Professional Documents
Culture Documents
Design For Growth and Prosperity PDF
Design For Growth and Prosperity PDF
for
Growth&
Prosperity
Report and
Recommendations of
the European Design
Leadership Board
EUROPEAN DESIGN
INNOVATION INITIATIVE
Published by DG Enterprise and Industry
of the European Commission
Edited by Michael Thomson, Design Connect
and Tapio Koskinen, Aalto University
Designed by Dog Design
ISBN 978-92-79-25946-3
Printed by Unigrafia in Helsinki, Finland 2012
Report and
Recommendations of
the European Design
Leadership Board
EUROPEAN DESIGN
INNOVATION INITIATIVE
Foreword
2
Report of the European
Foreword Design Leadership Board
Never before has so clear support and insight throughout the level of change that is required
an opportunity existed as now, the process. We also present if our vision for design is to be met.
for the European Commission, our thanks to the Secretariat, The recommendations have
Member States and regions to take Aalto University in Helsinki, therefore been constructed in
bold action to enable a new level of which has supported our work sufficiently broad terms to inspire
awareness about the importance of in the preparation of meetings, a wide spectrum of stakeholders to
design as a driver of user-centred the provision of working papers take action. Strong leadership from
innovation across Europe. And this, and the writing of the drafts that the Commission will be necessary
in spite of the pressures of austerity capture our thinking and intent. to ensure on-going progress in
and the complexity of the global Further thanks are due to the many their implementation.
challenges we face in Europe. individuals and organisations that We urge the Commission,
In addressing the challenge set have contributed knowledge, in- Member States and regions to
us by Commission Vice President sight and expertise to our delibera- take hold of the recommendations
Tajani – to enhance design’s long- tions, including those who partici- and to act upon them in support
term contribution to smart, sustain- pated in the co-design workshop of a shared vision for design in
able and inclusive growth through held in Brussels in March 2012. Europe for the 21st century.
increased competitiveness and We do not underestimate the
the pursuit of a better quality of scale of the challenges that Europe
life for all the citizens of Europe – faces. Nor do we shy away from The European Design Leadership Board
we have been inspired by our vision
for design embedded, by 2020, in
the innovation systems of Europe
and making a difference in society.
Our response has been to create
twenty-one enabling recommenda-
tions that will drive a step-change in
innovation behaviour and practice
across Europe. The opportunity
is to set in place framework condi-
tions and infrastructure, supported
through targeted measures and ac-
tions, that will enable a far-reaching
and long-lasting impact on Europe’s
design innovation capability.
We are grateful to Commission
Vice President Tajani for setting
us this crucial and timely task
and to his staff at DG Enterprise
and Industry for their continuous
3
European
Design
Leadership
Board
4
European Design Report of the European
Leadership Board Design Leadership Board
OLLI-PEKKA KALLASVUO ANDREJ KUPETZ STEFANO MARZANO ISABEL ROIG KLEMENS ROSSNAGEL
Chairman of German Design Electrolux, SE BCD – Barcelona Design Audi/Volkswagen
the Delegation for World Council, DE Centre, ES Konzern Design, DE
Design Capital 2012, FI
ANDREA SIODMOK LIVIA TIRONE GERIN TRAUTENBERGER ROBERTO VERGANTI THIERRY WASSER
Technology Strategy Tirone Nunes S.A., PT Microgiants Industrial Politecnico di Milano, IT Guerlain, FR
Board, UK Design GmbH, AT
5
Executive
Summary
6
Report of the European
Executive Summary Design Leadership Board
The European Design Leadership the national, regional or local level with over fifty key stakeholders
Board was established in early and to develop a joint vision, priori- from government, industry,
2011 by Commission Vice ties and actions to enable design to academia, the design industries
President Antonio Tajani, respon- become an integral part of innova- and the public sector1.
sible for Enterprise and Industry. tion policy at the European level, Taking a broad-based view of
Vice President Tajani invited in line with the Innovation Union. design, the Leadership Board
the Leadership Board to provide Over the period of one year, identified twenty-one policy recom-
recommendations on how to the European Design Leadership mendations, grouped according to
enhance the role of design in Board held seven meetings and six areas for strategic design action
innovation policy in Europe at a co-design policy workshop that can be summarised as follows:
Number of recommendations
1 EUROPEAN
DESIGN ON THE
GLOBAL STAGE
6 DESIGN 2 DESIGN IN
IN EUROPE’S EUROPE’S
EDUCATION INNOVATION
SYSTEM Europe’s design innovation SYSTEM
capability – an interconnected
system of recommendations
for growth and prosperity
5 DESIGN
IN EUROPE’S 3 DESIGN IN
RESEARCH SYSTEM EUROPE’S
4 DESIGN IN ENTERPRISES
EUROPE’S
PUBLIC SECTOR
7
The twenty-one recommenda- growth, environmental regeneration, sible, whilst at the same time raising
tions of the Leadership Board are and the raising of social and emotional the bar on expectations and associat-
positioned across the six areas for value, whilst respecting the need for ing excellence with sustainability.
strategic design action as follows: renewable and endogenous resources.
3 Work towards zero tolerance of STRATEGIC
STRATEGIC infringement. This requires legislative DESIGN ACTION 2
DESIGN ACTION 1 revision, through the inclusion of Positioning design
Differentiating European a ‘Duty of Care’ for shared responsi- within the European
design on the global stage bilities on IPR protection across the innovation system
digital value chain. Set up a specific
Based upon the unique characteris- EU Tribunal /Court for European IP The recommendations focus on
tics and qualities of European cases and promote and increase supporting more effective policy
products and services created with- the training of judges in national development for design through
in the culture, values and strengths courts, in relation to the protection access to indicators and measures
of Europe, the recommendations of Intellectual Property Rights in of design’s impact on the economy,
call for the recognition of existing the physical world and online. on return on investment (ROI)
European centres of design excel- 4 Create a ‘Designed in the European and on the environment, through
lence and the dissemination of Union’ label in connection with the gathering valid, comparable
good practice to wider industry to European ECOLABEL to stimulate statistics on design as an economic
compete globally; the promotion the export of design services. The in- activity within the existing EU
of the benefits of sustainable design tention is to make the protection and statistical framework. Design is
to European industry supported enforcement of European design and to be included in the programmes
by more focused protection and innovation more effective and acces- of the innovation and business
enforcement of the Intellectual
Property Rights of European design
innovation and a greater interna-
tional recognition of European
design through the establishment
of a European design label.
8
Report of the European
Executive Summary Design Leadership Board
incubators across Europe making implementation of design as a driver the light of new forms of produc-
them more design aware. The of user-centred innovation. tion, including the ‘Future Factory’
opportunity to disseminate emerg- 10 Improve access to design are addressed, as is the emergence
ing design methodologies, such as management expertise and tools of a next generation, ‘Modern
Open Design, is supported. Design for companies across Europe to Craft’ for Europe, whereby design
in innovative public procurement is support the uptake and integration needs to be more widely embedded
addressed as a key strategic area and of design and design management in Europe’s vocational education
the role of design management is as a strategic tool for growth. systems. The rapidly changing
presented as a key management tool context for manufacturing and
and process to improve the quality STRATEGIC production is highlighted and
of design across Europe. DESIGN ACTION 3 the need for Europe to stay ahead
Design for innovative and of new and emergent processes
5 Continue to support and expand competitive enterprises and methodologies is emphasised
the work needed to develop more as being critical to future success.
effective and reliable methods for The recommendations focus on
measuring the impact of investment strengthening the design excellence 11 Establish a pan-European design
in design on growth and social that already exists within the large leadership programme that ensures
well-being, at the micro and macro design-led companies of Europe; Europe’s next generation of large
levels, and include these within on maintaining Europe’s design companies have at their top, leaders
European innovation statistics. leadership where it is strong and who are design aware and more
6 Enforce the implementation of on the on-going development of inclined to make better use of design.
the current NACE Code 74:10 the next generation of Europe’s 12 Develop programmes that support
for Specialised Design Activities design-aware top leaders. They European medium-sized companies
by all Member States and ensure address the opportunity to support with ambitions to grow into large
updating as necessary for bench- medium-sized companies with design-led companies through
marking and comparative analysis ambitions to grow through design design innovation.
across member states. innovation into large, design-led 13 Establish mechanisms whereby
7 Include design within innovation companies and furthermore, they design knowledge and best-practice
and business incubators and their seek to harness the knowledge transfer can be more effectively
networks. and expertise that resides in enabled between large, design-led
8 Create guidelines, codes of practice, larger companies to the benefit companies, academia and SMEs.
legal frameworks and experimental of Europe’s SMEs. The specific 14 Strengthen design innovation in
spaces to promote the use of Open design innovation needs of SMEs SMEs through taking into account
Design. are also considered, particularly the specific needs of SME’s within
9 Develop a European policy that with regard to the opportunities EU programmes such as Horizon
ensures a more sophisticated afforded by easier accessibility to 2020 and improve their access to
approach to the public procurement the Programmes of Horizon 2020. member state level programmes.
of innovative solutions through The contribution of design innova- 15 Recognise and value apprentice-
the recognition, inclusion and tion to job creation and its role in ships and vocational training for
9
generating world-class specialist public sector innovation. Horizon 2020 and to create
and skilled crafts-people in tradi- // Through supporting designers’ a European design research net-
tional and emerging sectors with greater involvement in ‘living labs’ work serving the design innovation
an increased awareness of design, where social innovation and public needs of business, industry,
as a driver of growth and job creation. services are critical challenges. the public sector and society.
// Through exploiting the potential
STRATEGIC of the European Structural Funds, in 18 Embed design research in Europe’s
DESIGN ACTION 4 particular the European Regional De- research system in order to create
Design for an innovative velopment Fund, on design innovation new knowledge that will enhance
public sector for social change across policy areas. innovation whilst in parallel evaluating,
17 Build the capacity of public sector on an on-going basis, the value of de-
The recommendations call for administrators to use design methods sign in the Horizon 2020 programme:
the widespread development of themselves and to procure design // Through including design
more innovative public procure- effectively: researchers in cross-sectoral, multi-
ment through raising the awareness // Through design toolkits, case disciplinary research programmes
of design to policy-makers in studies and designers in residence addressing global challenges such
the public sector, including for EU institutions and Member as climate change, food security and
the Commission. Providing more States and regions. health and well-being.
support in assisting the better // Through developing a design // Through funding the evaluation and
integration of designers into public curriculum for public administrators’ communication of the value of design
sector environments thereby en- education and professional develop- in the Horizon 2020 Programme.
abling them to engage more closely ment, with attendant Master Classes 19 Create a European network on design
in public-sector policy and service in design for effective policy-making research at the European level to
development, and through attract- and procurement. foster greater exchange amongst
ing support from Structural Funds diverse actors and to encourage and
for design innovation for social STRATEGIC enhance research that supports
change. The development of guide- DESIGN ACTION 5 European design innovation capacity.
lines, support materials and con- Positioning design research
tinuing professional and executive for the 21st century STRATEGIC
education in good practice relating DESIGN ACTION 6
to design in both procurement Design research is a vital strategic Design competencies
and policy is also recommended. tool for the improvement of for the 21st century
Europe’s design innovation
16 Increase the use of design/designers capacity. Recommendations are The recommendations call for
in public sector innovation: presented to embed design research the development of Europe’s
// Through establishing a Design and its methods and approaches competencies in design innova-
Lab within the Commission to run more fully into the EU Research tion as a key strategy for promot-
small-scale demonstration projects Programmes; to establish on-going ing growth and jobs. Within the
showing the value of design-led evaluation of design’s value within context of continuous and life-long
10
Report of the European
Executive Summary Design Leadership Board
Establish a permanent
dialogue on design
with the European
Commission.
learning, they address the need for role of design across disciplines in and advocacy programme at
the inclusion of design learning higher education European, Member State and design
in the general education of all the // Through strengthening continuing stakeholders levels in order to raise
citizens of Europe, as well as within professional development pro- awareness of the policy recommen-
Vocational and Higher Education. grammes for design professionals. dations and enable engagement
Maintaining Europe’s leadership // Through embedding design in with their implementation.
position in the design sector is ad- the training of apprentices. B Establish a permanent dialogue
dressed through meeting the future on design with the European
competence needs of the design Ensuring success Commission, through an organi-
professions, as well as improving sation like BEDA that provides
the design competence of the lead- In support of the implementation Europe-wide coverage to provide
ers and entrepreneurs of the future. of the twenty-one recommenda- a European-level focus for all mat-
tions, Chapter 4 sets out three ters relating to the development
20 Raise the level of design literacy for separate proposals to ensure and growth of design in Europe’s
all the citizens of Europe by fostering the success of embedding design innovation policy.
a culture of design learning for all at in innovation in Europe. The pro- C Establish a mechanism to enable
every level of the education system. posals are specifically addressed the continuous monitoring of
21 Encourage Member States to to the European Commission. progress at a strategic level,
support the development of design overseen by the Leadership Board,
competencies for the 21st century: A Deliver a Europe-wide, high-level and in the on-going implementation of
// Through embedding the strategic appropriately targeted communication the recommendations.
11
Table of
Contents
12
Report of the European
Table of Contents Design Leadership Board
FOREWORD 2 3
EUROPEAN DESIGN LEADERSHIP BOARD 4 BUILDING A DESIGN INNOVATION
EXECUTIVE SUMMARY 6 ECO-SYSTEM FOR EUROPE 30
Strategic design action 1: Differentiating
INTRODUCTION: A BROAD UNDERSTANDING European design innovation on the global stage 32
OF DESIGN 14 Strategic design action 2: Positioning design
A broad understanding of design 15 within the European innovation system 38
Structure of the report 16 Strategic design action 3: Design for innovative
Targeting design’s impact 16 and competitive enterprises 46
Strategic design action 4: Design for an innovative
1 public sector 54
DESIGN-DRIVEN INNOVATION AS Strategic design action 5: Positioning Design
A RESPONSE TO THE URGENT NEED Research for the 21st century 60
FOR GROWTH AND JOBS IN EUROPE 18 Strategic design action 6: Design competencies
Design as a driver of people-centred innovation 19 for the 21st century 66
The Innovation Union – actions for design 20
Europe’s design landscape 20 4
Three key challenges 23 ENSURING SUCCESS 72
Challenge 1: Positioning European design innovation
on the global stage 23
Challenge 2: Embedding design in Europe’s innovation
system for the benefit of society, enterprises and
the public sector 24 APPENDIX 1 Glossary 76
Challenge 3: Developing Europe’s design competences APPENDIX 2 Co-design policy workshop 80
and knowledge for the 21st century 25 APPENDIX 3 Design promotion and design support
organisations operating at Member State and
2 regional levels 84
A VISION FOR EUROPE’S DESIGN APPENDIX 4 Professional Design and
INNOVATION STRATEGY 26 Designers’ Associations 88
European values underlying the vision 27 APPENDIX 5 The EU NACE Code statistical system 90
13
Introduction:
a broad
understanding
of design
14
Introduction: a broad Report of the European
understanding of design Design Leadership Board
15
contributing positively to an // how to develop the positioning Chapter 3 introduces six stra-
innovative society and improved of European design innovation tegic design actions within which
quality of life. on the global stage. the recommendations are placed.
// how to embed design in inno- Within each strategic design
Structure of the report vation processes across Europe action there is an outline context,
for the benefit of society, enter- associated priorities for action
The report is structured into prises and the public sector. supported by case studies and a set
four chapters. // how to develop Europe’s of recommendations. The twenty-
Chapter 1 establishes the design competences and one recommendations form
context for design innovation knowledge for the 21st century. the main output of this report.
in Europe. It identifies three key Chapter 4 presents three
challenges for design in Europe as Chapter 2 sets out the vision and key proposals to the European
defined by the Design Leadership values underpinning the Design Commission, outlining next steps
Board. These are: Leadership Board’s work. to ensure the successful implemen-
tation of the recommendations.
16
17
1
Design-driven
innovation as
a response to
the urgent need
for growth and
jobs in Europe
18
Design-driven innovation as a response to Report of the European
the urgent need for growth and jobs in Europe Design Leadership Board
We are living in Today, the primary goal is to must also be focused on public sec-
a time of unprecedented get Europe, ‘back on track’2 and tor procurement of people-centred,
Europe’s response has been to focus design-led and innovative public
financial and economic on the critical role of innovation services that stimulate, for users and
crisis. In Europe, in delivering smarter, sustainable providers alike, new expectations of
years of economic and and inclusive growth. quality of delivery.
Traditionally, the European
social progress have innovation system has been based Design as a driver of
been wiped out and largely on technology-led deve- people-centred innovation
lopment that has contributed
structural weaknesses profoundly to the growth and It is acknowledged that non-tech-
in Europe’s economies competitiveness of the European nological innovation, including
have been exposed. economy. Now, however, the design, (of products, processes and
emerging competitors of Europe services), as well as culture-based
are rapidly closing the technology creativity, are important tools for
gap and European growth can competitiveness and growth in
no longer depend on technology- order to improve the quality of
led innovation, low production life for the citizens of Europe5.
costs or the proximity of markets. Design as a driver of user-centred
Furthermore, the significant reduc- innovation contributes to getting
tion of available funding drives good ideas to market. It enhances
the urgent need for innovative agile and focused product and
solutions based upon Europe’s service development, strength-
broader expertise 3 at a time when ened and made more effective and
some European nations are facing desirable through good design
the highest recorded levels of management. It facilitates the
general and youth unemployment development of better, transparent
for decades and the economic and more effective public services
competition with the BRIC and contributes to social innova-
economies4 remains ever-present. tion, thereby raising the quality of
The complex economic and soci- life for all the citizens of Europe.
etal challenges faced by Europe call And for complex societal prob-
for new approaches and solutions. lems, design offers people-centred
These must focus on ensuring a dis- approaches that can achieve better
tinctive European design innovation solutions. A number of European
capability that delivers attractive, studies and reports written during
desirable and sustainable products the past three years have explored
and services that can compete on and communicated design’s power
the global stage. This new approach to make a difference.6
2 Innovation Union 3 “In time of crisis, we should reduce the cost but not the meaning”. Roberto Verganti, “Design-Driven Innovation. Changing the Rules of Competition by
Radically Innovating the Meaning of Things”, Harvard Business Press, Boston, MA, 2009. 4 Brazil, Russia, India, China 5 ‘Conclusions on Creating an innovative Europe’. 3016th
Competitiveness Council meeting. Brussels, 26 May 2010 pp4 (II,5) 6 Commission Staff Working Document ‘Design as a driver of user-centred innovation’, 2009; INNOGRIPS
MS05, ‘Design as a tool for innovation’, 2009
19
At the level of design practice, Innovation Union, is committed Europe to accelerate the uptake
the role of design and the designer to a wider definition of innovation of design in innovation policies.
is also expanding. Traditionally, within which design is recognised In parallel, the Commission
often associated only with product as an important driver of user- launched actions aimed at grow-
styling, designers now contribute centred innovation, drawing upon ing the Creative Industries sector
at a number of different levels the innovative and creative talents within which design is a significant
ranging from strategic business of Europe’s small businesses and player. The European Creative
direction and design management entrepreneurs that lie at the heart Industries Alliance was launched
to the conceptual design, design of Europe’s strategy for growth. in December 2011.9
development and production of In 2010, with the inclusion of The Commission’s initiatives
user-centred products and services design as a driver of innovation engage a variety of actors within
for the private and public sectors. into the Innovation Union, the the European ‘design landscape’,
This extends onwards to user com- Commission set up the European which, as a future field for partner-
munications where, instead of the Design Innovation Initiative. ship, co-operation and programme
product or service driving the pro- The European Design Leadership delivery, offers potential in support-
cess, it is the users and the design Board was set up in 2011 as ing and enabling the delivery of
process which lie at the heart of an answer to the commitment the recommendations of this report.
contemporary problem solving. taken in the Innovation Union7.
There is an urgent need for The Commission also launched Europe’s design landscape
Europe to grow its design inno- the first action plan for non-tech-
vation capacity to develop and nological, user-centred innovation8 Europe has an internationally rec-
promote products and services in order to raise awareness and ognised capability in design, if not a
that are distinctive, user-driven stimulate policy-learning across leadership position when compared
and sustainable. Construed in this
way, design can be understood
as a distinctive, competitive
advantage of Europe, which is
to be both protected and nurtured.
7 Innovation Union commitment number 19, Europe 2020 Flagship Initiative – Innovation Union – SEC(2010) 1161 8 Four projects were awarded EU funding: 1/IdeALL
– Integrating Design for All in Living Labs; 2/ €Design – Measuring Design Value 3/ DeEP – Design in European Policies; 4/ SEE Platform: Sharing Experience Europe –Policy
Innovation Design 9 Creative Industries Alliance. See: https://www.howtogrow.eu/ecia/
20
21
across Europe, most Member States
support national and/or regional
design promotion organisations
that are funded through Ministries
of Economy and / or Culture. They
represent the visible face of design
promotion at national and regional
level. Their activities include the
international promotion of their
country or region’s designed goods
and services; the promotion of the
role of design to local industry and
the public sector; the running of na-
tional and international design and
design management award schemes
and the development of partnership
projects promoting new programmes
to introduce and embed design, for
to competitor countries10. It is esti- have been discipline specific in example, in the public sector and in
mated that there are approximately their membership segregating, for government. Many of these actors
410,000 professionally-trained example, graphic design services have been or are currently engaged
designers practicing in Europe from industrial design. However, in European projects promoting
generating an annual turnover in response to changing market the development of Europe’s design
of €36 billion11. conditions and needs, they are competence.13 There remain some
The majority of design consult- increasingly becoming multi- Member States without national rep-
ing companies in Europe are them- disciplinary. Trade associations, resentation for design, including Bul-
selves micro-companies or SMEs12. representing design businesses garia, Cyprus, Malta and Romania. It
There is a large body of trained Eu- rather than individual designers, is noted that opportunities for a level
ropean designers working in-house are also present in a number of playing field of design promotion
principally in medium and large Member States. Broadly speak- across Europe could be stimulated if
companies. European designers ing, Europe’s trained, professional this gap were to be addressed.
are leaders in their field often also designers operate either within Over forty design promotion
working for both European and the design-services consulting organisations and professional and
non-European global brands. sector as independent, external trade design associations from more
The interests of qualified, profes- consultants, or ‘in-house’ in than twenty Member States, are
sional designers are represented medium and large companies that members of the Bureau of Europe-
through national-level professional have a dedicated design function. an Design Associations (BEDA).14
associations in Member States. In addition to the professional Established in 1969, BEDA is
Traditionally, these organisations and trade associations for design unique in communicating, on their
10 S Korea national policy targets achievement of 95% of the design capability of western industrialised nations by 2015 11 Rosenberg Thesen, Oktober 2010, Zentralverband
des Deutschen Handwerks 12 Innovation in services: Issues at stake and trends, J Howells and B Tether, 2004. 13 www.seeproject.org 14 www.beda.org
22
Design-driven innovation as a response to Report of the European
the urgent need for growth and jobs in Europe Design Leadership Board
behalf, the value of design to Three key challenges The Design Leadership Board
the European Commission and has identified three key challenges
other institutions of Europe. The ‘design landscape’ represents that focus on positioning, embed-
Three other organisations in but a tiny fraction of economic ding and developing design’s role
Europe’s design landscape are activity when taking into account in Europe.
worth noting. The long-established Europe’s large companies and
Design Research Society15 pro- the 23 million SMEs that drive Challenge 1:
motes and develops design research; the European economy, the large Positioning European
the ‘EIDD Design for All Europe’16, majority of which could benefit design innovation
a platform of 33 Member Organi- from using design as a driver of on the global stage
sations in 23 European countries, innovation. It is in those European
promotes the concept of Design companies not yet aware of design’s In the provision of world-class
for All and the European Academy potential as a contributor to smart, design services, across a range of
of Design a network of design sustainable and inclusive growth, sectors, Europe already has some
researchers has been hosting design that a raising of design awareness areas in which it takes a leadership
research conferences across Europe and a change in perception of its position on the international stage.
since 199517. Finally, there is also value needs to take place. Cities such as Barcelona, London,
the extensive network of design This shift in perception of Milan and Paris are internationally
schools across Europe. design’s relevance and value is also recognised as centres of excellence
These numerous design organi- required within Europe’s public in design – whether it is fashion,
sations represent a powerful sector organisations and in Euro- product, brand or city design.
strategic resource for design in pean policy-making. It is needed It is noted, however, that a huge
Europe, in particular, when con- in schools and universities as well gap exists between those leaders
sidering their potential to support as in vocational education. It is and other regions of the EU. As
the implementation of the recom- needed in the research community a consequence, there is a need to
mendations of this report. and it is needed in government. upgrade the use of design as a driver
of user-centred innovation to a far
greater extent across all of Europe.
Achieving this goal would help to
The potential of design consolidate and sustain Europe’s
leadership position. However, signif-
in leveraging successful icant barriers remain to making this
a reality. Europe can also become
business is currently realised a global leader in the development
of 21st century design innovation
23
necessary as a decline in the percep- Challenge 2: them or invest in their growth.
tion of Europe’s leadership position Embedding design in There is a lack of incubators,
will hinder growth and erode jobs. Europe’s innovation (or other mechanisms), that have
The potential of design in leverag- system for the benefit the strategic competence and
ing successful business is currently of society, enterprises necessary local knowledge to build
realised in only a few, limited sectors and the public sector effective bridges between design
of industry across Europe. Design- agencies and those enterprises and
led, user-centred innovation calls for The EU has the opportunity to public sector organisations that
new approaches and partnerships re-think the ecology of innovation require design-intensive services.
integrating design into product and to understand how design fits as The means to connect companies
service development. This is not a value creator in innovation pro- and organisations seeking design-
yet widely understood. Awareness- cesses. There is a need to promote intensive services across Europe
raising of the strategic impact of greater collaboration between re- remain under-developed.
design on innovation calls for much search institutions, design intensive The wider uptake of people-
wider promotion and adaptation of industries and the design sector. centred innovation will increase
design, including the show-casing Designers are not participating the demand for design-intensive
of successful experiences that can proactively in the innovation services. Europe’s design industries,
practically demonstrate the power policy discussion and are not rep- as currently structured, are com-
of design in value creation. resented in the making of Europe’s prised mostly of small and micro-
The prevailing image of design innovation policy. Today, the role companies that would not have
emphasises its individualistic of design as a user-centred driver the capacity and resources needed
nature and yet, the complexities of of innovation is not sufficiently to respond to dramatically in-
innovation call for a truly multidis- recognised in the EU’s R&D and creased levels of demand. The lack
ciplinary approach. People-centred Innovation programmes. of scalability in the design sector
design requires consumers and Europe’s technology and needs to be addressed.
citizens to play an increasingly innovation centres have proved an In addition to the design of
active role from the beginning of effective channel for disseminating products, design is also not suf-
the product or service development R&D findings, especially for Small ficiently recognised as a strategic
process to the end, including and Medium-sized Enterprises. tool in the redesign of business
feedback loops to manufacturers Europe lacks a similar focus on processes and/or services capable
on the performance and/or quality the development of centres offering of bringing innovative solutions to
of those products and services. design services to industry and complex issues. There is a need for
Much progress is required if the public sector. These centres a broader approach to design that
companies and organisations across would provide opportunities for can bring added-value in the public
Europe are to understand and citizen-business-public partnerships sector, driving innovative and
adopt the new meaning of design to fully exploit the potential of de- economically sustainable solutions.
as a people-centred method for sign in developing people-centred Indeed, the link between improve-
innovation. This will require a step- innovation, and yet, currently, no ments in business performance and
change in perception and behaviour. strategy is in place to either identify the use of design by companies,
24
Design-driven innovation as a response to Report of the European
the urgent need for growth and jobs in Europe Design Leadership Board
is not sufficiently demonstrated accessible. They can also provide fundamental research in design
to public-policy makers in order the basis for the development of is missing even though, in
to encourage dissemination of new services focused on real needs. the field of applied research,
design methods from industry Currently, however, there are insuf- design research is relevant because
and their integration into design- ficient tools and methods available of its practical nature.
led, user-centred policy-making. to the institutions and citizens of Currently, design research does
Furthermore, today’s rapid Europe. This is severely limiting the not have sufficiently close contacts
development of digital networks introduction of co-design methods with other fields of expertise
and communications technologies as a method to support meaning- and yet the exploitation of the
is having the same revolutionary ful interaction between users and potential of design, to the benefit
impact on our society as the producers of public services. of European innovation, calls for
development of electricity and multi-disciplinary approaches.
transportation networks had Challenge 3: Multi-disciplinarity requires a set
a century ago. The impacts of digi- Developing Europe’s design of competencies that are not widely
talisation on design can be divided competences and knowledge disseminated across Europe.
into two broad categories: changes for the 21st century Any design issue is part of
in the value-chain from producer a complex inter-connected eco-
to consumer and changes in Without adequate investment to system in which factors as diverse as
the work-processes resulting from increase and deepen the design social, personal, economic, cultural,
the use of new tools. As a result, literacy of Europe’s citizens and technological, physiological, and
the conventional borders between without adequate public funding political all play a significant role.
product design, production and for fundamental research in design, Through its interaction with other
the user are beginning to merge. the new competitive advantage fields of endeavour, design research
The internet and the active use of of design will not be realised. can lead to new and innovative solu-
social media not only enable the Apart from some exceptions in tions. Other fields can include tech-
dissemination of digital works, but some Member States, the skills, nological and behavioural sciences,
also the co-creation of products or competencies and knowledge of new materials, economic sciences,
services that can engage users from design and designing are not suffi- ICT and cultural studies. Action
the outset. There is a need for more ciently embedded in the education is needed to ensure that emerging
sophisticated adoption of digital systems of Europe. Design, in its understandings of design research
technologies across the EU in order broadest sense, is not integrated as and new approaches to multi-disci-
to strengthen design-led, people- a key understanding or experience plinarity support the embedding of
centred approaches to innovation. of the citizen’s of Europe. The low design behaviour and practice in the
The European tradition of active level of design literacy is limiting research agendas of Europe.
citizenship includes citizens’ par- Europe’s broader innovation poten- The development of more wide-
ticipation in the design of public tial both now and for the future. spread and increased levels of design
services. Co-design methods can Companies invest in R&D but literacy and greater recognition and
ensure that public services are not in design research. In most uptake of design research are needed
comprehensible, transparent and Member States, public funding for if Europe is to remain competitive.
25
2
A vision
for Europe’s
design innovation
strategy
26
A vision for Europe’s design Report of the European
innovation strategy Design Leadership Board
The work of the Design In 2020, design is fully embedded as an important intangible
Leadership Board has in the European innovation system value and a tangible asset
and is recognised as a significant of enterprises.
been underpinned by factor in enabling sustainable // design in the public sector
its vision for Europe’s growth for increased prosperity, contributes to the rapid develop-
design innovation well-being and competitiveness. ment of public services that are
Sophisticated design innovation user friendly, environmentally
strategy. The vision behaviour and practice is prevalent friendly, economically responsi-
is presented as a brief in the societies and economies of ble and accessible by all.
Europe and contributes at a funda- // design is mainstreamed into
scenario describing, mental level to quality of life. the processes of policy-making
through indicators, at European, national, regional
the situation as it is In particular: and local levels for solving
// responsible European design complex local and global
envisaged in 2020. plays a central role in strategic challenges contributing to
decision-making in a majority of European quality of life.
enterprises, especially Small and // europe is known and recog-
Medium-sized Enterprises and nised internationally as a design
in traditional businesses that lie economy/society.
outside the creative sectors.
// in europe’s enterprises and European values
organisations, the systematic and underlying the vision
strategic use of design, anchored
in principles of sustainable Ecologically and socially-respon-
growth, contributes to social and sible, people-centred products
environmental well-being, whilst and services are a strength of the
offering them new perspectives European economy. Global markets
and new market opportunities understand, desire and use products
both locally and globally. and services that are ecologically
// many companies relocate and socially responsible and people-
their (industrial) production centred. Europe’s design innovation
in Europe, thereby fostering competence therefore enhances
more highly-qualified jobs the competitiveness of European
within Member States. Across industry in rapidly changing and
all sectors, many enterprises and increasingly competitive markets.
organisations apply innovative Economic uncertainty provides
Open Design methods. an impetus for developing new
// design is recognised by entre- approaches to product and service
preneurs and investors, both innovation and for reforming
27
manufacturing in accordance with 2 quality of opportunity
the principles of ecologically and – Considering social equity
socially responsible development. as a characteristic enabling
Cultural, social and economic European smart, sustainable and
values have informed and guided inclusive growth; continuously
the work of the Design Leadership striving for excellence.
Board. These are: 3 responsible economy
– Resource responsibility;
1 cultural identity – Cele- effectiveness; efficiency; respon-
brating diversity and a responsi- sibility in action, including
ble European identity; tapping accountability; social respon-
into Europe’s unique continuity sibility in entrepreneurship,
of culture and heritage; synergy ethics and trust; professional-
through complementarity. ism; prosperity; community.
CULTURAL IDENTITY
Diversity, Ingenuity,
Agility, Continuity,
Complementarity
QUALITY OF OPPORTUNITY
Equality, Prosperity, Ethics,
Well-being, Community,
Quality of Life
RESPONSIBLE ECONOMY
Effectiveness, Efficiency,
Resilience,
Professionalism
28
29
3
Building a design
innovation
eco-system
for Europe
30
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
31
STRATEGIC Differentiating European
DESIGN design innovation
ACTION 1: on the global stage
///////////////////////////////////////////////////////////////////////////////////////////////////
European culture Furthermore, the long tradition of innovation therefore contains qualities
as a differentiator in diplomatic and trade relationships and characteristics that enable it to be
a globalising world within Europe offers a strong cultural distinctive, desirable and competitive
basis for the development of design on the world stage. Key characteristics,
Europe has a unique and diverse innovation networks across borders, demonstrating economic and ecologi-
culture that possesses distinctive added- both within and outside of Europe. cally responsible action and behaviour,
values. This is important in an age of Because of its culture, history and contribute to a unique European
globalisation where Europe needs to traditions, the design innovation capac- identity for products and services
develop its own distinctive approach to ity of Europe is distinctive in its values, that derives from a concern for explor-
innovation, building on its strengths qualities and characteristics. The Design ing new methods of production and
and capitalising on its values 21. Leadership Board believes that the creation, mindful of the impact of
The respect for cultural and histori- identity of European design innovation processes on people and planet.
cal heritage in Europe, combined can be further strengthened through Design needs to be far-reaching
with the political conditions enabling adopting a more systemically-oriented, across institutions, companies and
relative stability and social resilience higher-purpose approach to design in- citizens. It adds value to processes,
over a long period of time, have led to novation as a strategic means to address, products and services by reaching
an overall increase in prosperity across in practical ways, the truly complex and citizens and consumers through en-
Europe. Europe has proved to be critical problems the planet and our gaging their emotions whilst offering
a fertile breeding ground for cultural societies face. This broader approach products and services that are sustain-
development and innovation and this may offer a larger and more robust able. That can be achieved, when
relative continuity means that a vast framework within which to pursue the use of finite, (non-renewable),
reservoir of experience can be tapped long-lasting prosperity, incorporating resources is streamlined and opti-
into at any stage and from anywhere. competitiveness as a significant mised; multi-functionality is encour-
The humanist tradition, respecting component within a wider context aged and when products and services
human life and the importance of of inter-related strategies and needs. carry within them meaning and ethics
the individual, is fully embedded that encourage the elimination of
in European culture. As Europeans Europe’s positioning attributes planned and apparent obsolescence.
work and thrive in non-hierarchical By incorporating and communi-
systems and structures, Europe is also Arising out of the unique and diverse cating these values of economic
a seedbed for creativity and ideas. cultures of Europe, European design and ecological responsibility and
32
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
33
by making the necessary systemic
LVMH: BRINGING EUROPEAN changes to enable them to be a valid
DESIGN TO WORLD MARKETS claim, an image of cohesion will be
given to the products and services of
Despite the economic climate, in 2011 the LVMH Europe. This value of sustainability
Group, a European cultural and creative entrepreneur, can further differentiate Europe on
experienced revenue growth of 16%, driven largely by the world stage where co-creation
sales in emerging markets. The continued success of and the associated methods of
the LVMH Group and its luxury Maisons, such as Louis bringing together diverse expertise
Vuitton, Guerlain, and Fendi, illustrates the cultural from different fields, (living labs,
and economic contribution of the design industries knowledge and value chains), can be
to Europe. Based on Europe’s unique heritage of encouraged. Some envisage a move
art, culture, design, craftsmanship and creativity, towards a circular economy that
the LVMH business model is underpinned by continuous imagines not our current economic
innovation, a relentless focus on quality and investment model of ‘take-make-dispose, but
in highly skilled manufacturing in Europe. In 2011, rather one in which, “today’s goods
Louis Vuitton opened its twelfth factory in France, in are tomorrow’s resources, forming
the Drôme agricultural region, employing some 250 a virtuous cycle that fosters prosperity
artisans to create leather goods. in a world of finite resources.”22 In
Impact on growth and prosperity: LVMH, and the this way, design in Europe becomes
‘high-end’ design sector in Europe as a whole, provide a transversal tool connecting actors
jobs – directly and indirectly – to about 1.5 million and players in the fields of sustain-
people within the EU and create an annual turnover able product design, service design
of approximately €440 billion. and co-creation.
In parallel to establishing unique
methods to articulate Europe’s
identity in its products and services,
emerges the need to protect European
design and to establish rigorous en-
forcement of the protective measures.
The manufacture of mass-con-
sumption products has moved to
low-cost countries outside of Europe.
In turn, sophisticated, sustainable
products, raise awareness of the
importance of sustainable develop-
ment and increase respect for design’s
role in innovation and technology.
Europe remains a competitive region
for such production.
22 ‘Towards the Circular Economy. Economic and business rationale for an accelerated transition’. 2010. Ellen MacArthur Foundation. www.thecirculareconomy.org
34
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
High design quality When confined to technology, inno- reductions in the amount of material
vation can lose sight of the advantages and energy they consume. Satisfying
Europe has developed very high to be gained through cross-pollina- more needs with less material and
quality standards and labels that tion with other sectors and capacities, reduced energy is one of the key
ensure reliable benchmarking across as well as being far removed from challenges design is tackling. This has
products as well as processes and the needs and aspirations of people. relevance for Europe’s economies,
services. In these cases, quality The opportunity in Europe is to as excelling in low resource use with
is monitored and measured and bring design into the mainstream high value-added supports differentia-
the information is made available as a key competence, ensuring that tion and competitiveness, whilst more
to end-users, thus empowering better designed and more innovative sustainably serving societal needs.
them to make better choices. When products, processes and services reach Finally, Europe’s existing design
the quality embedded in products, a much larger number of Europe’s leaders must remain competitive
processes and services runs deep, citizens, thus becoming more widely and relevant to ensure Europe’s top
they becomes more difficult to useful to society. As a mainstream positioning in the world. There is an
copy or replicate. Quality becomes competence, design has the ability urgent need to aggressively build and
a barrier to illegal competition. to broaden its scope towards issues disseminate the world-class design
Excellence in design is context of sustainability, ageing, health and strengths already prevalent in Europe.
specific and can be influenced by education – all areas in which changes The opportunity exists to stimulate
the local culture, resources and of paradigm are urgently required. new approaches to networking, the
climate of a specific environment. Furthermore, European design sharing of best design practice and
Depending on the product, service or increases the value of products, peer-to-peer learning at the highest
process, even though design can add processes and services in relation to level of design expertise in Europe.
considerable value, it may not always
travel easily or well and there is a need
to better understand ‘adaptation’
as opposed to ‘adoption’ of success-
ful products and services. This has
implications for companies designing
products and services for export.
Satisfying more needs
European design innovation
for products, processes with less material
and services
The economic crisis has challenged
and reduced energy
Europe to adopt a broader concept
of innovation, moving away from is one of the key challenges
an interpretation predominantly
driven by science and technology. design is tackling.
35
Priorities for action encourage synergies in support of national courts, in relation to
economic growth, environmental the protection of Intellectual
Four priorities for action have been regeneration, and the raising of Property Rights in the physical
identified: social and emotional value, whilst world and online.
// a lack of a strategic approach at respecting the need for renewable
the European level to strengthen and endogenous resources. 4 Create a ‘Designed in the European
and disseminate existing European Union’ label in connection with
design excellence. 3 Work towards zero tolerance of the European ECOLABEL23 to
// the need for yet greater efforts infringement. This requires legisla- stimulate the export of design
in diffusing economically and tive revision, through the inclu- services. The intention of making
ecologically responsible behaviour sion of a ‘Duty of Care’ for shared the protection and enforcement
in the design and development of responsibilities on IPR protection of European design and innova-
Europe’s products and services. across the digital value chain. Set tion more effective and accessible,
// insufficient rigour and enforce- up a specific EU Tribunal /Court for whilst at the same time, raising
ment of legal protection of design European IP cases and promote and the bar on expectations and associ-
innovation Intellectual Property increase the training of judges in ating excellence with sustainability.
Rights (IPR).
// a lack of coordinated and strate-
gic action to optimise the distinc-
tive values and characteristics of
Europe’s unique identity in design
innovation in order to promote
European design internationally.
RECOMMENDATIONS
///////////////////////////////////////
1 Identify and strengthen existing
‘European centres of design
excellence’ in business and industry
and provide means for those to
collaborate in open networks that
drive innovation into Europe’s whole
industrial ecosystem.
23 The EU Ecolabel helps customers identify products and services that have a reduced impact on the environment throughout their life cycle, from the extraction
of raw material through to production, use and disposal. Recognised throughout Europe, it is a voluntary label promoting environmental excellence, which can be trusted.
See http://ec.europa.eu/environment/ecolabel/
36
37
STRATEGIC Positioning design
DESIGN within the European
ACTION 2: innovation system
///////////////////////////////////////////////////////////////////////////////////////////////////
21st century contexts Design method is an example of low power distance and nurture
for design innovation how practice and relationships are democracy. As Open Design is based
changing in the field. Open Design upon European values, it provides
Innovation processes are no longer seeks to restructure the relationship an opportunity for European design
connected solely to traditional busi- between the actors involved in a to stand out. However, in order to
ness models of innovation. They are design process utilising the advantages be successful, it requires supportive
now influenced and shaped by wider, offered by new approaches to intellec- guidelines, a shared code of practice
social-based developments both tual property protection and the new and appropriate legal frameworks.
in technology, (such as Wikis and ways of working enabled by technol- There is, therefore, a requirement
the other peer-to-peer phenomena ogy. A freer kind of collaboration is at the European level to remove
of Web 2.0), and in the growth of able to take place within networks or mitigate obstacles and barriers
novel approaches to manufacturing, of designers and stakeholders. These hindering the spread of Open Design
including ‘FabLabs’, ‘Future Factories’, flexible networks are short-term, as a valuable form of innovation.
Micro-Factories and ‘Living Labs’ change according to current needs The emergence and application
The role of these new software and do not have a fixed structure. of new technologies and methods
and culturally-based eco-systems are The core principles of Open are opening up new and often
being fostered and embraced by a new Design prove successful in cultures experimental ways of working. As
generation of innovators. The Open that embrace diversity, support a result, the nature of the relationship
between designer, producer and con-
sumer is changing, thereby enabling
new forms of innovation such as
co-design. Co-design methods bring
New indicators are needed the user closer to the design creation
process and a user-centred approach
to integrate design is increasingly a common characteris-
tic of European innovation.
38
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
39
////////////////////////////////////////////////// the possibility will exist for design to
be integrated into existing EU statisti-
GOOD PRACTICE IN DESIGN-LED cal instruments such as the European
BUSINESS AND/OR PUBLIC Innovation Scoreboard27. With regard
SECTOR INCUBATORS to indicators, although the Design
Leadership Board acknowledges
Design London – www.designlondon.net the inclusion of ‘Community designs
The Royal College of Art’s new business incubator helps transform innova-
tive ideas, products, service concepts and prototypes into viable business
per billion GDP’ as an indicator in
propositions. It brings together talented teams from business, technology the Innovation Union’s Performance
and design backgrounds, helping them transform innovative ideas, Scoreboard for Research and Innova-
products, service concepts and prototypes into viable business propositions. tion, nevertheless, the distinctive
Helsinki Design lab – www.helsinkidesignlab.org contribution of design remains diffi-
The Helsinki Design Lab helps government leaders see the ‘architecture cult to assess. For example, indicators
of problems’. It assists decision-makers to view challenges from such as ‘Non-R&D innovation expen-
a big-picture perspective and provides guidance toward more complete
ditures as a percentage of turnover’
solutions that consider all aspects of a problem. Its mission is to
advance this way of working which is defined as strategic design. and ‘Innovative SMEs collaborating
with others’ do not currently isolate
the contribution of design.
More work is needed to integrate
into innovation policy-making at the rable statistics which policy-makers design into EU statistics and to make
European, Member State and regional so urgently need. Without this, it more visible as a critical component
levels. Reliable statistical evidence investors, business angels, enterprises of innovation.
would support SME uptake of design and industries across Europe lack
as a valuable strategic resource. the necessary evidence of the return The lack of uptake of NACE
The European Design Leadership on investment in design that would Code 74:10 Specialised Design
Board welcomes the EU projects give them the confidence to invest in Activities
recently awarded under the European design in the first place. In parallel, the The lack of statistically valid evidence
Design Initiative.24 One of these lack of evidence means that the public of the prevalence of design as
projects specifically seeks to create a sector is less inclined to integrate an economic activity and its impact
system for measuring design’s impact design into its procurement criteria. on GDP, at Member State and/or
on the economy,25 “giving design as This issue is one of the most critical European level, means that the role
an innovation activity, a more distinct areas requiring attention. Over of design remains difficult to justify
and independent role in innovation many years, policy makers as well in terms of its contribution to
statistics, either in a future revision of as businesses have been continually Member State economies.
the Oslo Manual, or, by the creation asking for tangible evidence of the No shared understanding of how
of a new manual on design.”26 link between design and improved to measure design’s impact currently
Over the longer term, considerable business performance. exists. The problem is further com-
additional effort will be needed to With the development of pounded in that there is no shared
create the reliable, valid and compa- reliable new indicators for design, definition of design for the purposes
24 ENT/CIP/11/C/N03C02 – Joint actions for non-technological, user centred innovation in particular mainstreaming design into innovation 25 ‘€Design’ – Measuring
Design Value, Consortium led by BCD Barcelona Design Centre 26 Design as a driver of user-centred innovation, Commission Staff Working Document, 2009 27 See 2011
– http://ec.europa.eu/enterprise/policies/innovation/files/ius-2011_en.pdf
40
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
of establishing the evidence base that hinders evidence-based design design activity to economic growth.
that is needed. Traditional forms of policy-making at both Member State Furthermore, future, on-going revi-
statistical indicators are not proving and European levels. sion and refinement of Code 74:10
adequate in providing a sufficiently The most recent revision of the will ensure that category and activity
robust measurement methodology NACE Codes in 2009 is therefore descriptors will reflect as accurately
for design as a key intangible. significant in that it included, for the as possible, the changing and complex
The integration of design into exist- first time, a Code 74:10 ’Specialised reality of design activity in the field.
ing EU statistics gathering, because of Design Activities’28. The revised Code
its intangible nature, has proved prob- now reflects more accurately than be- Statistical classification
lematic in the past. Eurostat must pro- fore, the nature of specialised design of products by activity
tect the robustness and validity of exist- activity, including industrial design. In parallel, the statistical classification
ing methodologies and the European This has created the opportunity to of products by activity (CPA) 2008 30
statistical evidence bases, (for example, provide a new picture of economic is linked to the NACE activities and
for the Innovation Scoreboard). The activity in design across Europe. structure. At 74:10 it shows:
introduction of new ‘unproven’ indica- However, out of 27 EU Member
tors can adversely affect results achieved States, it is understood that only // 74.10.1 Interior, industrial and
from implementing long-standing and a small number have introduced other specialised design services
proven statistical instruments. the revised Code 29. Without the // 74.10.11 Interior design services
This difficulty does not however, uptake of the NACE Code 74:10 // 74.10.12 Industrial design services
detract from the need to measure by all Member States, it will not // 74.10.19 Other specialised design
the value of design. The lack of be possible to arrive at a more com- services
evidence to demonstrate design’s prehensive and up-to-date picture
contribution to economic activity of design-related economic activity This tool also offers a means by which
and to prove design as an economic in Europe. This information would design’s prevalence as an economic
activity in its own right, is a weakness provide a basis for validly connecting activity can be made more visible.
//////////////////////////////////////////////////
THE EUROPEAN BUSINESS AND
INNOVATION CENTRE NETWORK
(EBN) – WWW.EBN.BE
The European Business & Innovation Centre Network was set up in
1984 as a joint initiative of the European Commission, European industry
leaders and the first pioneering Business and Innovation Centres. EBN
is now the leading non-governmental pan-European network bringing
together 200+ Business & Innovation Centres (BICs), and similar
organisations such as incubators, innovation and entrepreneurship
centres across the enlarged Europe.31
28 ‘NACE Revision 2. Statistical classification of economic activities in the European Community’: http://epp.eurostat.ec.europa.eu/cache/ITY_OFFPUB/KS-RA-07-015/EN/
KS-RA-07-015-EN.PDF 29 It is understood that Member States implementing 74:10 include e.g. Germany, Luxembourg, Spain, Switzerland and Portugal. 30 http://epp.eurostat.
ec.europa.eu/portal/page/portal/cpa_2008/documents/CPA_2008_structure_EN.pdf 31 EU Regional Policy. February 2010. http://ec.europa.eu/regional_policy/sources/
docoffic/2007/working/innovation_incubator.pdf.
41
Constraints to emerging It is noted that Europe’s design
A lack of co-ordinated action
design innovation behaviour agencies are small and lack models for
on Europe’s Centres of design
and practice across Europe growth. Incubation services, including
excellence
There is a lack of specialised design- in particular, business skills mentor- There is a need for a co-ordinated
based training and mentoring pro- ing, are needed across Member States strategic approach to the emergence
grammes for entrepreneurs and SMEs to increase the strategic capacity of of European geographical areas
across Europe. This highlights the Europe’s design consultancies. There which demonstrate high intensity
need for a fundamental integration of is a need to support the incubation of location of enterprises specialising
design into the programmes and activi- new forms of design companies, just in design services. A current example
ties, (and culture), of existing business as much as there is a requirement for would be the automotive sector in
and innovation-based incubators of those other forms of business being the Stuttgart region of Germany.
Europe. A lack of design-led European incubated, to themselves benefit from Without the necessary co-ordinated
innovation incubators offering special- design-intensive services. action to identify such geographical
ist design services to industry and There is also a Europe-wide need to areas during their emergent phase,
the public sector is also evident.32 build more effective bridges between strategic investments cannot be made
As a consequence, the wider design consultancies and the private to accelerate their growth.
emergence of sophisticated design and public sector businesses and or- There is a need to promote design
innovation behaviour and practice is ganisations requiring design-intensive innovation at the regional level espe-
limited. This in turn, means that any services. Specialist mentoring services cially where the design infrastructure
related increase in demand for design- are also needed for design companies in Member States is weak.
intensive services from Europe’s seeking to develop their export poten-
design services sector remains latent. tial outside Europe. Procurement of innovative
products and services
Public Procurement accounts for
some 17% of EU’s GDP33. The Inno-
vation Union proposes that govern-
ments set aside dedicated budgets
for public procurement of innovative
products and services, thereby creat-
ing a procurement market worth at
least €10 billion a year for innovations
that improve the efficiency and qual-
ity of public services, while addressing
the major societal challenges34.
In the US, public sector procure-
ment is about 20 times bigger than in
the EU where it plays a significant role
in developing technology and provid-
ing innovative solutions to societal
32 One of a number of exceptions to this is the Belgian centre of competence, Design Innovation: www.designinnovation.be/. 33 European Commission. http://ec.europa.eu/
enterprise/policies/innovation/policy/public-procurement/index_en.htm#h2-2 34 “From 2011, Member States and regions should set aside dedicated budgets for pre-commercial
procurements and public procurements of innovative products and services (including those defined by the Innovation Partnerships). This should create procurement markets across
the EU starting from at least €10 billion a year for innovations that improve the efficiency and quality of public services, while addressing the major societal challenges.” Commitment 17,
Innovation Union – See: http://i3s.ec.europa.eu/commitment/21.html
42
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
% of companies in 2003
% of companies in 2007
DESIGN AS STRATEGY // STAGE 4
15% Design is a key strategic means
21%
of encouraging innovation.
NO DESIGN // STAGE 1
36% Design plays no role in Fig 3 The Design ladder
15%
product/service development. Source: The Economic Effects of Design, National
Agency for Enterprise, Copenhagen, September
2003 & Design Creates Value, National Agency
for Enterprise, Copenhagen, September 2007.
43
The lack of design
management skills
is a significant barrier.
35 ‘Innovation Union’, ‘Industrial Policy’ and ‘Digital Agenda’ and the Communication, ‘Regional Policy contributing to Smart Growth’ 36 Danish Design Centre (DDC).
2003. 37 See:www.designmanagementeurope.com. For further explanation of the Design Staircase, see: ‘The Incorporation of Design Management in Today’s Business Practices.
An Analysis of Design Management Practices in Europe’, 2009. Gert L. Kootstra.
44
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
< AWARENESS
< PLANNING
< RESOURCES
< EXPERTISE
< PROCESS
4 DM AS CULTURE
3 DM AS FUNCTION
2 DM AS PROJECT
1 NO DM
45
STRATEGIC Design for innovative
DESIGN and competitive
ACTION 3: enterprises
///////////////////////////////////////////////////////////////////////////////////////////////////
Europe’s enterprises non-technological innovation is now the European automotive, home wares,
competing through design also a route to competitiveness. The telecoms, fashion and more broadly
economic significance of design is cultural and creative industries, as
In the last decade, the global business based on its potential as an enabler to sectors in which design plays a central
environment has changed radically.38 create reliable, desirable, user-driven and critical role in their success.
EU business and industry must now products and services that are ecologi- Design-led enterprises embed
compete with low-cost manufac- cally and economically responsible. design as a part of the ‘DNA’ of the
turing in China, Brazil, India and Those large companies that compete whole company, connecting it directly
other emerging economies. Whilst successfully on the global stage with a to corporate objectives. They expertly
technology-driven innovation has family of brands or, that are themselves integrate and manage design in order
been a fundamental contributor to a strong consumer or B2B brand, are to differentiate their products and
the prosperity of Europe, the recogni- already by necessity, competent users services and invest heavily in the crea-
tion is emerging that design-driven, of design. One needs think only of tion and on-going guardianship of
tangible and intangible design assets
such as creativity and brand. This is
underpinned by a clear focus on the
needs, wishes and desires of their cus-
tomers and/or end-users. Emerging
methodologies such as Open Design
are offering new ways of working to
promote design competence. Some
large companies have put design at
the centre of their business strategy.
Others, operating in the luxury
segments and defining luxury for
the 21st century, also drive value into
their products through design.
The design excellence in European
enterprises is as a strategic resource
that needs protected and nurtured.
38 DG Enterprise and Industry: ‘EU Manufacturing Industry: What are the Challenges and Opportunities for the Coming Years?’
46
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
European assets
for competitiveness – RELEASING THE POWER OF
disseminating better practice TECHNOLOGY THROUGH
Design excellence DESIGN: PHILIPS ELECTRONICS
The level of design competence resid- To visualise new opportunities for growth, Philips
ing in Europe’s large companies is, Electronics complements technology driven R&D
in part at least, made visible through with design. One result is the Ambient Experience for
the numerous design award schemes Healthcare; a breakthrough application that reduces
that operate across Member States. the anxiety patients often experience when they undergo
The award schemes are both national medical scans. The multi-disciplinary design team at
and international in reach and they Philips developed a new vision of the user experience to
not only promote and evidence design guide product development. “Ambient Experience has
excellence, but also demonstrate strengthened Philips’s €3.27 billion imaging business
design’s impact on business perfor- around the world, allowed it to realise higher prices, and
mance. Good practice in Design improved its profitability,” says Thomas van Elzakker, the
Management has, since 2007, also manager for new ventures who heads up the operation.
been recognised through the Design Impact on growth and prosperity: Design innovation
Management Europe Award. 39 has enabled an existing large company to increase sales.
At the European level, we need The patient experience has been improved for many
to ensure that Europe can maintain thousands of people.
its leadership position and that large See: http://www.healthcare.philips.com/my_en/
design-led companies can become even products/ambient_experience/
more competitive stimulating growth
and jobs, whilst at the same time
providing insights and new knowledge
in the management and integration of
design as a powerful strategic resource.
Design Management
It is clear that for a large, design-led
company, sophisticated methods
and systems for managing design
within the organisation can co-exist
effectively as a distinct and comple-
mentary function to sales, marketing
and production. Different models
of design management range in
approach from centralised to
47
peer-to-peer learning and the sharing
Europe’s SMEs must of best practice.
A new generation of design leaders
stay ahead of the curve will be needed in Europe’s large and
largest companies to support Europe’s
in these innovations long-term competitive advantage.
Crucially, opportunities also exist
40 ‘Thinking Big for Small Businesses. What the EU does for SMEs’. 2011 Edition. European Commission Enterprise and Industry 41 An Integrated Industrial Policy for
the Globalisation Era-Putting Competitiveness and Sustainability at Centre Stage. European Commission COM(2010) 614
48
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
New forms of production the increased use of communication professionals and skilled workers will
technologies, (including the global emerge across Europe, adding value
During the past ten years, there have exchange of files and ideas), compu- to local economies and communities.
been indications of the emergence of a tational fabrication over distance and Europe’s SMEs must stay ahead
post-industrial production system that new advances in 3D-Printing. of the curve in these innovations
is able to handle individual aspects in These developments have the in production in order to remain
mass-customised, low volume produc- potential to change the relationship competitive in the global economy.
tion. In this production process, each between the consumer and the de-
new product can be optimised or signer, with designers’ facing a wider Modern Craft
adapted for personal taste or individual set of tasks and responsibilities driven
needs. Different to traditional mass by the closer involvement of consum- Crafts businesses are characterised
production, the post-industrial manu- ers able, through new technologies, by small and micro entrepreneurship.
facturing process of the ‘Future Fac- to get closer to the creation of new The UK Crafts Council describes
tory’ has been made possible through products. Should Future Factories contemporary craftspeople as creative
a number of recent developments 42. prove to be viable, new forms of local entrepreneurs who are “…highly quali-
These include standardised interfaces, production requiring new specialists, fied makers, practitioners, researchers
DESIGN-LED COLLABORATION
The leading Italian furniture company Plank and global
German chemicals company BASF have worked with
furniture designer Konstantin Grcic to use a new plastic
in the production of the cutting-edge “MYTO” chair.
The chair uses a recently-developed, easy-flow plastic from
BASF that is enhanced with nanoparticles to improve its
strength, meaning the cantilever chair can robustly make a
unique visual statement. The designer and BASF scientists
worked together to refine the qualities of the material and
design. In addition, less plastic is required and the injection
process can take place at a lower temperature making
the chairs more environmentally friendly. Their engaging
design means the chairs have been a commercial success.
Impact on growth and prosperity: Two established
companies found new markets through pioneering
a design-led collaboration.
42 Atkinson, P; Dean, L. and Marshall, J. (2008) “Automake/Future Factories” National Centre for Craft & Design, Sleaford, Lincolnshire, UK
49
OPEN DESIGN INNOVATION
CREATES LOCAL/GLOBAL SMES
An Open Design Pop-Up Store, launched for Design Month
Graz in 2011, demonstrates a new method of SME collabo-
ration and production in Europe. The store showcased items
including furniture, produced by small design companies
from around the world. Customers ordered the goods online
with the orders subsequently being produced by local
small-scale producers. This novel approach to shopping and
production means that products are manufactured in small
numbers and on demand – eliminating transportation and/
or stacking costs. Small-scale producers in the region of
Styria, of which Graz is the Capital, profited as all the goods
where produced in the region. Ponoko takes this concept
further, providing a global marketing platform that connects
designers with local producers. A designer contributes to
the platform and, in another part of the world, a customer
CIS Community/Timski
downloads the files and commissions a local manufacturer,
who is also a member of the platform, to produce the goods.
Impact on growth and prosperity: Innovations in shopping
and manufacturing mean that designers and manufacturers
can thrive in markets that are both local and global.
and innovators…grounded in an educa- connects the advantages of mass pro- in parallel, a greater need for
tional experience that involves learning duction with those of traditional craft. competence in design innovation.
by doing… Innovation, high quality, Traditionally, craftspeople either In this scenario, Modern Craft
authenticity and aesthetic value are produced unique individual pieces could form an integral part of
important characteristics of the contem- for a local market or manufactured the innovation system of Europe.
porary crafts output.”43 products on a small scale for low vol-
However, the new ways of working ume production. In the new scenario Crafts, Craft (-type) SMEs
that are emerging for the craftspeople of the Future Factory, the boundaries and their relationship
of the 21st century have led to of the craft sector may be shifted to Design Innovation
the concept of ‘Modern Craft’. The towards larger scale production Tapping the potential of Modern
post-industrial, Future Factory is, for and an even greater sophistication Craft through design will require
example, a logical step forward that of crafted products demanding, a shift in perception.
43 http://www.craftscouncil.org.uk/files/file/cd68904f6f59df22/crafting-futures-executive-summary.pdf
50
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
A distinction is made between cular tailor-made and single-size- Access to finance for SMEs
Craft(-type) micro companies, (Craft products or in small quantities)
Investment in design trans-
and Trades / Handwork), where hand- // proximity to the client and forming the fortunes of SMEs
skilled work is central to their survival, local activities.”45
(such as in the interior construction Small and Medium-sized Enterprises
sector, or the food sector – meat, dairy A number of different studies struggle to find the time to look to
and bakery production), and those conducted over the past decade have the future as they are so caught up in
micro companies active in Designer made it clear that Crafts and Trades, the day-to-day challenge of making
Craft, (usually creating limited edi- or Handwork, are primarily associ- their businesses work. It is difficult
tions of beautiful physical objects in ated with tradition and technical and risky to introduce new ideas and
a wide range of materials employing understanding and less often with new processes. The concept of invest-
highly skilled techniques). a competence in design. There is ing in design is still alien to many of
Whilst it is usually recognised a need for a greater recognition of Europe’s SMEs and is associated with
that design is an integral part of the contribution design can make to high cost and high risk. Businesses
the Designer Crafts sector, it is not these micro and craft (-type) compa- would therefore rather invest in what
well understood that design can have nies across Europe in order for their they have tried and tested before, even
a significant role to play in the wider greater potential to be realised. though this most likely yields only
Craft (-type) micro companies. Unlike In a 2011 EU study46, it was small levels of change. Investment in
SMEs, there is no European definition revealed that, “the highest increase design brings about business trans-
for craft enterprises44. Craft enterprises in demand for future skills is found formation because it drives more in-
form a significant part of the economy in customer and market orientation, novative manufacturing, creates new
of Europe and as the Directorate- working in cooperative and collabora- routes to existing markets, (along with
General for Enterprise and Industry tive work structures, and manage- the ability to access new markets),
notes, “…[there are] some characteristics ment aspects of businesses.” The more builds brand value and challenges
[that] craft enterprises have in common widespread embedding of design a company to think strategically and
all over Europe and which reflect the as a strategy for innovation and creatively about its potential.
vast majority of micro enterprises at growth in these micro and craft Opportunities for SMEs to access
the same time: (-type) companies would comple- finance for design investment will
ment these skills gaps and support therefore drive improved design
// strong involvement of the owner accelerated growth. innovation leading to wealth creation,
or head of the enterprise in all steps A further distinction in the area growth, competitiveness and job
of the workflow (financial independ- of Modern Craft identifies those creation. Innovative approaches to
ence, strong personal responsibility) SMEs and large companies that financing at European and Member
// craft, technical and management depend on handwork and craft skills State levels, could unlock consider-
competences (apprenticeship as for their survival47. Up to now, it able potential for growth in SMEs
one means of passing on those could be argued, only a relatively utilising design.
competences) few ‘crafts firms’ have recognised that For example, larger sums of finance
// active contribution to production they can improve their businesses could be made available to a smaller
of products and services (in parti- via an orientation towards design. number of SMEs across Europe,
44 “The next generation of craftspeople will need increased design education from early on in their vocational training.” 45 http://ec.europa.eu/enterprise/policies/sme/promoting-
entrepreneurship/crafts-micro-enterprises/#h2-1 46 ‘Identification of future skills needs in micro and craft(-type) enterprises up to 2020’. January 2011 http://ec.europa.eu/enterprise/
policies/sme/promoting-entrepreneurship/files/skillsneeds_final_report_final_180211_en.pdf 47 Examples here may include luxury branded goods companies in different sectors
where hand finishing is a pre-requisite for products of the highest quality and distinction, but equally, companies such as Alessi promoting concepts and impulses from the crafts sector
into mass produced products.
51
which would then be committed innovation behaviour and practice for Europe’s large, design-led
to a short to medium-term, facili- in Europe’s SMEs. companies enabling them to maintain
tated programme of transformation their leadership position thereby
through design. This would in turn Intellectual property supporting Europe’s positioning
kick-start a change in the perception on the global stage.
of SMEs towards design, seeing it as Despite strenuous efforts in a number // the need to support a greater
an investment rather than as a cost. of areas to increase the levels of uptake and integration of design
It would build and make available protection of European intellectual management in all of Europe’s large
more sophisticated knowledge about property, nevertheless, Europe’s companies.
embedding design in SMEs. The man- SMEs do not yet have an adequately // the need to nurture and scale up
agers, owners and directors of SMEs rigorous level of IP protection against the unique skills-base of Europe’s
would be persuaded of design’s effec- companies from non-EU countries. current and future design leaders.
tiveness through seeing a return on Examples exist where creative // the opportunity to identify and
design investment as well as benefiting companies have seen their intellectual support those medium sized compa-
from the associated improvements in property poorly imitated overseas, nies with the ambition to grow to large
internal design management processes leading not only to a direct loss of companies through increasing their
which can then enable the on-going business, but also significant damage competence in design innovation.
replication of proven, new practices. to their brand when the poor quality,
The Design Leadership Board is imitation products fail in use. Such Priorities for action for Europe’s Small
aware that the Commission recog- infringements of copyright can cost and Medium-Sized Enterprises:
nises the pressing need to improve SMEs millions of Euros of lost revenue.
SMEs’ access to finance through The Design Leadership Board wel- // there is a need to accommodate
measures to increase the availability comes the recently expanded role of and stay abreast of developments
and use of bank loan guarantees, to- OHIM in the establishment of the EU in the field of manufacturing
gether with micro-credit for start-ups Observatory for Counterfeiting and and production. New contexts,
and micro companies in particular. Piracy50. Nevertheless, it is clear that whilst challenging, are themselves
It also supports the need to increase for design innovation to flourish in opportunities for innovation and
SMEs’ participation in public pro- Europe, it will be necessary to continue the European design innovation
curement contracts48. Simplifying the to work relentlessly and comprehen- system should not only remain open
business environment is a key aspect sively towards effective methods of to such developments but also seek to
of European policy and the Design enforcing intellectual property rights. foster and further them as windows
Leadership Board draws attention to to new breakthroughs and trends.
the Commission’s appointment of Priorities for action // smes across Europe lack awareness
SME Envoys in each Member State49 in design management and the tools
supporting the growth of small Priorities for action for Europe’s that are available to support them in
businesses within the framework of large enterprises: introducing and integrating design
the Commission’s Small Business Act. into their everyday processes and
There is a need to consider innova- // the need to ensure adequate, behaviours. There is a need for the
tive approaches to funding design relevant and targeted support development of further information,
48 The latest research shows that SMEs secure only 34% of public procurement advertised EU-wide despite their share to the wider economy being 52%. 49 http://ec.europa.eu/
enterprise/policies/sme/small-business-act/sme-envoy/national-sme-envoys/index_en.htm 50 http://ec.europa.eu/internal_market/iprenforcement/observatory/index_en.htm
52
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
////////////////////////////////////////////////
PROTECTING THE GROWTH
OF DESIGN-LED SMES
Whilst design undoubtedly gives a cutting-edge to SME offerings
in the international market, experience has shown that the design
contribution of the companies is not always adequately respected or
protected. Recently, a leading Spanish SME had one of its products
copied by a contractor in a third country, leaving the SME with no
legal path of redress. The copying of designs at a commercial scale
by international competitors directly endangers Europe’s SMEs and the
future of the creative industries. A more robust and enforceable regime
for protection would ensure Europe profits from design innovation.
resources and methods to support measures to support easier access with ambitions to grow into large
the wider uptake and integration to research funding. design-led companies through
of design as a strategic tool in SMEs // within an increasingly complex design innovation.
across Europe. global context for product and service
// access to finance is generally development, it will be necessary to 13 Establish mechanisms whereby
difficult for SMEs and there is, establish SME-friendly measures to design knowledge and best-practice
in particular, a lack of funding stimulate and improve the co-opera- transfer can be more effectively
targeted specifically for investment tion between SMEs and universities, enabled between large, design-led
in design and design management. research centres and design services. companies, academia and SMEs.
// european SMEs do not have
an adequately rigorous level of IP 14 Strengthen design innovation in
protection against governments or SMEs through taking into account
companies from non-EU countries.
RECOMMENDATIONS the specific needs of SME’s within
// many SMEs across Europe are /////////////////////////////////////// EU programmes such as Horizon
not able to do their own research 2020 and improve their access to
and yet they require sophisticated 11 Establish a pan-European design member state level programmes.
technological and non-techno- leadership programme that ensures
logical knowledge in order to Europe’s next generation of large 15 Recognise and value apprenticeships
innovate. Nor do they have the companies have at their top, leaders and vocational training for generat-
capacity to participate in huge EU who are design aware and more ing world-class specialist and skilled
programmes. There is a need for inclined to make better use of design. crafts-people in traditional and
specifically targeted, manageable, emerging sectors with an increased
design innovation programmes 12 Develop programmes that support awareness of design, as a driver of
for SMEs with accompanying European medium-sized companies growth and job creation.
53
STRATEGIC Design for
DESIGN an innovative
ACTION 4: public sector
///////////////////////////////////////////////////////////////////////////////////////////////////
Towards innovative and ways to deliver more value at less cost. of the value of design-led innovation
better public services Design can play a vital role in en- and a growing appetite for increasing
suring that public services are usable, the capacity within the public sector
Excellent public services are key to desirable, affordable and accessible. to apply design approaches to deliver-
enhancing European prosperity by The design profession brings a whole ing future public services.
developing an environment that series of methodologies, tools and Yet this position is fragile and in
supports human needs and increases techniques that can be used at differ- most cases remains an aspiration.
the quality of life of citizens. In addi- ent stages in the innovation process to With a few notable exceptions52, the
tion to contributing to happiness and improve the efficiency and effective- use of design as a methodology for ser-
well-being through quality education, ness of new products and services51. vice or policy development is not well
social services, health care and other In recent years, there has been understood or exploited, with many
services, an effective public sector is an acknowledgement across Europe organisations lacking the internal
also fundamental for a well function-
ing private sector.
Without appropriate investments
in modern physical and technical
infrastructure, in research and devel-
opment, and without smart regula-
tion for business and society, public
services can hold back private sector
growth and reduce economic and
social prosperity. Investing in public
sector skills for design and innovation
will not only lead to better public
services, but is also likely to stimulate
competitiveness and the generation of
more high-value jobs across Europe.
In an era of austerity which puts
significant pressure on public-sector
budgets, governments are searching for
51 Directors General of Modernisation Agencies in the 27 European Union countries acknowledged that co-design and methods such as customer journey mapping can be effective
approaches to public sector reform. European Public Administration Network (EUPAN), Resolution of 58th Meeting, Copenhagen. 7 June, 2012 52 Design for Future Needs
(DFFN), MindLab for policy development. Silk, Cornwall Council ‘Thinking Room’ for service development and through Design Flanders, pilot programmes of design mentoring
are showing how investment in design innovation capacity can improve social return on investment.
54
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
53 Evidence from NESTA shows that for many public sector organisations innovation when it does happen does so despite rather than because of the prevailing organisational culture,
Hughes, A., Moore, K. And Kataria, N. (2010) Innovation in Public Sector Organisations, NESTA.
55
R&D), in future public services.
THE PATIENT JOURNEY: Incremental innovation may lead
A NEW WAY TO UNDERSTAND to improvements. However, radical
PATIENT CARE IN SPECIALIST transformation of public service
provision will require more creative
CANCER UNITS approaches which, through ‘invest
to save’ approaches, have also been
Caring for patients with cancer presents specific chal-
shown to deliver more for less in the
lenges as the provision of care is both urgent and long-
medium term.54 The British Design
term as well as emotionally sensitive. A service design
Council for example found that for
team from Aalto University in Finland used new design
every £1 spent raising design capabil-
methods to support staff at a large regional hospital to
ity, £26 was saved by providers.55
improve the patient experience. The team modelled a
Secondly, we need to put people at
patient’s journey through the various treatment phases as
the centre of future, service re-design
a visual board game to open up and structure discussions
and improvement. Transformation
with patients. The patients were asked to place wooden
without sufficient consideration of
pawns on touch-points they felt were critical to their
user needs can reduce the effective-
experience. An analysis of the interviews led the team
ness of any investment in innovation.
to create new service concepts and recommend several
Public service provision in Europe
improvements throughout the treatment process, such
is often standardised around the
as designing a patient folder for facilitating discussions
needs of the provider rather than
between doctors and patients and storing important doc-
the ‘user’: citizens, businesses, and
uments during various stages of the cancer treatment.
other end-recipients of policies and
Impact on growth and prosperity: Adopting a design-
services. Demands from the public
based approach allowed the hospital staff to improve
for greater personalisation of services
the patient experience as well as making better use of
will require public sector managers to
limited resources.
understand their ‘users’ needs much
better and provide flexible, agile and
in some cases co-produced services.
Europe’s tradition of active citizen-
ship can be extended to include
citizens’ participation in the design
of new and improved public services.
These new design approaches can
help public sector organisations create
more innovative and economically
sustainable solutions that fit with the
needs of people and society. A better
educated workforce presents new
54 See NESTA’s ‘Radical Efficiency’ global case studies. 55 Independent evaluation of Public Services by Design, Centrifuge Consulting (2010)
56
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
56 Jackson, T., Prosperity without growth et al. 57 OECD report shows citizen participation in innovation in public services as a key priority.
57
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
leadership, procurement, skills and private sector growth whilst changes to procurement and
fostering better practices: simultaneously improving the commissioning policies.
quality of public service delivery.
// leadership: At a strategic level, // skills: Presently Europe lacks the
good service design approaches skills to ensure that public sector
can support the co-ordination of demand for design is stimulated
RECOMMENDATIONS
actions across systems, including and can be met both now and in ///////////////////////////////////////
directorates, sectors or institu- the future. To encourage a joined
tional silos. Designers can also take up approach to design-led innova- 16 Increase the use of design/
on an evangelist role in creating tion in the public sector will re- designers in public sector innovation
the conditions for innovation and quire public service ‘intrapreneurs’ // Through establishing a Design
new ideas to flourish. In second- and designers to work together, Lab within the Commission to run
ments, this role can catalyse change and to develop new business small-scale demonstration projects
in institutions working to raise models, a common language and showing the value of design-led
the visibility of innovation, bring new practices to understand how public sector innovation.
new approaches and strengthen design might be applied to emerg- // Through supporting designers’
existing competencies. ing public service problems. greater involvement in ‘living labs’
// innovative public // better practices: Design’s role where social innovation and public
procurement: Current within and across public sector services are critical challenges.
approaches to procurement, which organisations when developing // Through exploiting the potential
often favour larger suppliers over personalised, transparent, agile and of the European Structural Funds, in
small innovative ones, are placed increasingly co-produced services particular the European Regional De-
under increased pressure as budgets presents a significant opportunity. velopment Fund on design innovation
are reduced and public sector man- Likewise, the role design can play for social change across policy areas.
agers retrench from projects that in fostering innovation in public-
are perceived to be ‘high risk’. Vari- private enterprises and increasingly 17 Build the capacity of public sector
ous studies are currently showing civic collaborations58 should be administrators to use design
that improving public procurement a priority as governments seek to methods themselves and to procure
in ways that foster innovation in re-balance national, regional and design effectively.
products and services can stimulate local economies and will require // Through design toolkits, case
studies and designers in residence
for EU institutions and Member
States and regions
Design ensures that public // Through developing a design
curriculum for public administra-
58 www.dottcornwall.com
59
STRATEGIC Positioning
DESIGN Design Research
ACTION 5: for the 21st century
///////////////////////////////////////////////////////////////////////////////////////////////////
Design research is an essential mental aspect of our distinctive capac- qualitative and quantitative
component of the innovation system ity in European design innovation. approaches. Design research is not
of Europe. It is relevant to those Design research is undertaken in only deductive and inductive, but also
who have to decide on how to use universities, industry and society. It is abductive 59, as design inherently aims
design strategically. With improved multi-faceted covering, for instance, at proposing new and better futures.
knowledge and insight gained through the professional design disciplines, The most distinctive methods are
design research, executives in the (including product and industrial, those of practice and experimentation
private sector and policy-makers in the services, fashion, graphics, brand, as is most common in university
public sector will take more informed interiors, architecture), design and business /design departments
decisions and better capture design’s methods, (processes, tools, manage- and which have been identified
value. This will be achieved through ment), design issues, (people-centred as contributing to innovation in
improved design management knowl- approach, sustainable design), and businesses, organisations and society.
edge in integrating design practice design history and theory. Recent trends in design research
and behaviour in their innovation Increasingly located in multi-disci- are significant for supporting
processes. Design research is a power- plinary programmes reflecting design’s the development of better design
ful tool to support the introduction, contribution to almost every aspect innovation in Europe. Firstly, through
utilisation and management of design of daily life, design research methods an increase in inter-disciplinarity,
to its utmost effectiveness as a funda- are diverse and include traditional (for example, designers working
alongside scientists and social scien-
tists, addressing issues and complex
problems such as digital economies,
sustainability, democracy and
Recent trends in design research citizenship). Secondly, through the
emergence of the new methods that
are significant for supporting are a recurring theme of this report,
(for example, co-design, participatory
59 Abductive validation is the process of validating a given hypothesis through abductive reasoning. This can also be called reasoning through successive approximation. Under this
principle, an explanation is valid if it is the best possible explanation of a set of known data. The best possible explanation is often defined in terms of simplicity and elegance.
60
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
TRANSLATING DATA
INTO KNOWLEDGE FOR
SOCIETAL PROSPERITY
AND ECONOMIC GROWTH
We are increasingly able to access complex social and
organisational data and information, however to extract
value from it we need a fundamental understanding of
the how to translate and deliver it effectively. Researchers
in the Department of Design at the Politecnico di Milano
have established a Density Design research lab to explore
the potential of information visualisation and information
design theory and practice to provide innovative and
engaging visual artefacts that enable data-users to share,
Currently, design research exists in
explore and communicate information and generate under-
pockets of excellence across Europe,
standable insights. Through researching user needs and
both in Universities and businesses
theories on communication design, one project developed
/ organisations. There is a need to
a software tool to help parents visualise multi-dimensional
nurture and further develop this
information about the performance of schools.
excellence in order to ensure that the
Impact on growth and prosperity: Research on
knowledge chain between researchers
the fundamentals of design visualisation, legibility,
and between research and application
readability and perception resulted in new tools and
is connected as a strategic benefit for
technologies for understanding complex data, enabling
innovation in Europe.
more effective decision-making at all levels of society,
There are two dimensions of design
business and government.
research that are critical to innovation,
growth and well-being, at a personal,
societal, organisational and environ-
mental level. The two dimensions are:
sustainable business
and society
We refer here to research ‘for’ design,
(targeted at creating better designs),
and research ‘through’ design, (tar-
geted at applying design methods to
61
BUILDING FLEXIBILITY
AND CHANGE WITHIN
HEALTHCARE PROVIDERS
Healthcare provision faces major challenges across
Europe, including the challenge of reduced budgets
alongside innovation and improvement in diagnosis and
treatment technologies, and drug delivery. Innovation in
the commissioning of services and care pathways is also
required. A research team from Lancaster University, in
collaboration with Salford University in the UK, explored
how design and other creative methods and tools can
help modes of governance and processes in order to
commission improved services for patients.
They designed and prototyped tools alongside health-
Julia Weckman
care professionals. For instance, they collaborated with
a Medical Practice to explore and understand how to
practice ‘design in practice’, meaning how they re-design
their services as part of their daily activities. The research
included observations of daily practice, interviews with activities of the Urgent Care Centre into the Unscheduled
key staff and the facilitation of short design sessions. Care Service. The research team also identified other
One such design prototype enabled the development of similar projects to illustrate the value and impact of
personas, (narratives of typical patients through drawings similar design methods.
and stories), aimed at sharing existing knowledge of their Impact on growth and prosperity: The use of design
patients. A second exercise involved a design game that methods to innovate in healthcare generates efficiencies
was aimed at exploring the interpretation of ‘urgency’ in delivery whilst enhancing the patient experience. This
both with staff and patients. This helped to redesign research provided design tools for healthcare practitioners.
62
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
other fields, e.g. co-designing public design research in facing the challenge is a successful contributor to the
services) 60. In both cases, the methods of designing sustainable cities. economy, society and businesses.
used are aimed at creating new Supporting and incorporating As illustrated above and elsewhere
fundamental knowledge with a strong research both ‘for’ and ‘through’ in this document, the use of design
concern for application.61 design into EU programmes will and design methods in business and
Research ‘for’ design concerns improve the quality of design society successfully addresses global
research to support industry in com- innovation in European enterprises challenges. There is a need for a com-
peting more effectively. It does so by and in particular SMEs whilst at a prehensive knowledge and under-
developing new integrated knowledge more strategic level, contributing to standing of the links between: design
on the dynamics of people’s needs and Europe’s ability to rethink consump- and economic growth, design and
aspirations, of society and culture, of tion, production, and ways of living management, design and social well-
environmental systems, of businesses that support sustainable growth. being, design and environmental sus-
and of technologies. We focus here tainability, and design and policymak-
on the development of fundamental Research about the value ing. This knowledge – gained through
knowledge that enables us to design of design the successful and more widespread
more meaningful products, services, implementation of European design
infrastructures, processes and systems. In addition to continuing to support research – will enable a better under-
Methods can include understanding the development of knowledge on standing of the multifaceted value of
people needs and aspirations through how to design more meaningful design and therefore equip enterprises
observation, empathy, scenario build- products and services, we need to including SMEs and public sector or-
ing and co-design (e.g. citizens as co- better understand the value of design, ganisations to better harness and make
creators), prototyping, experiments (research ‘about’ design), how design use of design’s power to transform.
and the use of living labs as mentioned
elsewhere in this report.62
Research ‘through’ design con-
tributes to business and society by
applying its unique design methods
and processes that engage systemic
thinking. Examples exist where this
has been introduced successfully in
public services and organisations63.
Nevertheless, there is a need to ensure
that SMEs and social enterprises draw
on design research expertise in prod-
uct/service/system design, and that
public procurers engage with design
research in the task of rethinking, ser-
vices and systems in the public sector.
City leaders also need to engage with
60 Frayling, C. (1993), ‘Research in Art and Design’, Royal College of Art Research Papers [1]. London: Royal College of Art 61 Norman, D. and Verganti R. (2012), “Incremental
and Radical Innovation: Design Research versus Technology and Meaning Change”. 62 Examples of businesses that have thrived through design research are the Italian manufacturing
company Alessi, which has redefined the meaning of kitchenware, growing almost tenfold compared to its competitors as a result and Philips that has redefined healthcare experiences
through design. 63 See: the Australian tax office; ThinkLab; the growth in service design consultancies; the Helen Hamlyn Research Centre (RCA London) NHS Ambulance design;
the EU Design Against Crime project; Vivacity 2020 – urban design decision-making.
63
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
65
STRATEGIC Design
DESIGN competencies
ACTION 6: for the 21st century
///////////////////////////////////////////////////////////////////////////////////////////////////
66
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
still remains critical to Europe’s future Priorities for action arise in (number) and literacy (word) and
competitiveness that, in parallel, the a number of areas. empowers design-led behaviour and
highest possible quality of specialised practice when confronting challenges
design education and training is made Priorities for action and problems, in all walks of life.
available to Europe’s current and Design learning also supports
future professional design and / or Design literacy for all improved performance in other
design management practitioners. There is a lack of a shared understand- subject areas at school. The Sorrell
Embedding design as a fundamen- ing of design as an integral feature Foundation provides a number of
tal aspect of the European systems of the education of the citizens of design-led initiatives for children and
of education and training is an ambi- Europe at every level of the Member young people across the UK, bringing
tious vision that will require a long- State’s systems of education. them into contact with design and
term, coordinated approach at both Design literacy complements the designers. Through encouraging
European and Member State levels. fundamental attributes of numeracy young people to develop their skills as
67
clients, consumers and critics of de-
sign, they claim that students “develop FOCUSING THE SKILLS OF
work and social skills such as problem- DESIGN PROFESSIONALS AND
solving, reasoning, communication and
team-working, which lead to increased
POLICY MAKERS ON THE CITY
self-confidence and self-esteem.”64 The ‘Cities Programme’ at the London School of
The newly formed Creative Educa- Economics (LSE) in the UK brings together designers,
tion Academies in the UK put design architects and policy makers to focus and develop
at the centre of the curriculum as, their skills in promoting urban development. A one year
“it can set young people on the path Masters course, based around a city design research
to economic independence as creative, studio, engages students with real-life urban chal-
practical and enterprising adults.”65 lenges, providing designers with an opportunity to focus
their skills and policy makers to develop an appreciation
Vocational Education
of the impact that design-based approaches can have.
There is a need for the teaching of All students gain an insight in to the complexities of
design innovation competencies to be city development and an understanding of the role
more widely embedded in vocational that well-functioning, interdisciplinary teams play in
education. This would help to raise securing successful urban development.
the potential for design innovation Impact on growth and prosperity: A focused,
capacity across Europe and support continuing education allows designers to contribute
knowledge transfer from creative to pressing social challenges and policy makers to
sectors to young people seeking jobs, appreciate the role that design can play, all in the
for example in Modern Craft, as well service of creating better urban environments.
as in wider industry.
The opportunity exists to better
integrate craft as a complementary
component of the European innova-
tion system. Changes to the education
system are needed if the concept of
Modern Craft is to be better enabled
to produce practical artisans with
added-value skills in design, modern
manufacturing, (including digital
technologies), business and entre-
preneurship. The teaching of design
innovation skills in vocational educa-
Scriberia
64 Quotation from ‘Design Club’, one of a number of initiatives run by the Sorrell Foundation in the UK. http://thesorrellfoundation.com. 65 CET academies provide a rigorous education,
inspired by the principles of creativity, innovation and enterprise, and using the concept of design to connect all areas of the curriculum, drive up attainment and increase employability.
www.creativeducationacademies.org.uk 66 http://images.businessweek.com/ss/09/09/0930_worlds_best_design_schools/index.htm. 2009. The European schools listed were: Cranfield Uni-
versity/University of the Arts London; Delft University of Technology, The Netherlands; Domus Academy, Milan; Helsinki School of Economics/University of Art and Design Helsinki/Helsin-
ki University of Technology (Now Alto University), Finland; Imperial College/Design London; Royal College of Art/Imperial College London; Umeå University and University of Gothenburg
Sweden. In 2007, the list also included Politecnico di Milano, Italy; the University of Oxford Said Business School, UK; ENSCI Ateliers, France and Central St Martin’s School of Design, UK
68
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
the ingenuity and skills resident in a designed product or service concept. initiation of more innovative forms
the craft sector to be more effectively More could be done to help design of collaboration between design
linked to the potential for new prod- graduates to engage with design’s role schools and business schools.
uct development across industry. in business as a strategy for innova- The potential for integration in
tion in order to help them develop Higher Education across discipline
Europe’s design schools and strategic thinking skills for business. boundaries is well exemplified by the
business schools – integrating And, in support of recommenda- merger of three Finnish universities
design and business tion 16 (p 61), considerable effort to form the new multi-disciplinary
The European model of design educa- is required to bring design schools’ Aalto University in Finland in 2011.69
tion has been exported all over the connectivity with the public sector
world with Europe boasting some of institutions up to the same level as Integrating design education into
the world’s finest, (and oldest), design it is currently in the private sector. other programmes and initiatives
schools. Many of the schools are Europe’s business schools are in European institutions and
internationally competitive with, for equally renowned and offer interna- in Member States
example, eight institutions featured in tionally leading MBA programmes. Design should be more broadly repre-
the ‘Bloomberg 2009 Business Week Many of them are already aware of the sented as a component of non-design
D-Schools Top 32 Global List’.66 role of design in modern product and specific programmes and initiatives at
It is estimated that approximately service development and understand the European, national and regional
300–350 European design schools design as a strategic tool for manage- levels. An integrative approach would
produce somewhere in the region ment and innovation. However, include the introduction of design
of 25,000 graduates annually.67 The yet further effort is needed to ensure education into relevant education
number of PhDs in design and design a more widespread uptake of design and training programmes in science,
research also continues to grow. as a strategic, cross-disciplinary tool technology, innovation and innova-
Europe’s design schools already en- for business, where design’s strategic tion management, as well as in public
courage entrepreneurship and support role in business is emphasised and sector education and training.
innovation skills with strong links to where a cross-disciplinary approach Such an approach might, for exam-
business and industry.68 However, this to design, business, and technology ple, facilitate the introduction of design
activity often remains at the level of is encouraged. This may entail the into the proposed Masters and PhD
programmes that are being developed
for the European Institute of Innova-
tion & Technology (EIT)70 in partner-
The European model ship with the existing Knowledge
Innovation Communities (KICs)71.
of design education Building on the recent work of the
EU SEE project72, it is also possible to
67 Estimate by the secretariat of the International Association of Universities and Colleges of Art, Design and Media – Cumulus 68 As one example of many across Europe, the 2012
BA(Hons) Product Design programme of Central St Martin’s London included Client Projects delivered in collaboration with John Lewis, Nokia and LG. 69 The Helsinki School of
Economics, the University of Art and Design Helsinki and Helsinki University of Technology 70 http://eit.europa.eu/education 71 http://eit.europa.eu/kics 72 www.seeproject.org
69
Building a design innovation Report of the European
eco-system for Europe Design Leadership Board
education – basic,
vocational and higher. RECOMMENDATIONS
///////////////////////////////////////
The Design Leadership Board
recognises that decisions on
the structuring and implementation
of education and training in the EU
development of best practice in continually improve their ability to rest largely with Member States and
design policy-making. be comfortable and effective at com- that a single initiative is not possible
A further approach could seek to municating with senior management to implement as a top-down approach
embed design in Europe-wide educa- operating at the strategic level of busi- across Europe. These recommenda-
tion initiatives including, for example, nesses and organisations and capable tions are therefore presented for
the Commission’s future programme, of integrating into multi-disciplinary the attention of the Commission
‘Erasmus for All’, which foresees a new teams at different phases of product and individual Member States.
category of transnational partnerships, and service development.
among them a pilot project ‘Sector The Continuing Professional 20Raise the level of design literacy
Skills Alliances.’ These will encourage Development of professional design- for all the citizens of Europe by
transnational partnerships involving ers calls for new training offers fostering a culture of ‘design
organisations with expertise on especially in the areas of strategic learning for all’ at every level of
specific economic sectors, bodies and management, multidisciplinary the education system.
authorities in charge of the design of product and service development pro-
vocational training curricula, as well cesses, user-driven innovation and the 21 Encourage Member States to
as training providers. Design could, social impact of design. Support and support the development of design
for example, be recognised within training is also needed for designers competencies for the 21st century:
this programme as a priority sector. to enable them to better integrate // Through embedding the strategic
into public sector environments. role of design across disciplines
CPD73 for professional design The professional practice of design in higher education.
practice in Europe continues to evolve rapidly. Tradi- // Through strengthening continuing
The most successful design companies tional discipline boundaries are blur- professional development pro-
have developed a deep awareness of ring and the demands of clients are grammes for design professionals.
the strategic design in business as well increasing in complexity as they face // Through embedding design in
as in the public sector. Designers must the challenges of the global economy. the training of apprentices.
71
4
Ensuring
success
72
Report of the European
Ensuring success Design Leadership Board
73
design stakeholders levels in order and growth of design in Europe’s Whichever route is chosen,
to raise awareness of the policy rec- innovation policy. It would be the Design Leadership Board sees
ommendations and enable engage- tasked with pursuing future action a visible and permanent dialogue
ment with their implementation. on the policy recommendations with the EU as a crucial building
This communication and of this report and it would be the block in ensuring the long-term
advocacy programme will, in guardian of their implementation implementation of the recommen-
parallel, involve the key stakehold- and uptake. dations of this report.
ers and actors in Europe’s design A number of directions can
landscape, (including European- be envisaged: a newly formed // C. monitoring progress
level design organisations, national mechanism; a follow-on from
and regional design centres and the existing Leadership Board, Establish a mechanism to enable
trade associations). or alternatively, it could be linked the continuous monitoring
to an established, representative of progress at a strategic level,
// B. permanent dialogue and long-term player in the design overseen by the Leadership Board,
and future action at field already operating at the in the on-going implementation
the European level European level. of the recommendations.
Further options may draw upon Following the conclusion of
Establish a permanent dialogue successful models already adopted its two-year mandate, the Design
on design with the European by the Commission such as the net- Leadership Board proposes that
Commission, through an organi- work of SME Envoys. We envision it may continue to be involved in
sation like BEDA that provides here a design innovation Envoy the work of the committee, in full
Europe-wide coverage to provide for the Commission tasked with or in part, in order to maintain
a European-level focus for all mat- driving the design agenda for inno- continuity and adherence to
ters relating to the development vation across the Member States. the aims and spirit of this report.
Establish a permanent
dialogue on design with
the European Commission,
through an organisation
like BEDA.
74
75
Appendix 1
76
Report of the European
Appendix 1 Design Leadership Board
74 From the Design Council. www.designcouncil.org.uk/resources-and-events/designers/design-glossary/co-design/ 75 Alan R. Palmiter, Corporations: Examples and Explanations
77
in a territorial context, (e.g. classifications of economic within a country expect and
a city or a region), integrating activities developed since 1970 accept that power is distributed
concurrent research and in the European Union (EU). unequally.”76
innovation processes within NACE provides the framework
a public-private-people partner- for collecting and presenting // quality of life The concept
ship. The European Network a large range of statistical data emerged as a response to
of Living Labs (ENoLL) is according to economic activity objective measures of material
the international federation of in the fields of economic statis- progress including gross
benchmarked Living Labs in tics, (e.g. production, employ- domestic product (GDP).
Europe and worldwide. Found- ment, national accounts), and Quality of life, which has gained
ed in November 2006, under in other statistical domains. prominence in social research
the auspices of the Finnish Eu- study since the 1970s, is a broad
ropean Presidency, the network // open design Based on the concept concerned with overall
has grown in five ‘waves’, with methods of open-source design, well-being within society. Its
274 Living Labs having been new approaches to intellectual aim is to enable people, as far as
launched to date. A not-for- property and facilitated by the possible, to achieve their goals
profit association, ENoLL is internet, Open Design enables and choose their ideal lifestyle.
Headquartered in Brussels. the collaborative development In that sense, the quality of life
of physical products, machines concept goes beyond the living
// micro company Defined and systems through the use conditions approach, which
in the EU as a company of of shared design information. tends to focus on the material
between 10 and 49 employees resources available to individu-
and with a turnover or Balance // people-centred design als. Three major characteristics
Sheet total greater than €2m. People-centred design is are associated with the quality
focused upon human needs of life concept (Fahey, Nolan
// micro factory A small-scale and aspirations at a broader and Whelan, 2003): 1. Quality
machining and assembly area and deeper level than that of life refers to individuals’ life
utilising micro machine tools of designing for people as situations; 2. Quality of life is
and requiring only 500mm x users, (see user-centred design a multi-dimensional concept;
700mm working area. First below). A people-centred 3. Quality of life is measured by
proposed by the Mechanical approach can open out new, objective as well as subjective in-
Engineer Laboratory (MEL) previously un-imagined dicators.” 77 (Eurofound, 2004)
of Japan in 1990. opportunities for product
and service development. // rd&i Research Development
// nace Nomenclature Générale and Innovation.
des Activités Économiques dans // power distance “Power
les Communautés Européennes. distance is the extent to which // sme Small and Medium-sized
NACE is the acronym used to less powerful members of Enterprise. Defined in the EU
designate the various statistical institutions and organizations as a company of between 50
76 Geert Hofstede, Culture’s Consequences: International Differences in Work-Related Values 77 Eurofound, 2004 and 2007, www.eurofound.europa.eu/pubdocs/2004/105/en/1/
ef04105en.pdf
78
Report of the European
Appendix 1 Design Leadership Board
// user-centred design
User-centred design means that
design innovation is focused
on users’ needs and the delivery
of new benefits to them in
their use of products, services,
environments, systems etc.
A user-centred approach is
a strong support to incremental
innovation.
// systems thinking /
systemic Systems thinking
is an holistic approach to
problem solving that recognises
‘problems’ as inter-related parts
of an overall system, that is,
as parts of the greater whole.
78 http://ec.europa.eu/enterprise/policies/sme/facts-figures-analysis/sme-definition/index_en.htm
79
Appendix 2
80
Report of the European
Appendix 2 Design Leadership Board
81
// christian guellerin // titus kockel // massimo menichinelli
Director, L’École de design Zentralverband des Deutschen Producer, Aalto University,
Nantes Atlantique, France Handwerks, Germany Finland
82
Report of the European
Appendix 2 Design Leadership Board
83
Appendix 3
84
Report of the European
Appendix 3 Design Leadership Board
85
Polish Design Centre PL www.youareinposnan.pl/en
Cieszyn Castle PL www.zamekcieszyn.pl
Institute of Industrial Design PL www.iwp.com.pl
Centro Português de Design PT www.cpd.pt
Remade In PT www.remadeinportugal.pt
Belgrade Design Week – BDW RS www.belgradedesignweek.com
Mikser Festival RS www.mikser.rs/en/mikser-festival/about.html
Design Slovakia SK www.designin.sk
SDC – Slovak Design Centre – Slovenské centrum dizajnu SK www.sdc.sk
Biennial of Industrial Design – BIO SI www.bio.si
BCD Barcelona Design Centre ES www.bcd.es
Beaz Bizkaia – Creativity Centrum Bilbao ES www.bai.bizkaia.net
Centro Aragones de Diseño Industrial (CADI) ES www.aragon.es/cadi
ENISA – Empresa Nacional de Innovación SA ES www.enisa.es
SVID – Swedish Industrial Design Foundation
– Stiftelsen Svensk Industridesign SE www.svid.se
Swiss Design Transfer CH www.swissdesigntransfer.ch
Kale Design Centre – Kale Tasarim Merkezi TR www.kaletasarimmekezi.com
South West Design Forum UK www.swdf.co.uk
Essex County Council & Designers network UK www.designersnetwork.co.uk
Design Council/CABE UK www.designcouncil.org.uk
Designed in Devon UK www.designedindevon.co.uk/
RTC North UK www.designnetworknorth.org
South Coast Design Forum UK www.sedf.org.uk/
South East & South West uk – The Design Programme UK www.thedesignprogramme.co.uk/
West of England Design Forum UK www.wedesignforum.co.uk/
Centre for Design Innovation UK www.designinnovation.ie
Helen Hamlyn Centre for Design UK www.hhc.rca.ac.uk
Design Wales – Dylunio Cymru UK www.designwales.org
86
Report of the European
Appendix 3 Design Leadership Board
87
Appendix 4
88
Report of the European
Appendix 4 Design Leadership Board
Designaustria AT www.designaustria.at
Bund Osterreicher Innenarchitekten, BOIA AT www.innenarchitekten.at
UDB – Union des Designers en Belgique – Unie der Designers in België BE www.udb.org
vVIO BE www.vvio.be
Associate van Interieurarchitekten van Belgie, AlnB BE www.ainb.be
Association of Applied Artists and Designers of Bosnia BA www.ulupubih.com.ba
Croatian Designers Association – HDD HR www.dizajn.hr
Association of Graphic Design CZ www.aug.cz
Czech Union of Graphic Design CZ www.uniegd.cz
Danish Designers – Danske Designere DK www.danishdesigners.com
Estonian Association of Designers – Eesti Disainerite Liit EE www.edl.ee
Estonian Society of Interior Architects EE www.esl.ee
Association of Finnish Work FI www.avainlippu.fi
Finnish Association of Designers – Ornamo FI www.ornamo.fi
Alliance Française des Designers FR www.alliance-francaise-des-designers.org
Association Design Communication FR www.adc-asso.com
Allianz German Designer – AGD DE www.agd.de
VDID – Verband Deutscher Industrie Designer e.V. DE www.vdid.de
Bund Deutscher Innenarchitekten, BDIA DE www.bdia.de
Association of Hungarian Graphic Studios HU www.aranyrajzszog.hu
Association of Hungarian Interior Designers HU www.lakberendezok.hu
Design Business Ireland (DBI) IE www.designbusinessireland.org
Institute of Designers in Ireland – IDI IE www.idi-design.ie
ADI – Associazione per il Disegno Industriale IT www.adi-design.org
AIAP – Associazione ltaliana Progettazione per la Comunicazione Visiva IT www.aiap.it
AIPI – Associazione ltaliana Progettisti d’Interni IT www.aipi.it
Latvian Designers’ Society (LDS) LV www.design.lv
Lithuanian Designers’ Society LT www.ldis.lt
Design Luxembourg a.s.b.l. LU www.designluxembourg.lu
BNO – Beroepsorganisatie Nederlandse Ontwerpers NL www.bno.nl
GRAFILL NO www.grafill.no
SPFP – The Association of Industrial Designers in Poland
– Stowarzyszenie Projektantów Form Przemysłowych PL www.spfp.diz.pl
STGU (The Association of Applied Graphics Designers) PL www.stgu.pl
APD – Associação Portuguesa de Designers PT www.apdesigners.org.pt
Association of Industrial Designers of Slovakia SK www.zpds.sk
DOS – Slovene Designers Association – Drustvo Oblikovalcev Slovenije SI www.dos-design.org
ADG-FAD ES fad.cat/contents/view/home/association
ADP – Associació de Dissenyadors Professionals ES www.adp-barcelona.com
Madrid Designers’ Association – Dimad ES www.dimad.org
ADIC – Asociación Diseñadores Industriales Córdoba ES www.adicba.org
AEPD ES www.aepd.es
Swedish Association of Designers – Sverigesdesigner SE www.sverigesdesigner.se
SDA – Swiss Design Association, CH www.swiss-design-association.ch
Association of Swiss Interior Architects, VSI ASAI CH www.vsi-asai.ch
Turkish Industrial Design Association TR www.etmk.org.tr
Chartered Society of Designers (CSD) UK www.csd.org.uk
DBA – Design Business Association UK www.dba.org.uk
British Design Innovation (BDI) UK www.britishdesigninnovation.org
British Institute of Interior Design, BIID UK www.bida.org
89
Appendix 5
90
Report of the European
Appendix 5 Design Leadership Board
79 http://epp.eurostat.ec.europa.eu/cache/ITY_OFFPUB/KS-RA-07-015/EN/KS-RA-07-015-EN.PDF
91
Enhancing design’s
long-term contribution
to the Innovation Union
in pursuit of increased
competitiveness and
a better quality of life
for all the citizens
of Europe.
ISBN 978-92-79-25946-3