attached to them over time and eventually these products gain so much meaning that they start to be built into the stories of the users gaining cultural and connotative currency. They are accessible on a wide scale and

become democratised. There are many good examples in Antonellis (2006) book Humble Masterpieces and Charlote and Peter and Fiells books on design for Taschen Examples include the paper clip, tea bags, potato peelers and the mailbox, all of which are valued for their high level of function over aesthetics. Design Icons: These products take about four years to attain icon status. Often they are familiar products such as chairs or cars whose design is shape driven. Some innovation or design change is made which alters the look of this familiar product and the reaction of its audience is often negative. They find it looks weird. Over time the audience adapts to the change and come to love the product for its personality; it attains cultural relevance and becomes iconic. How to spot the original or iconic when you do something and it looks strange, and youre not quite sure you like it. A few years from now they will be fantastic, but they are breaking the boundaries. Ugly is a common reaction to something that you havent seen before. - Claesson Koivisto Rune 2008. Instant Icons: These products become icons almost instantly. They are often familiar products or offer familiar functions but, through innovation, extend the familiar bringing a new perspective to the product. Often this is on the philosophical side of things, sometimes at a use level. These support a blue ocean strategy (Kim, W.C. and Mauborgne, R 2005) for product development. They open new markets or create new demand. Examples would be the Sony Walkman, the Blackberry, the Apple I-Mac and I-Pod and the VW Beetle. Fig 1. Shows some examples of products that have become icons. (Illustration by Ole Lund)

Figure 1. Iconic product silhouettes.

THE ROLE OF THE DESIGNER IN CREATING ICONS Many factors contribute to a product becoming iconic. These all need to occur simultaneously and it is difficult to control all of them, especially as many are variable and impact at different stages of realisation. Almost all the designers interviewed for Iconic Icon felt that they could not create icons. Yet such products are created and often repeatedly by some organizations which indicates that statistically it is possible to create icons, and the environments that are more likely to produce them than others. It would be hard for us to try to make an iconic product. It would be a hard obstacle to climb. [It] needs to happen from behind, [during] the process. You dont always succeed, because few products become iconic, sometimes its lets make something easy or commercial but then instantly bored, [the designer] has to add something to the process, otherwise we should not do what we are doing. - Claesson Koivisto Rune 2008. Designers alone cannot create iconic products as their creation does not just happen in the design phase. It happens in a multitude of phases, such as through the company vision and in the ideation phase of the project. Both these stages are often out of the control of the designer. I think its naive for a designer to think that its possible to create this context only by him or herself. There are several ingredients or collaborations that are required for a design to have this and invariably are supplied by different people along the products development. It may be the designers job to bring them all together and make sense of them, but invariably it is not a singular process. - Ilkka Suppanen 2008. It is important to have very strong relationships with editors. And projects are born from those relationships marked by confidence and common work. For example, wonderful editors like Vitra incite us a lot in conducting research for new and free creation. In best moments, the project is borne by the designer and the manufacturer at the same level. - Ronan and Erwan Bouroullec. Designers of iconic products tend to use their gut feelings and have a sensibility to read trends and establish new paradigms. They do not follow trends but are aware of them. It is a common feature of their practice to keep abreast of what is happening, to develop strategic relationships, read situations and respond appropriately. Probably I would be developing and pushing the envelope technically, production wise and the designs strategic position in consumer market. I would like to challenge the conventions in what kind of market position [the] product should have in the market. It would be important [to] technically try to achieve innovation. So I would start two parallel projects, 1: technology study and development, 2. conceptualisation and "market excite" study. - Ilkka Suppanen 2008. Three types of design abilities are needed to create an iconic product. These can come from one individual or a team, but all are necessary. The visionary A philosophical designer, a design leader or design champion sees social changes and connotative game in the world. The visionary is often an entrepreneurial character.who carries the vision of the project and is likely to innovate conceptually. The designer expresses through language his own poetic thoughts that recall his vision of the world. When I speak about world vision I do not mean to limit this idea to the collocation of his own poetics within the specific discipline. Instead I refer to a global cultural approach linked to its own socioeconomic context and must change according to developments and variations of external conditions. In any case, the designer is a person with long antennas orientated towards understanding changes in society and comprehending how public desires evolve. He translates these desires into objects [that] reflect the context in which he lives a good product does not have absolute claims, but has to be an expression of its context, with the ambition to become an icon of its own time. - Stefano Giovannoni 2008 The Technician A technical expert concerned with the denotative aspects of the project and is likely to innovate in those areas. Could include design engineers, technologists and scientists as well as specialist designers. The Aesthete The aesthete is a stylist who can create the individual character, personality and feel of the product. Concerned with both connotative and denotative aspects. They are likely to innovate on look, feel and function aspects of the product.

Depending on the size and structure of the organization, these abilities could be found in one individual, members of the in-house team, consultants or a mix of these.

Design Partnerships The increasingly complex, time and resource consuming task of product development is more often undertaken by teams comprised of different competencies that match the challenges of the project. Different parts of a project may be undertaken concurrently. When so many different individuals are involved it becomes very important to be able to ensure the vision of the project is not lost. As an industrial designer you work together and for the industry, this means there are always several people involved. The first ideas started in my mind, in my sketchbook, then I try to understand the intuition, the research or the idea by involving one of my assistant and start building mock-ups. this goes for days and weeks. When I feel to be in a right level, I present to my client. This goes [on] 2-3 times from one to the other side for 1 to 2 years. Others times, a client has a technique to propose, which is the beginning. Or we discuss typological possibilities from the first moment on. - Alfredo Haberli 2008. If one works with contemporary criteria then the result must be the present, and in turn, we shape the future. So if I work with contemporary issues and criteria, such as new behaviours, new technologies, contemporary materials, new production methods, new markets, etc. then I am working in a contemporary context, and in turn developing design . - Karim Rashid 2008

CONTEXT, CULTURE AND ICONIC PRODUCTS A product does not need to be ubiquitous in order to be iconic. There are many ubiquitous products that are far from iconic and many iconic products that are only produced in minute volume. There are also products that hold iconic status in some markets but not others. Audience is very important in raising a product to icon status. Products tend to become iconic to particular audiences within cultural spheres. These spheres may range from very small to immense in size. They can be dependant on many demographic factors such as age, culture, gender, profession, interests, experience, nationality, religion the list is endless. For example, an odour may be iconic within a particular circle of people who experience it, such as frangipanni flowers for visitors to Tahiti. A distinct flavour may be iconic to amateur and professional wine buffs. The mailboxes of Monaco may only be iconic to the Monegasque nationals. Shoes such as clogs or thongs may be iconic in some geographic areas but not others whereas Birkenstocks are iconic globally. I've been thinking about the relationship between a design and that which it serves in relation to the generation of Iconic propensity for a design the degree to which a design will signify a movement (cultural / political / social), a moment (temporal / experiential) or an activity (facilitory). There is a symbiotic relationship between the endeavour a design serves, a designs effectiveness at serving it, and a designs iconic propensity. It is a matter of design performance, public adoption and perception. Foucault said "ideas are made and read in history" - the point I was trying to make in relation to this is that I think "icons are made and read in history" - i.e Designs are not 'born iconic' they become iconic as a result of their performance and adoption and that of the endeavours they serve. Designers don't 'make' a design iconic, the [people in the] World make a design iconic through their actions (using/adopting the design) and perceptions (valuing - or otherwise considering significant - the impact of its use) - or as Shakespeare wrote "There is nothing either good or bad but thinking makes it so" (Hamlet). - Adam Thorpe 2008

Design Literacy All consumers are design literate to some degree. It is requisite to be able to choose and use products. Just as different ethnic cultural groups use different languages to communicate verbally, different consumer culture groups will use different visual languages to interpret the products they consume. Some individuals and some cultures are more design literate than others. Stephen Heller (2004), in his book Design Literacy, points out that true design literacy requires a practical and theoretical understanding of how design is made and functions as a marketplace tool and a cultural signpost. This may explain why some products take longer to come to icon status than others. The more design literate will discover the icon sooner than the less literate. The broader the appeal of the product, the faster it will be read and the sooner it will become iconic.

ICONIC PRODUCTS There are three scenarios that a company faces if it actually produces a design icon. The Blockbuster In this scenario the product is both culturally and extremely commercially successful. There is high consumer praise and demand. Cultural success with leverage opportunity In this scenario the product us culturally successful but not necessarily commercially successful on its own, It can be leveraged to promote the extended product portfolio or brand equity. Cultural success without leverage opportunity In this scenario the product is culturally successful but there is no opportunity to leverage off it. This may be due to the other portfolio products being too different from the iconic product or, as in the case of the segway - no other products in the portfolio. These scenarios illustrate that there are both benefits and drawbacks in producing an iconic product.

Benefits of producing an Icon Producing an iconic product can bring benefits to a company on many levels. Marketing benefits Having an iconic product in a portfolio may be beneficial in a number of ways. It can add to brand equity and increase brand recognition, profile and reputation. It can assist in developing brand loyalty. It can be leveraged to promote other products in the portfolio. Even if only 10 pieces are sold an iconic product can enhance the whole portfolio. Developing an instant icon can position the organisation as the market leader in a new segment or industry. Development benefits After developing one iconic product valuable skills and knowledge gained could be applied to developing future products, including other icons. Since icons have a long shelf life speed to market can be reduced. Reducing speed to market is increasingly straining for a majority of industries. For example what once could be developed in a 3 year cycle (to prepare and develop and launch) now could be 3 months. Unless you are 1st or 2nd in the market there is no competitive advantage in increased speed to market because of turning out new products is very taxing on companies with relatively limited resources. Economic benefits An iconic product gains great exposure though use, review and editorial, and lasts a long time. This can reduce the need for promotional spend across the entire portfolio. One iconic product in a portfolio can increase interest, sales and consequently revenue across the entire portfolio. There are also broader community benefits. Sustainability benefits In the global market economy, thought leaders have come primarily from the cultures who led the industrial revolutions. Generally their philosophy has been, at any given point of the value chain, to get the maximum out of it. Consequently there has been a push for increased consumption This can be achieved through methods such as expanding market coverage, reducing product life to promote faster replacement, and lowering quality to achieve lower cost and promote repurchase rather than repair which can often be the more expensive option. Obviously this is not sustainable. In many other cultures it is customary to maintain and repair things. Consumers will have stereos serviced and re-spring and reupholster their furniture. These consumers will seek classically designed, reliable, high quality products to ensure they can have a long life. They will be prepared to pay a premium for these. Many iconic products such as the Bang and Olufsen sound systems, Mont Blanc pens and Omega watches embody these qualities. They are designed to last the life of the user and be passed to future generations.

Drawbacks of producing an Icon There are also negative aspects to producing an iconic product. Speed to market Speed to market is often increased when trying to produce an iconic product. Unless you are 1st or 2nd in the market it is not an advantage to you because of strain of turning out new products.

Difficulty Developing a design icon is a difficult thing. It may not be the best strategy for an organization. A products success can be measured on many other levels than iconic. It is often easier and less risky to be a follower of the competitors the first mover advantage can be a drawback as it is expensive and resource intensive. Expensive Development of original products can be an expensive process. It consumes relatively more time and resources than standardised products do. With the increased level of difficulty in producing an icon, which is not guaranteed, it may not be a risk worth taking Increased expectations Once an organization has produced an iconic product there is the pressure to do it again. Whilst this can happen, it may not, and future products may be measured, unfairly, against the iconic one. Loss of Core Focus Pursuing an iconic product may be distracting and cause neglect of the organizations core values.

Irrelevance of iconic products There are some scenarios where iconic products are not relevant. There is no benefit is pursuing the development of iconic products in these instances. B2B In most Business to Business scenarios iconic products have not been relevant as the two parties tend only to deal in terms of technical specifications. High function / Low cultural relevance Icons may never be needed in some industries where efficiency, safety, function and performance are far more important than the designed object. Examples include factory equipment, Nuclear power plants, surgical equipment and prosthetics. Non industrialised markets Iconic products make sense in an industrialised culture but are not relevant outside this sphere where scope is narrow and product development cultures are not shared.

Benchmarking Icons Because cycles in industries vary greatly it is important that icons are only measured against or compared with icons from within the same industry. For example, comparing lollies to passenger jets. Both may be iconic but you need to benchmark each icon specifically within its industry.

Adopting an icon strategy It is possible to achieve icons but not guaranteed. This may be why an iconic approach has been embraced by only a few organizations. It needs to fit with your strategy and depends heavily on design leadership. Eugenio Perazza sees product development as part of general expenses for Magis. (Verganti 2006) He also views it as part of company business to constantly produce new products. Statistically he should get an icon. Iconic products are more likely to be produced by smaller, family run companies such as Italian furniture companies. In a family run business it is more acceptable and easier to express who you are as a designer so perhaps this is why these companies produce a higher percentage of icons. These businesses are mostly design centred. Consultant designers are able to develop relationships with or have access to key decision makers. Nike, Target and Apple have also built their success on design; if design is removed they crumble. They have all had strong design visionaries. All these companies have innovative cultures, they are design led in some way. The character and personality of their product comes through their designers being able to express themselves. This illustrates the need for expression beyond that of pure marketing. Marketing activities exist to sell product they aim for the blockbuster as it sells the highest volume. Pursuit of a blockbuster is the result a conservative, risk averse, non-innovative culture. This culture does not support development of icons. If an iconic product is desired then a product which is culturally successful should be pursued. It may sell but it may also create a point to sell from.

THE FUTURE OF ICONS The future possibilities for iconic products are varied. Simplifying Choice Consumers have an increasing amount of products at their disposal all broadcasting messages about their context, use and identity. This creates noise that consumers find difficult to navigate. Iconic products make it easier for the consumer to make choice. They become a way of handling the complexity of modern living. For me an icon is a representative image of a whole group of similar items or images. An iconic product therefore also stands for a whole range of other products of the same or similar kind but is the one product that sums it up best. - Matthias Megyeri 2008

Evolving cultures and markets As more regions become industrialised, more design literate cultures will emerge, ready to consume iconic design. Asian giants such as China and India will become very significant. Once their markets are greater in size than the currently dominant Western one they will impact greatly on the cultural cues that need to be met to create a design icon. International cultures are also evolving. Today the worlds biggest markets are urban cities not whole countries eg aesthetics in Sydney, Hong Kong, Singapore, London, Paris and New York, are more alike than Sydney and Darwin, London and Bristol or Hong Kong and Xaimen. Cities are also creating their own cultures that transcend national identity. Sustainability Products with extended life cycles are considered to be more sustainable. Iconic products support this as their owners tend to service and repair them to extend their life. As such in a world demanding more sustainable practice the iconic product makes sense.

Acknowledgements The authors wish to thank the following people for their assistance in the process of writing this paper. Sune Aagaard, Tania Merete Christensen, Ross Griffith, Ole Lund and Christian van der Plaat.

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