SHAPING CANADA’S FUTURE BY DESIGN
ARCHITECTURE
INDUSTRIAL DESIGN
COMMUNICATIONS DESIGN
INTERIOR DESIGN
LANDSCAPE ARCHITECTURE
DETAILED REPORT PSR-014-11-96E Dans le présent document, le genre masculin est utilisé de façon générique. Ce choix correspond à une volonté de ne pas alourdir le texte. Nous reconnaissons toutefois que le secteur du design compte une forte proportion de femmes et que celles-ci y occupent une place de premier plan. SHAPING CANADA’S FUTURE BY DESIGN
Prepared for:
The Design Sector Steering Committee
Sponsored by:
Human Resources Development Canada
Prepared by:
Price Waterhouse
Design:
Charlton +Company Design Group
DETAILED REPORT The National Design Alliance (NDA) is a cross-Canada consortium of The Royal Architectural Institute of Canada (RAIC) is a voluntary design promotion organizations and national design professional national organization founded in 1907, whose 3,300 members are associations for the industrial design, interior design, landscape archi- individual architects representing all regions of the country. The tecture, graphic design and fashion design sub-sectors, in total repre- RAIC’s mission is to advance the cause of Architecture and its practice senting 11 design sector organizations and approximately 5,000 in Canada as well as to provide the national framework for the devel- individual members of the design disciplines who are members of opment and sharing of architectural excellence. their national professional associations. Membership in the design The RAIC’s unique role is to act as a national forum, bringing promotion organizations also includes business users of design together leading work in the field of architecture and architectural services and suppliers to the design sector. practice for critique and debate, recognition of excellence, and docu- The term “design promotion organizations” denotes the primary mentation as a basis for shared learning by the broader architectural activity of these multidisciplinary bodies; design professional associa- community. The Institute’s programs express a commitment to the tions are also active in promoting the services of their respective professional growth of RAIC members and to ensuring a vibrant place design disciplines. for architecture in Canadian society. Addressing issues of design, building technology, and practice, activities are developed in five A voluntary organization, the NDA’s mission is: areas: publications, symposia & exhibitions, research, awards and • to strengthen Canada’s design sector and its related infrastructure, practice. including design organizations, their programs and linkages; The RAIC partners with the provincial architectural associations • to encourage the effective use of design by Canadian business and and ten Schools of Architecture on the National Practice Program, the public sector; established in 1995, whose principal objectives are (1) to create a • to increase the Canadian design sector’s visibility at home and in unified, national voice for Canadian architects, and (2) to provide world markets and the reputation of Canadian-designed products valuable, tangible programs of continuing education directed at and services; architects and interns. • to raise awareness and understanding of the design sector and its For further information please contact: contribution to economic, social and cultural development. Timothy G. Kehoe NDA member organizations include: Executive Director Association of Canadian Industrial Designers The Royal Architectural Institute of Canada Canadian Society of Landscape Architects 55 Murray Street, # 330 Design British Columbia Ottawa, Ontario Design in Business Nova Scotia K1N 5M3 Design Exchange Tel: (613) 241-3600 Designlink Fax: (613) 241-5750 (formerly the Design Division — Canadian Apparel Federation) Society of Graphic Designers of Canada Group for Design in Business Institute of Design Montréal Interior Designers of Canada Liaison Design Forum Design Montréal
The NDA’s member organizations are active in the areas of design promotion and advocacy, trade development, the provision of services to the design sector and to business, applied design research, and professional development of the design disciplines.
For more information, please contact: Diana Wickham Executive Director National Design Alliance 1037, Rachel est, 3rd floor Montréal, (Québec) H2J 2J5 Tel: (514) 933-3393 Fax: (514) 933-8610 PREFACE
A whole is more than the sum of its parts…
ne of the less tangible but no less important outcomes of this national study is the synergy Othat has developed among the industrial designers, communications designers, interior designers, landscape architects and architects that worked together on the project, few of whom had met prior to its initiation.
This report is all about building bridges: among the disciplines; internationally; with other professions implicated in the design process; with educational institutions; with design managers in industry; with the ultimate end-users of design; with government and the general public. The words “team”, “alliance” and “partnership” echoed frequently in meetings held throughout the study process.
It is also about finding our own model to effect change. The emerging pattern of national design associations that work in collaboration with affiliated regional design groups, and of private sector-driven institutions that work in partnership with governments in the development of strategies for design promotion, reveal an evolving Canadian model for development of the design sector that is in many ways unique and worth cultivating.
Ultimately, this report is about action. The global performance of Canadian products, services, communications and environments can be strengthened by good design. Design expertise can be enhanced by a forward-looking human resources strategy for the sector.
New ways of conceptualizing solutions is the essence of design — the insights and the energy that came from this multidisciplinary design team created a collective spark that will ignite change, fueled in the months to come by strategic implementation of this report’s recommendations — a strategy for the future, BY DESIGN.
A CKNOWLEDGEMENTS
his report reflects the cumulative efforts of many people too numerous to thank T individually. Without the generous support of Human Resources Development Canada and the unflagging energy and enthusiasm of department staff responsible for the project, the study would not have been undertaken and could not have been successfully completed.
A chorus of thanks are also due to the forty-some design professionals and educators who, in their role as members of the Design Sector Study Steering Committee, have contributed literally hundreds of hours over a period spanning more than two years in meetings, in researching material and in reviewing the many draft chapters and reports that have emerged in the process.
Their efforts accrue to the sector as a whole.
Thanks are also owed to Price Waterhouse Management Consultants project team for a report that clearly sets out the challenges and opportunities ahead, an assignment made difficult by the virtual lack of existing sector data on which to base their research. Their task was facilitated by the hundreds of firms, organizations and individuals, within Canada and internationally, who provided generously of their time in contributing to the report through interviews, participation in discussion groups and workshops, and survey responses.
The result is the first comprehensive study of the design sector in Canada to be undertaken at a national level. We urge you to read the report, comment on it and, above all, act on it!
National Design Alliance Design in Business Nova Scotia Institute of Design Montréal
Association of Canadian Industrial Designers Design Exchange Interior Designers of Canada
Canadian Society of Landscape Architects Designlink Liaison Design
Design British Columbia Society of Graphic Designers of Canada Royal Architectural Institute of Canada
Group for Design in Business Forum Design Montréal
CONTENTS
VISION STATEMENT
The Vision Statement is situated ten years into the future, at a time when several initiatives have become well-established while others are yet in their developmental stages. This chapter focuses on where design will be in the year 2006. 13 THE FUTURE OF DESIGN IN CANADA 13
FAST-FORWARD TO THE YEAR 2006 14
DESIGN IN 2006: 14 BASIC TENETS 15
Design Utilization in 2006 — Tenets 1-4 15
Design Education in 2006 — Tenets 5-11 16
Policy and Legislation in 2006 — Tenets 12-14 17
CHAPTER 1 INTRODUCTION
The individuals and firms making up the five disciplines of industrial design, interior design, communications design, architecture and landscape architecture are profiled. A discussion of the reliability of available statistics is followed by data on age, income, education, gender, and location. The significance of these findings is shown in the context of changes within the sector and in the business environment. 21 1.1 ABOUT THE STUDY 22
1.2 THE DESIGN SECTOR: A PROFILE 24
Size of the Sector 25
Design Firms 26
Demographics 26
Organization of the Sector 31
1.3 CONCLUSIONS 32 Footnotes appear on page 33. CHAPTER 2 ABOUT THE DESIGN SECTOR The key events that have shaped the design sector and its various disciplines are reviewed along with the supporting infrastructure and organizations and the roles of professional associations. This is followed by the presentation of strategies for promoting design in Canada and other coun- tries, and a discussion of public support and government initiatives. The conclusions emphasize the need for a professional framework, and the need to review specific government policies. 37 2.1 DESIGN IN CANADA: A BRIEF HISTORY 38
Design of the Built Environment 41
Architecture 41
Landscape Architecture 41
Interior Design 42
Communications Design 43
Industrial Design 44
Design Canada: Its Creation and Its Demise 45
2.2 PROFESSIONAL DESIGN ASSOCIATIONS 47
2.3 DESIGN PROMOTION ORGANIZATIONS 55
Promotional Strategies within Canada 55
Promotional Strategies in Other Countries 56
2.4 POLICY SUPPORT IN CANADA 63
2.5 CONCLUSIONS 67 Footnotes appear on page 68.
CHAPTER 3 CHALLENGES WITHIN THE BUSINESS ENVIRONMENT
Major economic, technological, and social changes within the business environment present chal- lenges and opportunities for designers. These are summarized first according to design discipline, then by region. Included is a discussion of how designers are applying specific Canadian expertise in responding to changing demographics, emerging domestic and international market opportu- nities, environmental and other social issues. Conclusions stress that designers must have the tools to respond to prevailing conditions. 71 3.1 ECONOMIC,TECHNOLOGICAL, AND SOCIAL TRENDS 72
Economic and Market Changes 72 The Challenges 72
Built Environment 75
Communications Design 75
Industrial Design 76
The Opportunities 76
Built Environment 79
Communications Design 81
Industrial Design 81
Technological Changes 83
Built Environment 83
Communications Design 83
Industrial Design 84
Social and Demographic Changes 87
3.2 REGIONAL CHALLENGES AND OPPORTUNITIES 89
Atlantic Region 89
Position of Design 89
Markets and Market Opportunities 89
Quebec 91
Position of Design 91
Markets and Market Opportunities 92
Ontario 92
Position of Design 92
Markets and Market Opportunities 93
The Prairies 93
Position of Design 93
Markets and Market Opportunities 94
British Columbia 94
Position of Design 94
Markets and Market Opportunities 95
3.3 CONCLUSIONS 96 Footnotes appear on page 98. CHAPTER 4 THE MARKETING CHALLENGE
Designers in every discipline are facing marketing challenges. The chapter explains how designers can demonstrate the economic value of design to clients, corporations, the general public, and governments. Three effective approaches are presented. The conclusions explain how the sector can provide tools for marketing and strategic selling. 101 4.1 QUANTIFYING DESIGN’S CONTRIBUTION 102
4.2 MEETING THE CHALLENGE — THREE APPROACHES 106
User-Centred Focus 106
Effective Design and Efficient Design 107
Effective Design 107
Efficient Design 108
4.3 THE ENABLING SKILLS 109
4.4 CONCLUSIONS 112 Footnotes appear on page 114.
CHAPTER 5 THE MANAGEMENT CHALLENGE
The skills designers need to manage projects and people are assessed, with several models presented. A review of human resource related issues includes succession planning as well as the use of part-time designers. Conclusions emphasize the need for instituting good management practices, for implementing less restrictive legislation governing partnerships, and for developing the skills required for building a multidisciplinary team. 117 5.1 MANAGING THE BUSINESS 118
5.2 MANAGING PEOPLE 121
Organizational Issues 121
Career Implications 122
Employment Models 123
5.3 CONCLUSIONS 125 Footnotes appear on page 126. CHAPTER 6 EDUCATION AND PROFESSIONAL DEVELOPMENT
Post-secondary programs and curricula are assessed, with observations by faculty, students, and professionals. A discussion of the need to ease the school-to-work transition is followed by a review of the role of professional associations and promotional organizations in continuing educa- tion. Conclusions focus on exposing students to other disciplines and other professions; on bringing together educational institutions and the design sector; and on coordinating professional development activities. 129 6.1 THE EDUCATIONAL FOUNDATION 130
Changing Traditions 130
Design Programs: An Assessment 131
Lack of Graduate Programs 131
Gaps in Curricula 132
Structure of Design Education 133
Ensuring Quality in Design Education 135
Links Within Educational Institutions 135
Links to the Community 137
School-to-Work Transition 139
Co-ops and Work Placements 139
Internships and Apprenticeships 139
Challenges Facing Design Programs 141
6.2 CONTINUOUS LEARNING AND PROFESSIONAL DEVELOPMENT 142
Role of Continuous Learning 142
Opportunities in Continuing Education 143
Development Through Practice 144
Improving Opportunities for Professional Development 147
6.3 CONCLUSIONS 148 Footnotes appear on page 150. CHAPTER 7 ISSUES AND ACTIONS The final chapter highlights the tremendous opportunities available to Canadian designers, in Canada and abroad. It summarizes key issues and makes action recommendations, then discusses them in depth. Recognizing that all designers have a role to play in implementing change, the report closes by issuing an invitation to participate in the development of the sector. 153 7.1 DESIGN UTILIZATION 156
Developing a Design-Literate Market 156
Sustaining a Design-Literate Market 158
7.2 DESIGN EDUCATION AND CONTINUOUS LEARNING 159
Developing the Links to Facilitate Change 159
Creating a Solid Foundation for Design Education 160
Fostering a Multidisciplinary Approach to the Design Development Process 160
Facilitating the Transition to the Workplace 161
Encouraging Continuous Learning 161
Encouraging Design Research 162
7.3 MANAGING AND DEVELOPING DESIGN FIRMS 163
Developing the Business Skills of Canada’s Future and Present Designers 163
7.4 POLICY AND LEGISLATION 165
Creating a Legislative Environment That Supports Design 165
Developing the Professional Regulatory Framework for the Design Professions 166
7.5 IMPLEMENTING CHANGE 167 Footnotes appear on page 168.
APPENDICES
APPENDIX A WORKING GROUPS 169
APPENDIX B METHODOLOGY 174
APPENDIX C CONTACT ORGANIZATIONS 176
APPENDIX D BIBLIOGRAPHY 179
APPENDIX E GLOSSARY OF TERMS AND CLASSIFICATIONS 185
APPENDIX F SURVEY OF MBA SCHOOLS 189
APPENDIX G DESIGN PROGRAMS AT POST-SECONDARY SCHOOL LEVEL 192
Photo Acknowledgements appear on page 196. VISION STATEMENT
THE FUTURE OF DESIGN IN CANADA
he recommendations contained in this report provide direction for renewed T prosperity and growth in Canada’s design sector. However, such a realignment will come neither automatically nor easily as a number of interdependent prerequisites must be met to achieve this end.
Internally, the design community must foster the growth of sector-specific skills to satisfy the needs of its evolving immediate clientele, as well as those of the ultimate users of its designs.
Externally, it must acquire the means to communicate the power of design to those outside the design community.
In keeping with these goals, the design sector’s Vision Statement is situated ten years into the future, at a time when several initiatives have, it is hoped, become well-established, while others are yet in their developmental stages.
While a decade may seem long, a concerted effort — beginning today — is required of all those who value design and creativity in order to ensure that the stated objectives of this vision are met in the next ten years.
VISION STATEMENT 13 F AST-FORWARD TO THE YEAR 2006
Canada’s designers n the last decade, Canada’s business •Promotional Exposure: played a major role in I community has succeeded in harness- Designers play an active role in promoting design. the process by building ing ideas and knowledge to effectively This is accomplished primarily by writing articles a strong and vibrant reach and open new markets for Canadian for newspapers and magazines, as well as through design sector, recognized goods and services. their participation in community development and both at home and abroad The result has been a surge in high- government lobbying activities. for its innovative and skilled jobs and a newfound level of busi- efficient expertise. •Professional Dedication: ness confidence. A broader appreciation Designers support on-going professional develop- and demand for design excellence ment. As a result, more design firms are better throughout the country has provided the catalyst for managed; technology is strategically deployed in the this economic transformation: Canada has become a development of design business; more designers are design-conscious society. working in international markets. Canada’s designers played a major role in the process by building a strong and vibrant design sector, recog- • Sectoral Commitment: nized both at home and abroad for its innovative and Designers are committed to creating and building efficient expertise. stronger professional organizations. This esprit-de- Ultimately, the celebration of creativity and design corps has enabled associations to up-date and excellence has become part of Canada’s culture. Five dispense member-oriented information, services key factors have been responsible for this change: and research results. Working together, the many practitioners and edu- • Strategic Positioning: cators in the design community of the year 2006 have Designers understand the corporate culture in built a successful design sector through their concerted which their clients operate and comprehend the actions in the following spheres of activity: factors essential to attaining their goals. As a result, • design utilization; the role of design is an integral part of their clients’ strategic decision-making process. • design education and continuous learning; and
• policy and legislation. • Educational Involvement: In conjunction with the educational sector, design- In each of these spheres, a number of basic tenets have ers have been instrumental in developing more oriented the evolution of the sector, providing the responsive and relevant design education programs. necessary guidelines for developing and managing design Designers collaborate with faculty and business on firms in the year 2006 and beyond. applied design research projects. Designers have assisted school boards in the process of incorporat- ing principles of design appreciation in their curric- ula. Hands-on demonstrations are made possible through resource-designers and designers-in- residence programs.
14 VISION STATEMENT DESIGN IN 2006:14 BASIC TENETS
Design Utilization in 2006 — Tenets 1-4
1 Design is a key criterion in corporate 3 Canadian designers enjoy worldwide demand purchasing and strategic decision-making. for their innovative solutions and their sensi- tivity to local cultures and environments. The central role of design in transforming concepts and technologies into marketable products is well The Canadian design sector of 2006 has actively understood, not only by manufacturers but also by endorsed and promoted a “Canadian design sensibil- Canada’s large service sector, including the retail and ity”, defined as the ability to understand and respond information-technology businesses of the year 2006. sensitively to local cultural, environmental and economic needs around the globe. As a result of this In the past decade, this design-based, holistic approach inter-continental adaptability, Canadian designers play to the creation, marketing, communication and retail- central roles in international consortia involved in ing of products and brands has provided a significant the planning of new cities, environmental treatment competitive edge for Canadian firms. facilities and multi-use buildings.
2 Design excellence has played a key role in building domestic market share and new 4 Financing for design and innovation activities export markets for Canadian firms. is readily available. Throughout the past decade, designers have convin- Recent Canadian-based research has clearly estab- cingly demonstrated to the financial community the lished the relatively low cost and high return on invest- increased returns which can accrue from innovation- ment attributable to effective design. This evidence based investment strategies. As a result, financial and has convinced Canada’s business sector of 2006 to venture capital institutions have developed new instru- continuously hone its competitive advantage through ments for capitalizing knowledge-based growth, more astute innovation and design planning. facilitating the market introduction of innovative products and services by entrepreneurial businesses and designers.
VISION STATEMENT 15 Design Education in 2006 — Tenets 5-11
5 Design schools have significantly modified 8 Effective bridges have been built between their curricula to reflect new demands for the educators and practitioners of design business management and collaborative disciplines. teaching input. More frequent and meaningful consultation between While traditional design studio work still holds a educators and practitioners has fostered co-operative preponderate role in design school curricula, there has programs, internships and a sounder understanding of been an increasing focus on cross-disciplinary teach- one another’s needs, culminating in more relevant ing, multidisciplinary team work, and the acquisition curricula, integrated training methods and field expe- of project and business management skills. The design rience in design firms for students. schools of 2006 work closely with the faculties of engi- neering, commerce and administration, as well as 9 The professional design associations are the other academic departments to create co-operative active hubs of timely activities geared to the opportunities for students. evolving needs of their membership.
The increased prosperity and interest of their Business schools include design management 6 members has enabled professional design associations courses in their undergraduate commerce to develop effective professional development and and administration curricula. technological training programs, as well as to sponsor A substantial number of management schools have trade and research projects promoting the value-added integrated courses in strategic design planning and the benefits of design in their respective sectors. management of innovation and design processes into Additionally, by 2006 these design associations have their core curricula, including collaborative ventures become effective providers of information on the with design and engineering departments. Addition- running of small businesses, enabling designers to ally, executive-level courses in the strategic use of maintain high standards of management practice. design have proven to be highly-marketable to the business community as well as to practising designers, As a result, a greater proportion of design firms have and have become central to the executive education successfully established their business credentials in curricula of many universities in the year 2006. the year 2006.
Design organizations have established effective 7 Graduate courses in design and 10 Canadian-based applied design research networking and promotion programs. are well-established at a number of The multidisciplinary design promotion organizations Canadian universities. of the year 2006 have forged strong links with one The expanded role of design in major organizations another and with other relevant para-sectoral agencies, and in key managerial functions has spawned new both nationally and internationally. graduate and post-graduate design research programs This inter-continental network has become vital for in 2006. Universities and other institutes now provide the dissemination of information on the many design new program options which contribute to the advance- promotion and education activities. ment of the design sector knowledge base.
16 VISION STATEMENT 11 Courses on design and creative problem over the past decade, these school boards With strong links solving have been entrenched in the curricula have now developed the educational forged among Canada’s of numerous primary and secondary schools. research base and teaching aids required business and design to effectively dispense introductory groups, governments Many school boards across the country have recog- design-based course material nation- now include design nized the practical and multidisciplinary benefits of wide. organizations on a design-oriented learning. Working with universities, regular basis as design organizations and other professional groups collaborators in their program and policy development activities. Policy and Legislation in 2006 — Tenets 12-14
12 Design is a fundamental component of 14 International trade promotion embodies research and development. innovative Canadian design.
Design is now recognized as a cornerstone of business Spearheaded by the initiatives of the sector’s profes- development and research. R&D tax credits, research sional and multidisciplinary design associations, grants and government policies, similar to the support Canada’s trade promotion activities now reflect the available to science and engineering initiatives, provide country’s design capabilities and culture. breakthrough product development incentives for With strong links forged among Canada’s business and both designers and producers of goods and services design groups, governments now include design orga- across the country. nizations on a regular basis as collaborators in their program and policy development activities. 13 Government procurement programs lead by example. Moreover, this collaborative synergy extends to a wide range of promotional initiatives which will continue to Acknowledging the relatively low cost and high return position Canada’s knowledge-based goods and services of effective design, by 2006 various levels of govern- in a variety of media and venues, both at home and ment have implemented design and innovation-orient- abroad, throughout the second millennium. ed procurement criteria.
As a result, Canadian suppliers strive to produce increasingly creative and exportable solutions, while giving public agencies the opportunity to purchase Canadian-made goods and services which demonstrate cost-effective, leading-edge, performance standards.
In conclusion, by the year 2006… The foregoing fourteen tenets will have served the development and management of design firms, contributing to the formation of an internationally successful Canadian design sector which has indeed become a “full partner” in the business management process and a valuable part of the country’s cultural fabric.
VISION STATEMENT 17 18 CHAPTER 4 • THE MARKETING CHALLENGE CHAPTER1
CHAPTER 4 • THE MARKETING CHALLENGE 19 Design is a huge deal not because it makes things beautiful or garners awards, but because in our rapidly changing, customization-oriented, service-added, software-added, intangibles-oriented business environment, design is a critical focus for knowing what a product is, what a customer is, and what an organization is.
To m Peters, “The Design Challenge”
20 CHAPTER 4 • THE MARKETING CHALLENGE CHAPTER 1 INTRODUCTION
anada is rich with design talent: talent that has increased the wealth and competitive Cadvantage of numerous corporations, created world-class innovations, and raised the quality of life of the general public. Yet relatively few Canadian organizations have used this resource. Indeed, this talent seems to be a well-kept secret. Designers lament the fact that many products come to market, buildings are constructed, and communications are produced with virtually no professional design input. The potential for the design sector to play a critical role in furthering Canada’s economic success is tremendous.
The Canadian design sector is characterized by the diversity of its disciplines. Some of these disciplines have long, eminent histories in Canada, while others are just emerging. Some are struggling to hold their place in the economy, and others are seizing new opportunities. Ensuring that the design sector is poised to take advantage of opportunities before it and to create others will take a strategy that involves all disciplines working together. Human resources is a key in addressing the many challenges facing the sector.
Within this context, the National Design Alliance (NDA) asked Human Resources Development
Canada (HRDC) to sponsor a human resource study of the design sector. This chapter describes the framework for the study and provides a profile of the design sector.
CHAPTER 1 • INTRODUCTION 21 1.1 ABOUT THE STUDY
The study includes three sub-sectors of the design sector: The study was based on the need to establish direction ▼ Design of the built environment consists of the in developing a human resource strategy for the design disciplines of architecture, landscape architecture, sector. It assesses the trends and pressures affecting the and interior design. It is concerned with the creation, sector and the skills and knowledge required of construction, modification, adaptation, or re-creation designers. As well, it explores the potential for the of the physical environment for human use. In this sector, examining the gap between the current state sub-sector, designers address how humans interact and the future to which it aspires. Also included is an through issues such as settlement, movement, examination of the educational and professional devel- communication, and protection. The design of the opment available for designers, and of the extent to built environment is about the human relationship to which those systems are able to facilitate change in the space, whether enclosed space, such as a room or a sector. Where possible, comparisons are made between building, or encompassing space, such as a commu- the situations in Canada and in other countries. nity.The various disciplines within the built environ- The study provides a foundation for developing and ment can be categorized by their application of sustaining a vibrant design sector in Canada. Its long- artistic and scientific principles and by their special- term goals are to encourage human resource planning ized knowledge. and development, and to promote investment in ▼ Industrial design includes the design and devel- Canada’s current and future designers. opment of commercial and industrial products. It The specific objectives of the study, as listed in the draws on creative concepts to optimize the look, Te rms of Reference, are: function, and value of products and systems and • to define the components and occupations of the translates concepts into technical specifications for sector and to examine interrelationships and cross- mass-production purposes. Industrial design is a disciplinary activity; management service usually provided through a joint-development approach involving managers, • to profile the current labour force by examining social and marketing researchers, engineers, and such characteristics as workers’ age, gender, educa- production specialists. Besides giving a physical shape tion, and geographic distribution; to concepts, industrial designers contribute their • to develop an understanding of the structure of the knowledge of how human factors, such as the user’s sector, including: touch, visual acuity, and physical abilities, will influence - the nature and level of activity, noting regional the usefulness and safety of the final product. variations, ▼ Communications design, frequently referred - the nature and source of demand for design to as graphic design, encompasses graphic design, services, including barriers and constraints to the multimedia, and computer interface design. use of design services, and Communications design is a problem-solving activity that combines visual skills with knowledge of - the current significance and potential for exports; communications, technology, and business.This inter- • to compare with other countries the skills, degree of disciplinary field uses visual information to aid computerization, and incorporation of design into communication, both written and digital. business strategies, and to examine the implications for Canada’s design sector;
22 CHAPTER 1 • INTRODUCTION • to assess the business environment in Canada in HRDC, in conjunction with the NDA and This study marks the terms of financial, socioeconomic, technological, the Royal Architectural Institute of first time that the five regulatory, and public policy issues; Canada (RAIC), invited various represen- disciplines have come tatives to form working groups to direct • to examine the impact of these pressures, both together at a national the research of each of the three sub- directly on skill requirements and occupational sectors. A list of the members is level to research and structure and indirectly on sector structure and provided in Appendix A. The approach develop a sector strategy. employment levels; taken to conduct the study is described • to assess the importance for the design sector to in Appendix B. A list of the organiza- develop a distinct Canadian identity through design; tions that participated in the interviews, site visits, and • to develop an understanding of where the sector is regional workshops is provided in Appendix C, and the heading; bibliography is contained in Appendix D.
• to create a desired vision for the sector, identifying While the design disciplines and their organizations possible barriers and defining actions required to have worked together on isolated projects in the past achieve this vision; and had formed the NDA in 1992 to foster sector coop- eration, this study marks the first time that the five • based on the desired vision for the industry, to disciplines have come together at a national level to examine the implications for human resources, research and develop a sector strategy. An important including issues of: step in the process was the decision to produce one - the appropriateness of current entry-level training main report on the design sector rather than three and education, separate reports, one for each sub-sector.
- the transition from formal education to the labour At the same time, the Working Groups were concerned market and the links between industry and educa- that the distinct differences among the sub-sectors tion, including possible internships, apprentice- should not be lost in producing this report. The sub- ships, and international exchange programs, sectors are driven by different demands, and therefore - the adequacy and availability of continuing educa- have been affected differently by the challenges tion, including both formal and informal mecha- described within the report. Regulatory regimes, tech- nisms for training and skills development, and nologies, development processes, and supportive educational systems vary among the sub-sectors. They - the roles and responsibilities of educational insti- each have different histories and are in different stages tutions, provincial and national professional asso- of evolution. As a result, each sub-sector is unique in ciations, and the design sector with respect to structure and in the roles of its associations. human resource development; and Thus, this report focuses both on the sector as a whole • to examine the links between the design sector and and on the three sub-sectors: design of the built envi- related production, distribution, and service industries ronment, industrial design, and communications and the potential for indirect employment growth. design. Comparisons between sub-sectors are made The study looked at independent design consultants, throughout the report. A more detailed statistical those working in design firms, and those working in- profile of each sub-sector is available through NDA house in design departments, primarily in the private member organizations and the RAIC. sector. It included designers as well as owners and managers. The focus of the study is Canada; however, research was conducted to provide comparisons with other countries.
CHAPTER 1 • INTRODUCTION 23 1.2 THE DESIGN SECTOR: A PROFILE
Statistics Canada collects data on the workforce and ▼ Statistics Canada staff then code people into occu- employers in Canada. The National Occupational pations according to set definitions. Occupational Classification (NOC) system, which complements the definitions in the NOC, while better than those in Standard Occupational Classification (SOC) system, the previous SOC, remain vague for the design disci- codes people according to Statistics Canada’s occupa- plines. The data for communications design are the tional definitions. The Standard Industrial Classi- least reliable because the NOC code includes illus- fication (SIC) codes organizations by industrial sector. trative artists. The data are the most complete for While Statistics Canada has been collecting and architecture. However, architects note that the NOC analyzing such information for years, until recently it definition is not current and contains inaccuracies. did not recognize the design sector as an economic ▼ Only recently were most design occupations sector. Thus, data are limited, with the one exception assigned their own occupation classifications. Under of architecture, as discussed in the material that the SOC, industrial designers and interior designers follows. Contributing to this lack of attention is the shared a code; thus, researchers were unable to fact that, compared with many other economic sectors, identify longitudinal trends for either discipline. the design sector is relatively small and new. ▼ Only architectural firms are classified in Statistics This section examines the size and structure of the Canada’s SIC codes; no information is collected at a design sector, drawing heavily on Statistics Canada firm level for any other discipline. However, recently data, primarily from the 1991 census, as well as on Statistics Canada, Industry Canada, and the National information provided by professional associations. Design Alliance, in cooperation with the govern- The Working Groups have well-founded concerns ments of the United States and Mexico, began about the accuracy and completeness of the data for developing SIC codes and definitions for each disci- the design sector, for reasons outlined below: pline. Consequently, more data will be available on ▼ When people complete census forms, they describe design firms, including size, revenues, and location. their primary occupations in the week preceding the A glossary of the terms related to Statistics Canada’s census. Also, some individuals may not qualify classifications systems, including the structure for the as professional designers under the definitions of the new SIC codes, is contained in Appendix E. professional design associations, but identify them- selves as designers.
24 CHAPTER 1 • INTRODUCTION Size of the Sector
Ta ble 1-1: Designer Population Estimates Association Association Census Industry Membership2 Reporting Estimates3
Industrial Designers 2705 3,1704 400 Communications Designers 1,4005 26,2556 8,000 Architects 7,7005 8,5055 7,700 Landscape Architects 1,6605 1,9705 2,250 Interior Designers 2,2507 6,8878 3,375
Source: Statistics Canada, Census 1991
According to Statistics Canada census data, there were significantly smaller proportion of the Canadian work- approximately 57,000 designers in Canada in 1991.1 force than do those in engineering, math, and natural Communications design had the largest population sciences occupations, but a greater proportion than do of the design sub-sectors, accounting for about those in business services to management occupations. 50 percent of designers. Designers in the built environ- The difference between the size of the design sector ment made up approximately 44 percent, and industrial and occupations in engineering, math, and natural designers represented the remaining 6 percent. sciences is important, since it affects the structure and As Table 1-1 shows, there are discrepancies between development of a sector. In interviews and workshops, the number of designers identified by the census, the designers often compared design with engineering, number of designers who are members of design asso- commenting that the engineering profession, because ciations, and the associations’ estimates of the design of its size, is more recognized and utilized than the population. The discrepancy between the Statistics design profession is and has been effective in lobbying Canada data and the association data is due to two governments. major factors. One is that the way in which data are collected and classified by Statistics Canada causes inaccuracies, as discussed above. The other is that since Ta ble 1-2: membership in associations is not mandatory for some Employment Occupations, 1991 (NOC) disciplines, not all practising designers belong to Occupation Total professional associations. Employment All Design Occupations 46,78510 ● Design occupations make up a relatively small Business Services to Management 22,01510 proportion of the Canadian workforce. Occupations in Engineering, Math, 10 Table 1-2 puts the size of the design sector into context & Natural Sciences 331,930 10 by comparing design to occupations in engineering, All Occupations 13,005,500 math, and natural sciences, and occupations in business Source: Statistics Canada, Census 1991 services to management.9 Designers make up a
CHAPTER 1 • INTRODUCTION 25 Design Firms
Although Statistics Canada does not collect data at a As in Canada, interviewees from the United States, firm level on the design sector, except on architectural Australia, Denmark, and the United Kingdom firms, interviews suggest that design consulting firms expressed concern over the future of small design tend to be small, most employing fewer than five firms. They speculated that their survival could be designers.11 Design firms in Canada and in most other impeded by the high capital costs necessary to stay countries range from one-person freelance operations in business in a technology-intensive industry. to larger, multidisciplinary firms. But Canada and Interviewees from Australia and France noted that other countries, for example, the United States, differ many design consultancies in those countries are too in the relative size of their design firms. In Canada, a small and too specialized to be effective. Overall, larger firm with 20 or more people would be considered multidisciplinary design firms were thought to have large. In comparison, firms with more than 150 people greater potential to compete in the emerging global are common in the United States, where the smaller economy. firms are usually specialized, and the larger firms are more multidisciplinary.
Demographics
● Firms in the design sector tend to cluster Similar patterns exist in other countries. In the United geographically around the industries that States, for example, a design firm in a large city tends drive demand. to have the majority of its clients in that city. If a U.S. firm is on either coast, then it may also be interna- The majority of designers work in Ontario, as shown tional in scope. Larger U.S. design firms tend to be in Figure 1-1. Each cluster in the figure represents the more international as well. If a U.S. design firm is in a regional distribution for the selected occupational smaller city, its client base is likely both regional and groups. All three occupational groups are concen- national. In Australia, the pattern is more straightfor- trated in central Canada. Compared with the distribu- ward. Most designers work in the larger cities because tion of all occupations and occupations in engineering, that is where their clients are located. Even with the math, and natural sciences, designers are more proximity to the Southeast Asian markets, few concentrated in Ontario and Quebec, and less so in the Australian designers work internationally. Atlantic and Prairie regions. This difference may be due, in part, to the wider dispersion of engineers than Figure 1-2 provides a geographic breakdown of designers across industries. designers by discipline. Each cluster of the graph represents the regional breakdown for design occupa- Although it is becoming easier to work at long distances tions. As might be expected, distribution of the design from clients, most designers begin with projects close to disciplines tends to reflect the distribution of their home. Thus, the nature, size, and economic health of primary markets. For example, industrial designers are business in a region has a great impact on the distribu- concentrated in Ontario and Quebec, where the tion of designers in Canada. For example, industrial manufacturing base is located. The highest proportion designers tend to serve the manufacturing industry, of communications designers is in Ontario, likely which is most concentrated in central Canada.
26 CHAPTER 1 • INTRODUCTION REGIONAL BREAKDOWN OF OCCUPATION, 1991
50%
40%
30%
20%
10%
0% Design Eng., Math & Nat. Sc. Bus. Services to Mgmt. All Occupations
Atlantic Quebec Ontario Prairies & NWT BC & Yukon
Figure 1-1 Source: Statistics Canada, Census 1991
PROVINCIAL BREAKDOWN OF ALL DESIGN OCCUPATIONS, 1991
50%
40%
30%
20%
10%
0% Architects Landscape Architects Interiors DesignersGraphic Designers Industrial Designers
Atlantic Quebec Ontario Prairies & NWT BC & Yukon
Figure 1-2 Source: Statistics Canada, Census 1991 owing to its concentration of corporate headquarters. ● The design professions are predominantly The proportion of landscape architects in Quebec is male, although there is an increasing female less explainable. Working Group members suggested presence in the sector. that landscape architects are significantly fewer than As Table 1-3 shows, more than 60 percent of designers the data suggest. The discrepancy may be the result of are male. There are proportionately fewer women in inaccurate self-identification through the census. design occupations than in all occupations of the Canadian workforce. However, there are relatively
CHAPTER 1 • INTRODUCTION 27 Gender imbalance is a challenge for the design sector Ta ble 1-3: Gender Representation, 1991 (NOC) in Canada. It is critical that, in designing products and Occupation Breakdown by Gender (%) Female Male services, designers understand and design to the requirements of all potential users, both male and All Design Occupations 38 62 female. While gender imbalance in the sector does not Business Services to Management 37 63 make this aim impossible, some suggest that female Occupations in Engineering, Math, designers better interpret the design needs of female & Natural Sciences 18 82 consumers. As a faculty member at the Technical All Occupations 45 55 University of Nova Scotia noted, “About one-third to Source: Statistics Canada, Census 1991 one-half of the students are women. This has had a major impact on what we do and how we think. There is more sensitivity to women’s issues and more recog- nition of female clients and their needs.” more women in design than in engineering, math, and Data on race were not available; however, sources indi- natural sciences occupations. Interior and communica- cate that the vast majority of designers are white. tions designers are more likely to be female than are Those concerned with this fact note that a profession architects or industrial designers. Designers from that aims to shape a superior environment for the British Columbia suggested that a considerable whole population must have more than an arm’s- number of communications design firms are headed by length familiarity with society’s needs. With the females. In comparison, relatively few architectural number of female and minority clients increasing, it is firms include female partners. The industrial design counterproductive to expect an “all white male staff” to sub-sector has the highest proportion of males. As a be able to convince these clients that they are sensitive discipline, interior design has the largest proportion of to their concerns (Dixon, 1994). women. Female participation is increasing in the tradi- tionally male-dominated areas of design. For example, ● Designers are relatively young in comparison the number of female architects doubled between 1981 with the Canadian workforce. and 1991. As shown in Figure 1-3, there are more designers The limited number of women in design occupations between the ages of 25 and 44 and fewer designers over is a phenomenon that is not unique to Canada. the age of 54 when compared with workers in all occu- pations. About 65 percent of all designers are between •A British study (Bruce and Lewis, 1990) focused the ages of 25 and 44, with the largest proportion on the gender imbalance in design, especially in between 25 and 34. This age pattern is similar to that industrial design. Less than one percent of industrial in the engineering, math, and natural sciences designers in British industry are women, whereas as occupations. many as 20 percent are women in several Japanese companies. The study points out that this situation Since post-secondary education delays entry to design- is disconcerting given that evidence suggests that related occupations, designers aged 15 to 24 are fewer women designers might well have a better grasp of compared with those in all occupations. While a large user needs for many products. proportion of all designers are aged 25 to 34, the predominance of young designers is most apparent in landscape architecture, interior design, and communi- cations design.
28 CHAPTER 1 • INTRODUCTION AGE DISTRIBUTION IN DESIGN AND OTHER OCCUPATION, 1991
50%
40%
30%
20%
10%
0% Design Eng., Math & Nat. Sc. Bus. Services to Mgmt. All Occupations
15-25 25-34 35-44 45-54 55-64 65+
Figure 1-3 Source: Statistics Canada, Census 1991
This pattern can be partly attributed to growing enrol- • The number of designers being trained in Canada ment in pertinent educational programs. However, in has increased since the 1950s. the case of communications design, where programs The age pattern raises the question of whether the such as fine arts have been available for a longer economic prospects for the sector will satisfy the career period, the age patterns suggest many people do not aspirations of the large number of young designers. spend their full careers as designers. Since many While the youth of the sector is a source of vibrancy, communications designers are employed in other the absence of career opportunities may prove frus- industries, their careers often follow the career oppor- trating. The movement of young engineers into tunities available in their firms. occupations related to engineering, such as contracting The smaller proportion of designers over the age of 44 and procurement or contract management, may can be largely attributed to two factors: suggest a model for designers.
• Older designers may move into other design-related ● Designers are generally well educated. occupations, such as management and education, and therefore classify themselves as something other Among designers, post-secondary education is more than designers, such as managers or educators. likely to have been acquired at community colleges or Indeed, with the exception of architecture, less than Cegeps than at universities. Architecture and land- half of those people who had studied design worked scape architecture are the main exceptions, for profes- in design-related occupations in 1991. For example, sional degrees are offered only at universities in these only 20 percent of those who once studied interior two disciplines. Technician and technology programs design worked in that area in 1991. Evidence in architecture and landscape architecture are provided suggests that older people with a design background by community colleges. In contrast, most of the work- are much more likely to work in other fields than are force in the business services to management in engi- younger people with a design background. neering, math, and natural sciences have at least one university degree.
CHAPTER 1 • INTRODUCTION 29 In addition, the proportion of designers with graduate Table 1-5 shows that the disparity is highest in the degrees is much lower compared with the business business income only category, suggesting that design services to management and with engineering, math, fees are not as high as those in engineering or in other and natural sciences occupations. Again, this difference business services firms. People with combined business likely reflects the fact that there are relatively fewer and salary income tend to have higher total incomes in graduate programs for designers than for the compar- all occupations. ison groups, as shown in Table 1-4. On average, architects’ earnings are higher than those of other designers. Architects with a single source of ● People in the design occupations earn almost income earn about $41,000, while those with two one-third less than their counterparts either sources earn about $59,000. Graphic designers and in business services to management, or in illustrative artists have the lowest average income of engineering, math, and natural sciences occu- any design discipline, at about $24,000. pations.
Ta ble 1-4: Educational Attainment by Occupation Occupation Educational Attainment (%) Secondary or Less Community College/Cegep University Graduate Program
All Design Occupations 24 40 31 5 Business Services to Management 26 25 29 20 Occupations in Engineering, Math, & Natural Sciences 14 30 39 17 All Occupations 55 28 14 3
Source: Statistics Canada, Census 1991
Ta ble 1-5: Average Income For Occupations With a Diploma or Above, 1991 (NOC) Occupation Income Categories ($) Wages/ Business Income Only Wages/Salary & Total All Salaries Only Business Income Categories
All Design Occupations 33,492 23,885 42,553 32,674 Business Services to Management 41,318 37,014 49,819 46,386 Occupations in Engineering, Math, & Natural Sciences 40,798 38,452 48,268 43,052 All Occupations 30,897 28,320 45,387 31,190
Source: Statistics Canada, Census 1991
30 CHAPTER 1 • INTRODUCTION Organization of the Sector
Design services are provided either through consul- for routine duties and will use consul- Design services are tants or in-house design departments. In Canada, most tants for work requiring innovation. provided either through designers work in design firms. Similarly, design However, some companies use design consultants or in-house services are available by way of both in-house consultants for routine work and their design departments. In designers and outside consultancies in the in-house designers for advanced design Netherlands, Singapore, Sweden, and the United concepts, perhaps as a means of Canada, most designers States. In comparison, design services are offered ensuring confidentiality. Overall, there work in design firms. almost exclusively through design consultancies in was no uniform trend pertaining to the Australia, Denmark, Finland, France, Norway, Spain, use of design consultants versus in- and Taiwan. Corporate design groups are more house designers. A preponderance of one or the other commonly found in Germany and Japan. seemed to be linked to broad changes occurring throughout an industry, such as the downsizing of While the two models — design consultancies and in- design departments, the outsourcing of design house design groups — are almost universal, how they services, or the use of multidisciplinary teams in the are used differs from country to country. For example, design development process. in the United States and the United Kingdom, compa- nies with in-house designers will normally use them
CHAPTER 1 • INTRODUCTION 31 1. 3 CONCLUSIONS
1 There is a lack of consistent, reliable data on 3 Most design firms are homogeneous in the design sector, particularly in communica- terms of culture, and the majority of tions design. designers are male.
Until recently, the design occupations were not delin- With the increasingly diverse client base, design firms eated clearly in the occupational classification system. will find it more difficult to convince their clients that The NOC, which was implemented in time for the their staff can identify with those clients’ needs. Design 1991 census, collects more relevant occupational data firms will need to ensure that the gender and cultural on the design disciplines. But because of discrepancies, mix of their firms adequately reflects their client base. longitudinal comparisons are not reliable. As well, the definitions of the disciplines in the NOC are not 4 Small design firms may have difficulty entirely useful in some cases. For example, the classifi- surviving the pressures of the current cation that includes communications designers is far business environment. too broad to be of any benefit to that discipline. Some small firms may lack the capital to invest in the technology they will need to compete effectively. As a The capacity of design firms to absorb the 2 result, more mergers may take place and more multi- increasing numbers of experienced designers disciplinary strategic alliances may be formed to give is questionable. firms the financial leverage they need. A larger proportion of designers are young compared with Canadian workers as a whole. As this population ages, traditional opportunities in design firms may shrink. Designers will need to create new opportuni- ties, find new niches, or develop new occupations. This shift is made somewhat easier by technological advances.
32 CHAPTER 1 • INTRODUCTION Footnotes 10 Architectural and landscape architectural techni-
1 This figure includes 10,335 architectural and cians and technologists have been excluded from landscape architectural technicians and technolo- the analysis to facilitate comparisons to occupa- gists. tions in engineering, math, and natural sciences, which does not include engineering technicians 2 Membership figures do not include student and and technologists. honourary members. 11 A study of the design sector in British Columbia 3 Estimates were provided by the professional asso- found that 79 percent of the firms that responded ciations. to the survey have five or fewer full-time 4 Census data are higher than industry estimates employees (Ference Weicker & Company, 1995). and association membership because they include In addition, a study on professional designers in people who consider themselves to be industrial Quebec revealed that the two-thirds of design designers but who are not considered as such by firms employ five employees or less. This propor- the association. tion was the highest (77.6%) in interior design and the lowest (46%) in architecture. (Groupe 5 The figure includes 300 members of the Société des DBSF: Enquête auprès des professionnels du design au designers graphiques du Québec. The remainder are Québec, 1994) members of the Society of Graphic Designers of Canada.
6 The significant discrepancy between industry estimates and Statistics Canada data is because the Statistics Canada code includes illustrative artists and graphics arts technicians in its definition.
7 About 1,500 members are full professionals; the remainder are qualifying members.
8 Census data are higher than industry estimates and association membership because they include people who consider themselves to be interior designers but who are not considered as such by the association.
9The engineering, mathematics, and natural sciences group is dominated by engineering occu- pations. It is similar to design in terms of occupa- tional structure; that is, engineers may work in either in-house engineering departments or consulting engineering firms. It is similar to architecture in terms of its licensing require- ments.
Business services to management primarily repre- sents management consultants, whose occupa- tional structure is also similar to that of design.
CHAPTER 1 • INTRODUCTION 33 34 CHAPTER 1 • INTRODUCTION CHAPTER2
CHAPTER 4 • THE MARKETING CHALLENGE 35 Advances in computer technology, electronic communications and multi-media design are rapidly changing how designers practice. There is a need to ensure that designers in different disciplines are able to communicate with one another and work cooperatively. At the same time, there must be opportunities to upgrade existing skills and participate in advanced studies.
Design for a Strong Ontario: A Strategy for Ontario’s Design Sector March 1995
36 CHAPTER 4 • THE MARKETING CHALLENGE CHAPTER 2 ABOUT THE DESIGN SECTOR
esigners have been contributing to the wealth of this nation for decades through finding Dinnovative solutions for spaces, products, and communications. Yet relatively little is known about the sector. Contributing to this obscurity are the lack of research about the value of design that has been published by the sector itself; the lack of a cohesive and consistent strategy for the design sector, including one for obtaining government support; the relative newness of the design professions in Canada compared with other professions; and the lack of data collected by Statistics Canada.
This chapter discusses the infrastructure supporting the design sector. It provides a brief overview of the major events shaping the development of the various disciplines. It examines the strategies for promoting design in a number of countries, including Canada. Finally, it examines the orga- nizations that support the disciplines and the sector as a whole.
CHAPTER 2 • ABOUT THE DESIGN SECTOR 37 2.1 DESIGN IN CANADA: A BRIEF HISTORY
Table 2-1 highlights a few of the more significant events that have taken place across the sector and at a sub-sectoral level.
Ta ble 2-1: Fifty Years of Design Design Architecture Landscape Interior Communications Industrial Architecture Design Design Design 1945-1954 Canadian Canadian Society Provincial Affiliation of architects return of Landscape associations, Canadian from WWII Architects 1930s to 1950s Industrial and establish (CSLA) founding Designers, 1947; First degree practices across member of became program, U of Canada, and International Association of Manitoba embrace the Federation of Canadian “new Landscape Industrial architecture,” Architects, 1948 Designers (ACID), mid 1940s 1948 Canada First professional Mortgage training program and Housing established at Corporation Ontario College (CMHC) of Art, 1947 founded, 1948 Royal Architectural Institute of Canada (RAIC)’s Massey Medal Awards program started, 1953 1955-1964 National Design International National Capital Typographic First provincial Council, 1961 competition held Commission Designers of (Ontario) for the Toronto (NCC) begins Canada (TDC) association, 1958 First multidisci- City Hall, 1960 implementing founded, 1956 plinary graduate Industrial Design Todd and Greber design program, TDC’s exhibition, Act passed, 1961 plans U of Waterloo, 1958 1963 First degree program, U of First multidisci- Guelph, 1964 plinary design conference, 1964
38 CHAPTER 2 • ABOUT THE DESIGN SECTOR Ta ble 2-1: Fifty Years of Design cont’d. Design Architecture Landscape Interior Communications Industrial Architecture Design Design Design 9517 1975-1984 1965-1974 Expo 67 Expo 67 — First provincial Interior Designer TDC expanded International Canadian archi- association Educators to include all Council of tects play major (Ontario); Council (IDEC), graphic design; Societies of and varied roles, B.C. adopts 1968 became Society Industrial Design 1967 Landscape of Graphic (ICSID), 1967 Foundation of Architecture Act, Designers of Interior Design First degree 1968 Canada (GDC), Education programs: U of 1968 First graduate Research (FIDER), Montreal, 1967; degree, U of 1971 Société des U of Alberta, Manitoba, 1970 graphistes du 1968 Interior Québec, 1972 Designers of InterDesign Canada (IDC), GDC granted a Conference in 1972 national charter, Ontario, 1973 1974 National Council for Interior Design Qualification (NCIDQ), 1974
Governor- Canadian CSLA Award IDEC International First summit of General’s Awards Architectural Program, 1980 Conference, U of Design Education Canadian indus- for design estab- Certification Manitoba, 1978 Conference, trial designers International lished board estab- Edmonton, 1975 1976. Federation of lished, 1977 Canada Awards Landscape 1970s — two First graduate for Business RAIC becomes a Architecture International program, U of Excellence, 1984 voluntary body, (IFLA) meeting in Council of Calgary, 1979 1980 Canada, 1981 Graphic Design Associations RAIC Governor- Ontario adopts (ICOGRADA) General Awards Landscape presidents:Walter supersede Architecture Act, Jungkind, Jorge Massey Medals 1984 Frascara Program, 1982 Landscape RAIC mounts the Architecture Medici Series Canada heralding the Foundation, 1984 computerization of mainstream of architectural practice, 1983
CHAPTER 2 • ABOUT THE DESIGN SECTOR 39 Ta ble 2-1: Fifty Years of Design cont’d. Design Architecture Landscape Interior Communications Industrial Architecture Design Design Design 1985-1994 National Design Architects are CSLA IDC Foundation, ICOGRADA First National Council closes, the first profes- Accreditation 1991 Congress in Congress of 1985 sion to support Council, 1986 Montreal, 1991 Industrial IDC hosts the FTA, 1987 Designers, 1993 Expo 86 Landscape Canadian Interior Graphic Design The Canadian Architecture Designers Professional First industry Design Exchange, Centre for registration Education Accreditation honourary 1987 Architecture examination Conference, Committee, 1992 member Design British opens, 1989 (LARE), 1990 1992 (Sonja Bata, Graphic Design Columbia, 1988 1993) RAIC First graduate examination Institute of Constuyamos program, U of board (to pro- Agreements of Design Montréal, Project receives a Manitoba, 1994 vide certification; mutual assistance Group for Design citation from the first in North between the in Business, 1989 U.N. for contribu- America), 1992 Design Promo- tion to “human tion Centre of Montebello Mutual agree- habitation” in the China Design Forum, ment re: graphic Colombia, 1990 External Trade Design in design & designer Development Business Nova Architectural/ exchange Council of Taiwan Scotia, Alberta Cultural Protocol between GDC & and l’Association Design Works, signed with Taiwan (CETRA), des designers 1990 Mexico, 1993 1992 industriels du Forum Design, First graphic Québec & the Liaison Design, designer receives Association of National Design Order of Canada, Chartered Indus- Alliance (NDA), 1994 (Paul Arthur trial designers of 1992 for wayfinding Ontario systems) First annual Financial Post Design Effectiveness Awards, 1992 1995+ Launch of the American Society Ontario adopts ICSID 1997 to be human resources of Landscape Association of hosted in Toronto sector study on Architecture Registered the design sector, (ASLA) meeting in Graphic 1997 Montreal, 2000 Designers of Ontario Act, 1996 International type exposition and symposium in Toronto, 1996
40 CHAPTER 2 • ABOUT THE DESIGN SECTOR Design of the Built Environment
ARCHITECTURE National Research Council (NRC), To many, the maturation Architecture is the oldest of the design disciplines. Not Canadian architects had developed a of the Canadian architect good working knowledge of building surprisingly, most of Canada’s early buildings derive was exemplified with the physics and energy conservation. These their construction methods and styles from the coun- world exposition held in tries of the first immigrants. skilled architects, working with capable Canadian developers, opened new Montreal in 1967. Early architects were educated through apprentice- markets in the now energy-conscious ships to practising architects, many of whom had been United States. At the same time, the trained abroad. Even at the end of the nineteenth “underdeveloped” oil-producing countries of the century, many of the large commissions were still Middle East and Africa accumulated capital from the being won by U.S.- or British-born architects. In order rising oil prices. This wealth could now be invested in to improve Canadian competitiveness, the first full- domestic infrastructure and in buildings, producing time department of architecture was formed in 1896 at the second opportunity for Canadian architects. This McGill University. Today, 10 Canadian universities economic shift, together with a strong domestic offer undergraduate degrees in architecture. market, encouraged the creation of several large Apprenticeships are available through the Royal Canadian architectural firms. Architectural Institute of Canada (RAIC) Minimum Syllabus program. Under the provisions of the Constitution Act, 1867, the licensing and regulation of architects is carried out Architecture began to formalize its institutional base under provincial mandate. Recognizing the inherent with the founding of the Ontario Association of limitations of provincial regulation, Canadian archi- Architects in 1889 and the Province of Quebec tects have generally maintained a national perspective Association of Architects in 1890. At the turn of the towards educational standards, licensing, and reci- century, architects saw the need for close professional procity. This national view led to the creation of the ties between the provincial groups of architects Canadian Architectural Certification Board, in 1977, throughout Canada. As well, they realized that profes- and of common standards for licensing. In the years sional prestige could be established only by creating a following the support of the Free Trade Agreement by national organization. As a result, the Architectural the RAIC in 1987, the 10 provincial licensing associa- Institute of Canada, as the RAIC then was known, came tions developed common standards and exams into being in 1908. for licensing with the United States. The establish- To many, the maturation of the Canadian architect was ment of these common frameworks was a significant exemplified with the world exposition held in Montreal achievement. in 1967. This event allowed Canadian architects and related professionals to use their many skills and LANDSCAPE ARCHITECTURE talents in creating an organized, beautiful, and human- Professional works of landscape architecture in Canada istic environment. The experiment of Expo 67 demon- date from the late 1870s. Many of these works were strated what the modern city could be like. large estates completed by immigrant Scottish and With the energy crises of the 1970s, Canadian archi- English landscape gardeners. In the second half of the tects were given a new, twofold opportunity. As a result nineteenth century, U.S. landscape designers and of Canada’s comparatively extreme climate and of the writers made important contributions to the develop- work of the Division of Building Research at the ment of the gardenesque style of landscape in both
CHAPTER 2 • ABOUT THE DESIGN SECTOR 41 The 1960s were a Upper and Lower Canada. Gardening Architects (CSLA) being registered in Canada. The watershed for the profession and landscape design became increas- CSLA recently embarked on an initiative to accredit ingly popular with the general public landscape architecture programs, modelled after the in Canada. The number during this period. program in the United States. of landscape architects The Canadian public park movement grew exponentially. was initiated in the nineteenth century. INTERIOR DESIGN Cemeteries and parade grounds were Interior design in Canada began, as it did in the United the forerunners of city parks and public open spaces States, as a service offered primarily to residential in Canada. The depression of the 1930s prompted clientele. This service, known as interior decoration, the government to sponsor public-works projects, with was usually provided by furnishings shops that had an emphasis on improving public open spaces and work rooms attached for making draperies and slip transportation. covers and for reupholstering furniture.
In the first half of the twentieth century, North Quebec and Ontario formed design associations in the American landscape architecture and town planning early 1930s. By the late 1950s, five provinces had developed jointly as a physical design profession. In established interior design associations for members 1934, the Canadian Society of Landscape Architects who came primarily from this decoration background. and Town Planners was formed. Landscape architects Most of the associations had the word “decoration” in were actively involved in community planning and have their name. In an effort to draw the provincial associa- continued to work in land planning. Institutes of plan- tions together, the associations met in the Kootenays ning were formed in the United States and in Canada, in British Columbia in the 1960s and formed the and the Canadian Society of Landscape Architects Interior Designers of Canada (IDC) in 1972. Currently, dropped “Town Planners” from its title in 1961. it comprises the professional membership of the eight The 1960s were a watershed for the profession in provincial associations. Canada. The number of landscape architects grew In 1948, one degree program for interior design exponentially. Schools and departments of landscape existed, which was housed in the faculty of architecture architecture were founded, many private offices were at the University of Manitoba. In 1969, Ryerson formed, and the scope of the profession was enlarged. Polytechnic University (then known as Ryerson The design of Expo 67 in Montreal provided a show- Polytechnical Institute) launched its degree as the piece for landscape architects from across the country. maturation of its diploma program. Western Canada As the environmental awareness of the late 1960s achieved its first degree program in 1993, which is carried into the 1970s and beyond, landscape architects offered by Kwantlen University College in British increasingly became involved in environmental assess- Columbia. ments and in planning, furthering their association Southex’s National Interior Design Show, which has with resource development, transportation, and large- now become the International Interior Design scale urban and recreational development. Exhibition (IIDEC), was highly supportive of the Landscape architects became licensed more recently growing national interaction among interior designers. than architects. The first province to adopt a landscape The show provided both a forum and funding, which architecture act was British Columbia, in 1968. allowed the provincial associations to establish the Ontario created a provincial landscape architecture act Interior Designers of Canada. Canadian Interiors maga- in 1991, which has resulted in more than 70 percent of zine also promoted the discussion of interior design the members of the Canadian Society of Landscape issues across the country.
42 CHAPTER 2 • ABOUT THE DESIGN SECTOR The interior design profession has always been highly Prior to World War II, most non-resi- The interior design profession organized in North America. Working relationships dential interiors were designed by archi- has always been highly with the United States have helped to define and to tects. The increasing complexity of organized in North America. strengthen the profession in Canada. The Interior issues relating to interior design, such as Working relationships with Design Educators Council (IDEC), created in 1968, human factors, technological change, provided a forum for design educators. In 1971, the and manufacturing processes, led to the United States have Foundation for Interior Design Education and the emergence of interior design as helped to define and to Research (FIDER) was established to accredit post- a commercial discipline in the last strengthen the profession secondary interior design programs in North America. 20 years. Interior design has evolved in Canada. The National Council of Interior Design Qualification from a service of selecting colours, mate- (NCIDQ) was formed in 1974 to provide certification rials, and furniture to a sophisticated for the profession, which was adopted in all provinces. profession that improves quality of life, The work of these three associations and of the provin- increases productivity, and protects the health, safety, cial associations has led to all eight provincial associa- and welfare of the public. The profession continues to tions achieving title acts. Canadian interior designers diversify through dealing with current issues, such as have contributed a great deal to these international building and fire codes, environmental safety of mate- organizations, and are well regarded in the interna- rials, and accessibility requirements for all. One criti- tional marketplace for both their training and their cally important result of this growth has been the laying expertise. of the groundwork for multidisciplinary work. The profession has carved a well-defined niche in working with other disciplines in the built environment.
Communications Design
Communications design is a relatively young field, The growing awareness of the importance of design, born from the growing awareness in postwar industri- combined with the economic boom of the early 1960s, alized society that design involved more than illustra- stimulated the emergence of a modern visual culture. tion or typesetting. Communications design after 1945 Corporate identities and logos changed the way that also differentiated itself from the rapidly growing field corporations did business, as corporations placed a of advertising. Designers began to use visual elements greater emphasis on communication. Redesigning a to inform, to persuade, and, sometimes, to sell, but corporation’s identity became mandatory in modern always to communicate. business management and frequently entailed a complete organizational reassessment. As commercial design emerged as a distinct profession, societies formed, such as the Art Directors Club of International expositions and events, such as Expo 67, To ronto, founded in 1947, and the Art Directors Club the 1976 Summer Olympics in Montreal, and of Vancouver. In 1956, the Society of Typographic Vancouver’s Expo 86, have encouraged communica- Designers of Canada was founded in Toronto. By the tions design. These events provided an explosion of mid 1950s, all of the major typography and printing imagery, drawing on Canadian talent for exhibit firms had hired creative directors and were marketing design, signage, posters, and more. original design as a separate service.
CHAPTER 2 • ABOUT THE DESIGN SECTOR 43 This accreditation legislation By 1968, the Society of Typographic As it is committed to international professional stan- is the first for communica- Designers of Canada had expanded its dards, the GDC is a member of the International mandate to include all graphic design, Council of Graphic Design Associations (ICOGRADA). tions designers in Canada, changing its name to the Society of ICOGRADA is made up of graphic design organizations and the second in the world, Graphic Designers of Canada (GDC). In from more than 60 countries and has consultative after Switzerland. It will the 1970s, GDC chapters and other status with both the United Nations and the Council serve as a model for other professional design organizations across of Europe. Canada rapidly expanded. La Société des GDC chapters, as well as for A milestone in communications design history is the graphistes du Québec (SGQ) was estab- ICOGRADA members. Association of Graphic Designers of Ontario Bill, lished in 1972. (Recently the SGQ which was passed by the Ontario Legislature on April changed its name to la Société des 18, 1996 (Royal Assent was given April 25, 1996). This designers graphiques du Québec.) During the same accreditation legislation is the first for communications period, the Graphic Artists Guild in Vancouver and the designers in Canada, and the second in the world, after Society of Graphic Designers of Alberta were founded; Switzerland. It will serve as a model for other GDC they would later join the GDC. In 1976, the GDC was chapters, as well as for ICOGRADA members. granted a National Charter of Incorporation.
Industrial Design
Canadian industrial designers first became an orga- Expo 67 in Montreal undoubtedly placed industrial nized group in 1947, under the banner of the Affiliation design on centre stage. The momentum created by of Canadian Industrial Designers. One year later, the that event and by the parallel congress of the name was changed to the Association of Canadian International Council of Societies of Industrial Design Industrial Designers (ACID). Provincial chapters now (ICSID) boosted the reputation of Canadian industrial exist in Quebec, Ontario, and British Columbia. Also in designers. At the same time, corporations drew atten- 1947, the Ontario College of Art (now the Ontario tion to industrial design. For example, Bombardier College of Art and Design) offered the first professional introduced the Ski-Doo to the marketplace in 1969 industrial design program in Canada. and went on to establish a standard for industrial design in many of its products. Other corporations, The growth of the industrial design community and such as Clairetone Sound Corporation and Nortel the support of federal government officials led to the Technology (formerly BNR), also began using indus- development of the Industrial Design Act in 1961, trial design to develop their products. Today, the use of which launched the federal government’s first initia- industrial design in the product development process tives in design promotion. Under these policies, the remains a corporate policy at Nortel Technology. National Design Council and the Office of Design Companies such as Balier Inc., Keilhauer, Mitel, (which later became Design Canada) were founded, Newbridge, Lee Valley Tools, Corel, Danesco, with a focus primarily on industrial design. During the Teknion, Umbra, Prevost Car, and Kruger 1960s and 1970s, several universities, Cegeps, and International have all demonstrated the economic colleges founded industrial design programs, in part value of professional industrial design. through the support of the professional industrial design associations.
44 CHAPTER 2 • ABOUT THE DESIGN SECTOR By the end of the 1960s, the number of industrial as a critical component of commercial In the 1970s and design consulting firms had significantly increased. success and competitiveness. In the 1980s…designers devel- However, in the 1970s and 1980s, the manufacturing 1980s, industrial designers and business oped niche or specialized base in Canada shrank, resulting in key changes to increasingly interacted and publicly expertise geared to the industrial design. Designers developed niche or recognized each other’s talent. Industrial specialized expertise geared to the needs of the key designer Michel Dallaire was named needs of the key manufac- manufacturing sectors in Canada and began to export among the list of builders of the year by turing sectors in Canada their design services. Commerce, a monthly business magazine, and began to export their and Sonja Bata was made an honourary The disbanding of the National Design Council and design services. member of the Association of Canadian Design Canada in 1985, while a major disappointment Industrial Designers. to designers, caused the national and provincial design associations to intensify their lobbying. Their efforts Networking is key for the 1990s and beyond. In indus- resulted in the creation of a number of design promo- trial design, teamwork, whether national or interna- tion organizations, such as the Design Exchange, the tional, real or virtual, is becoming increasingly Institute of Design Montréal, Design British Columbia, essential to success. Canadian industrial designers will and Design in Business Nova Scotia. continue to forge national and international ties at the 1997 ICSID congress hosted by Canada in Toronto. Globalization of markets and increased competition have caused businesses to recognize industrial design
Design Canada: Creation and Demise
The Canadian government’s design promotion poli- The design sector flourished through the 1960s and cies, which began in the late 1940s and continued into 1970s. Expo 67 and related design events, such as the the 1980s, had a major impact on the growth and pros- ICSID 67 (International Council of Societies of perity of Canada’s design sector. The withdrawal of Industrial Design) which was hosted concurrently in that support created a vacuum that persisted into the Montreal, are frequently cited as watershed events, early 1990s. when the sector had vitality and optimism about its future. In 1976, Design Canada was formed. As an In 1946, the National Gallery, the National Film executive arm of the National Design Council, Design Board, the federal Department of Reconstruction, and Canada brought together the resources of the Office of the National Research Council arranged the exhibi- the Design Advisor, the Department of Industry, Trade tion “Design in Industry.” Its success spurred the and Commerce, and the Secretariat of the National creation of the Industrial Design Section office, under Design Council. Design Canada quickly became the the supervision of the National Gallery, a year later. In hub of design in the country, as well as an international 1953, the National Industrial Design Council was leader in design promotion and a model for other established, again within the National Gallery. It was countries, including the United States. Under a later re-established within the Department of Industry, mandate to promote and encourage design in Trade and Commerce, with support from the Office of Canadian industry, Design Canada mounted a series the Design Advisor, and became the National Design of exhibitions and lectures across Canada, aimed at Council.
CHAPTER 2 • ABOUT THE DESIGN SECTOR 45 Since the early 1990s, business and the general public. In 1985, the federal government officially wound down however, the federal govern- Although it primarily emphasized indus- the National Design Council and Design Canada. The trial design, the series also covered other recommendations of the Nielsen Task Force, which ment has begun to reinvest disciplines. led to the disbanding of the council and to the closure in design by contributing to of Design Canada, formalized the government’s shift The broad program of Design Canada the financing of private in priorities away from design that had begun in the was later narrowed to emphasize design sector-led design promotion early 1980s. The task force recommended that profes- promotion to industry, through the sional design associations, in cooperation with the organizations in Montreal creation of the Industrial Design Canadian Manufacturers’ Association and other and Toronto. Assistance Program. Federally cost- industry bodies, be encouraged to assume the design shared provincial programs were also set promotion mandate of Design Canada. Yet the sector up in Nova Scotia, Quebec, Ontario, lacked the resources to take up the challenge, and in a and Manitoba to promote design and to provide design short period all its federally supported programs in support for the Manitoba Design Council and its Canada disappeared. Design Management Centre. Since the early 1990s, however, the federal govern- Other Design Canada activities included: ment has begun to reinvest in design by contributing •promoting design within the federal government, to the financing of private sector-led design promotion especially in the area of government procurement; organizations in Montreal and Toronto, and to various • founding the Canada Awards for Excellence in design promotion activities both within Canada and, to Design; a limited degree, abroad. This renewed support is helping to lay the foundation for the design sector to • establishing the Record of Designers, a tool for pick up the challenge issued by the Nielsen Task Force sourcing industrial and communications design in 1985. capability;
•providing scholarships for design studies in indus- trial design;
• publishing reports on the design sector;
•offering seminars;
• encouraging university-level design programs; and
• founding a scholarship program for Canadian design students to study abroad.
Design Canada was pivotal in establishing Carleton University’s industrial design program and in creating the University of Toronto’s design management program through grants.
46 CHAPTER 2 • ABOUT THE DESIGN SECTOR 2.2 PROFESSIONAL DESIGN ASSOCIATIONS
● Canadian designers are well represented by Provincial or regional associations differ significantly professional associations. among the sub-sectors. The built environment disci- plines have strong networks within the provinces or Professional design associations have played a major regions. Their primary role is a regulatory one, with part in developing the disciplines. Each design regulatory regimes in each of the three disciplines discipline has national and provincial associations, established to guide professional practice. A similar although not in every province and territory. role is played by the communications and industrial Generally, designers are members both of a provincial design associations in Ontario, but not in the other association as well as of the national association. The provinces. Table 2-2 provides an overview of the roles primary professional associations are: of the national associations, and Table 2-3 depicts • Royal Architectural Institute of Canada (RAIC); provincial, territorial, and regional association infra- • Canadian Society of Landscape Architecture (CSLA); structure.
• Interior Designers of Canada (IDC); Some of the professional design associations are strug- gling to meet their mandates. Most depend on volun- • Association of Canadian Industrial Designers (ACID); teers and suffer from limited membership and lack of • Society of Graphic Designers of Canada (GDC). revenue. Except in architecture, membership in an In Quebec, communications designers are represented association is not required to practise, although in by la Société des designers graphiques du Québec, which is some cases it is required to use the professional title. not formally associated with the GDC. Therefore, many of the associations must prove their worth based on the benefits they provide by way of The roles of the associations vary by discipline. In the professional development, networking, promoting the built environment, the national associations tend to be profession, and lobbying on behalf of members. Many the coordinating bodies for the provincial or regional of these benefits accrue to all practitioners, not just to associations, often developing national standards, members. lobbying governments, and acting as advocates. This description applies to the communications design asso- ● There is a trend towards more professional ciations as well, but less so to the industrial design regulation of the disciplines. associations, which tend to be smaller. All the national Professions or occupations can regulate the standards associations are involved in promotion and in devel- of practice in a number of ways: oping international relationships with like associations. Although there are organizations that primarily ▼ Licensure provides the exclusive right to practise. promote design, many of the professional associations, It is based on a regulatory regime by which only at both the national and the provincial levels, also persons holding the licence are legally entitled to promote design through conferences, awards, or publi- perform any licensed functions. Those who are not cations. The professional associations are also involved licensed can be prosecuted for offering the services in continuing education and in the dissemination of within the scope of practice defined by the licensing information about the professions, to the extent to regime.1 Licensed professions differ from those that which their size and budgets allow. are not licensed by their commitment to acting in the public’s interest. Licences may be administered
CHAPTER 2 • ABOUT THE DESIGN SECTOR 47 48 Ta Canada Designers of Interior Canada Institute of Architectural Royal raiainOjcie ciiisAssociations Activities Objectives Organization b e22 Profile ofNationalProfessional Design Associations le 2-2:
CHAPTER 2• ABOUT THE DESIGNSECTOR IDC RAIC •T •T •T •T •T •T •T •T •T •T •T profession andthepublic information organizational with researchandcommon designers education ofpractising of designers anddevelopment in thetraining in Canada r to theprofession aspirants recognition ofworthy schools andaffiliates withthe active collaboration opment oftheprofession and profession inCanada architecture andthearchitectural broader community basis for by collective the learning substantive documentationasa and recognition ofexcellence, anddebate, for critique practice of architectureandarchitectural inthefield together leadingwork excellence of architectural f inCanada ture anditspractice or thedevelopment andsharing ior designinthepublic interest o provide liaisonbetween the o assistprovincial associations thecontinuing o encourage o assisteducationalinstitutions excellenceofinte- o encourage o promote encouragement and o promoteencouragement o promotetheintellectualdevel- o promoteanappreciationof thatbring o createforums o provide the nationalframework o advancethecauseofarchitec- •T •D • •O • • • •O • • • ethics standardsandcodesof practice nationally andinternationally Canadian designcapabilities, Promote public awareness of designers of architecture recognize excellenceinthefield that Administer awards programs associations with theprovincial in partnership practice, ofarchitectural support in Coordinate anationalprogram andexhibitions conferences, tions, research resultsthroughpublica- anddisseminate emic researchers, andacad- between practitioners research andpolicydevelopment for joint Create opportunities directories and newsletters publications, technical andpractice-oriented books, Publish design-oriented professional exchange and community throughcultural Foster linkagestotheinternational societies andlocalarchitectural associations, provincial schools ofarchitecture, with inpartnership networks Promote localarchitectural national exchanges wo throughconferences, tion sharing andinforma- nity for networking anopportu- which offer members r evelop andpromoteprofessional ain andaccreditinterior r r ganize practice committees, ganize practice ganize symposiaandexhibitions r sos ulctos andinter- publications, kshops, •N • • • • • Council Design Continuing Education andInterior Design Qualifications, National Councilfor Interior Design EducationResearch, Foundationfor Interior Designers, ofInterior Federation International affiliations include International New Brunswick and Nova Scotia, Quebec, Ontario, Manitoba, Saskatchewan, Alberta, Provincial associationsinB.C., nationale desarchitectes andl’Unioninter- Society ofChina, theArchitectural Mexicana, Arquitectos delaRepublica deColegios the Federacion Instituteof American Architects, affiliations includethe International Schoolsof University Architecture and CanadianCouncilof Board, Certification Architectural Canadian Councils, Architectural Committee ofCanadian Newfoundland P NewBrunswick, Quebec, Ontario, Manitoba, Alberta, Saskatchewan, B.C., Provincial associations: EI,Nv cta and Nova Scotia, .E.I., ational Design Alliance ( NDA ) of Canada Designers Graphic Society of Ta raiainOjcie ciiisAssociations Activities Objectives Organization du Québec graphiques des designers La Société Designers Industrial of Canadian Association Architects Landscape Society of Canadian b SDGQ GDC ACID CSLA Profile ofNationalProfessional Design Associations le 2-2: •T and education public service, commerce, industry, design for thebenefit ofCanadian mote highstandardsofgraphic andtopro- designers of graphic andcompetentbody recognized, o secureandmaintainadefined, •T •T •T •T •T provincial associations ICSID of theassociation’s members professional andeconomicbenefit communications designfor the on various issues on various policies formulating members, internationally and expertise information totrade membership o serve asalinkbetween the o serve o promoteandadvance o provide a voice for its o provide a vehicle for the o represent members within o representmembers and the federal governmentand thefederal •P • • • •H • • issues ofnationalinterest Lobby government federal on andindustry ment, govern- profession tostudents, Provide onthe information opportunities Provide professional development professional conduct Adopt andsetstandardsof Promote designtopotentialclients and codeofethics romote professional practice romote professional practice •O •D • • ost exhibitionsofmajorwork • • • •D • •M •A • • International Congresses International non-affiliated members as 1967and1997 such otherinitiatives, Support provincial initiatives Support designers industrial directories and newsletters, Publications, newdesigners mentoring suchas Professional support, Professional promotion and codesofethics standards professional practice for members opportunities andnetworking through seminars Exchanges amongdesigners tions onbehalfofitsmembers development trade International tional reciprocity andinterna- interprovincial tion, registra- Professional accreditation, isseminate information to isseminate information r CHAPTER 2• ABOUT THE DESIGNSECTOR ward programs eveloping andpromoting edia relationsandcommunica- ganize nationalcongressof ICSID cont’d. • • • • • Design Associations ( Design Associations CouncilofGraphic International affiliations include International •A • Designers of Ontario ( ofOntario Designers Association ofRegisteredGraphic Atlantic regionincludingthe andthe Ontario, Manitoba, Saskatchewan, Alberta, in B.C., acrossCanada chapters Thirteen NDA NDA Industrial Designers) Industrial NDA NCDI • • • • Provincial/regional associations International affiliations with International and Quebec scain nBC,Ontario, ssociations inB.C., Quebec City inMontrealand Chapters Architects SocietyofLandscape American affiliations include International provinces andAtlantic Quebec, Ontario, Manitoba, Saskatchewan, N.W.T., Alberta, in B.C., (National Congressof ICOGRADA ARGDO ICSID ) ) 49 Ta ble 2-3: Provincial,Territorial, and Regional Association Infrastructure Jurisdiction Architecture Landscape Interior Communications Industrial Architecture Design Design Design RAIC CSLA IDC GDC ACID
Yukon No association No association No association GDC,B.C. Chapter ACID (only (can be licensed members at large) in provinces)
Northwest No association N.W.T.Association No association GDC, ACID (only Te r ritories (can be licensed of Landscape Alberta Chapter members at large) in other provinces); Architects N.W.T. Architectural Society is not a licensing body
British Columbia Architectural B.C. Society Interior Designers GDC,Vancouver B.C. Industrial Institute of British of Landscape Institute of B.C. Island Chapter, Designers Columbia Architects B.C. Chapter Association
Alberta Alberta Association Alberta Association Registered Interior GDC,Alberta ACID (only of Architects of Landscape Designers Institute North Chapter, members at large) Architects of Alberta Alberta South Chapter
Saskatchewan Saskatchewan Saskatchewan Interior Designers GDC, ACID (only Association of Association of of Saskatchewan Saskatchewan members at large) Architects Landscape North Chapter, Architects Saskatchewan South Chapter
Manitoba Manitoba Manitoba Professional Interior GDC, ACID (only Association of Association of Designers Institute Manitoba Chapter members at large) Architects Landscape of Manitoba Architects
Ontario Ontario Association Ontario Association Association of Association of Association of of Architects of Landscape Registered Interior Registered Graphic Chartered Architects Designers of Designers of Industrial Designers Ontario Ontario of Ontario
Quebec Ordre des Association Société des Société des Association des architectes du des architectes designers designers designers industriels Québec paysagistes du d’intérieur du graphiques du du Québec Québec Québec Québec
New Brunswick Architects Atlantic Provinces’ Association of GDC,Atlantic ACID (only Association of Association of Registered Interior Chapter members at large) New Brunswick Landscape Designers of N.B. Architects
50 CHAPTER 2 • ABOUT THE DESIGN SECTOR Ta ble 2-3: Provincial,Territorial, and Regional Association Infrastructure cont’d. Jurisdiction Architecture Landscape Interior Communications Industrial Architecture Design Design Design RAIC CSLA IDC GDC ACID
Nova Scotia Nova Scotia Atlantic Provinces’ Association of GDC, ACID (only Association of Association Registered Interior Atlantic Chapter members at large) Architects of Landscape Designers of Architects Nova Scotia
Prince Edward Architects Atlantic Provinces’ No association GDC, ACID (only Island Association of P.E.I. Association (members can join Atlantic chapter members at large) of Landscape association in Architects Nova Scotia)
Newfoundland Newfoundland Newfoundland No association GDC, ACID (only Association of Association (members can join Atlantic Chapter members at large) Architects of Landscape association in Architects Nova Scotia)
by practitioners (self-governing) or by government. ▼ Accreditation is the process by which an agency Architecture is the only discipline in the design or association grants public recognition to a training sector in Canada that is subject to licensing. institution, a program of study, or a service that Architects’ acts are considered to be both practice meets predetermined standards. Many post- and title legislation.Thus, the title “architect” applies secondary education programs in the built environ- only to those who have met the admission stan- ment are accredited by the associations, thereby dards (education, experience/training, examination) ensuring that graduates have accumulated specific of the profession and have become licensed.2 knowledge and skills. Accreditation in the design sector is discussed in Chapter 6. ▼ Certification is based on a regulatory regime under which persons with the requisite qualifications Currently, architecture is the only design occupation are certified by a body or an agency as possessing with a Practice Act, meaning that architects must be those qualifications. A certificate is a formal docu- registered or licensed by a provincial association to be ment that attests to the skills, knowledge, and abilities eligible to practise.3 Landscape architects and interior of the holder.The holder may present this certifica- designers in several provinces have been trying to obtain tion to the public as proof of competence.The certi- similar status for many years. In Alberta, some interior fication regime may be administered by practitioners designers are licensed under the Architects’ Act. In fact, (self-governing) or by government. Members of the the built environment design professions in Alberta are profession are granted the exclusive right to use a proposing an omnibus act that would encompass archi- particular name or title. Those without title are tects, landscape architects, interior designers, and urban precluded not from practising, but only from using planners. The new professional act would include defi- the title. Interior designers and landscape architects nitions of title and scope for the professions. in many provinces, for example, are governed by title Discussions are under way to create an omnibus associ- acts, as are communications designers and industrial ation, called the Alberta Association of Architects, designers in Ontario. Interior Architects, Landscape Architects and Planners.
By comparison, communications design is still in the
CHAPTER 2 • ABOUT THE DESIGN SECTOR 51 Licensing regimes prevent early stages of professional regulation. • higher competence and ethical behaviour of practi- people who are not licensed Although there are a large number of tioners through standards for entry and practice; and practitioners, it is not clear that all those in a particular jurisdiction •greater recognition of the distinction between calling themselves communications from practising there, as is design and related occupations. designers have full expertise in design. the case for architects. Recently, the Ontario government The public also benefits because licensing and certifi- passed a bill giving communications cation demonstrate the qualifications of the holder of designers in Ontario professional status. the title and help to ensure that the holder will act in Professional members of the GDC in Ontario are the the public’s best interests. second in the world, after Switzerland, to become Licensing regimes prevent people who are not licensed registered communications designers. The association in a particular jurisdiction from practising there, as is will be responsible for granting qualified communica- the case for architects. Recent initiatives for inter- tions designers the right to use the title “Registered provincial reciprocity are making it easier for archi- Graphic Designer” and RGD.4 Certification should tects to become licensed in provinces other than their provide a means for the public to distinguish between “home” provinces. In all provinces but Manitoba, those communications designers who meet certain architects can be granted a temporary licence to work criteria and standards and those who do not.5 Many in collaboration with a local firm on a particular communications designers believe that certification project. Furthermore, the provincial architectural will enhance the recognition of the communications organizations, through the Committee of Canadian design profession as a field of high standards and Architectural Councils, have signed the Canada/U.S. ethical practices. While the current initiative exists Inter-Recognition Agreement with the National only in Ontario, owing to provincial jurisdiction, the Council of Architectural Registration Boards in the campaign is supported nationally, with the intention of United States. This agreement essentially allows an using the Ontario model. architect registered in Canada to work in the United Only industrial designers in Ontario are covered by a States, and vice versa. A similar arrangement is Title Act. In that province, members of the association currently being negotiated with the United States and may refer to themselves as “Chartered Industrial Mexico as part of the Tri-National Committee on Designers.” No initiatives are under way at this time to Architecture and the North American Free Trade obtain similar status in any other provinces. The Agreement (NAFTA). In comparison, nothing prevents Association des designers industriels du Québec has in U.S. landscape architects from practising in Canada; the past approached the Office des professions du Québec, however, because there is a licensing regime for land- but were not admitted. Table 2-4 summarizes the legal scape architects in the United States, Canadian land- status of designers in Canada. scape architects cannot practise there without becoming licensed by the particular state.
● There is some debate among designers Certification regimes prevent people who are not about the value of professional regulation certified within a particular jurisdiction from using the to the design professions. title granted by the regime there. For example, land- Licensing and certification present both advantages scape architects who are certified in one province and disadvantages for designers. The advantages cannot practise in another province under the title include: granted by the regime in the other province without meeting the qualifications set out by the certifying •greater profile of the profession; body. However, they can practise under another title.
52 CHAPTER 2 • ABOUT THE DESIGN SECTOR Ta ble 2-4: Legal Requirements for Designers in Canada Jurisdiction Architecture Landscape Interior Communications Industrial Architecture Design Design Design
Yukon None None None None None Northwest None 6 None None None None Te r ritories
British Columbia Practice Act Title Act Title Act — None None Registered Interior Designer
Alberta Practice Act Working on Title Act under the None None Title Act Registered Interior Designers Practice Act; Licensed Interior Designer under the Alberta Association of Architects and Licensed Interior Designers
Saskatchewan Practice Act Working on Title Act; applying None None Title Act for a Practice Act
Manitoba Practice Act Working on Title Act — None None Title Act Professional Interior Designer
Ontario Practice Act Title Act Title Act — Title Act — Title Act — Registered Interior Registered Graphic Association of Designer Designer Chartered Industrial Designers of Ontario
Quebec Practice Act Only those Title Act — None None registered in the Certified Interior association in 1973 Designer only for are covered by the Montreal Island and Title Act Quebec City
New Brunswick Practice Act Working on Title Act — None None Title Act Registered Interior Designer
Nova Scotia Practice Act Working on Title Act — None None Title Act Registered Interior Designer
Prince Edward Practice Act Working on None (can register None None Island Title Act in Nova Scotia)
Newfoundland Practice Act None None (can register None None in Nova Scotia)
CHAPTER 2 • ABOUT THE DESIGN SECTOR 53 The protection of the public interest from incompe- In most developed countries, including the “design tent or unethical members of the profession, as well as powerhouses” of Germany, Italy, and Japan, less the issues of public health, safety, and welfare, are professional regulation exists than in North America. motives for licensing and certification. Licensing also In some countries, graduation from an accredited addresses the issue of third-party harm; that is, harm to school is required to practise, as is the case for archi- those who are not party to the transaction between the tects in Denmark and Mexico, for example. In Mexico, practitioner and the consumer. In recent years, the however, education in architecture also includes a year public has become skeptical that their interests rather of practical experience. Professional regulation is more than those of the professions are being served widespread in North America, the United Kingdom, (Manitoba Law Reform Commission, 1994). As a and Australia. Among designers in those countries, result, although more occupations have been seeking usually only architects are licensed, although, as such status, governments have become more reluctant mentioned earlier, landscape architects in the United to grant it. States also are licensed. However, international stan- dards are being established in some professions. For Although professional regulation has many benefits, it example, work is currently under way on a common also has disadvantages. Legislation can be costly to code of ethics for architects practising in the European administer: it requires a regime to develop and to Union. As well, the Union internationale des archi- enforce entry and practice standards, to test applicants, tectes and the National Council of Architectural to receive complaints, to conduct practice audits, and Registration Boards are developing international stan- to hold disciplinary hearings. Less obvious is the cost dards for licensure. to consumers of the regulatory scheme’s intervention in the competitive market. Licensing, in particular, Practitioners, both in Canada and abroad, are split on limits competition by reducing the number of practi- the issue. The U.S. and Danish authorities interviewed tioners who are allowed to offer that service to the for the study suggested that superior academic qualifi- public. Certification, however, does not have this cations and extensive experience are more critical to a effect, since uncertified practitioners are allowed to qualified design sector than is licensing. In contrast, compete with certified persons. Prices likely will be one British study noted that regulations of some kind higher under licensing regimes (Manitoba Law are needed to give the design professions credibility Reform Commission, 1994), though, in the end, the and status: “Without accreditation, quality is open to marketplace will determine how much it will pay for a question, and price remains a critical element in particular service, as architects are well aware. clients’ selection of design suppliers.” Licensing also could hinder the evolution of a profes- sion by creating boundaries between professions. Architects and landscape architects are often prevented from performing certain work, regardless of their competence, because it falls in the domain of engineers.
54 CHAPTER 2 • ABOUT THE DESIGN SECTOR 2.3 DESIGN PROMOTION ORGANIZATIONS
Promotional Strategies within Canada
● New organizations have emerged cross- – forge links between the design sector and the Canada with the purpose of promoting design. business community;
Driven by requests from the design community, several – educate businesses, large or small, on the benefits promotion organizations have sprung up to promote of working with designers; awareness of design among the business community – stimulate a design culture in the province; and other potential users. These design promotion organizations also facilitate interaction among the – identify definitive policies for the government’s design disciplines by offering seminars, exhibitions, role in promoting design. conferences, and design awards programs. Cooperation with other Atlantic provinces is an
The establishment of the Design Exchange and the important objective for Design in Business Nova Institute of Design Montréal indicates that the public Scotia, which recognizes that links between the and private sectors recognize the importance of provinces will help to raise the awareness of design by promoting the achievements of the design sector. Such the Atlantic business community. design institutions play another critical role: they •A group of more than 100 designers from all disci- encourage research on the value-added component of plines, suppliers, educators, and representatives of design to a country’s economy. associations recently formulated a strategy for the design sector in Ontario. The initiative was funded The National Design Alliance (NDA) and its members, design professional associations and promotional orga- by the Ministry of Economic Development and nizations, have contributed to getting the federal Trade and was supported by the City of Toronto. government to include design on its economic agenda. Their efforts culminated in a report, “Design for a Strong Ontario,” which details their vision and the NDA activities have been responsible for numerous initiatives, including this study, the development of strategic directions and initiatives for realizing it. Standard Industrial Classification codes for the design The strategic directions are to: disciplines, and trade development initiatives with the – marshal the resources of the entire design sector Department of Foreign Affairs and International to work together; Trade. – increase the demand for the use of design in Several initiatives at the provincial level have also Ontario; focused on the role of design in economic competitive- - increase the international use of Ontario ness. These include the recently completed reports, designers and design products and services; “Design For a Strong Ontario” and “Use of Industrial Design in Manufacturing in British Columbia.” - develop a more comprehensive and uniform level of professional excellence among Ontario • Design in Business Nova Scotia, a provincial design designers; network, is developing strategies to: - emphasize responsible and sustainable design; - improve the climate for design in Nova Scotia;
CHAPTER 2 • ABOUT THE DESIGN SECTOR 55 – increase design content in other professional The activities of the various organizations have disciplines. augmented the research that helps to prove the economic value of the sector. For example, the Ontario They are currently looking at ways to implement the report includes several case studies that focus on strategy. design’s economic contribution to companies. • Design Now, the British Columbia Design Strategy Table 2-5 provides a brief overview of the promotional Task Force, has involved the entire design commu- organizations drawn from the NDA Member nity as well as clients, business, educators, and all Inventory. levels of government in its strategy to develop and sustain a community that understands the integral Some of the activities undertaken by these organiza- role of design in the economy and in the culture of tions, and many of the organizations themselves, British Columbia. Fifteen initiatives have evolved receive support from the various levels of government. from four working group areas: Although this support has been significant to the orga- nizations, the government’s lack of a comprehensive – design demand; strategy for design promotion leads to inconsistency in – design capabilities; the way funds are applied from one year to the next – design export; and across organizations.
– universal, socially and environmentally respon- sible design (USER).
Promotional Strategies in Other Countries
Many industrialized countries have instituted strate- ▼ Centrist — where the national government plays gies for promoting design. However, there is no an important role in determining and implementing universally preferred model. Each strategy combines economic policy in cooperation with industry. The programs and initiatives that reflect the country’s poli- design policy of Taiwan is a good example. tics, economics, and culture. This fact is significant ▼ Devolved — where there is no national policy on when analyzing existing national design strategies and design, but where a government or paragovern- even more important when developing new ones. mental agency plays a role in promoting design. Most John Heskett, the pre-eminent British design histo- European design councils or centres fall into this rian, has studied national design policies. His research category, including those of Denmark and France. led him to conclude that there are four basic models: ▼ Indirect — where a government implements laws, ▼ Statist — where industry is owned by the national rules, and regulations for the benefit of the general government, the design policy is created and imple- public, and design, like any other sector, is responsible mented by a central government authority, and for its own survival. The United States and, to a customers/consumers have no voice in the market certain extent, Germany are examples of this model. place.The design policies of the former Soviet Union Canada is on the cusp of the devolved and the indi- and the former Eastern Bloc countries exemplified rect models. the statist model.
56 CHAPTER 2 • ABOUT THE DESIGN SECTOR Ta ble 2-5: Profile of Design Promotion Organizations Organization Objectives Activities Associations
Design •To advocate design as a category • Corporate programs and • 1,800 DX members composed Exchange (DX) of new value services, e.g., product launches, of designers, design associations, business seminars, exhibits businesses, industry associations, •To celebrate the far-reaching suppliers, general public value of design both economically • Professional programs and and culturally services, e.g., lecture series, • Links with design promotion continuing education seminars, centres internationally •To operate as a catalyst between design shows, in cooperation business and designers • Group for Design in Business with design associations •To serve as a resource to •York University, • Public programs and services, business, designers, and the University of Toronto e.g., lectures, exhibitions, public public school outreach • NDA • Canadian Design Directory • Resource Centre • Secretariat, Ontario Design Strategy Steering Committee
Alberta Design •To integrate the needs of the •Alberta Design Week 1991 • Calgary- and Edmonton-based Works7 design industry, its suppliers, industrial, interior, and communi- •Prairie Region Meeting on Design clients, educators, government, cations designers; architects, Mobilization, 1993 and the public landscape architects, and urban • Designet project: provincial planners; fashion designers; •To create awareness of design electronic network to serve the suppliers; businesses •To promote the design sector design and related sectors • Advanced Technology Centre •To network design, markets, and • Designer demonstration project: (Edmonton) community community health-care design • NDA forum •To improve quality of life through design
Design in •To demonstrate the effectiveness • Spearheading development of the • Professional design societies Business of design to the business sector Nova Scotia design strategy of Nova Scotia, and related Nova Scotia and to government associations •Design management seminars •To demonstrate the quality and in cooperation with Dalhousie •Nova Scotia College of Art and availability of Nova Scotia design University Design (NSCAD), Design and expertise in all fields to customer/ Craft divisions • Public policy development: consumers of design N.S. and local government •Technical University of Nova in Nova Scotia procurement projects Scotia (TUNS), Faculty of •To encourage communication Architecture • Outreach to other Atlantic and interaction among design provinces •Nova Scotia Designer Crafts disciplines Council (NSDCC) •To provide recognition to the • Dalhousie University Faculty general public of the benefits of Management of design in life today •Nova Scotia Research Foundation •To promote design education at all levels and to improve the • NDA education of designers
CHAPTER 2 • ABOUT THE DESIGN SECTOR 57 Ta ble 2-5: Profile of Design Promotion Organizations cont’d. Organization Objectives Activities Associations
Design British •To encourage recognition of and • Biennial public Design Week •B.C. Manufacturers’ Association Columbia participation in design to enhance • “Design the Future”: public • Greater Vancouver Regional quality of life school project, including teachers’ School District •To build awareness of design as resource kit and video, school • The Knowledge Network a key factor for business success outreach • Simon Fraser University, •To foster design excellence • Industry Champion pilot project Emily Carr Institute of Art and through education and research with B.C. Manufacturers’ Design, UBC Association (BCMA) (first phase •To initiate design strategies and produced study of design use •Vancouver Art Gallery, Science policies with government and by B.C. manufacturers) World,Vancouver Museum, industry Vancouver Public Library •Information centre •To advance cooperation and (Design Weeks) interaction within the design • Design Now Council, B.C. community • NDA
Liaison Design8 •To increase the demand for • Design capabilities database • Institute of Design Montréal (Quebec) professional design services in (Internet site to be launched fall • Quebec-based business and three specific design sectors: 1996), includes detailed portfolios manufacturing associations interior design, graphic design, of Quebec industrial, interior, and and industrial design communications designers • Sous-Traitance Industrielle Québec • Design advisory services, business–design liaison • Quebec industrial commissioners, City of Montreal Economic • Industry promotion: industry Development roundtables, seminars, trade fair promotion, case studies, industry • NDA newsletter, video and brochure
The Group •To increase the competitiveness •Financial Post Design Effectiveness • Design Exchange for Design of Canadian businesses through Awards • The Financial Post in Business the promotion of design effec- •Financial Post Magazine Awards (Ontario) tiveness • NDA Supplement • Design Effectiveness Awards exhibit and seminars, in coopera- tion with the Design Exchange
Institute •To create a design culture • Program to Stimulate Applied •Liaison Design of Design Research in Design •To promote design as an • Le Devoir Montréal economic tool • IDM Foundation •L’actualité magazine • To stimulate designer activity • Design Internship Program • TVA locally and internationally •IDM Design Awards • International network of design (L’actualité magazine supplement; promotion centres TVA broadcast awards night; awards exhibition) • ICSID (promotional member) • Local and travelling exhibits • NDA • Le Devoir “Les Cahiers de l’IDM” • Reference centre
58 CHAPTER 2 • ABOUT THE DESIGN SECTOR Ta ble 2-5: Profile of Design Promotion Organizations cont’d. Organization Objectives Activities Associations
Forum Design •To represent the design profes- •Policy development and • Quebec professional design (Quebec) sional milieu, particularly those government advocacy associations active in the Montreal region, • Study of the socioeconomic •NDA to all parties having a real or impact of Quebec design, 1994 potential impact on design development • Spearheaded proposal for the development of a Canadian •To support the efforts of the WWW site various design disciplines in the interests of professional development
Virtu (Ontario) •To provide a forum for new • Virtu Design Awards • Professional design societies, design in Canada and Canadian design firms, designers, suppliers, •Print and CD awards publications design internationally general public • Local and travelling exhibitions •To create public awareness of design • Virtu retail store at Harbourfront, Toronto •To promote greater dialogue among design disciplines •To help to bridge the gap between the design arts, industry, and the general public •To develop wider recognition of designers and design issues
Any design strategy must in some way reflect the polit- Table 2-6 summarizes the context for design strategies ical context of the country in question. For example, a of many countries, including Canada. centrist model, such as the one found in Taiwan, would The international interviews reinforced, in a more be inefficient in an indirect national context, such as anecdotal way, the information gained from the litera- that of the United States. ture review. For example, it became clear that for those Context applies equally to culture — in the anthropo- countries falling into the centrist model, the govern- logical sense — and to economics. A culture in which ment worked in concert with industry and design. the citizens share more or less the same belief systems, Taiwan is probably the best example of this model; mythologies, religion, and language (say, Japan) the interviewee noted that well over CDN$200 million presents vastly different needs in terms of strategy than will be invested in three five-year plans for design does a multicultural society (Canada or the United promotion. States, for example). The economic context cannot be In the countries in the devolved classification, the ignored. A country that relies on its industry for the national governments continue to play a proactive role major portion of its GNP requires a different strategy in design promotion, although they allow a place for than does one that depends on its natural resources and the private sector. agriculture to generate its GNP.
CHAPTER 2 • ABOUT THE DESIGN SECTOR 59 Ta ble 2-6: Contextual Framework Country Political Context Cultural (Anthropological) Economic Context Context
Japan Centrist Homogeneous Industrial Taiwan Centrist Homogeneous Industrial Singapore Centrist Homogeneous Industrial Denmark Devolved Homogeneous Agricultural; industrial Sweden Devolved Homogeneous Resource-based; industrial Finland Devolved Homogeneous Resource-based; industrial France Devolved Homogeneous Agricultural; industrial U.K. Devolved Homogeneous Industrial Spain From Devolved to Indirect Homogeneous Agricultural; industrial Germany From Devolved to Indirect Homogeneous Industrial Australia From Devolved to Indirect Heterogeneous Resource-based; agricultural; industrial Canada From Devolved to Indirect Heterogeneous Resource-based; agricultural; industrial Italy Indirect Homogeneous Agricultural; industrial U.S. Indirect Heterogeneous Industrial; agricultural; resource-based
• The respondent from Design Forum Finland Germany, once well entrenched in the devolved camp, commented on the success of its designer consul- is turning towards the indirect model. More and more, tancy program, in which nearly one-third of the the German government asserts that design promotion 400 firms visited by a team of designers had should be done by industry. Similarly, the Spanish proceeded to contract some design services. government, until the end of the Franco era in 1975, Furthermore, the Ministry of Trade and Industry was was the principal user of design services. Following now including design in all of its financial support Spain’s successful hosting of both the Summer programs to small and medium-sized industries. Olympics and the World’s Fair in 1992, the government ceased buying design services. While still offering • The French government and private industry used programs to support design, the government believes design services in most of their grands projets, such as that the necessary infrastructure is in place and that the Concorde, the Airbus, and the TGV. As well, the further development of the design sector can be increas- French government initiated some major architec- ingly left in the private sector. Australia, a country tural projects. In all of these cases, the French whose political, economic, and cultural context closely government had demonstrated the value of design parallels that of Canada, has a government that does not by being a buyer of design. believe in actively supporting design, according to the • Similarly, the Dutch government and associated interviewee from Design World magazine. agencies, such as the post office and the telephone Table 2-7 compares the organizational framework for and railway services, make extensive use of design design internationally. Canadian design organizations, and design consultants — to the point that so-called both promotional and professional, were described public design is perceived as a Dutch phenomenon. earlier in this chapter.
60 CHAPTER 2 • ABOUT THE DESIGN SECTOR Ta ble 2-7: International Design Framework Country Funding Design Council/ Design Centre(s) Design Objective Design Promotional (Mission) Assistance Organization
Japan Government and Japan Design International Design To search for con- Information not private sector Foundation (1981); Centre Nagoya structive proposals available Japan Industrial (1992); that will serve busi- Design Promotion CDN$1.8 million ness; to contrive a Organization (1969) per annum; rich, new interface 17 employees between technology and society
Taiwan Government China External Trade Taiwan Design To r aise the level Design Consulting Development Promotion Centre of industrial design Service; commercial- Council (1979); and to improve the ization; sectoral CDN$9.2 million quality, image, and development; per annum; competitiveness extensive training 80 employees; of Taiwan-made programs centres in Germany products and Italy
Singapore Government Singapore Design Design Centre No mention Design Ventures Council; Institute of Singapore; Program Design (1991) CDN$2.6 million per annum; 20 employees
Denmark Government Danish Design Danish Design No mention Design Management Council (1977); Centre (1978); Consultancy no employees; 12 employees; CDN$0.5 million CDN$4 million per per annum annum
Sweden Information not Foreningen Svensk Swedish Industrial To promote good Information not available Form (1945); Design Foundation Swedish crafts and available 14 employees; (1989) design in Sweden CDN$250,000 per and abroad.To rein- annum force the impor- tance of design for competitiveness
Finland Government (80%) Design Forum Finnish Design No mention Funded consultancy; and private sector Finland (1975); Centre (1960); product evaluation; CDN$1.5 million CDN$130,000 per product launch; per annum; annum; private designer selection; 12 employees. company with design information 50 shareholders Finnish Design Council (1979)
CHAPTER 2 • ABOUT THE DESIGN SECTOR 61 Ta ble 2-7: International Design Framework cont’d. Country Funding Design Council/ Design Centre(s) Design Objective Design Promotional (Mission) Assistance Organization
Spain Information not Superior Council of Barcelona Design To provide design Business Advisory available Design (1987); Centre (1973); solutions to the Service Association of CDN$2 million per needs of industry; to Industrial Design for annum; principally improve competi- the Promotion of funded by private tiveness and to the Decorative Arts sector; 12 improve the quality (1960) employees. of life DDI (Madrid, 1992)
France Information not Agence pour la Centre de la No mention Assistance to available promotion de la création industrielle innovation services création industrielle (1969); 10 regional and projects and (1983); design centres Council’s assistance 4 employees; regional funds CDN$1.3 million per annum
United Government The Design Council No (Design Centre To inspire the best None from the Kingdom and six regional use of design by the Design Centre; offices recently U.K., in the world some government closed) context, to improve programs; support prosperity and for research from well-being the Design Council
Germany Government and German Design Fifteen design The promotion of Minimal financial private sector Council (1951); centres, including: design in Germany assistance; 7 employees; Stuttgart (1950); through interdiscipli- consultation and CDN$1.5 million Berlin (1969); nary cooperation documentation per annum Essen (1954); services Munich (1989); Dresden (1990)
Italy No government No government aid No national centres No mention No; some aid under funding for design export assistance
United States No government No (National No national centres No mention NEA design funding Endowment for the programs cancelled Arts (NEA) design programs cancelled)
62 CHAPTER 2 • ABOUT THE DESIGN SECTOR 2.4 POLICY SUPPORT IN CANADA
The Canadian government’s approach appears to have composed of an 1,800-unit condominium and moved from devolved to indirect. commercial complex. In these initiatives, designers and manufacturers worked together to create inter- ● Specific policies related to the Canadian nationally marketable products. design sector are lacking. ▼ The Government of British Columbia has under- For example, the contribution of design, per se, is not taken a similar initiative, with the assistance of the a criterion for consideration in government procure- City of Montreal, for the procurement of furniture ment policies.9 Federal and provincial objectives focus and a wall-lining system for the B.C. Ferry on regional and industrial development, rather than on Corporation’s new fleet of ferries. the design sector; thus, a primary consideration in The visible use of design by government has been selecting designers is price. Moreover, procurement important in developing the design sector in France, processes often do not suit the design development Taiwan, Spain, and the Netherlands, as mentioned process. A recent example was cited of a Crown corpo- earlier. ration asking a short-list of designers to provide, as part of the tendering process, “rough ideas” about how ● The intellectual assets of the design sector they would solve a complex retail strategy and are hard to protect under current intellectual marketing and design problems. When the Crown property legislation. corporation was informed that this amounted to “spec work,” the purchasing agent told the designers to not Copyright protects one-of-a-kind or limited produc- submit drawings, but rather to “just describe your tions and provides automatic protection generally for general ideas and design approach in words — you the duration of the life of the creator plus 50 years. It know — materials, colours, cost, that kind of thing.” applies to all original literary, dramatic, musical, and Regardless of such problems, designers believe that artistic works, including design. The word “original” is government has the potential to lead by example in key in defining a work that qualifies for copyright recognizing and capitalizing on the services of the protection; sometimes originality is difficult to prove. sector. In fact, there are recent examples of govern- Generally, the creator of the work owns the copyright. ment procurement of design. However, for designers who create a work in the course of employment or while under contract, the ▼ The City of Montreal, which has a design commis- copyright belongs to the employer, unless there is an sioner, has been leading the way in public procure- agreement to the contrary (Industry Canada, 1994). ment of design. The city was responsible for the For example, standard contracts for architectural design–manufacture competitions for the Montreal design state that while the client may use the design Casino, which resulted in millions of dollars’ worth of for the purposes of the building or the property for business for the Quebec furniture industry. In which it was commissioned, the client does not own another project, Faubourg Québec, the City of the design. Montreal launched a competition to award a $500,000 contract to a Quebec furniture manufac- Once any design that is deemed to have a utilitarian turer for the design, development, and production of function (any industrial design) is reproduced in a furniture for a new neighbourhood, which was quantity of more than 50, the copyright no longer
CHAPTER 2 • ABOUT THE DESIGN SECTOR 63 Research on design issues applies and the design is covered under ensure effective research and development within provides the basis for many industrial design legislation. Industrial organizations. design legislation protects designs for of the innovative products Unfortunately, support for design by the major their “original shape, pattern or orna- and ideas that contribute to funding organizations in Canada is either non-existent mentation used to adorn a useful manu- or surrounded by prohibitive obstacles. In Canada, a healthy economy. factured article.” Unlike the automatic design is not recognized as a research activity by protection available under copyright In Canada, design is not funding agencies. Design “falls between the cracks,” in legislation, protection under industrial recognized as a research that it is not art, science, or social science, under tradi- design legislation is invoked only when tional definitions applied by funding organizations. activity by funding agencies. designers register their designs. Design- Designers seeking research funds from the Natural protection legislation allows a product to Sciences and Engineering Research Council (NSERC) be registered for 10 years, but the onus is and the Social Sciences and Humanities Research on the designer to register in every country where Council (SSHRC) commented that they had to manip- protection is desired. ulate their proposals to fit the criteria for funding, for Other means to protect designs include trademarks design is not listed as a discipline by NSERC or SSHRC. and patents. Trademarks distinguish the goods or Some architects reported success in obtaining funding services of one person or company from those of through the Canadian Mortgage and Housing another. Slogans, names of products, distinctive pack- Corporation and the Canadian International ages, or unique product shapes are all eligible for regis- Development Agency, but in both cases funding has tration as trademarks. Patents, which can be obtained been cut and some relevant programs have been elim- by registration, protect new inventions such as inated. Few architects have been represented on processes, equipment, and manufacturing techniques. projects funded through the Institute for Research in They do not cover any artistic or aesthetic qualities of Construction (Shadbolt, 1990). The National an article. The costs associated with the patent process, Research Council’s Industrial Research Assistance such as the costs of research, make it difficult for the Program provides funding to small and medium-sized independent designer to afford patents. Once the firms and to industrial associations for R&D projects, invention is patented, the cost of protecting the value where the focus is on innovation. of the patent also can become prohibitive. The R&D tax credit does not explicitly recognize Issues of intellectual property become even more design and design expenditures, except as they relate to problematic in the area of digital transfer and display Scientific Research and Experimental Development information. Designs can be manipulated and repro- (SR&ED) activities and Manufacturing and Processing duced even though they are protected by legislation. (M&P) activities. The tax treatment of design activities Information technology also makes it difficult to and design expenditures is dependent upon the tax control unauthorized use of design. treatment of the activity to which the design activity relates. Design activities undertaken in the support of ● Little funding for design-related projects that demonstrate technological or scientific research is available at either the federal uncertainty are eligible under SR&ED. M&P activities or provincial levels. include “engineering design” performed in Canada, in Research on design issues provides the basis for many connection with M&P carried on in Canada. The of the innovative products and ideas that contribute to profits from M&P may be eligible for tax credits. The a healthy economy. In addition, research provides only province that provides tax credits explicitly for the business models and techniques necessary to industrial design is Quebec. Tax credits that recognize
64 CHAPTER 2 • ABOUT THE DESIGN SECTOR the role of design in research and development could Asia. The RAIC also receives support from the Canada influence the purchasing decisions of smaller compa- Council (for exhibitions and the Governor-General’s nies and could increase demand for all designers. Awards for Architecture) from Industry Canada (for promotion of architecture as a service industry) and ● The lack of public financial support for design from other government agencies and departments. In research may be directly related to the design addition, the provincial governments funded the devel- sector itself. opment of provincial design strategies and continue to First, the design professions have been skill-based, support the regional promotional organizations. with a minimal body of knowledge, reflecting their A similar pattern was found in some other countries, as craft tradition. Second, many design programs are highlighted in Table 2-7. For example: offered by community colleges and other non-univer- • The Design Institute in the Netherlands is funded sity institutions, where research is not part of the by the department of culture of the Dutch govern- mandate. Architecture is the only design discipline ment and is mandated to promote the design sector. with a significant research infrastructure, which includes the schools and the RAIC. • The Norwegian Design Council (NDC) is funded by the government to promote design and to inform With government cutbacks in funding to research, the industry of the benefits. It does this by using the sector may have to look elsewhere for support. The press for publicity, by offering appropriate design Institute of Design Montréal is providing some seminars, and by organizing an awards program for funding for research to designers to work with designers. industry. Like the European Design Centre and the new British Design Council, it is establishing research • In Taiwan, the government has played an important as one of its main functions. Interdisciplinary research role in developing industrial design. Beginning in may provide another means of funding for research; 1989, the Ministry of Economic Affairs (MOEA) designers may benefit by teaming up with other funded three aggressive five-year plans. These plans professionals, whose disciplines are recognized, in were aimed at upgrading industrial design, undertaking interdisciplinary research in areas such as improving the image, and boosting the quality of the environment, culture, and urban history. Taiwan-made products. The Design Promotion Centre (DPC) has been consigned by the govern- ● At the same time, government has ment to implement these plans. Thanks to the provided support to the design sector efforts of the DPC, awareness of the importance of through the promotional organizations industrial design in Taiwan has increased dramati- and the professional associations. cally, and design is now recognized as being key to the nation’s continuing economic growth and Both the Design Exchange and the Institute of Design progress. Montréal, two major design promotion organizations, have received financial support from the federal • Design Centre Singapore, which is the administra- government. The Department of Foreign Affairs and tive arm of the Singapore Trade Development International Trade (DFAIT) provided financial Board, a quasi-government agency, is responsible support to the Interior Designers of Canada to for promoting design. It has organized four highly conduct a study of export opportunities, and to the visible International Design Forums since 1988, as RAIC to promote Canadian architecture and architects well as exhibitions, seminars, and design clinics to in the United States, Mexico, South America, and East educate and to encourage the use of design.
CHAPTER 2 • ABOUT THE DESIGN SECTOR 65 Some governments have gone even further in supporting the development of the sector in their countries:
• By way of encouraging the private sector to use design, the French government has introduced funding programs, which pay up to 50 percent of a company’s cost for services in design, marketing, and quality studies.
• Design Centre Singapore established its Design Venture Program, which gives grants to companies using designers for industrial and packaging design work. Similarly, the Spanish government offers a program to support small and medium-sized compa- nies in developing products through design.
In comparison, in Italy, where the design sector flour- ishes, there is no design council or centre, and no government support of any kind for design.
66 CHAPTER 2 • ABOUT THE DESIGN SECTOR 2.5 CONCLUSIONS
1 Policies specific to the design sector in 3 The professional framework for the design Canada are lacking. disciplines must be addressed.
• Design per se is not a criterion for consideration in •Architecture is well established as a profession. government procurement policies. At the same time, There has been considerable progress in recent procurement processes fail to comprehend the years in defining the other design disciplines, and in design development process. establishing frameworks for recognizing profes- sional qualifications for these disciplines, particu- • Design research is inadequately recognized by the larly in landscape architecture and interior design. research-funding agencies, and research and devel- However, variations in the regimes across the opment tax credits do not explicitly recognize design country can impede the ability of designers in these expenditures, except in Quebec. As a result, the disciplines to set up practice in other jurisdictions. sector lacks a body of knowledge about design. Communications design and industrial design, in •Protection of design is difficult and costly to obtain, comparison, have professional infrastructures in and copyright legislation has not kept pace with Ontario only — models that can be used nationally. technological advances that affect the production Other provinces should move to adopt these and distribution of designs. standards.
2 Although there is increasing support by governments for design promotion, it tends to be ad hoc.
•Provincial governments have supported the devel- opment of design strategies in several provinces and regions. These strategies are aimed at increasing awareness of the design sector in the general public and in the private sector.
• Federal government funding has provided support to many design organizations, including the Design Exchange, the Institute of Design Montréal, and the National Design Alliance.
• Design strategy is a combination of various programs and initiatives, all of which reflect the country’s political, economic, and cultural context. Canada has been moving from a devolved to an indi- rect approach, meaning that support for design will need to come more often from private sector sources. At the same time, consistent policies are required to ensure the continued development of the sector.
CHAPTER 2 • ABOUT THE DESIGN SECTOR 67 Footnotes
1 In some provinces, an architect can provide archi- tectural services only under a certificate of prac- tice — that is, a business licence provided by the provincial association indicating that the enter- prise has satisfied certain requirements.
2 In the case of architecture, the term “certifica- tion” means the process by which a candidate’s educational transcripts are approved by the Canadian Architectural Certification Board. The process does not confer title.
3 Once licensed, an architect can apply for a seal in order to stamp drawings.
4 The bill includes a grandparenting clause (two years, one year before and one year after the Royal Assent, April 25, 1996), which allows any designer with five years of communications design experience and/or education to register for RGD designation. Any designer not qualifying for the grandparenting clause will have to complete an exam administered by the examination board.
5 Although the process being implemented by communications designers in Ontario is a certifi- cation process by definition, the association refers to it as accreditation.
6 The Northwest Territories Architectural Society is working towards a Title and Practice Act. It is not yet in place; thus, architects in the Northwest Te rritories are required to be registered in one of the 10 Canadian provinces.
7 Alberta Design Works was disbanded in April 1996.
8 Liaison Design and the Institute of Design Montréal are merging their activities.
9 In the case of architecture, the federal govern- ment’s Open Bidding System allows for a measure of quality-based selection, including design.
68 CHAPTER 2 • ABOUT THE DESIGN SECTOR CHAPTER3
CHAPTER 4 • THE MARKETING CHALLENGE 69 Canada exists in a global economy. More than many other countries, we depend on export products and globalization. Design, now, is nothing less than table stakes. It is not even a competitive weapon. It is the cost of entry into the global market.
John Tyson,Vice President Corporate Design, BNR (I994)
70 CHAPTER 4 • THE MARKETING CHALLENGE CHAPTER 3 CHALLENGES WITHIN THE BUSINESS ENVIRONMENT
he performance of the design sector is directly linked to the level and nature of T economic activity. The process and end results of design are ultimately about trans- forming materials, spaces, and images, through the application of innovative ideas and concepts, to meet users’ needs. Therefore, the future of design, and the relationship of design to the larger economic system of Canada and the world, is inextricably linked to the changes in the business environment. Business activities pose opportunities for designers. The power of design lies in enabling the achievement of those activities.
Although economic conditions have hindered the progress of the sector overall, many designers are taking advantage of the existing opportunities. Still, the Canadian design sector has not come close to achieving its potential as a creator of wealth. Many opportunities exist, both in Canada and beyond, in which designers can apply their talents. This chapter focuses on the trends in the business environment shaping the design sector.
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 71 3.1 ECONOMIC, TECHNOLOGICAL, AND SOCIAL TRENDS
his section discusses the challenges and the to follow. It assesses the economic and market trends, the T opportunities facing the design sector, including technological advances, and the social and demographic those unique to particular sub-sectors and disciplines. It changes affecting the sector. Table 3-1 provides a sets the context for the analysis of human resource issues summary at the sectoral and sub-sectoral levels.
Economic and Market Changes
THE CHALLENGES ▼ Communications designers reported that the recent recession, combined with the advent of desktop ● There is no doubt that the past few years publishing, seriously affected the demand for have been difficult ones for the Canadian communications design services. They noted design sector. that when corporate revenues are in decline, Many of the traditional industries that drive the communications design services tend to be cut. demand for design services were affected severely by With desktop publishing, much of the lower-end the recession and economic restructuring. Many “bread and butter” design work is now done designers reported that their salaries had been cut. in-house rather than being contracted to profes- Even more serious, some design firms had to lay off sional communications designers. Communications people, and other firms closed. In-house design designers have had to create new opportunities for departments faced a similar fate. themselves in a radically different market. ▼ The construction industry, which is a key demand ▼ Demand for industrial design services has been driver for the built environment sub-sector, slow.Traditionally, industrial designers have been tied declined significantly between 1989 and 1994.There to manufacturing, particularly to the design of office have, however, been a few notable exceptions; furniture, toys, and plastic, automotive, and house- Vancouver, for example, has been enjoying a hold products — all areas affected by the recession. construction boom. But generally, governments and The market in Canada for industrial designers is corporations are not building to the extent they limited at the best of times because of the relative were in the 1980s. In part, this decline has resulted small-scale and branch-plant nature of manufac- from the slowdown in the Canadian economy and turing in the country. Canadian manufacturing the oversupply of commercial and residential space companies tend to have limited volume and fewer built in the mid 1980s. It has also been a result of a economies of scale. Design is perceived as a luxury. shift in corporate philosophies. As one architect Many manufacturers either get their products and noted, “Building buildings as a way to signal identity designs from other divisions of their company, if they is no longer acceptable.” The situation has also are multinational, or “knock off” designs from resulted from changes in government social and competitors in other countries. economic policies and priorities; for example, from the rationalization of health-care services.
72 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT Ta ble 3-1: Summary of Challenges and Opportunities Sector/Sub-sector Economic and Market Challenges Opportunities
All Design1 • Increasing cross-border and global competition •Growing industries domestically and internationally •Traditional markets in decline •Penetrating traditional markets further •Lack of marketing and exporting expertise to •Developing multidisciplinary networks to provide full compete internationally service • Increasing client expectations for wider range of services
Design of • Decline in domestic construction industry • Increasing activity in renovation, restoration, and the Built reclamation, and downtown revitalization •Positioning designers as prime contractors Environment2 •Developing leisure, recreational, and resort • Restrictions on practice complexes •Developing multidisciplinary networks to deal with acts and regulations
Architecture •Increasing competition from U.S. • New service areas, such as commission reports and operations manuals, proposals for financing, • Expense of licensing in additional provinces and design–build, and maintenance in states
Landscape •Decline in grassroots environmental movement • Research-related projects Architecture • Decline in government work in parks development • Reclamation, restoration, culturally sensitive design, cultural re-creation •Developing profile in the area of sustainability
Interior Design • Strengthening image •Consulting to organizations in the effective use of space for mobile workforces, and in productivity • Shoring up position in the marketplace relative improvement through occupational health and to architects safety and ergonomics • Disposal of potentially hazardous furnishings, such as carpets • Leasing and real estate advice, merchandising, relocation and facilities management
Communications • Competing with audio-visual and information tech- • Multimedia, web sites, interactive kiosks Design nology sectors for work in new-media markets •Emerging electronic media market •Production of materials for TV, film, and interactive media •Assisting Canadian economy to adapt to information economy
Industrial Design • Limited demand because of small-scale and • Decentralizing of the design function by some branch-plant manufacturing in Canada multinational corporations • New service areas in marketing research and business planning •Growing markets in plastic products, surgical and medical equipment and supplies, and household equipment
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 73 Ta ble 3-1: Summary of Challenges and Opportunities cont’d. Sector/Sub-sector Technological Challenges Opportunities
All Design • Absence of entry-level positions for young designers • Access to international markets and clients •Managing implementation and utilizing technology to • Providing better and faster service its potential • New ways of working with clients • Staying current • Creating new products and services • Managing client relations and expectations • Virtual production of designs • Reducing costs (both design firms and their clients) • New market opportunities in technology-related fields
Design of • Increasing expectation by clients for lower fees • Increasing responsiveness to clients’ needs the Built through digitized information • Manual operation of most of construction industry Environment •Further advances in CAD technology • Computerization of mechanical systems of buildings
Communications • Revolutionary change in production technologies • Digitized communications Design
Industrial Design • Revolutionary change in design and production • Reducing time-to-market processes
Social and Demographic Challenges Opportunities
All Design • Saturation of landfill sites with products and •Life-cycle costing, adaptive use, and recycling materials • Universal design of products, communications, • Increasing pressure to consider the needs of persons and spaces with disabilities and an aging population •More culturally diverse population with different needs
Design of the • Concern over waste of materials and energy in build- • Energy audits, and retrofits Built ings and effects on environment •Environmental impact assessments Environment • Corporate downsizing reduces need for office • Office designs for mobile workforce and buildings home offices
Communications • Public concern over proliferation of signs and • Communications products to address visual Design billboards pollution concerns
Industrial Design • Public concern with landfill sites and material waste • Developing environmentally friendly products and packaging
74 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT At the same time, falling trade barriers and the United States.) It also results from new delivery increasing ease of cross-border and cross-national modes, such as design-build, construction and practice are signalling a potential for increased compe- project management, which have changed the tradi- tition. Interviewees reported that U.S. architectural, tional role of architects on building projects. landscape architectural, and communications design ▼ One of the biggest challenges facing the interior design firms are working in Canada already and competing discipline is to change its image. Many prospective against Canadian firms in competitions. With the clients think of interior design as only the embellish- North American Free Trade Agreement (NAFTA) ment or decoration of a space. Although more opening the doors for government procurement of prevalent within residential design, the perception is services from the United States and Mexico, competi- also common in relation to commercial spaces. tion will increase for all areas of design. Public education needs to focus on the problem- solving process used to create a successful interior. ● Moreover, each sub-sector is grappling with specific market challenges. ▼ Landscape architects have had difficulty posi- tioning themselves to play a significant role in Built Environment sustainability design. Engineers, whose main work formerly involved the design of infrastructure, are Positioning designers as the choice for prime now involved in developing “greenways”; that is, in contractor is a challenge the sub-sector needs to finding other kinds of uses for streets. Unfortunately, address. Many built environment projects go forward regulations have brought about this development. without the participation of professionals in the sub- People tend to regard certification as an indication sector; one interviewee indicated that more than of competence.Thus, as an example, engineers may 90 percent of building construction in Canada does not do grading even if they are not trained for it, while involve architects. Clients often use the capabilities of landscape architects, who have been trained, cannot contractors and engineers to realize these kinds of do it because they lack the certification. projects, with engineers, primarily civil engineers, playing the biggest role in shaping the built environ- An overall challenge for landscape architects is to ment. As one interviewee noted, “Their way of overcome the marginalization of the profession that thinking about the built environment is institutional- has occurred because other professions have been ized in regulations and legislation.” more effective at marketing their services.
Challenges specific to each discipline within the built Communications Design environment sub-sector include: Because printing was, at one time, the only means of ▼ Architects have a positive public image.They enjoy distributing communication and information in the significant media coverage, and their clients generally business environment, it was associated with graphic have a high regard for what they do. Nevertheless, design. Now that electronic commerce is being put of all the design disciplines, architecture has suffered into place, business-to-business communications and the most in recent years. Architects have had business-to-consumer communications will move from tremendous difficulty developing new markets. In paper to screens. A new market is emerging, part, the problem results from the licensing regimes completely undesigned at present, in which communi- that govern the practice, which vary by province. cations designers need to place themselves. (A recent national initiative makes it easier for archi- tects to work anywhere in Canada and even in the
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 75 Industrial Design housing, in telecommunications, and in specialized
The primary challenge for industrial designers remains transportation such as mass-transit systems, the snow- to develop awareness in potential clients of the value of mobile, and short take-off and landing aircraft, already industrial design. Industrial designers noted the low has demonstrated the commercial impact of context- use in Canada of industrial design services by manu- specific design on the international marketplace. facturing companies. The study on the use of indus- Canadian designers are leveraging these competencies trial design by manufacturers in British Columbia in the design of: showed that of the 497 manufacturing companies • leisure, household, communications, and health- contacted, only 52 (about 10 per cent) were users of care products; industrial design. An aggressive marketing tactic being • new-media and wayfinding systems; used by some industrial designers is to ask for a royalty on the sale of the product they design rather than, or • multi-use facilities, including malls, leisure and in addition to, a fee for the design. tourism facilities. Consequently, Canadian designers are in an excellent THE OPPORTUNITIES position to take advantage of growing opportunities around the world in industries such as telecommunica- ● Despite the uncertainty of the prevailing tions, communications and entertainment, retail, economic and market conditions, Canadian and tourism. designers are uncovering numerous ▼ The next four years should see continued growth opportunities. and change in world telecommunications and in Many designers noted that clients are expecting design telecommunications infrastructure. The well-estab- firms to provide an ever-wider range of services. lished marriage of communications and computing Designers are marketing “complete design services,” will continue to move us towards the kind of inter- even if that means developing and managing a multi- active, multimedia services that we associate with disciplinary team on behalf of the client. A potential the information highway.This scenario bodes well for opportunity for designers exists in partnering with the communications design sub-sector, with its management consulting firms to provide full-service expertise in new-media design. consulting in the area of strategic performance Wireless communications will continue its rapid improvement. As an example, Price Waterhouse’s expansion (Financial Times, 1995).Wireless and long Change Integration® methodology includes an assess- distance, and, soon, local telephony will place a new ment of the organization’s communication strategies emphasis on design — cost, appearance, size, and and facilities, as well as the design of communications functionality — as competitive factors. In handset plans and of facilities to support organizational change. design, size and ease of use are critical. Meanwhile, as The expertise of designers is necessary to fulfill these governments recognize the link between telecom- requirements. In this regard, design is a function that munications and development, the developing world will help businesses make performance breakthroughs. is becoming a “holy grail” for the global telecommu- The expertise that Canadian designers have in devel- nications industry (Financial Times, 1994). The oping environments and products for extreme climates assumption is that wireless will be serving much of and a dispersed population has potential market value the developing world, where the need is for cheap, around the world. Canadian experience in R2000
76 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT basic, and reliable handsets. This prospect poses bracing themselves for the biggest threat of all: significant opportunities for Canadian industrial American retailers on their turf. Several U.S. retailers designers with their reputation for designing are here already, and more will be arriving telecommunications products. (Management Horizons, 1995).
The Canadian telecommunications sector will On the one hand, this prospect presents limited continue to hold opportunities for communications opportunities for Canadian designers. Generally,these designers and industrial designers. Revenues for retailers have standard layouts that require little in the the Canadian telecommunications equipment and way of local design services, other than advice on service market are projected to increase over the local regulations. On the other hand, Canadian next few years, with a compound average growth retailers will have to shape up to compete. For rate of about 5.4 percent (Frost & Sullivan, Inc., 1994). example, Hudson’s Bay Co., the T.Eaton Co., Canadian Tire, and Shoppers Drug Mart are spending more ▼ The U.S. market for communications and entertain- than a billion dollars to sharpen their image (Ottawa ment products presents tremendous opportunities Citizen, 1995). However, the greatest opportunities for Canadian communications designers with exper- for designers who work in the retail sector, especially tise in software, and for industrial designers with designers of the built environment and communica- strengths in leisure and entertainment products. tions designers, lie outside of Canada.Their expertise In the United States, consumer spending on commu- in the design of multi-use facilities and wayfinding nications and entertainment products is projected systems will be a competitive advantage. to grow by nearly 7 percent annually until 1999, China and India hold the greatest promise for retail reaching US$323.7 billion.The strongest growth rate development. By the turn of the century, China will will be in interactive digital media, which includes have more than 430 million people between 25 and educational software, video games, and home shop- 34 years of age. By 2010, 1.4 billion people will make ping.This sector is projected to show annual growth up 414 million households. About 20 percent of through 1999 of nearly 20 percent. Growth is trig- urban households in China have radios, 17 percent gered by personal-computer household penetration, have televisions, and fewer than 5 percent have refrig- which is expected to reach 45 percent by 1999 erators. Foreign retailers have recognized the major (Entertainment Marketing Letter, 1995). short-term opportunities for retail development in ▼ Retailers in 2010 will face an entirely new retail land- China: department stores that bring together basic scape. Breakthrough formats will have been devel- goods for an increasingly middle-class population, and oped, and new channels of distribution will be in specialty chains targeted at wealthier segments. By place. New forms of delivery offering greater choice 2010, in the affluent special economic zones, devel- and convenience — for example, electronic shop- opment will shift to category specialization — hard ping — will emerge. Developers need the services goods, soft goods such as clothing, and food. of designers to keep up with the changes. In the twenty-first century, India will become the Competition will be fiercest in the most highly devel- largest consumer market in the world. By 2010, the oped economies in the world, including Canada and population will total nearly 1.1 billion, having “grown a the United States. Canadian retailers, just getting United States” in 17 years.The retail structure is quickly over the shocks of recent years — including the becoming more international, sophisticated, and GST, free trade, and cross-border shopping — are
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 77 impersonal, thanks to increases in geographic and that a thorough analysis be conducted of the political, economic mobility being fuelled by an aggressive trade economic, business, regulatory, and sociocultural envi- liberalization program. If economic reform continues, ronments of the target marketplace. Besides facing India will see significant consolidation and a movement trade and entry barriers, designers may encounter atti- to larger-scale retailing (Chain Store Age, 1993). tudinal barriers towards foreign expertise that can ▼ There are significant opportunities internationally for hamper efforts significantly. As one designer noted, Canadian designers to apply their talents in the devel- “Americans like to deal with Americans.” opment of accommodation and leisure complexes Entering a new market requires considerable precision and in the design of related products. The World in market research, planning of effective organiza- Travel and Tourism Council expects the tourism tional modes and promotional programs, perseverance industry to generate nearly US$8 trillion in output in tracking potential clients and projects, and assess- worldwide by 2005. Real growth in the industry will ments of the competitive environment (Royal climb by 79 percent over the next decade, with the Architectural Institute of Canada, 1987). Because most majority of new spending and jobs in Southeast Asia design firms are small, they do not have the marketing and China. Asia Pacific Economic Corporation and exporting expertise in-house to market their reports that Asian travel and tourism will account for services directly in the international marketplace.3 24 percent of the world travel industry’s market Nevertheless, Canadian design firms have found ways share by 2005 (Korea Economic Daily, 1994). to compensate for this deficit. Some have formed On the homefront, Canada’s tourism industry is project-specific joint ventures with design firms from expected to grow between now and 2000, signalling the particular international market, while others have potential opportunities for designers in the built envi- hired people in the target marketplace to identify ronment, in particular,for those in the development of opportunities. Still others have established networks of accommodation and leisure complexes. The multidisciplinary, international consortia that present economies of many of Canada’s major travel markets “ready-made teams” to potential clients (a pattern also recovered in 1994; in most cases the recovery found in the United States and the United Kingdom). resulted in strong growth in travel to, and spending in, Finally, some firms have been successful in establishing Canada. The weak Canadian dollar has also boosted branch offices in other countries. Ultimately, different travel to Canada, especially from the United States, strategies may suit different firms, different countries, Europe, and Japan. Overnight travel from the United and different design situations. States is expected to increase annually by about 3 •Yabu Pushelburg, an interior design firm in Toronto percent from 1995 to 2000. European visitors, partic- with significant overseas work, reported that in ularly those from the United Kingdom, France, and Taiwan and Japan the firm works with affiliate Germany, are projected to increase visits to Canada at design companies. The role of the affiliates is an annual growth rate each of 4.2 percent, 9.4 administrative. They flag problems at the site, percent, and 7.1 percent. Travel from Japan is provide translation services, and provide knowledge expected to grow at a much stronger pace, with an of the culture and of local building codes. average annual percentage increase of 10.4 percent to the year 2000 (Industry Canada, 1995). • Gad Shaanan Design Inc., an industrial design firm in Montreal, has a branch office in Chicago that is Taking advantage of international opportunities responsible for marketing in the United States. The requires a major commitment of scarce resources, firm also has an association with a design firm in significant research, and extensive planning. It requires Taipei; each firm provides the other with leads, and
78 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT they collaborate on some projects. All design work is renovations and conversions is projected to account done through the Montreal office. for a sizable majority of demand in the residential markets, while investments in office buildings, hotels, • Smith Carter, an architectural firm in Winnipeg, is and factories are forecast to account for 40 percent developing a number of partnerships in various of non-residential market activity. Though markets. For example, it is associating with a firm in contributing very little to total demand in the non- Mexico to develop opportunities there, and is residential market, construction of mines is expected exploring an opportunity to work with a large to grow at a significant rate (Indian and Northern design–build firm in Japan. Affairs Canada, 1995).
● Even more opportunities exist for each of the The regulatory framework for construction in Canada, sub-sectors specifically. which is often criticized as cumbersome and overly bureaucratic, has in some instances created work for Built Environment the sub-sector. Planning approvals for projects often
Future markets and services for the sub-sector will require developers to provide documentation, relate closely to society’s changing needs and to including technical information, about environmental changing economic conditions. Opportunities will impact, service, and urban design issues. These become available in the revitalization, renovation, and submissions, and related testimony before committees restoration of the existing stock of buildings. In fact, and boards, are often prepared by designers in this designers of the built environment have seen increased sub-sector. activity in recent years in renovations; in conversions Some firms in this sub-sector are finding ways to deal of buildings from one use to another (for example, with the various acts and regulations that govern their from commercial to residential buildings); in leisure work by joining with other professions to develop ideas and recreational facilities; and in the restoration of and practices. heritage sites and wetlands. Designers also pointed to • EDM Ltd., in Halifax, is one example. Combining opportunities in waterfront development and down- landscape architecture, engineering, and real estate town revitalization. As members of the baby-boom development, the partners bring a unique perspec- population age, additional opportunities may arise tive to the resolution of land problems. The fact that through the development of leisure, recreational, and 30 percent of EDM’s work is in areas where no other resort complexes. firm is working is in part the result of having an Although many designers are skeptical about the future engineer’s stamp. of the construction industry, 1994 saw a reversal of the • Smith Carter, in Winnipeg, has established a downward trend in construction revenues that charac- building-enveloped division to address changes in terized the previous four years. building usage and technology. New opportunities ▼ Total demand in the Canadian construction market have resulted from the firm’s expanded capabilities. is forecast to grow at an average annual rate of 4 Specific opportunities for each discipline in the built percent over the balance of the decade. A significant environment sub-sector include: share of this demand will occur in residential and ▼ commercial buildings, and in new oil and gas and Architecture — Architectural practice has been electric-power structures. Increases in commercial evolving into new service areas. Among the oppor- buildings will outpace those of any other major tunities noted by interviewees are: developing structure type. New construction involving major commission reports and operations manuals; helping
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 79 clients structure proposals for financing; facilities plan- ▼ Landscape architecture — Landscape architects ning and management; maintenance, project manage- are becoming more involved in research-related ment, and building inspection; energy audits; retrofit; projects, including landscape research, archaeological and community revitalization. Architectural students investigations, restoration, landscape as part of the recognize that opportunities exist where professional healing process (in cases of physical and substance accreditation is not necessary — for example, as abuse), and re-creations of natural environments architecture critics. such as wetlands and habitats. Government environ- mental policies have created opportunities for land- Energy management is a growing concern in scape architects in environmental impact Canada.The Federal Building Initiative, which focuses assessments and in the reclamation and decommis- on the retrofiting of federal government buildings to sioning of mine sites.This latter area is experiencing conserve energy, holds potential for architects. This increased activity: worldwide, 1995 saw an increase field will offer opportunities for research and for the of 21 percent over 1994 in mineral exploration application of that research to design activities and activity; and exploration spending in Canada was up products. The epidemic of sick buildings in Canada by 17.5 percent in 1995 over 1994 (Northern and elsewhere also offers opportunities, but archi- Miner, 1995). Over the 1996-98 period, more than tects will have to compete with other professionals 30 mines are expected to open in Canada. All new such as engineers and contractors. sites will require an environmental impact assess- ▼ Interior design — The glut of corporate and ment as well as a decommissioning plan, including commercial space has provided interior designers reclamation activities. About 10 mines will close in with opportunities. Economic conditions have led to 1997 and 1998, and a few more each year from increased corporate moves as clients downsize, relo- 1998 to 2000 (Natural Resources Canada, Minerals cate to smaller or less expensive space, or renovate and Metals Sector). and reorganize space. Building owners are trying to Market opportunities are developing in the use of keep tenants, or to lure tenants away from other artificial wetlands to treat waste water, in the rehabil- properties, by offering interior design services. itation of the environment, and in the retrofitting of Designers also noted the tremendous work to be communities to meet the needs of aging populations. done in low-rise renovation. First Nations are opening up as a market for design Interior design services are expanding. Increasingly, services; an example is the integration of cultural and interior designers are being asked to provide leasing, historical elements into on-reserve housing. This real estate, and merchandising advice. Facilities service of helping to re-create a culture can extend 4 management opportunities are expanding. And to rural, northern, and ethnic communities. To there are growing opportunities for interior designers provide such services effectively, however, landscape in occupational health and in ergonomics, as well as in architects will need a knowledge of these cultures. asset management. Growth in the health-care sector Other opportunities are in park renovations for is providing interior design work, with the focus different uses; heritage landscape (landscape archi- shifting from hospital care to a broad range of facili- tects report that this area has hardly been touched); ties, particularly those for the elderly. Barrier-free tending of aging vegetation; tourism; and finding of requirements are becoming more rigorous, providing ways to get people into the landscape without an opportunity to refit spaces.These trends will affect devastating it.There are also increased opportunities the makeup of interior design firms, spawning more in the “middle” landscape — the edges of the urban multidisciplinary firms or alliances among firms centre. Students in the landscape architecture covering the range of expertise.
80 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT program at the University of British Columbia noted media. As the Canadian economy makes The two disciplines of soft- opportunities in ecology and forestry. the transition to an information ware and communications economy, communications designers design must rapidly learn to Communications Design will need a large part of this new base of work together; it is a matter knowledge. The traditional graphic design work — designing for of staying competitive. paper — will continue to play a significant role in the New technologies are presenting future of many communications designers. However, communications designers with ex- the primary growth area for communications designers panding opportunities to practise and is in designing for screens. use their skills. The tremendous growth in the entertainment field and the production of materials for Advances in information technology have increased television, films, and interactive and other media are the demand for services in the sub-sector. areas where many communications designers have Communications designers have expertise in commu- successfully found exciting and remunerative work. nicating messages through various visual media; some designers are exploring the development of communi- Finally, communications designers are becoming cations tools using new technologies such as multi- involved more with their clients at the strategic level, media, web sites, and interactive kiosks. designing communications programs and monitoring communications materials to ensure corporate objec- The information economy presents major opportuni- tives are being served. ties for communications designers. The opening up of the electronic-media market and the need for visual Industrial Design and information design expertise create an increased demand for design services. Huge new markets are A trend that may have a beneficial influence on this taking off in networks, new media, and the information sub-sector is the move by some large multinationals, highway, bringing new software interface and screen such as Xerox, to decentralize their design function. layout as a result of expanded capabilities of computer Such a trend may present opportunities to Canadian graphics displays. But the field is so young that business industrial designers if they can meet the standards that processes are still evolving and contacts are only just these companies require. being made. The audio–visual and information tech- Some industrial designers are expanding their services nology sectors are also interested in controlling these with a view to adding value at the front end of the new areas. If communications designers don’t react design development process. For example, some quickly, they will find themselves working as subcon- designers provide marketing support and business plan- tractors rather than as promoters and producers. ning to clients who have little capability to develop the Major software companies are starting to integrate appropriate strategies to market their own products. designers into the process as early as possible. Some • Gad Shaanan Design Inc., in Montreal, is one such types of software are being presented to investors as example. As part of its value-added approach, the storyboards of screen designs before even a single line firm also conducts market research to test new ideas of code has been typed. The two disciplines of software for clients. and communications design must rapidly learn to work together; it is a matter of staying competitive. • Kerr Keller Design Inc., in Toronto, has established Designing for electronic media is a significantly new a wide range of clientele and product types in an area of expertise for communications designers, and attempt to recession-proof its company. The firm design education has been slow to adapt to these new provides full service, from concept and production
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 81 through to distribution if necessary. To cut costs and Electronics, healthcare, and household products are increase competitiveness, Kerr Keller focuses on the key end-product markets that will lead the reducing the cycle time from concept to market. growth in coming years (Plastics News, July 1995).
•Kruger International (KI), in Pembroke, Ontario, in Increasing recycled-content legislation in the United an attempt to win a major client, re-created one of States, improvements in recycling technologies, and the target client’s store aisles and placed KI’s own further product and applications development are products on the shelves. The firm was able to show among the major factors that will contribute to a the target client how KI products would fit in with forecast 13 percent per year growth in U.S. demand other product lines. for recycled plastics through to 1998. Packaging uses will remain the largest market for recycled resins, Worldwide markets in health-care products and plastic based on consumer demand for environmentally products present significant opportunities for indus- friendly packaging and more cost-effective technolo- trial designers. As well, the outlook is positive for gies that allow the closed loop recycling of materials Canada’s office furniture sector. in the food and beverage industries (Eco-Log Week, ▼ The worldwide market for healthcare products will February, 1995).This scenario suggests opportunities continue to expand over the next several years, for partnerships between industrial or communica- although at a more modest pace than in the past. tions designers and landscape architects. Landscape Growth in total sales of healthcare products will architects would bring a knowledge of the impact of average 4 percent per year until 1997, to just over materials on the environment at every stage, from US$380 billion. Medical devices and equipment will inception to the landfill site. be the fastest-growing sector overall; sales will ▼ Canada’s office furniture sector has been declining expand 10 percent per year, to $68 billion in 1997 since the mid 1980s, but with the decline in the (Decision Resources Inc.). This expansion will Canadian dollar the sector is starting to recover.The provide opportunities for industrial designers. outlook for the remainder of the decade is ▼ Recent data indicate that the Canadian plastics favourable. Growth in the white-collar, service- industry is in full recovery. Over the 1995-2000 producing sectors will probably continue and should period, shipments are expected to grow at an annual help maintain the demand for office furniture. Also, average rate of 6.7 percent (Society of the Plastics as conventional furniture is replaced, the increased Industry of Canada). Many members of the society use of systems furniture should affect sales. Systems predict that shipments will double in size by the year furniture and computer furniture will capture a 2000, partly through boosts in exports (Plastics growing proportion of the market. Furthermore, the News, January 1995). Such growth signals opportu- home office will provide significant growth potential nities for industrial designers in plastics products and for furniture manufacturers, with an emphasis on packaging. products that are low-priced and ready to assemble. Continued growth in the U.S. plastics industry is Knock-down furniture is also gaining a foothold in expected in the short term, although it will be the commercial market (Ontario Ministry of slower than in recent years. A report by the Economic Development and Trade, 1993). Livingston equipment financing company predicts 5.3 percent, 6.9 percent, and 5 percent growth in 1996, 1997, and 1998 for real plastics shipments.
82 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT Technological Changes
● Technology has changed the work in the even to computers) working with templates or rule- design sector. based systems prepared by designers who can design processes. By all indications, the most significant technological impact for the design sector is computer technology. Built Environment It is transforming the world from word-centred to image-centred (Newman, 1994). ▼ Computer technology has changed the way that construction documents are prepared. Many labo- Many of the traditional skills that were once at the rious and repetitive tasks have been eliminated, heart of the design process have been replaced by resulting in fewer hours required for certain parts of computer technology. Entire job categories in the the design and documentation process and a corre- sector, such as draftspeople and paste-up artists, have sponding expectation by clients of lower fees. At disappeared, or the roles have changed significantly. In the same time, clients are demanding greater detail an automated architectural office, 20 people can do the and are more likely to ask for changes, which are work that formerly required 30 architects. made easier by the technology. The level of detail These changes have affected the training and internship and the number of changes that designers are asked process in the sector. Traditionally, after graduation, to make to designs can add hours, and clients often young designers entered the profession by performing are less quick to appreciate the time required to some of the more basic tasks in the design process. make changes. Architects, for example, drafted and copied drawings. The precision of detail is also adding pressure to the Communications designers did layout or paste-up designer’s responsibility. Previously, contractors knew work. Industrial designers developed models. The end that even if something was not clearly written, they result of this automation is the absence of many entry- had to make provisions to complete the tasks level activities and jobs for young designers. according to general principles. Now, with more For the most part, designers still develop the concep- detailed documents coming directly from CAD tual design by hand. Further development of the systems, less opportunity exists for interpretation, design is performed on computer. Where technolo- putting more responsibility on the designer. gists were once employed to develop drawings, designers are now more likely to perform that work. Communications Design Designers in the built environment sub-sector ▼ reported less of a need now for architectural and land- The very basis of communications design has shifted scape architectural technologists. At the same time, in the last 25 years as a result of new technologies. with increasingly complex information systems, The originator of the communication often “designs” hardware, software, and document management the message. Although communications designers requirements, many design firms have expressed a often dispute the worth of this effort, it is a fact of need for information systems technologists. life in this digital age. It represents both a threat and an opportunity. With information technology and networks, designers will become more involved in process design. There On the one hand, clients may not be willing to pay will always be a part of the market that is close to the for an “expert” to do what they believe a piece of actual production of the final piece, but much of that software can accomplish. The interviewee from function soon will be transferred to non-designers (or Singapore noted that the ability of graphic software
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 83 to do so much “design” work has resulted in a new Telecommunications have had an even greater impact perception of design. “People have begun to think on the day-to-day operations of design firms. Designers that the computer can do design work and, there- who have been in practice since before computers and fore, that everybody can become a designer with a fax machines were commonplace — about nine years computer. It is very difficult to convince people that ago for design firms — suggest that the capacity to the skills of the designer work the computer.” On transmit images via phone lines most affected their the other hand, designers can offer value in strategic practices. Design firms became more an extension of communications, development of templates that use their clients’ operations. The advent of multimedia new technology, and training and monitoring of networks will only tighten this link. Designers will be communications materials to ensure that corporate asked to interact directly with their clients’ databases objectives are being served. and technology: industrial designers will send data from their CAD systems directly to the production plant, and Industrial Design communications designers will relay data to the printer or server at corporate headquarters. ▼ The prototyping process, once a mainstay of indus- trial design practice, has become quick-prototyping,in As designers discussed the impact that technology has which computer-aided processes, such as stereo lith- had on their work and on jobs, they acknowledged that ography, have revolutionized — in time and cost — decisions to adopt technology often are made with the production of models and prototypes (Houlihan, little thought about, or understanding of, the potential 1993).This technique allows designers to “mock up” effects. As a result, software or hardware, for example, ideas and innovations and test them against the are often underutilized. criteria of usability and the ability of the product to satisfy customer needs. By using quick prototyping, ● Staying current with new software and designers can make changes to direction or details hardware upgrades is becoming increasingly before clients have to make major investments in challenging. tooling, construction, or production. This translates Clients are more sophisticated and knowledgeable, and into a significant reduction in time-to-market. they expect design firms to have the latest technolo- gies. Many design firms are small and undercapitalized Technology has changed the working environ- ● and lack the resources to be early adopters of the ment as well, and will continue to do so in the newest technologies. Thus, the larger design firms future. often gain the technological advantage.
Many designers reported that when drawings were Clients often expect computerized drawings or proto- rendered by hand, colleagues frequently stopped to types, even when the drawings or prototypes might not make comments and suggestions while the design was be efficient or cost effective. It is becoming more diffi- in progress. They suggested that the computer has cult to manage clients’ expectations. isolated work in the sense that drawings are no longer so readily visible. In other cases, designers reported Knowing where technology is heading also presents a that the computer had facilitated the sharing of work major challenge. Some design firms have worked with by making files available to anyone. In numerous suppliers or manufacturers as Beta sites for new tech- design firms, technology has created a schism, with the nology, particularly software, 3-D imaging, and virtual “older” designers continuing to work by hand, and the reality. Those firms have the distinct advantage of “younger” designers utilizing technology. being able to implement such technology quickly. As an example:
84 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT • EDI, an industrial design firm in Toronto, serves as a • Byrne Architects, in Nova Scotia, was the first test site for Pro-Engineering, a powerful product- design firm in Canada to receive ISO certification. engineering and design software that has become an Although certification was an expensive under- industry standard. taking, the senior partner at Byrne now believes that it could have been achieved at a lower cost. ● Technological change is not limited to infor- Perhaps a more relevant consideration than cost for mation and communications technology. owners of design firms is the necessity for ISO certifi- Designers must keep up with changes in materials. cation. For example in Quebec, starting in 1997, only Until now, however, little innovation has been seen in those architectural firms that are ISO 9000 certified materials technology. By the time a product is brought will be eligible to compete for provincial government to market, about five to seven years, it no longer is new. work (RAIC). Because of possible liability, manufacturers find it diffi- cult to convince the market to use new products. For ● New technologies have great potential example, architects and interior designers can be held to create and provide new services and liable for specifying materials that, if used improperly, products, and to reduce costs. prove a health or safety risk. The failure of new prod- In light of trends in the emerging Canadian and world ucts to be adopted and utilized may in part be due to a economies, the tremendous growth in information lack of education and training. Some manufacturers technology represents probably the single largest area and manufacturers’ associations hold focus groups to of opportunity for the sector. Fortunately, designers keep designers up-to-date on materials research and have always been involved in the transformation of development, but such initiatives tend to be ad hoc. technology and basic research into products and The biggest change for designers will be in smart services that have direct benefits to consumers. materials, which will alter product design and develop- Although Nicholas Negroponte may be mildly hyper- ment radically. Smart materials change shape, colour, bolic when he declares in his book, Being Digital, that form, phase, electric and magnetic fields, optical qual- the future is about “bits not atoms,” it is true that the ities, and other physical characteristics in a predeter- continuing digital revolution is ushering in totally new mined response to external stimuli. Designers will be ideas about what products and services are developed, able to use smart materials to simplify products, add how they are produced, and how they are marketed features, reduce material use, and reduce the expense and distributed. of product specialization (Canadian Manufacturers’ The study found instances where designers are Association, 1995). creating value for their customers by expanding the Evolution in “soft” technologies (management applicability of technology. Some examples: processes and standards) is ongoing. One initiative, •W.M. Salter and Associates Inc., an architectural ISO 9000, is a challenge to the design sector in firm in Barrie, Ontario, that has pioneered the Canada.5 ISO 9000 certification is becoming a crite- “paperless office,” is utilizing information created in rion for prequalification for the provision of design a powerful CAD system to create marketing videos services, especially on some government and interna- and promotional materials for its clients. tional projects. Yet few Canadian design firms are certified or are in the process of being certified. A large • Communications designers are removing costs for barrier is the cost of the certification process. One their clients by transferring digital images and files source indicates that it can be as high as $100,000 for a not only to printers, but also to advertising agencies firm to achieve certification (RAIC). and post-production houses.
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 85 Opportunities for even greater efficiencies are on the Telecommunications will allow geographic markets to horizon. For example: open up and, through better use of network capacity, will encourage alliances and collaborations among • Most of the construction industry is still run manu- designers, other members of the design team, and ally. Information on zoning codes and sites, for clients. example, is not digitized, so designers must input information into CAD manually. This information • As just one example of the “reach” of new technolo- eventually will be available in digital format — for gies, an urban planner hired by the Canadian example, through geographical information systems International Development Agency was able to — leading to increased efficiency for those in the resolve the problem of where to locate a well in an built environment sub-sector. African village — without ever having to leave his office in Toronto. • Paper will still be present but will come from a laser printer connected to a network, not from a printing Networks such as the Internet can provide links press. Offset printing will serve to more specialized between designers and their markets and suppliers, markets (for example, packaging, posters, coffee access to educational and professional development table books). With the introduction in 1995 of programs, and opportunities to participate in research digital presses and high-speed colour laser printers and development. in most major Canadian cities, the revolution is • The Faculty of Architecture at the University of under way. For communications designers, the Manitoba is investigating the potential to develop change means instant production of paper-based and share courses via the Internet. products. For designers in all disciplines, the growing opportu- • Perhaps the most powerful method for industrial nities in technology-related fields include: designers to reduce time-to-market is concurrent design or engineering. Concurrent design allows • entertainment-related industries, special effects, and companies to shorten the product development set design and decorating; cycle for new products while continually improving •design of computer interface for software and web existing products and production processes. For pages; example, it allowed Ford to go from concept to •design of products and services for telecommunica- production of its new Mustang in a little less than tions; and three years. In the past, the project would have taken five years. • design associated with virtual reality installations for both training and entertainment. The concept of concurrent design is about to take a giant step forward. Reconfigurable processes will However, few designers have evaluated these opportu- allow virtual design, based on improved communi- nities fully or have taken the time to retrain for digital cations among design, engineering, testing, and transformation. Canada’s designers must react rapidly, manufacturing systems, as well as the ability to or international design firms that are already investing integrate fully the consumer into the design in these areas will be as close as a client’s phone or development process (Canadian Manufacturers’ network. Association, 1995).
86 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT Social and Demographic Changes
● Designers are under increasing pressure to and package products that use less material. design products or to use materials that are Collaborating with landscape architects may lead to recycled or can be recycled, that are safe and some solutions. Life-cycle costing is one way through environmentally benign, and that use fewer which industrial designers and landscape architects resources. can add significant value to their clients in the design development process. Pressure may be mounting on designers to take legal responsibility for their designs and the materials they Until now, design’s role in the environmental arena has specify. In Canada, architects are liable for the health been reactive; the cleaning up of industrial discharges and safety of the public, and in the United Kingdom is one example (Burall, 1991). Many designers concede new regulations place responsibility on interior that they need to take greater responsibility in consid- designers for the health and safety implications of their ering the impact of their designs, including the mate- designs. According to the Worldwatch Institute, at rials they specify, on the environment. The future will least 30 percent of the world’s office buildings are see design playing a significantly greater proactive role, “sick,” causing widespread illness and absenteeism. and the act of designing will be conducted with greater consideration of the environment in the first place. In addition, significant public outcry has been aimed at The introduction of an ecolabelling scheme in Europe the waste of materials and energy. Sustainability, which and the use of life-cycle analysis are part of this proac- implies a long-term if not an infinite condition, is tive strategy. In the meantime, designers have noted, becoming the watchword of the emerging economy. without legislative requirements it is difficult to Designers in all areas are affected. convince clients to buy into the “reduce, reuse, ▼ The use of air-conditioning, and of steel, concrete, recycle” philosophy. Regardless, a few designers have and other materials that consume large amounts of decided that they will target clients who share their energy to manufacture and transport, have made concerns for the environment. Those designers will the modern office block one of the world’s biggest find a burgeoning market for their talents. polluters. Building codes are not keeping up — ▼ The world market for the environmental industry a situation that poses a challenge for designers in the is growing rapidly and is expected to reach $600 built environment. billion by the year 2000, with the U.S. market alone Computerization of the mechanical systems of build- accounting for $200 billion.The Canadian market for ings will facilitate energy conservation and improve environmental goods and services is forecast to the health of buildings by simplifying monitoring, grow to $22 billion by the year 2000, from $11 switching, and control. billion in 1994. Between 15 and 20 percent of ▼ Similarly, “visual pollution,” which has caused many Canadian environmental-industry companies either municipal governments to develop strict regulations are exporting or are export ready. Currently, Canada on signage, forces communications designers to be exports $1 billion in environmental goods and innovative in sign design. services annually, with the U.S. market accounting for 80 percent of these exports. Service firms represent Communications designers also need to influence about two-thirds of the industry, with manufacturing clients to rely less on paper as the primary means of firms representing the other third. communicating messages and information. The fastest-growing markets during the next ▼ Landfill sites are becoming saturated. Industrial five years, with growth estimates of 15 percent per designers must find more efficient ways to design
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 87 year, are Latin America, Southeast Asia, the Pacific need for researching and designing effective Rim, and central and eastern Europe.The market in wayfinding signage, accessible and usable consumer China alone is estimated at $35 billion over the products, and commercial and residential environ- period 1994-2000 (Industry Canada). For landscape ments. Designers who have developed an expertise in architects and industrial designers, this outlook holds this niche could benefit from the growing demand for significant opportunities in the areas of life-cycle “universal design” based on the changing demographic costing and reduction of costs of products through picture of the Canadian population. maintenance and sustainability. ● Canada’s public and private sectors will Interviewees from Finland, Germany, France, Japan, continue to restructure and downsize Spain, and Taiwan all noted that environmental issues . represent one of the most important challenges for As companies restructure, and with the growing “sand- designers around the world. They see design as a wich generation” (people who have both parents and means for improving living conditions without children to look after), more and more Canadians will be creating unnecessary consumption. working out of their homes. The demand for office space will continue to decline. Some designers may be • The interviewee from Taiwan indicated that an able to develop niches in designing spaces and products important task for the design sector there is to for home offices and interfaces for the corporate develop the concept and methodology of green network that will appear in virtual corporations. The design and packaging for Taiwan’s industry as the new sector is called “SOHO,” (small office/home office). sector’s contribution to the protection of the global environment. ● The “face” of Canada is changing. ● Designing spaces, products, and communica- The major sources of immigration to Canada are tions for a wider set of users is becoming Hong Kong, India, the Philippines, and mainland increasingly important. China. Immigrants from these areas bring different sets of cultures, values, and requirements than earlier The idea that design can embrace a large group of immigrants brought from Britain and the rest of users is compelling. Two examples of designs include Europe. Designers need to be aware of these differ- wider door openings for wheelchair accessibility, and ences when posing design solutions for spaces, prod- designs that address the special problems of the elderly. ucts, and communications. Many products serve people who are severely disabled or impaired, but few designers have focused on people One U.S. report (Woodhuysen, 1990) proposes strate- with partial limitations. gies for addressing the issue of designing for different cultures. First, there is a need for greater design collab- • Lee Valley Tools, in Ottawa, is an impressive oration, including an increased integration of the user example of a company that designs all of its tools in the design process. Second, designers must have an with the widest set of users in mind. appreciation for the particular cultural context of the Generally, however, designers have tended to ignore home country, for example, the concept of family. the needs of these end-users. As a result, governments Third, designers need better knowledge of time-use have had to legislate access to public buildings. There trends — that is, time spent at work and time spent on is speculation that increased legislation, similar to the leisure activities. American Disabilities Act, may be forthcoming. On the whole, Canada’s changing cultural fabric Social pressure and government legislation have presents opportunities that designers can then transfer opened new areas of opportunity. There is a growing to international markets.
88 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 3.2 REGIONAL CHALLENGES AND OPPORTUNITIES
lthough this report broadly focuses on the tion also spawns different strengths and unique chal- ACanadian design sector, distinctions based on lenges and opportunities. Table 3-2 provides a geography mean that, in the end, there is no single summary of the specific challenges and opportunities representation of Canadian design. Geographic loca- for each region.
Atlantic Region
POSITION OF DESIGN region for work in the region. In addition, the design The period following World War II signalled the start community is small and designers know one another. of the evolution of design in the Atlantic region. The On the one hand, this situation can present the kind of burst of construction during the 1950s and 1960s challenge observed by one interviewee, who noted, focused attention on the role of architectural design. “We try to be careful that we don’t step on friends’ An increased awareness of the architectural program at toes.” On the other hand, it readily allows designers to form multidisciplinary teams to meet the needs of the Technical University of Nova Scotia (TUNS) in the 1960s and the introduction of a degree-granting design clients. program in visual communications at the Nova Scotia A number of large organizations in the Atlantic region College of Art and Design (NSCAD) in the late 1960s employ designers or are potential clients for design increased the recognition of design, particularly in products and services. Still, without a strong manufac- Nova Scotia, by setting a context for the use of design turing base, the demand for industrial design is rela- services. As a result, as graduates of TUNS and NSCAD tively low. Opportunities do exist in small-scale started their own practices, a growing community of craft-based and high-tech industries. designers developed in the 1970s and 1980s. •A prime example is Grohmann Inc., of Nova Scotia, As mentioned in Chapter 2, Design in Business Nova which designs and manufactures specialty knives. Scotia, a group of people representing the full range of Grohmann has its roots in metalsmithing. It owes design professions as well as education and business, much of its success to its attentiveness to customers’ has undertaken the development of a strategic plan for ideas for product development. the advancement of design in the region. • Paderno Ltd., of Prince Edward Island, expanded its market by redesigning its professional cooking MARKETS AND MARKET products for everyday use. OPPORTUNITIES Provincial governments in the Atlantic region have Because Canada’s Atlantic region has the smallest traditionally been large consumers of design products population of any region in the country, the market for and services, particularly in the area of design for the design services is relatively limited. However, the built environment. But fiscal restraint and downsizing strong regional identity can be an advantage to local have led to fewer opportunities. Communications designers competing with firms from outside the design appears to fare best of all the sub-sectors, thanks
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 89 Ta ble 3-2: Summary of Regional Challenges and Opportunities Region Challenges Opportunities
Atlantic • Small local market •Innovation through small-scale craft-based industries • Limited manufacturing • Proximity to U.S. and European markets • Reduced government spending
Quebec • Diverse market of small and medium-sized • Relatively strong government support for design environments (SMEs) means designers need •Involving the business community in applied research a wide range of skills •Willingness of SMEs to use local designers, when •Requirement for ISO certification for architectural they use designers firms •Developing international reputation in software development • Hospital construction
Ontario • Competition from U.S. • Strong base of resources to support designers • Proximity to U.S. design centres • Headquarters for many Canadian companies and Canadian operations of many multinational corporations • Emerging entertainment industry • High-tech centre of Canada
Prairies • Limited manufacturing base •Developing transportation and distribution infrastructure • No single design centre •Telecommunications and call centres •Government in-house design services leave fewer opportunities for private firms to work • Emerging market in First Nations work in government • Exporting of hospital design services to U.S. •Transportation and distribution infrastructure for mid-continent trade corridor
B.C. • Resource-based economy limits design opportunities • Emerging markets in the environment, tourism, and entertainment sectors • Major economic swings • Proximity to the Pacific Rim •Distinct market in the Asian community • Strong immigration • Emerging small-scale, niche market manufacturing base
90 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT perhaps to the reputation of the Nova Scotia College • EDM Ltd. created and licensed a technology for of Art and Design, a few strong communications firms, sewage treatment, which is marketed under a and a larger target market. different company and is used to generate work for EDM. EDM has sparked interest in the United States Proximity suggests that opportunities exist in the and is also investigating opportunities in Central United States and Europe, but tackling them requires America, South America, and South Africa. that design firms already have a strong local base. Developing such a base can be difficult. The firms that have been successful in international markets have partnered with others, such as EDM Ltd., or have a special market niche, such as Grohman Inc.
Quebec
POSITION OF DESIGN Synergy exists among the municipal, Quebec, and Quebec’s position in the Canadian design sector is federal governments, resulting in a coordinated design unique. In Quebec, government has taken a leadership policy and in funding for design organizations. position supporting design. As an example, the Picard Consequently, there is a strong design infrastructure in Report in 1986 identified design as one of the seven Quebec that has led to a high level of awareness of the axes for economic development in Montreal.6 As a value of design. Quebec designers have the benefit of a result, the City of Montreal became the first city in base of individuals, in both the public and private Canada to appoint a commissioner of design respon- sectors, who are aware of the contribution that design sible for undertaking initiatives to support the devel- can make — something not found in many other opment of a design culture in a municipality. The provinces. Picard Report also resulted in the establishment of the In terms of policy, the Quebec government over the Institute of Design Montréal (IDM) in 1989, with the last decade has supported many innovative programs to mandate to stimulate a design culture, to promote encourage both the manufacturing and the design design as an economic tool, and to stimulate designer sectors. A program to commission designs for furni- activity locally and internationally. One of the most ture for the Montreal Casino is one example of innovative programs of the IDM is one that funds joint forward-looking government policy, as is the tax credit projects between designers and industry in applied for industrial design R&D. research. The Federal Office of Regional Development-Quebec Quebec is home to a number of other design organiza- (FORD-Q) also supports and promotes the use of tions, such as Liaison Design and Forum Design. design, particularly with small business. Through the Although these organizations have different mandates IDEA program, FORD-Q provides financial and other and structures, the overall goal is similar — to advance support to small businesses developing new products the utilization of design. (Chapter 2 includes more or trying to integrate research, development, and information on these organizations.) Further, there is a design into existing operations. Quebec-based association in each discipline.
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 91 MARKETS AND MARKET • Montreal is home to one of Canada’s largest indus- OPPORTUNITIES trial design firms, Gad Shaanan Design Inc., which The Quebec market, unlike markets elsewhere in has developed a team of product designers, engineers, interior designers, communications Canada, is composed mainly of SMEs (small and medium-sized enterprises) with relatively few branch- designers, and transportation specialists to provide a range of services. The firm’s strategy of concurrent plant operations. The SMEs are typically Quebec- owned and therefore more likely to employ/hire design and multidisciplinary teams has helped it “local” designers than are the U.S. branch plants in to develop a lucrative market in the United States and Taiwan. Ontario, for example. SMEs generally have less capital to support design activities in-house and so turn to Quebec is developing an international reputation in design-consulting firms for expertise and support. software development, with companies such as Serving a fragmented market made up of SMEs SoftImage and Discrete Logic targeting products to requires Quebec designers to have a wide range of the design, communications, and entertainment design skills. sectors. These companies employ communications In the manufacturing sector, Quebec offers diverse designers either directly or through consulting opportunities for designers in the areas of sports and contracts. leisure, aerospace, transportation, and telecommunica- As noted, architectural firms will require ISO 9000 tions, and, more specifically, for designing medical certification to be eligible to bid on provincial govern- instruments, furniture, and kitchen and bathroom ment work. Smaller firms will be challenged to find the accessories. The Quebec design sector has distin- resources they needed for certification. On a brighter guished itself through innovative and creative designs note, as hospitals are being converted to long-term not only for local, but also for international industries. facilities, significant opportunities are emerging in •A particular market niche for industrial designers in hospital construction. Work in the industrial buildings Quebec is in specialized transportation and motor- sector is providing opportunities for architects, ized leisure products, led by Bombardier Inc. although as sub-consultants to engineers.
Ontario
POSITION OF DESIGN for Design in Business established the Financial Post Ontario has the greatest number of designers in Design Effectiveness Awards exhibited annually Canada. By virtue of the size of the province’s design following a well-attended awards event. Ontario is also sector associations are bigger and stronger, making it home to the Design Exchange, Canada’s largest design easier for them to provide services to their members. promotion organization. Ontario is the only province However, the sheer size of the province has made it to have educational programs in each of the design more difficult for smaller associations to serve their disciplines. Overall, it is well served in terms of design members. education and professional development.
The strong base of resources to support designers As discussed in Chapter 2, the Ontario design sector includes promotional organizations that provide developed a strategy outlining goals and objectives for lectures and present exhibits. For example, the Group design sector initiatives.
92 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT MARKETS AND MARKET rate headquarters. International firms are The Prairies boast the OPPORTUNITIES more likely to have Canadian distribution only multidisciplinary centres in Ontario, and generally are The Ontario economy has gone through a devastating graduate design program more likely to use area designers for recession. It was especially pronounced for the design in Canada. sector, as a result of the building frenzy of the 1980s packaging redesign, a speciality of many that preceded the recession. The glut of the 1990s, communications design firms. with an oversupply of commercial and residential New opportunities are emerging. Although publica- buildings, translates into scarce work for architects and tions and packaging work make up the majority of a highly competitive situation for interior designers their work, communications designers are finding and landscape architects. Recent changes introduced more and more opportunities in the multimedia field. by the Harris government are having a negative impact To ronto is the site of an emerging entertainment on firms involved in capital projects related to social industry — a field that has traditionally employed development. designers of all disciplines. Moreover, Ontario is home to Canada’s “silicon valley north.” Companies like As the impact of NAFTA is felt, industrial designers may find opportunities opening up in the United Nortel Technology (formerly BNR), Mitel, and Corel States. Some designers may lose out to the centralized are at the forefront of product and software develop- product development activities of multinational ment initiatives and employ a considerable number of companies. However, if more manufacturing compa- designers. nies decentralize their design function, Ontario’s Despite these opportunities, the presence of a large industrial designers will have the most to gain. number of designers tends to keep fees below the levels Designers in southern Ontario are close to big design of the last decade. Many designers are finding more markets such as Chicago, New York, and Detroit. The lucrative work overseas. With a greater concentration headquarters of many Canadian companies are in of larger design firms in Ontario, it is easier to go Ontario, particularly in Toronto. This has its advantages farther afield, exporting and diversifying. for designers, since decisions tend to be made in corpo-
The Prairies
POSITION OF DESIGN world. The Prairies boast the only multidisciplinary The Prairies, unlike other regions in Canada, have no graduate design program in Canada. single centre for design. Designers in the Prairies have In the past, institutes such as the former Manitoba had to be especially innovative and resourceful in Design Institute served as models for design institutes in developing new market areas and using multidiscipli- other countries. Innovative programs included design nary design teams. assistance for manufacturers, published resources such The Prairie provinces benefit from a number of very as “The Handbook for Product Development,” and promo- good design schools. These schools turn out architects, tional initiatives such as the biennial Premier’s Awards landscape architects, communications designers, inte- for Design Excellence (PADE). Unfortunately, these rior designers, and industrial designers, who are often initiatives were cancelled with a change in government recruited to locations across Canada and around the priorities in the mid 1980s and the Nielsen report deci- sion on Design Canada.
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 93 MARKETS AND MARKET A few architecture and landscape architecture firms are OPPORTUNITIES developing a niche market in services to First Nations. Historically, a small retail manufacturing goods sector With the trend towards self-government in Manitoba, has meant little demand for industrial design. First Nations are examining their infrastructure needs However, the region has experienced an increase in the and turning to designers in the built environment for manufacturing of heavy equipment, including instru- assistance. For example: ment and panel design, which may lead to opportuni- • Smith Carter has developed a market niche in the ties for industrial designers. Some designers have been design of schools for First Nations communities. successful at developing international market niches. • Hilderman Whitty, a Winnipeg-based landscape For example: architecture firm, works with First Nations on land- • Smed International, a Calgary furnishings manufac- planning issues and has been helping First Nations turer, distributes its product lines internationally develop their positions on land claims. and has showrooms in 30 major cities throughout In Saskatchewan, the construction of four new First North America, the United Kingdom, and Nations-run casinos is providing work in the built Southeast Asia. environment. Although hospital work has declined in Government downsizing of internal design depart- Saskatchewan and Manitoba, it has been steady in ments is providing more opportunities for private- Alberta, where a group of hospital designers have sector design firms. successfully exported their services to the United States. There is also some work available in Alberta’s hotel sector.
British Columbia
POSITION OF DESIGN design activities in the past year, most critically for the Expo 86 was a turning point for design in British development of a provincial design strategy. As Columbia. Clients began to see themselves on a world mentioned in Chapter 2, Design Now, the British stage, competing globally, and saw the value of design Columbia Design Strategy Task Force, has involved as part of their new export-oriented business strategies. the entire design community as well as clients, busi- The energy generated by Expo 86 spawned Design ness, educators, and all levels of government in the British Columbia, a multidisciplinary design advocacy development of a sector-wide strategy. and promotional organization launched through the Numerous other projects have been undertaken. The support of the City of Vancouver. Further support Society of Graphic Designers of Canada (B.C.) has from the federal and provincial governments has taken a lead in developing a web site for itself and for contributed to the growth of the sector. its members. Design Now developed a multidiscipli- Considerable design activity is currently taking place nary web site called “DesignSource.” Design British in British Columbia. The provincial government Columbia has been responsible so far for four biennial conducted a study of the province’s design sector, and design weeks, a multidisciplinary educational initiative the Canada/B.C. Agreement on Communications and in public schools, and several studies within the manu- Cultural Industries provided funding for a number of facturing sector.
94 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT MARKETS AND MARKET Environmental concerns are very A large influx of capital OPPORTUNITIES important in the B.C. market, providing and immigrants from Asia significant opportunities for landscape British Columbia’s location on the Pacific Rim is a key has fuelled the economy, architects as well as for companies market factor, both as an export market and for new creating opportunities for domestic opportunities. A large influx of capital and producing environmentally friendly designers, especially those immigrants from Asia has fuelled the economy, creating products and services. Another major opportunities for designers, especially those in the built market sector for designers is tourism. in the built environment environment and communications design sub-sectors. The hotel, resort, food service, and and communications retail businesses that serve tourists all There is a growing interest and some success in design sub-sectors. buy a range of design services. The marketing design services to the Asian countries on the highly active film and media industries Pacific Rim, particularly in urban planning, architec- offer opportunities for communications ture, and engineering. A few firms are developing and built environment design. strategies to enter this market. Seeton Schinkewski Design Group Ltd., a Vancouver interior design Despite the current range of opportunities, many consultancy, has made a major commitment to the design firms are concerned that this prosperity is Asian market by seeking market opportunities in fleeting. Wild economic swings over the past decades China, which are now about to bear fruit. The exper- have prompted a certain caution. Few firms are hiring tise that Vancouver architects have developed in small- permanent staff, relying more on contract personnel. scale residential and high-rise development could be relevant elsewhere in Pacific Rim locations. Results are achievable only through significant market efforts; because most design firms are small, marketing budgets sufficient to support this activity are rare. The opportunity exists for joint ventures or consortia of firms that have like interests and are export-ready, but financial support for marketing will still remain a crit- ical issue for many firms.
British Columbia’s traditional resource-based economy does not foster the development of secondary industry readily. However, a shift towards a more diversified economy has established a small manufac- turing sector. As examples, international market niches in satellite technology, submersibles, and diving gear have been successfully established. The Export Council of Canadian Architecture was spawned by the forest industry and B.C Trade, with a view to exporting Canadian architecture, using Canadian wood, into the Asian market. There is also support for the develop- ment of value-added wood products.
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 95 3.3 CONCLUSIONS
1 The growth of the design sector has been • Industrial designers face the daunting task of devel- hampered by the prevailing economic oping a niche in Canada’s manufacturing sector. conditions. With Canada’s branch-plant economy, many local manufacturing firms do not believe they need indus- All sub-sectors have been affected. trial design services. Those that do, often use others, • The construction industry, a key to demand for such as engineers, for design. design of the built environment, is only just begin- Despite the situation, designers continue to create and ning to recover from the recession. The weakness in capitalize on opportunities both in Canada and abroad. the manufacturing sector affected the demand for industrial design. As a result of the overall decline in 2 Canadian designers are seeking new ways to corporate revenues, demand for communications apply their talents in the marketplace. design also suffered. Some design firms were forced to reduce staff, and others closed. • The Canadian marketplace continues to hold an abundance of opportunities for the design sector. • At the same time, reduced trade barriers are Designers are expanding their services into resulting in more competition from U.S. design new areas to take advantage of Canada’s changing firms. demographics, Canadians’ concerns about the envi- In addition, each sub-sector faces its own ronment, the changing work environment, and challenges. government and corporate priorities. • Many built environment projects go forward without the participation of professionals in the sub- 3 Canadian designers have the expertise to sector. Clients often use the capabilities of contrac- develop products and facilities for extreme tors and engineers to realize these kinds of projects. climates and a dispersed population. Such Their way of thinking about the built environment expertise has potential market value around is institutionalized in regulations and legislation the world. across the country. • Canadian designers have demonstrated the • The communications design sub-sector has changed commercial impact of context-specific design in the substantially as a result of technology. Now that international marketplace; the snowmobile is one electronic commerce is being put into place, prominent example. Canadian designers are lever- business-to-business communications and business- aging these skills to develop competencies in other to-consumer communications will move from paper areas, including the design of leisure, household, to screens. This is a new market, which has not been communications, and healthcare products; new- described completely and in which communications media and wayfinding systems; multi-use facilities designers will need to work quickly to position such as malls; and leisure and tourism facilities. themselves. Otherwise, many may be left to share Growing markets around the world are opening up what remains of the traditional graphic design for these skills in industries such as telecommunica- services. tions, communications, entertainment, retail, tourism, health care, environmental products and services, plastics products, and mining.
96 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT • International opportunities pose a challenge to design 5 Building strength in the national design sector firms. Most firms are small, and the cost and resources has to start with strong regional design required for such endeavours can be significant. sectors.
• The sheer size of Canada means that Canadian 4 Technology has had a tremendous impact on the designers are geographically dispersed across the practice of design and on design practices, and it country. Each region faces unique challenges and will continue to pose challenges and present opportunities that affect its designers. The strength opportunities. of the design sector will come from the abilities of • Technology has changed the work in the sector and designers in the various regions to take advantage of even eliminated some tasks. Some of the traditional local opportunities. Several of the provincial and entry level work that would have been performed by regional design sectors, including those in the inexperienced designers in the past has been auto- Atlantic region, Ontario, and British Columbia, have mated, leaving fewer positions available for new grad- taken the first step by developing provincial and uates. regional design strategies. These strategies will be instrumental in building the design sectors both in •Telecommunications have extended the reach of those regions and in Canada. A national strategy has designers to clients. Design firms are becoming more to incorporate the regional initiatives, and vice versa. and more an extension of their clients’ operations. The advent of multimedia networks strengthens this link. Extraordinary changes are occurring in the Canadian Designers will be asked to interact directly with the and world economies. Opportunities and challenges databases and technology of their clients. abound. How the sector responds to them will deter- mine its contribution to the economic and cultural • The tremendous growth in information technology future of Canada. First, however, the sector must represents probably the single largest area of opportu- ensure that designers have the tools and the support nity for the sector. However, few designers have evalu- needed to apply their talents. ated fully these opportunities or have taken the time to retrain for digital transformation, thereby leaving openings for other specialists.
CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT 97 Footnotes
1 Includes challenges and opportunities common to two or to all three of the sub-sectors.
2 Includes challenges and opportunities common to two or to all three of the disciplines in the built environment sub-sector.
3 Assistance in identifying market opportunities and demand for Canadian design firms is available through the Department of Foreign Affairs and International Trade (DFAIT).
4 In fact, some interior designers are joining the International Facilities Management Association (IFMA) and taking the IFMA certification examina- tion.
5 ISO 9000 quality assurance registration requires that a company’s processes and all activities that affect quality, from management responsibility to training, are identified, documented, and func- tioning effectively according to requirements determined by the company and ISO 9000. It requires internal auditing, management review, and the establishment of a well-documented quality system with defined procedures and work instructions.
6 The Picard Report, or the Report of the Consultative Committee to the Ministerial Committee on the Development of the Montreal Region, was commissioned by the Ministerial Committee on the Development of Montreal to identify measures to revitalize the economy of Montreal.
98 CHAPTER 3 • CHALLENGES WITHIN THE BUSINESS ENVIRONMENT CHAPTER4
CHAPTER 4 • THE MARKETING CHALLENGE 99 Design could emerge as the discipline that brings together the myriad parts of the modern corporation. As organizations deconstruct themselves into “virtual corporations” made up of autonomous in-house units and various external partners, the old headquarters’ bureaucracies are disappearing. Designer’s ability to integrate information from functional experts and outside partners makes it the glue that can hold teams together.
Business Week, June 7, 1993
100 CHAPTER 4 • THE MARKETING CHALLENGE CHAPTER 4 THE MARKETING CHALLENGE
he ability of designers to demonstrate the economic value of design to their clients in T a way that shows an understanding of their clients’ interests is what will differentiate those designers who are able to capitalize on the opportunities before them from those who struggle to compete. This chapter focuses on the marketing challenge before all designers.
“Design success is far more difficult to measure than business performance...[it] depends on who is doing the evaluation. Managers may define design success in terms of...commercial impact; engineers may view a successful design in terms of technical performance; industrial designers in terms of ergonomics and appearance; purchasers in terms of value for money, and so on.” (Robin Roy, 1994).
CHAPTER 4 • THE MARKETING CHALLENGE 101 4.1 QUANTIFYING DESIGN’S CONTRIBUTION
● Demonstrating the economic benefits of Even in countries that seem to have a strong apprecia- design to corporations, to the general public, tion for design, low utilization remains an issue. and to governments is one of the most • The interviewee from Rat für Formgebung in important challenges facing the design sector. Germany noted that the main reason some German Good design has positively influenced the perfor- companies do not use designers is that these firms mance of various organizations and the quality of life can still turn a profit without the benefit of good of the general public. Yet relatively few Canadian orga- design. Design education is partly to blame. As well, nizations have recognized design as a key success factor too often the media emphasize design’s artistic differentiating them from their competitors. The chal- element. Add the fact that businesspeople do not lenge for the design sector is to stimulate Canadian know how to deal with designers because they have business to treat design as a core element of a business not been taught about design, and one can see why strategy, like marketing or finance.1 First, designers certain German companies still do not use designers. need to quantify the economic impact that design can • The interviewee from Design Forum Finland indi- deliver. cated that too few Finnish companies use designers. Users of design reported that before they began using The principal reasons for the low level are that tradi- design services, they thought design was costly and not tional design education is too art-oriented; that very practical. One client commented that some design is considered too elitist and expensive; that designers believe that “the way to do good design is to basic education (the public school system) does not spend a lot of money.” Another noted that a common have enough cultural content; and that business- perception of manufacturers is that industrial design is people and technocrats do not possess a cultural about winning awards, not about producing value- background, and therefore do not understand design. added products. It is highly probable that non-users • Dutch industry generally does not make use of have these same perceptions. design services, according to the representative from Several of the international interviewees expressed the Netherlands. The design profession there has similar views about the design sector in their countries. done a poor job convincing industry of the benefits One British study (Walsh et al., 1988) was unequivocal of using design. Seemingly, there is no need to use in its conclusions. According to its authors, design was design because the markets would absorb any quan- regarded with suspicion by business managers and tity of products, regardless of the design component. deemed unworthy of time, effort, and expense. Two • The representative from the APCI in France principal reasons were given for this perception: the reported that many sectors do not use design princi- association of design with fashion, style, and trends pally because of longstanding corporate culture. For rather than with real value; and the lack of evidence to example, most high-technology companies, as well warrant the expense of using design. Clearly, designers as leading-edge companies, are headed by engineers. had not made an adequate case to justify their profes- Craft-related companies are even more culturally sion. As one student at the Technical University of traditional and less prone to using designers; Nova Scotia noted, “Architects have been very bad at managers of these latter companies feel that design explaining to the public what they do. The common skills are passed down from father to son. In general, language of communication is oral, but ours is visual.”
102 CHAPTER 4 • THE MARKETING CHALLENGE the French tend to be more cautious about using There are a few notable exceptions: It stands to reason that if design. Even positive case studies do not always • Significant research is being the economic benefits of persuade companies that design should be used. conducted at the University of design can be quantified, • In Singapore the design sector is relatively new. The Manitoba’s Faculty of Architecture in then Canadian business interviewee from Design Centre Singapore noted housing for the aging, barrier-free would make greater use of that design has not attained the status of other design, virtual reality, and sustainable design. professions among users and potential users. design. Government and quasi-government agencies tend • Faculty in the landscape architecture Most designers agree that to ask for design services through a tender system program at the University of British more research needs to be that requires design work up front (“spec” design), Columbia are active in research on based on objective scientific, and private-sector companies tend to choose the topics such as urban landscape, land- design firm with the lowest bid. economic, and social scape restoration, the psychological It stands to reason that if the economic benefits of aspects of landscape architecture, models, and that such design can be quantified, then Canadian business community planning, and design research needs to be widely would make greater use of design. But even the most theory. published. rudimentary analysis of design’s impact on the The lack of research capability in design economy is missing. Design wins awards on the basis schools is not unique to Canada. As examples: of peer group criteria or because of a manufacturer’s generally undocumented claims of market success. • As recently as 1992, the president of the Bureau of Moreover, success stories tend to be covered by the European Design Associations publicly stated that a design media and not by the mainstream media. socioeconomic study of design in Europe was very much needed. Most designers agree that more research needs to be based on objective scientific, economic, and social • Design research in the United Kingdom tends to be models, and that such research needs to be widely done in schools of business and management. published. This kind of research should be done at the Furthermore, the British Design Council stated that university level, but little research is conducted in future funding for design research probably will not design schools because: go to designers because of the lack of qualifications to conduct research at this level. • most design programs in Canada are at the commu- nity college level, where research is not an issue. Discussions and research about the contribution and economic value of design and design-related business • at the university level, where research is generally a activities generally fall into two categories: the requirement, few faculty in design schools have “spinoff” analysis, and the “value-added” analysis. The research experience. Many were hired for their “spinoff” analysis focuses on the sector as a specifier of backgrounds in practice, not in research. (As faculty goods and services, and attempts to estimate the multi- members retire and are replaced, some schools are plied value of these goods and services to derive a making appointments based on research and acad- dollar figure of economic activity. For example: emic credentials.) • In a 1990 study entitled “Report to the Interior Designers of Canada on the Complexion of Their Members,” prepared by Decima Research, the
CHAPTER 4 • THE MARKETING CHALLENGE 103 478 interior designers who responded to a question- Benefits and Costs of Investment in Design,” this naire estimated that during 1989 they specified report surveyed more than 220 design projects in U.K. $303 million in services and materials from suppliers manufacturing firms that had recently developed new and other service firms. or improved products or components, or had redesigned their product packaging, graphics, or tech- • In a 1995 study of the design sector in British nical literature. The main finding of the British study was Columbia, by Ference Weiker & Company, the that “even in typical small to medium-sized firms…the province’s design firms were found to have specified development of new and improved products, packaging, the purchase of about $2.7 billion in products and etc., using professional product, engineering, industrial services in 1994. and graphic design expertise can be an excellent • In a recent study on the socioeconomic value of commercial investment.” design in Quebec (conducted by Le Groupe DBSF ▼ In the British study, two-thirds of the projects were for the Forum Design in May 1994), the design put into production. More than 90 percent of these sector was reported to have specified more than $9 implemented projects were profitable, with an billion in products and materials in 1992. average sales increase of 41 percent. Sixteen percent Although “spinoff” analysis is a powerful tool to of implemented projects led to new or increased demonstrate the economic impact of design activities, exports, 25 percent of the projects opened new it is valid as a measure of contribution to the Canadian markets, and 10 percent led to reduced costs. economy only if the goods and services specified and ▼ The “value-added” approach is the basis for the used are made by or purchased from Canadian firms. Group for Design in Business/Financial Post Design ● Many designers would suggest that design Effectiveness Awards.These awards require submis- should measure its worth on intelligence and sions to include information from the client about strategy, not on how much it asks buyers to the economic impact of the project. Although it is spend. almost impossible to verify any of the financial claims of success, these award programs attempt to relate The “value-added” approach to assessing the economic the value of design to success in the marketplace, value and contribution of design looks at the results of not merely to physical form. investment in design and the economic rewards of this investment. This analysis usually works best with Some of the most powerful evidence comes from communications and industrial design because it is clients. The Corporate Design Foundation and the easier to isolate design as a factor that contributes to Design Management Institute, both in the United economic return. However, it applies to the built envi- States, have produced numerous case studies that ronment as well. As Tony Hiss shows in his 1990 book investigate the process and the benefits of specific The Experience of Place, there is an emerging body of design-related business activities. They focus on the scientific research that demonstrates the physical development and differentiation of products; the impact of certain buildings, their interiors, and natural communication of brand identity; concurrent design environments on our bodies and on our well-being. and engineering; and the tangible results of the re- engineering of companies. These detailed cases are a The most frequently quoted study of the “value- valuable tool for designers learning to market the added” analysis is a 1990 report prepared for the benefits of design. More importantly, perhaps, these Economic and Social Research Council of Great cases are used in the curricula of business schools to Britain by the Open University/UMIST. Entitled “The
104 CHAPTER 4 • THE MARKETING CHALLENGE expose future managers to the role that design can play • Desktop publishers, computer Designers compete with in overall business strategy. programmers, artists, architects, and other professions to provide industrial designers compete with This research is important for two main reasons: similar services, and they communications designers. • It can provide indisputable evidence that design is a compete with each other • Engineers, interior designers, and critical component to a country’s economic progress as well. architects compete with industrial and success. designers. • For individual designers, it can help support discus- This situation compounds public confusion over how sions with, and proposals for, existing and new designers differ not only from other professionals clients. claiming to provide similar services, but also over how ● A factor that clouds public recognition of the design professions differ from one another. In a design is that specific disciplines have not recent study by the British Columbia Manufacturers’ carved out a distinct niche for themselves. Association and Design British Columbia, manufac- turers were asked whether they used industrial Designers compete with other professions to provide designers. Although the majority do not employ or similar services, and they compete with each other as contract for industrial designers, many manufacturers well. For example: reported that they have a design function performed • Contractors, urban planners, and engineers compete by engineers or technologists. Clearly, the freedom to with architects. choose from the variety of expertise in the marketplace • Interior decorators and architects compete with will force design to live or die on its merits. interior designers.
• Landscape contractors, engineers, and environ- mental planners compete with landscape architects.
CHAPTER 4 • THE MARKETING CHALLENGE 105 4.2 MEETING THE CHALLENGE — THREE APPROACHES
he Canadian design sector has enormous produce and document results. Dramatic performance T potential to provide strategic business leverage improvements will be achieved once clients consider to clients in Canada and beyond. Tapping that poten- design to be a core business function — and create tial requires designers to demonstrate the benefits and opportunities for designers to consult on managing value of their services. Designers must identify key innovation. This section discusses three approaches to business areas, such as increased market share, meeting the challenge of demonstrating the value of customer satisfaction, and profitability, where they can design. make a difference to a client. They must also be able to
User-Centred Focus
Solidifying client relationships is critical to the process of that have a tangible benefit to the consumer. Design is demonstrating value. Designers must know their clients. a key element in the successful transformation of tech- Communication between designer and client is key. nology into products. This research, which looks at ▼ Users of design most often mentioned the designer’s what Patrick Whitney of the Design Institute of ability to listen and his or her flexibility or respon- Chicago calls “unmet” customer needs, leads to prod- siveness to their needs as the bases for a good ucts and services that meet those needs. That, designer–client relationship. according to Whitney, is the way business can make breakthroughs and avoid “me-too” products. ▼ Clients noted that they also selected a designer according to his or her ability to work both with the Once the new product and service areas are defined, client and the client’s staff, such as marketing and design has the potential to team up with additional engineering personnel. expertise in fields such as ergonomics, materials, processes, and psychology to develop products that ▼ Clients want designers who can lead, engage atten- satisfy consumer demands for usable products. tion, and communicate. Usability involves the myriad of often subtle activities ▼ They are also looking to designers to present and actions we undertake when we use a product. It creative solutions, although a number of inter- includes the physical, psychological, and psychosocial viewees noted that solutions had to be practical issues that have an impact on the way spaces, products, and within their budgets. communications, and services are understood, used, and appreciated. ▼ As one designer commented,“The best relationships are those where there is a mutual respect for each Scandinavian, especially Swedish, designers have long other’s opinions. Ultimately, the client and the had great regard for the user in the product develop- designer have to have the same vision.” ment equation. For example, their designs for products for people with physical disabilities have often placed An emerging body of research is appearing on the issue Scandinavia far ahead of the international design of technology transformation — that is, the way that competition. This user-centred focus is restricted to basic research and new materials and technologies are the physical fit of the design to the user. The more transformed into products, spaces, and communications
106 CHAPTER 4 • THE MARKETING CHALLENGE recent interest in user-centred design by various • Using a variety of research techniques, customer sectors is somewhat different in its scope. To a large needs were identified in the retail gasoline environ- extent it stems from innovations in high-technology, ment. The design for the “gas station of the future” which often do not seem to have the user in mind. In includes self-cleaning bathrooms, hand-washing these cases, designers are not dealing so much with the stations at the pumps, and digital read-outs on the physical fit of the product to the user as with the nozzles that save customers from having to twist psychological fit. their necks. The result is a customer-centred, pleasant experience in what was formerly regarded The emerging practice of usability testing in product as a dirty, unpleasant environment. and software design is helping designers convince engineers about real-world benefits of design. They We do not have to look so far afield to find excellent can measure seconds gained, which can then be multi- examples of this concept. Over the past few years, the plied by salaries or social costs. Design can be cost- “design-to-value” work of the Corporate Design justified as a result. As an example of this approach to Group at Nortel Technology (formerly BNR) has been user-centred design, Patrick Whitney cites work that using a similar approach in the development of new the Doblin Group and the Design Institute did for products. Amoco, a U.S. petroleum company.
Effective and Efficient Design
Larry Keeley, a design planner in the United States, •Effective design is a strategic business function, not a believes that to remain relevant, valuable to clients, tactical one. and competitive, the design sector will have to provide • It responds to clients’ needs to be able to provide services in either of two ways — more effectively or exceptional customer service through customization more efficiently. Both approaches hold significant and superior customer knowledge. opportunities for the sector. Successful design firms either will work with their clients to make strategic • It requires a concurrent design approach. breakthroughs by changing basic business perceptions • It requires “upstream” involvement of design in the about products and services, or will help their clients design development process. That is, it requires save time and money. These two trends are very designers to work with senior members in an organi- different. Designers are finding that if they try to move zation who are responsible for strategy, products, in both directions at once, their efforts will be coun- and services, and for the delivery of those products terproductive. Designers render themselves vulnerable and services. to “smarter” or “cheaper” competitors. • Designers need to be able to work in, and manage, multidisciplinary teams to provide effective design EFFECTIVE DESIGN services. Keeley calls design consulting that focuses on Increasingly, large companies such as Chrysler, concepts, invention, and strategy “effective design.” It IBM, NEC, and Bell Canada are finding that collabora- draws on the concepts of the user-centred approach tive teams have real financial benefit because they described above. shorten the time-to-market of new products and new
CHAPTER 4 • THE MARKETING CHALLENGE 107 environments. Smaller companies, where the teams EFFICIENT DESIGN comprise in-house resources and consultants, are begin- The other major area in which designers can provide ning to understand the lesson. For these companies with value to their clients is in saving time, steps, and money. limited resources, time-to-market often is the difference •Efficient design uses scarce resources well. between the success and failure of new initiatives. •Efficient design responds to clients’ needs to be able Traditionally, design entrepreneurs have practised effec- to provide exceptional customer service by tive design. A design entrepreneur anticipates a market producing products or providing services faster and need, confirms the market for the design solution, raises more economically. the capital to produce and distribute the product, and manages the production and distribution processes. On • It requires highly trained technical support personnel the upside, design entrepreneurship offers designers the because it is an automated and technology-dependent opportunity to be involved in the entire design develop- activity. It is also capital intensive. ment process. On the downside, design entrepreneur- •Efficient design requires continual upgrading of ship requires a significant financial investment; finding technology and continual training to ensure process financial support for what is, essentially, an idea can be a improvement that removes steps, time, and errors challenge. This is an area that could be promoted from the design and production processes. through better access to funding for research. Essentially, efficient design involves applying business One of Canada’s most renowned entrepreneurial design process re-engineering principles to the design devel- firms is Studio Innova in Toronto. opment process. Such principles include: • Actar, the cardiopulmonary resuscitation (CPR) •organizing around outcomes, geographically or training dummy, is one of Studio Innova’s products. logically; The firm designed Actar, cultivated a local market for it, and found manufacturers with the expertise to •providing quality at the source; produce the various components. Once Studio • eliminating waste or non-value-added activities, Innova solidified the local market, it developed a such as reworking or correcting; worldwide market for Actar by identifying distribu- • using demand pull workflows and smaller batch sizes; tors and marketing the product at trade shows around the world. •reducing preparation, for example, by using appro- priate forms or screens to capture information; Design entrepreneurship requires a wide range of skills, including design, social science and market • establishing relationships between customers and research, and financial and marketing skills, along with suppliers; the ability to raise capital and manage contractors. • applying automation and appropriate technologies; Designers do not graduate from design programs with and these skills. In the case of Studio Innova, the partners • establishing continuous improvement capability and read books, took courses, talked to other small business mindset. owner-managers, and implemented software to help them manage the process. Architects who specialize in “rolling-out” retail locations at increasingly lower costs are an example Although design entrepreneurship is most often asso- of designers who take advantage of opportunities in ciated with industrial design, it is being applied in the efficient design. built environment. Design-build offers a turnkey oper- ation that includes design, construction, and some- times financing.
108 CHAPTER 4 • THE MARKETING CHALLENGE 4.3 THE ENABLING SKILLS
esign is a process that integrates human intelli- CLIENT Dgence and natural and human-made resources, Optimization then transforms them into tangible solutions that satisfy existing and future human needs. Designers add Need Specification Production value by harmonizing business elements, materials, CLIENT CLIENT and the needs of end-users to save money, to increase Decision Exploration efficiency and productivity, and to improve comfort and the quality of life.
Using various methodologies, designers clearly identify Testing Ideation the needs of their client or the end-users; develop mech- anisms for meeting these needs (products, services, Modelling processes, spaces, communications); and communicate CLIENT the solutions to others, who realize the product as a Figure 4-1 Based on a model of Kardos, 1983 means of satisfying user needs. These interconnected activities, as well as the tangible product, are key to the Designers have to be aware of how their services that the design sector provides. ● environment is changing and how they will The process that designers employ is common to all be affected. design disciplines. As illustrated in Figure 4-1, it involves: Today’s designers find themselves in a highly complex, ever-changing, increasingly global business environ- • formulating objectives and strategies based on the ment. Trade barriers are falling. Markets are changing. identification of clients’ needs; Competition is increasing. Clients have more choice. • developing first-level specifications; It is becoming more of a challenge for designers to keep abreast of emerging technologies, changing •researching and/or generating ideas; demographics and societal preferences, and market • ideation, including prototyping, model-making, and opportunities (British Council for National Academic testing, that results in design; and Awards, 1992). But at the same time, meeting these •production. challenges are becoming more critical than ever.
Ultimately, the process is driven by the client, who is ● Designers have to be focused on the end-user. actively involved in all stages of the design develop- ment process, ensuring relevance and value. Designers need to be well versed in:
These methodologies, and knowledge about the • future-based or user-centred design; specific techniques and processes involved in the •product intelligibility (design of products, spaces, development of final products and services, are at the and communications that are understandable to heart of training for, and of the practice of, the design users); and professions. But, as discussed, it takes more than good • form-follows-emotion — that is, design focused on design skills to be successful in today’s complex busi- enabling people to feel comfortable with a product ness environment. or space.
CHAPTER 4 • THE MARKETING CHALLENGE 109 ● Designers must transcend disciplinary bound- schools typically do not encourage team-based aries to work in integrated, multidisciplinary problem-solving with members of other disciplines or teams. professions. The extent of demarcation among the disciplines in the design sector has led to a lack of A variety of interests have to be considered in the understanding of what the other disciplines do, and of design development process. More than ever before, their worth. As a result, in any particular situation designers are working in consultation with diverse there is an assumed hierarchy in which one design groups or individuals, and as part of a team that discipline perceives that it holds the ultimate design includes the client, users, other designers, and special- solution. The tendency among designers is to assume a ists. Figure 4-2 depicts the diversity of relationships in hierarchy of knowledge, with design knowledge placed each sub-sector. These multidisciplinary situations above that of other specialties; the inevitable result is require yet additional skills to be successful, including: that outside ideas are limited. • an understanding of the roles of various team Where once it was acceptable to have groups with members and of what they bring to the team; special skills “battling for territory” with others, today • the ability to draw on a wealth of expertise and to the culture in most organizations necessitates that integrate it into the team; designers work as equal partners with professionals • the ability to articulate a design perspective in from other groups to get a product to market. This language that non designers will understand; collaborative effort is particularly important in an economy where time-to-market is constantly • negotiation skills; and constrained. Further, as design problems become more • the ability to understand the value of compromising, complex, the contribution of all designers and of other when appropriate. specialists will be necessary to produce innovative solu- Designers must be integrators and collaborators — tions to meet clients’ needs. roles that do not come easily to most designers. Design
The Extended Design Team Engineers Manufacturers LEGEND Interaction with other professions Marketers Regulators Interaction with other design disciplines Social Scientists INDUSTRIAL Ergonomists DESIGN Ergonomists Life-cycle Costing
Social Scientists Packaging, Exhibits Building Hardware Regulators
Furniture Office, Systems Urban Planners
COMMUNICATIONS Wayfinding Merchandising BUILT DESIGN Systems Displays ENVIRONMENT
Public Relations, Building Contractors Building Inspectors Advertisers Ergonomists
Muiltimedia Producers Marketers Engineers Environmental Planners
Software Developers/Engineers Developers
Figure 4-2 Adapted from the Ontario Design Strategy
110 CHAPTER 4 • THE MARKETING CHALLENGE ● Designers need to be able to think strategi- ▼ User buying influences — The role of user cally, from the client’s perspective. buyers is to make judgments about the potential impact of the service or product on their organiza- Designers are finding themselves involved more at the tion’s performance. User buyers will use or super- front end of the design development process and vise the use of the service or product, and so their consulting on the strategic needs of clients. It is there- personal success is directly tied to the success of fore essential that designers have an understanding of that service or product. There may be several their clients’ positions in the economy, of the pressures people playing the user buyer role in a sale. and trends facing their clients, and of those factors that are critical if clients are to achieve their strategic goals. ▼ Technical buying influences — The role of tech- Armed with this information, designers will be in a nical buyers is to screen out possible suppliers.Their better position to pose more relevant and more effec- focus is on the service or product itself, and they tive design solutions. make recommendations based on how well the service or product meets a variety of objective spec- A designer’s ability to listen effectively, to interpret ifications. Technical buyers cannot give a final “yes,” objectively, and to communicate ideas in a language but they can give a final “no.” As with user buyers, the receiver can understand are paramount for success. several people usually play the role of technical ● The design service sale is a “complex sale,” buyer for a project. requiring significant up-front preparation. ▼ Coach — The unique role of a coach is to guide the As a complex sale, it tends to involve more than one salesperson, for example, a partner in a design firm, decision-maker. Identifying all the people accurately to a successful conclusion by providing information and understanding the role of each player in the on the other buyers — including information decision-making process can be two of the major needed to position the salesperson with each one. stumbling blocks for designers. It is not enough simply While the other three buyers are usually within the to concentrate on those individuals who have been target client organization, the coach may be found important in the past or whose titles suggest they are outside the buying organization. the people to meet. Since corporate structures are in Understanding both the four buying influence roles and flux, it is wiser to focus not on titles, but on roles that the people playing those roles is critical for designers: relate to a specific project. • to identify how success and value will be measured In every complex sale, there are four critical “buying by their target clients; and influences” (Miller and Heiman, 1987). The term • to know how to demonstrate the value of their work refers to the people who play any of the four buying in ways that are relevant to that potential client. roles. No matter how many people are involved in the buying process, they always play at least one of the four roles: ▼ Economic buying influence — The role of the person who will act as economic buyer for the sale is to give final approval to buy.There is always only one person or set of people playing that role for a project. The economic buyer can say “yes” when everyone else has said “no,” and vice versa.
CHAPTER 4 • THE MARKETING CHALLENGE 111 4.4 CONCLUSIONS
1 Demonstrating the economic benefits • Designers must stimulate Canadian business to treat of design is one of the most important design as a core element of a business strategy. For challenges facing the design sector. many years, corporate management focused on • Designers have not found a way to articulate clearly general management and finance, rather than on the value of design to business. In fact, with the products and services. exception of architecture, the sub-sectors of design This absence of an understanding of design by remain virtually unknown by Canadian business, the managers can be traced in part to the fact that, general public, and governments. Relatively few generally, design is not addressed to any great extent Canadian companies see innovative design as a key in the curricula of Canada’s graduate business to distinguishing themselves from their competi- schools. The French, Norwegian, and Finnish tors. In addition, only a few governments have representatives noted that, in their countries, shown that they recognize the benefits. Coverage of getting design into the curricula of business and success stories by mainstream media is spotty. engineering schools is one of the most important Many would suggest that design’s absence from the challenges facing design. In comparison, business public school curricula in Canada contributes to the schools in the United States and Sweden have general lack of awareness about design. The Board started this process; in fact, the major U.S. business of Education, for the City of York in Ontario, and schools have indicated significant interest in Design British Columbia have taken steps to bridge working with the design sector to enhance their this gap. Design British Columbia’s Designer-on- curricula. Call program places professional designers in the At the same time, designers need to understand the classroom to work with students on problem- business environment in which their clients operate solving projects. A design project called “Be Seated” and to understand their clients’ business strategies. has elementary and secondary school students They need to define the role of design within those design and build models of chairs as a methodology strategies and to express their ideas in a language for understanding design thinking. “Be Seated” was that clients understand. so well received that Design British Columbia is writing a handbook and developing teacher training 2 There are three approaches designers can take to accompany the program. to demonstrate the value of design.
• The sector has done little to record the impact of • Understanding users’ needs: Involving clients and end- design on clients’ businesses. Research has been users in the design development process is para- conducted elsewhere on the value of design, but in mount to successful design. The emerging practice Canada the design sector has lagged behind. The of usability testing is giving designers the opportu- dearth of documentation on the benefits of design is nity to demonstrate the economic value of their due partly to the lack of research capabilities in talents. design schools, and partly to the lack of funding for Usability testing sees designers teaming up with research. Nonetheless, designers generally must experts in other areas, such as ergonomics, mate- take the initiative to demonstrate the worth of their rials, and psychology, to develop solutions for talents.
112 CHAPTER 4 • THE MARKETING CHALLENGE unmet customer needs. Designers are dealing with 4 The ability to work as part of a multi- the psychological fit of the product or space to the disciplinary team is paramount to developing user, as well as with the physical fit. relevant design solutions.
• Practising effective design: Designers can help clients • Successful designers are integrators, reaching across to make strategic breakthroughs by changing basic disciplines to bring in new information, to extract business perceptions about products and services. ideas, and to think critically from diverse points of Effective design is an approach that focuses on view (Owen, 1989). Today’s designers frequently concepts, invention, and strategy. It requires must work in teams composed of a variety of designers to work closely with senior management experts. User-centred design and concurrent design in adjusting corporate strategy to the design devel- strategies now mean that the design development opment process. It incorporates the concepts of process is performed by a team working together. user-centred design, concurrent design, and virtual To work successfully in multidisciplinary teams, design, and requires designers to work in multidis- designers must value the expertise of each member ciplinary teams. and must understand how each participant can
• Helping clients save time and money through efficient contribute to the design development process. design: Efficient design uses scarce resources well to Designers require the ability to draw on the variety respond to clients’ needs to provide exceptional of available expertise, to integrate such expertise customer service through producing products or into the team, and to articulate a design perspective providing services faster and more economically. in language that non-designers will understand. The focus is on production. Efficient design uses Also important are negotiation skills and an aware- the concepts of business process re-engineering to ness of the value of compromise. For designers save time, steps, and money in the design develop- educated that design is a solitary process, this new ment process. The technology used to support the approach is indeed a challenge. design development process is a key part of efficient The design sector has no control over the economic, design. the demographic and social, or the technological changes that affect its performance. But the sector can 3 Strategic selling skills are critical to demon- cultivate opportunities brought about by these strating the value of design. changes through helping designers prove their ability • Strategic selling focuses on clients’ needs. The to enhance the economic position of Canadian busi- designer must be able to identify those needs, both ness. Designers need to be aware of the environment organizational and personal. There are four buying in which they are operating — to identify opportuni- influences in any organization. Understanding these ties not only for themselves, but also for their clients. key roles and identifying the buyers will allow a But first they need the tools, such as case studies, and designer to grasp their points of view. This aware- the skills, including strategic thinking, marketing, ness will help designers understand how their research, and team-building. services or projects can help buyers meet their objectives.
CHAPTER 4 • THE MARKETING CHALLENGE 113 Footnote
1 Many designers suggested that business schools should include design strategy in their curricula. In fact, some Canadian business schools have started talking about design. In a survey of Canadian graduate business schools conducted as part of this study, two of the 22 schools that responded reported that they had courses in design management. Another 25 percent of respondents indicated that design management was covered in other courses. Unfortunately, among the two-thirds that do not address design management issues, there is little interest in the topic. More detailed results of the survey are provided in Appendix F.
Designers also suggested that public school programming should incorporate design. The idea here is that the population at large would become more attuned to design, and design utilization overall would improve.
114 CHAPTER 4 • THE MARKETING CHALLENGE CHAPTER5
CHAPTER 4 • THE MARKETING CHALLENGE 115 Design management includes two levels. Functional design management ensures that you have a well-running design group as a resource. However, that in itself is not enough. For a corporation, there is an even more important level of design management. That is…strategic design management. This is the mechanism that ensures the effective utilization of design by a corporation…
Petere Lawrence, Chairman, Corporate Design Foundation, “Design Management in Practice”
116 CHAPTER 4 • THE MARKETING CHALLENGE CHAPTER 5 THE MANAGEMENT CHALLENGE
esign firms are small businesses. As with any business, they can flourish under a Dmanagement that is innovative in its thinking and strategic in its outlook. The vast majority of design firms are headed by designers; only a few have non-designers in the most
senior positions. Unfortunately, many designers have yet to recognize the importance of the skills
required to manage a design practice.
This chapter explores the approach to management in the design sector. It assesses the skills
required to manage both projects and people, and it examines the management gap.
CHAPTER 5 • THE MANAGEMENT CHALLENGE 117 5.1 MANAGING THE BUSINESS
● Management skills are different from Culham Pedersen Valentine struck a task force to design skills. address issues related to productivity and business, developed policies to put real structure into the firm, As one firm owner commented, “To start our own and defined roles and responsibilities. design firm was a huge leap. To hire a staff meant that we became managers in addition to being designers — Table 5-1 highlights the skills required to manage a that was an even bigger leap.” business in the emerging environment and comments on the general level of ability within the design sector. Most designers learned their management skills through experience, sometimes through costly trial The management skills gap in the design sector is and error. Because a designer’s training is in the process fairly significant. Some firms have recognized the of design, few designers bring to their enterprises any weakness and have found ways to bridge this gap by knowledge of how to run a business. In fact, the using a variety of strategies. For example: management of design firms rarely was perceived by • They contract for specific management skills, such designers as a central issue of commercial success, let as financial management or marketing, on an as- alone survival. British researchers found that British needed basis. designers expressed their “core values” in terms of high-quality design and effective solutions, rather than • They bring the expertise in-house. Some larger through meeting clients’ needs or investment in company firms have staff, who are not designers, to manage growth (Bruce and Morris, 1994). the firm.
Few designers operate with a well-configured business • They allocate the responsibility for management plan. A comprehensive study on Danish and Swedish functions among the partners. Although many firms design firms revealed that business planning was reac- prefer this approach, it is successful only if the part- tive and carried out ad hoc, and that business perfor- ners have the appropriate skills. These skills may be mance was rarely assessed in financial terms (Bruce and acquired through professional development, either Morris, 1995). Unfortunately for a number of design formal or informal. As an example, a partner of Yabu firms in Canada and elsewhere, the lack of attention to Pushelburg, an interior design firm in Toronto, managing the business took its toll during the reces- attended a management program at Harvard sion. Some firms are starting to react. University.
• Culham Pedersen Valentine, an architectural firm in Strategies may vary, but design firms are slowly begin- Calgary, realized that to survive the firm had to ning to recognize the importance of business skills and focus on the business. As one partner noted, “For marketing development. Why some firms succeed and people here, their education has left them believing others fail, why some grow and others stagnate rarely that there is a higher calling: that the business aspect reflects the quality of the design work. As the partner is secondary. Education has not taught people that at one architectural firm noted, “Firms that prosper architecture is a business.” now have demonstrated real business acumen.”
118 CHAPTER 5 • THE MANAGEMENT CHALLENGE Ta ble 5-1: Level of Business Development Skills in the Design Sector Skill Level of Ability in the Design Sector
Business planning — Scan environment for opportunities, Few design firms have a business strategy. Many design analyze the costs and benefits of opportunities, and choose a firms are reactive in their approach to opportunities, making course to pursue; set objectives and devise actions to achieve themselves vulnerable to unanticipated change drivers. them; anticipate problems and develop strategies to over- The complexity of projects and the mix of clients make come them. business planning difficult and especially critical.
Opportunity identification — Identify and assess market The approach many firms take to opportunity identification opportunities; develop strategies to market products and is passive. Marketing and promotion in the design sector are services; anticipate and adapt to market changes. largely through word of mouth. A few firms have taken a more proactive approach, researching opportunities for their products and services. With growing opportunities overseas, the need for exporting skills will increase. Designers expressed interest in developing overseas markets, but most confessed to having limited knowledge about determining international opportunities.
Finance/accounting — Understand and apply accounting Most design firms contract for accounting expertise. Some principles and financial practices to ensure the profitability of large design firms have systems to track time spent on various the design business; look for opportunities to optimize quality projects, and as a result project managers can access informa- and cost in developing a design solution. tion about the financial status of their projects. Generally, financial information is held tightly by the senior members of the firm. In a few more enlightened firms, information is being shared with staff in an effort to develop a more cost-conscious approach to project management and design solutions.
Marketing and client development — Identify potential Designers have been faulted for producing design solutions clients; identify all buyers and their particular needs; develop a that satisfy their personal goals rather than those of their strategy that meets the needs of all buyers. clients. At the same time designers need to be creative to develop solutions for clients’ problems. The design sale is complex, involving a multitude of buyers in the buying decision, all with different interests.The situation is often underestimated by designers. Designers generally have not found a way to communicate to their clients in a way that demonstrates the economic value of design.
Production — Develop and manage systems to optimize the Most firms have implemented technology to aid in the design costs and quality of projects and services. development process. However, utilization of technology is uneven within firms, affecting overall productivity gains. The ability to put together and manage a multidisciplinary team is becoming increasingly critical as firms respond to larger, more complex projects. Designers have had limited experience in such situations.
CHAPTER 5 • THE MANAGEMENT CHALLENGE 119 Ta ble 5-1: Level of Business Development Skills in the Design Sector cont’d. Skill Level of Ability in the Design Sector
Human resource management — Develop a workforce with Most design firms do not have a structured approach to the required skills and abilities to achieve the strategic goals human resource management. Design firm owners acknowl- of the business on an ongoing basis. edged that they are generally poor at integrating new hires. Newcomers are typically expected to “sink or swim,” an approach that often lengthens the learning curve. Human resource development, as an integrated process, is virtually non-existent in design firms. Performance assessment systems are rare, and professional development is ad hoc. In the current economy, the typical career model for designers is no longer as valid as it once was. Design firms have yet to develop a new approach. As a result, designers who have attained senior roles have no other option for personal devel- opment than to open their own firms, effectively increasing the competition within the sector.
Leadership — Develop a vision, communicate that vision, Design firms tend to be hierarchical, with marketing, design, and influence others to achieve it; develop new approaches and decision-making responsibilities held closely at the top. to problems and opportunities; foster an environment for Many firms make a clear delineation between partners and innovation and teamwork. staff.
Technology — Assess technologies according to the strategic There is wide diffusion of information in the sector.Yet deci- goals of the business and manage their implementation to sions by design firm managers to adopt technology are often ensure successful application. made with little understanding of how the technology will affect the work, of the skills and the knowledge required to do that work, and of the work flow. Consequently, technology is often underutilized.
Quality — Determine what adds value to the clients, and Generally, quality control is the domain of partners and develop systems to ensure clients’ needs are met. owners. Only a small minority of firms, particularly those that have undergone or are undergoing ISO certification, have documented quality standards and expect responsibility for quality control to be shared by all staff.
120 CHAPTER 5 • THE MANAGEMENT CHALLENGE 5.2 MANAGING PEOPLE
Organizational Issues
esign firms frequently are partnerships in which Generally, design firms do not recog- A mix of staff with different nize the impact that finance or Dtwo or more partners share the ownership and levels of experience allows direction of the firm. This structure is common in all marketing, for example, can have on the a firm to take on larger the design disciplines. Depending on the size of the strategic direction of the organization. firm, there may also be one or more associates. The Nortel Technology (formerly BNR) and assignments more cost ratio of partners to staff varies widely across the sector. Bombardier are notable exceptions, with effectively. It also permits vice presidents responsible for corporate Although most firms include designers with a range of the partners to devote more design. A mix of staff with different experience and expertise, the exact mix of skill sets can attention to marketing levels of experience allows a firm to take vary considerably across firms, even firms focused on the firm, building client on larger assignments more cost effec- one discipline. There is no standard organizational or tively. It also permits the partners to relationships, and seeing to occupational structure in the design sector. Formal job devote more attention to marketing the overall project management. titles are rarely used, and documented job descriptions firm, building client relationships, and are even less common. However, design firms gener- seeing to overall project management. ally employ people who, in a more formal structure, would be considered junior-, intermediate-, and In-house design departments may be responsible for senior-level designers. Larger firms may employ tech- design development as well as production. In some nologists as well. Work is assigned to a member of the instances, the in-house design group is responsible for design team according to level of experience. overseeing the work of contract designers. In-house design departments may use design consultants to The partnership structure can pose strategic problems. supplement in-house skills. Many designers view this By its nature, a partnership requires all partners to type of arrangement as a trend for in-house depart- share in decision-making. In small firms, where part- ments, particularly given the recent streamlining of ners have a close personal relationship, this arrange- these departments. ment can work well. However, a partnership can also be slower to respond to opportunities where agree- Generally, heads of design departments have a design ment by the partners is needed before the firm can background. They face the same challenges that invest significant effort or expense. owners of design firms face; that is, they often lack the management skills to develop the design department as In-house design departments are usually found in a strategic function within the organization. Some larger organizations that have an ongoing need for would argue that this lack of visibility is a factor that design services. The in-house design department may makes the design department a target for cutbacks in be a separate function or unit within the organization, leaner times. or it may be a part of another function, such as facili- ties management, manufacturing, or marketing. In Indeed, changes in corporate structures are having a most cases, the head of the design department is at the major impact on in-house design departments. An mid-management level; few design departments are article in Business Week (September 1995) questions led by someone as senior as a vice president. whether in-house design is on the way out:
CHAPTER 5 • THE MANAGEMENT CHALLENGE 121 • Decentralizing is leading to a massive outsourcing • The result is a change in the entire function of in- of design work by large corporations. Independent house corporate designers, who more and more are business units are increasingly turning to outside brokers for outside consultants. Increasingly, design consultancies. Sometimes it’s in conjunction designers in big corporations play two roles: internal with in-house company designers and sometimes champions for specific products, and integrators not. who connect outside designer functions with inside functions.
Career Implications
Several issues affecting the careers of designers: • As the partners at City Interiors in Vancouver noted, ▼ There are limited opportunities, owing to the size of “The firm has a history for progressing people out the majority of design firms, for designers to of the firm.” In fact, City Interiors has spawned progress from junior to senior designer within one several other firms. There is a price tag associated firm.To progress in their careers, designers often with buying equity, and few opportunities are avail- must leave one design firm for a higher-level position able for new principals in a small firm. The only at another. As one architect noted, “It is not as easy opportunity is to buy out a principal. to make partner as it may have been ten years ago. A better structure might entail a flattening of the hier- Opportunities are few. Careers may be developed archy, with more associates or principals who, while more by going from one firm to another.” not holding ownership positions, share in partner-type ▼ Newer entrants often find it difficult to break away activities. This type of structure would provide greater from the “junior designer” perception that opportunities for designers who are not interested in colleagues have of them.They are frequently forced starting their own firms. to go elsewhere to progress. Designers at Karo in It is also important to consider the issue of succession Vancouver noted that it is very difficult for junior planning. In many design firms, regardless of size, little designers to change their image as junior designers. consideration is given to who should manage the firm Usually, a junior designer has to change firms to once the partners or principals retire. Often small progress to a more senior position. design firms suffer once the “big name designer” ▼ Partners hold tight control over marketing, client (usually the partner or principal) leaves. Decisions needs analysis, proposal writing, and initial client about succession are often based on how well an indi- liaison, leaving little opportunity for designers to vidual will fit into the existing team. Often the skills develop those critical skills related to project and personalities of new employees resemble those of management and the assessment of client needs. the people who originally hired them. Unfortunately, since changing business trends can require radically As well, it is relatively easy to start up a new design different skills and attitudes, maintaining the status firm, particularly when the principal designers have quo may not be the best direction for a firm’s future established their reputations. Not surprisingly, then, success. the career progression of designers tends towards the formation of their own firms.
122 CHAPTER 5 • THE MANAGEMENT CHALLENGE • FBM Architects in Halifax has a buy-sell agreement less as time goes on. It is unlikely FBM More design firms are whereby senior partners can sell their shares over a will attract someone who will wait 10 exploring alternatives to five-year period, starting at age 61, to associates who years to become a partner. Rather, the the traditional full-time, have not yet reached 61. If the individual retires firm will have to bring in someone at permanent relationship. before 65, these associates are to purchase the the partner level. Finding someone retiree’s shares in proportion to their individual can be a challenge, however. As one shareholdings. This model is a way of ensuring partner noted, “Most people who are succession. self-employed do not work well in a team.”
However, the current partnership is aging, and there are no designers waiting to replace those who retire. The firm has a good name, but it is worth less and
Employment Models
Historically, the small size of the average Canadian • Nortel Technology (formerly BNR) often uses design firm has limited its capacity to take on very contract designers for the more routine design large assignments or to export design services. At the work, freeing permanent staff for work in product same time, economic pressures have left owners less innovation. confident about their ability to support permanent Advantages to employing either part-time or contract employees. As a result, more design firms are exploring designers include: alternatives to the traditional full-time, permanent relationship. • the flexibility of being able to hire specific skill sets and experience; Some firms hire designers part-time to supplement or complement the skills of their design teams. • the ability to contract for a fixed fee and therefore Employing freelance or contract designers is another have more control over costs; and option. Freelance or contract designers are hired • the opportunity to have full-time staff work with and project by project, according to specific skills and learn from experts. expertise. Another trend in the sector is the growth in temporary •Irwin Toys uses contract designers to allow for employment agencies for designers. The use of greater flexibility in meeting product demand. By “temps” in all sectors of the economy has increased, a contracting, Irwin can take advantage of specific by-product of reduced overheads. Several agencies knowledge and skills when required. Given the rapid have sprung up in the United States that place change in toys and the breadth of the Irwin product designers in temporary positions.1 Although tempo- line, there is a need for a wide variety of skills and rary employment has its downside, including uncer- knowledge. In-house designers may not be able to tainty of tenure and lack of benefits, it fulfills a need offer the totality of the skills required. and provides employment for designers. It can also provide the kind of variety and experience that a
CHAPTER 5 • THE MANAGEMENT CHALLENGE 123 designer might not get from one position. • eMarché (Electronic Marché), in Toronto, is a new- Occasionally, temporary workers are offered more media production company formed on the principle permanent positions. of a virtual corporation. Teams representing the appropriate design and technical skills are formed There are disadvantages to employing part-time, according to project requirements, and the firm’s contract, or temporary designers. The most significant co-founder directs the projects from a user-centred is that, unless a long-term relationship has existed, focus. these workers would not be familiar with the firm’s work methods, standards, and clients.
• Forrec Ltd., a theme park design firm in Toronto, has found a way to balance the use of subcontractors with the need to have designers who understand the culture of the design firm. The firm provides office space rent-free to independent designers who give first priority to Forrec, but are also free to pursue their own clients and contracts.
● The virtual design firm may pose an alternative solution.
The hallmark of the virtual firm, in which people with a particular mix of skills are drawn together for a specific project or set of projects, is its temporary nature. The virtual firm is like other project-specific design teams, except that the team is drawn from a number of smaller or independent firms. The virtual firm is not without structure, but its structure is funda- mentally fluid, based on the task at hand and changing as the task changes. Attempts to depict its form graph- ically tend to use images of molecular structures, rather than boxes or pyramids.
To work effectively in a virtual firm, designers must be good at forming a new team relationship quickly. The virtual firm does not have the luxury of slowly building trust and confidence in fellow team members. Very little time can be devoted to team building, yet the team must function cohesively. Individual designers must have a clear sense of their skills and limitations, be able to communicate them clearly, and be able to recognize how others complement their own skills. This self-knowledge is essential in the marketing needed to develop the virtual firm and to contribute effectively to its productivity.
124 CHAPTER 5 • THE MANAGEMENT CHALLENGE 5.3 CONCLUSIONS
1 Business management skills are critical to the 3 The traditional career model Is collapsing. development of design firms and the sector • In many design firms, it was not uncommon for as a whole. someone to start as a junior designer or designer-in- • Sound business planning, marketing, and decision- training and work up to a partnership position. making skills are required to manage and develop a Under the current economic conditions, and with successful design practice. However, the educational the high number of baby boomers, there are fewer system for designers essentially has ignored the partnership positions and more designers-in- worth of these skills. waiting. New models are needed to accommodate staff, or the proliferation of design firms will • Managing a design firm includes managing the continue. people who make up the firm. Good human resource management practices span the life-cycle of employment, from orientation, to career develop- 4 New working relationships will allow design ment, to succession planning. The ad hoc approach firms to expand their opportunities. that many design firm owners take to these activities • More and more, designers will find themselves in impedes the productivity of design firms in the long non-traditional working arrangements, such as term. virtual organizations. Designers will need to be flex- ible in terms of the roles they play in such situations, 2 The legislation governing partnerships in some and they will require the skills to build a strong team provinces may limit formal integration of in the shortest possible time. design firms with firms from related sectors.
• In some cases, legislation restricts the ownership of design firms to a particular profession. For example, some provinces require that the majority of partners in an architectural firm be architects. This restric- tion may impede the development of multidiscipli- nary firms, at least at the partnership level.
CHAPTER 5 • THE MANAGEMENT CHALLENGE 125 Footnote
1Temporary employees are typically retained for an unspecified time to assist firms during periods of expanded workloads. In comparison, contract employees are hired for a specific project or length of time.
126 CHAPTER 5 • THE MANAGEMENT CHALLENGE CHAPTER6
CHAPTER 4 • THE MARKETING CHALLENGE 127 Design, as an academic discipline, is at a time of expectation. World economic conditions are placing great pressure on industry to produce competitively, and the fast-paced development of computing power and, potentially, design technology, portend quantum jumps in design capability. The question is, will design education be able to rise to these challenges
Charles L. Owen, Design, “Education and Research for the 21st Century”
128 CHAPTER 5 • THE MANAGEMENT CHALLENGE CHAPTER 6 EDUCATION AND PROFESSIONAL DEVELOPMENT
he designer of the future will be an integrator and a collaborator, working within a T highly competitive and fast-paced environment. Designers will be expected to tran- scend disciplinary boundaries to assimilate information, to extract ideas, and to think critically
from many viewpoints. Design education has a significant role to play in developing the designer
of the future, but first it must evolve — taking advantage of new opportunities such as technology
and sectoral initiatives, and meeting new responsibilities. A critical concern for the sector is
whether design education can rise to this challenge.
This chapter examines the post-secondary education system and the professional development
infrastructure supporting the design sector, and it considers how well they serve the needs of the
sector. The chapter is divided into two sections. The first section, which addresses formal educa-
tion in design, examines the availability of design programs, the curricula, links within educa-
tional institutions and with the design community, the school-to-work transition, and the
challenges facing design educators. The second section focuses on professional development and
the role of associations and promotional organizations in continuing education. It looks at the
range of available opportunities and reviews the issues related to professional development.
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 129 6.1 THE EDUCATIONAL FOUNDATION
Changing Traditions
he history of design education is rooted in an become more technological. To this end, the Tarts and craft tradition. However, the new imper- Technical University of Norway is offering atives of design knowledge, as well as the new design programs in design. skills, are precipitating dramatic changes. Educational • In Japan, design has not been recognized as a legiti- visions, technological innovations, and multidiscipli- mate field of study; the interviewee commented that nary dimensions in design are all contributing to a a higher level of specialized design education is much-needed re-evaluation of design education. required. The newly established Nagaoka Institute Although design educators attempt to position their of Design, where the educational philosophy programs in the current context of industry and emphasizes original ideas in artistic design, engi- academe, program content using terminology such as neering, information, and economics, may help studio, critiques, shops, portfolios, and juries continue change the perception of design in Japan. Within to reinforce an arts and craft culture. This reinforce- this approach, design is no longer considered to be ment continues to be problematic for educational contained in art or technology, but is viewed as a institutions, particularly in terms of striking a balance distinct discipline. between teaching design and conducting academic • The educational system in Germany is often held up research. Given the tradition of fine and applied arts as by Canadian industry as a model that should be a model, personal exploration often substitutes for adopted in Canada. But a working group, headed by research, reducing the emphasis on developing a body Dieter Rams, has been established to study the ques- of knowledge for design. tion of how design education must change.
Design education is under scrutiny in numerous coun- A U.S. report on design education recommended that, tries, as indicated by discussions with international to be effective and meaningful, a design education interviewees. should include:
• The representative from Australia suggested that • conceptual competence; design courses are insufficient. An attempt at a two- • contextual competence; year fast-track degree failed. Although associations accredit design programs, many Australian designers • interpersonal competence; and view this system as inadequate. • adaptive competence. • In Finland, one of the main concerns about design The integration of social science courses into design education is that it is too artistic, too crafts-oriented, education was suggested as a way of achieving these and too self-expressive to serve the needs of necessary “competencies.” Optional courses should: business. • sharpen the social-perception skills of students; • In Norway, art-based design and its designers have not been generally well received by industry. The • increase their interpersonal and communications interviewee argued that design education should not skills; be an extension of art education; rather, it must •promote an awareness of responsibility;
130 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT • expand their sense of social responsibility; and
• develop an ability to identify changes as they occur (Salmon and Gritzer, 1992).
Design Programs: An Assessment
● There are about 175 community colleges, such as Sheridan College and Humber College, both Cegeps, art schools, and universities across in Ontario, are establishing articulation arrangements Canada offering diplomas or degrees in with universities in an attempt to provide a wider range design. of options to their design students. Such arrangements permit students to use their community college Generally, the location of design programs parallels diplomas to receive advanced standing towards a the population distribution of Canada, with the university degree. majority of design programs located in Ontario, Quebec, and British Columbia, where the largest Faculty members of design programs suggested that proportion of the Canadian population is located. the articulation arrangement initiative was prompted Architecture and communications design are the only by the perception of students and faculty that disciplines offered in every region of the country. employers want graduates of university-level design There are no programs in landscape architecture, inte- programs. For communications designers in particular, rior design, and industrial design in Saskatchewan, the dearth of university-level programs makes it diffi- Prince Edward Island, Nova Scotia, or Newfoundland. cult for graduates to compete with software engineers, Communications design programs are not available in or others in related professions, who tend to have Saskatchewan or Newfoundland. (Appendix G lists the university degrees. Study participants commented that design programs available across Canada.1) articulation arrangements would improve the “creden- tials” of design graduates. Although the distribution of programs tends to corre- spond with the distribution of the population, it does LACK OF GRADUATE PROGRAMS not reflect the distribution of designers themselves. Employment patterns find designers concentrated in ● A critical gap in design education is the lack of central Canada, more specifically in Ontario and graduate programs in design. Quebec. Design programs located in central Canada thus have the advantage of being able to provide more Although numerous graduate programs are found in local employment opportunities for students and architecture and landscape architecture, Canadian graduates. universities offer only one graduate program in inte- rior design and three in industrial design; there are The majority of design programs are diploma- none in communications design. All advanced-degree granting. Few industrial, interior, and communications programs are at the master’s level. There are no design programs are offered at the university level. In doctorate-level design programs in Canada. comparison, all professional architecture and land- scape architecture programs are university programs; Interviewees noted that the lack of graduate programs only technician and technology programs are given by undermines the advancement of design research the community colleges.2 A few community colleges, and the development of a body of knowledge for the
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 131 Interviewees noted that discipline. It also impedes the develop- To work in a design firm and to understand the busi- designers of the future will ment of Canadian-educated design ness aspects of design, designers require an appreci- faculty. Administrators and faculty ation of what it takes to operate a successful design require a broad educa- members commented on the need for firm. Many students expressed surprise that design tional background, not multidisciplinary graduate programs in firms focus so heavily on completing projects on only in the core theoretical design, with an emphasis on design time and within budget, suggesting that such a focus and technical areas of management. The University of Alberta means sacrificing quality. Design firm owners, mean- while, are frustrated by the lack of concern that new design, but also in business is the only institution offering a multi- disciplinary design program — a master graduates have for the bottom line. skills, design management, of visual arts, which includes communi- ▼ Design management — Design management and working in multi- cations and industrial design. focuses on the role of design in business strategy. disciplinary teams. Graduate design education, either Recognizing that not all graduates of design programs multidisciplinary or specialized, was will work as designers, and acknowledging the need discussed in two Ontario studies: the “Draft Proposal to have designers in positions of management in to Establish the Premier’s Council on Technology” client organizations, the curricula of design programs (Group for Design in Business, 1988/89), and “The should include skills in design management. Ontario Design Strategy” (Design Strategy Steering ▼ Working in multidisciplinary teams — More Committee, 1994). Both studies concluded that the than ever before, designers are working in teams absence of such programs in many of the design sub- made up of a range of disciplines in design as well as sectors has affected the maturation of the design in engineering, marketing, the social sciences, envi- professions. It has also meant a missed opportunity to ronmental planning, and other fields. The ability to better educate designers. work in multidisciplinary teams is essential to many projects. Consequently, design education must GAPS IN CURRICULA expose students to business, the sciences, tech- nology, and the humanities, as well as to all the There are significant gaps in the curricula of ● design disciplines. many design programs. An assessment of curricula from a sample of design Interviewees expressed concern that the numerous programs across Canada indicates that in almost all design programs across Canada provide little focus on instances the foundation courses (design history, the needs of the marketplace. They noted that design theory, and materials, processes, and structures) designers of the future will require a broad educational are mandatory. Many programs also include a manda- background, not only in the core theoretical and tech- tory computer course. Generally, however, programs nical areas of design, but also in business skills, design lack the skills designers will require to be successful in management, and working in multidisciplinary teams.3 the future. For example, communications design, ▼ Business skills — Students should be exposed to architecture, and landscape architecture programs the skills required to manage a design firm, such as often do not address marketing and management accounting, business planning, marketing, and project competencies. Professional practice courses may cover management. Why some firms succeed and others such skills, but often only according to the interests of fail is rarely a function of the quality of design work. faculty members. In contrast, most programs in inte- Rather, the determining factor usually involves the rior design and industrial design have a mandatory level of business management skills. course in business.
132 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT This gap in the education of designers is a concern for Therefore, design educators argue, the sector must many designers, from students to practising profes- also take some responsibility for the development of sionals, as illustrated by the following comments: future designers.
• One architect noted, “An issue with education is the In addition to identifying those skills required by all split with the ideology and the practice. The busi- future designers, sector representatives identified ness component is a significant component of archi- specific skills and knowledge that will be required by tecture, and architects need to learn how to do future designers in each of the sub-sectors: architecture as a successful business.” ▼ Designers in the built environment will also require •A recent graduate in architecture commented, “My education in the areas of critical thinking, quantitative education prepared me for composing and executing research, and designing in a business and social design. That process has nothing to do with who context.These skills do not appear to be addressed pays the bills, who does the accounting, or at what in most programs today. point one is liable. No attention in school is paid to ▼ Future industrial designers will require skills and budgeting or managing projects to budgets.” knowledge in ergonomics and socially responsible •A student in the environmental design program design. Many programs include ergonomics; fewer at the University of Manitoba suggested that “there include socially responsible design. is a sense that it is base to talk about marketing ▼ For communications designers, the greatest and networking in an altruistic setting such as a emerging skill requirement is in the area of new university.” media. At the moment, communications design Faculty members and administrators commented that programs are in various stages of developing and they try to educate students in both the subject and the implementing curricula to meet this need. The cost process of design. They are well aware of the impor- of the technology is a factor in the pace with which tance of such issues as multidisciplinary teams, busi- this need is being addressed. ness, and technology. However, developing new material to fit into the program curricula requires significant resources that are not always available.
Structure of Design Education
● The role of the various institutions in the place more emphasis on technical skills, such as education of designers is not altogether clear.4 drawing and CAD skills, while university programs emphasize conceptual, contextual, and professional The clearest differences between the curricula offered practice skills. at the community colleges/Cegeps and universities are found in the built environment sub-sector, specifically In other design disciplines, the distinction between in the disciplines of architecture and landscape archi- programs — community college, art school, and tecture. Community college programs in these two university — is less clear. In communications design, disciplines are at the technician and technologist levels; for example, the various programs offer similar at the university level, they are professional programs curricula. Since university programs are longer than and research programs. Community college programs community college ones, they can provide greater
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 133 Overall, the directions of breadth or depth and thus have the Sector representatives commented that students grad- design education need to be potential to address more of the skills uating from community college programs often that sector representatives identify as consider themselves to be designers when, in fact, they re-evaluated and the role necessary for the future. may not have the conceptual and problem-solving of the various educational skills necessary to conceptualize design. One of the outcomes of the current institutions clarified. The system is that community colleges, ▼ One U.S. author dismisses the vast majority of sector has to work with the particularly in communications, indus- graphic design programs as vocational training. In educational institutions to trial, and interior design, are struggling general, design schooling has not educated people determine what they to identify priorities, given that the with a broader perspective who could help to shape should provide, considering programs are not long enough to teach a democratic society.Yet adaptability to the changing students what is required from both a context and adaptability to change go hand in hand their resources. theoretical and a technical perspective. with general education. Design education — if it is Several community colleges are length- to be beneficial to students — must find a balance ening their programs in response. In addition, some between skill training and general understanding community colleges and art schools are attempting to (Swanson, 1994). improve their competitive advantage by seeking ▼ Another U.S. author suggests that design education degree-granting status. Students may not see the value be university-based (Owen, 1991). Undergraduate of attending a community college or an art school for studies should be made up of four- to five-year three or four years only to obtain a diploma when they programs offering a mix of liberal arts and techno- can attend a university for the same time and earn a logical education. Graduate programs should either degree. Moreover, with the increasing necessity to lead towards a specialization or be research work as part of a multidisciplinary team comes the oriented. perception a professional designation brings respect and equality on the team. Overall, the directions of design education need to be re-evaluated and the role of the various educational ▼ In British Columbia, all community colleges have institutions clarified. The sector has to work with the become university colleges, empowered to grant educational institutions to determine what they should certificates, diplomas, and bachelor degrees. provide, considering their resources. Kwantlen University College, in Vancouver, is the first to evolve its two-year diploma in interior design to a degree.
Students noted the need for an improved profile of educational programs and what they represent. Many commented on the difficulty they had selecting a program from the wide range of options. In choosing their programs, many students were unclear about the differences between university and community college programs.
134 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT Ensuring Quality in Design Education
● The accreditation of educational programs is Accreditation promotes a consistent standard of an attempt to ensure a consistent standard of knowledge across a discipline and clearly identifies education. programs who have met that standard. Despite that major benefit, some interviewees were concerned that, Currently, accreditation initiatives exist only for in applying the accreditation criteria, institutions may programs in the built environment sub-sector. Each of find it difficult to differentiate themselves from one the disciplines in that sub-sector has an accreditation another or to respond to the changing needs of the board, which develops and maintains educational stan- discipline. dards and accredits programs that meet those stan- dards. Accreditation initiatives are relatively new in the design sector, and some of the misgivings expressed by ▼ The Canadian Architectural Certification Board is interviewees may simply reflect their inexperience. responsible for administering the accreditation of Essentially, the accreditation bodies recognize that the Canadian schools of architecture and for the their responsibilities include maintaining strong links certification of individuals who apply for licensing. with practice, and reviewing and revising accreditation Standards are based on the U.S. standards for criteria so that education programs remain responsive accreditation. to the needs of the disciplines. Accreditation sets broad ▼ The Canadian Society of Landscape Architecture performance criteria within which schools are free to (CSLA) accredits landscape architecture programs exercise whatever creativity they wish. through its accreditation council. Before the CSLA No consistent standards for education are found in the began accrediting programs, some programs were other sub-sectors. Study participants noted a wide accredited through the American Society of variation in design education across the country as a Landscape Architecture. result. ▼ The Foundation for Interior Design Education and Research provides a vehicle to accredit post- secondary interior design programs in North America. Both community college- and university- level programs are eligible for accreditation.
Links Within Educational Institutions
● Links among the design disciplines, and communications. Not surprisingly, designers often between design and other disciplines, are lack an appreciation for other design disciplines, which weak. in turn has weakened the links within the sector.
A systemic problem in design education is that most ▼ The author of a 1989 article described the lack of programs are centred on a single discipline. Few cross-discipline cohesion of the design schools in schools promote close educational relationships post-secondary education. The situation was between design disciplines, let alone with other facul- different in engineering and business schools, which ties such as business, engineering, psychology, or saw a much stronger interaction among the
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 135 disciplines and, as a result, a much stronger identifi- ▼ The University of Toronto’s School of Architecture cation with the profession. The disciplines of engi- and Landscape Architecture includes an interdiscipli- neering are almost always offered in the same nary program where both disciplines are repre- academic faculty. Thus, although professional engi- sented. neers may be educated in mechanical, civil, or elec- On the international scene, the various design disci- trical engineering, all identify with engineering plines are usually taught separately, although a few (Krapfel, 1989). innovative examples, such as the following, are found: The problem lies in the structure of departments ▼ The Netherlands is seeing a shift away from indi- within educational institutions and the positioning of vidual design disciplines, taught in isolation, towards a disciplines in these departments. Design programs more holistic approach. The European Design traditionally have been placed under the umbrella of Centre has initiated a project for the design school either engineering or art. Although a few departments of the future; design is taught in eight departments, do include two or three of the design disciplines, there each having a theme such as “man and transporta- are no examples of a faculty of design that includes all tion,” or “man and home.” design disciplines. Generally, the design disciplines are located physically apart from one another. The absence of links between design faculties and other disciplines has led to a lack of appreciation for ▼ The Faculty of Architecture at the University of the expertise that engineering or other professions can Manitoba includes architecture, landscape architec- offer. This situation becomes problematic for ture, interior design, and city planning.The faculty is designers, since clients are demanding integrated introducing a common two-year core of studies for design solutions that require the expertise of multidis- all four disciplines within the undergraduate level. ciplinary teams of professionals. Design educators ▼ At the Université de Montréal, the schools of need to include multidisciplinary educational opportu- Architecture, Landscape Architecture, Urban nities that permit students to work in multidisciplinary Planning, and Industrial Design are all part of one teams and develop integrated solutions. Successful faculty. Students from the four disciplines at the models are in place in some educational institutions: graduate level take common courses and routinely ▼ The Creative Design Research Unit in Toronto work together on research projects. At the under- brings together students from various departments graduate level, the faculty is considering a common — mechanical engineering at the University of first-year program for the disciplines. Toronto, industrial design at the Ontario College of ▼ The Faculty of Environmental Design at the Art and Design, and marketing at Ryerson University of Calgary includes architecture, industrial Polytechnical University — to work on industrial design, and planning. design projects.This program gives students experi- ence on collaborative ventures and exposes them to ▼ The Centre for Applied Design Studies at Kwantlen some of the issues involved in team-based work. University College houses the disciplines of interior, fashion, graphic, and visual design. Students take a ▼ The Master of Environmental Design program at the common interdisciplinary first year. University of Calgary provides professional, business, and entrepreneurial management preparation. ▼ At Ryerson Polytechnical University in Toronto, a Students are encouraged to move freely between common undergraduate design program for archi- their own faculty and the Faculty of Management, tects and interior designers, with the opportunity to and they regularly join faculty, students, and profes- specialize, is on the horizon.
136 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT sionals from other disciplines to research and ▼ Recently, mechanical engineering students from consult on projects. Faculty members commented TUNS joined with communications design students that these interdisciplinary opportunities provide an from the Nova Scotia College of Art and Design excellent “reality check.” Recently, the Faculty of (NSCAD) in collaborative projects that helped them Environmental Design entered a formal agreement develop a better sense of each other’s talents. with the Faculty of Management to allow students ▼ NSCAD/TUNS and the School of Business at from both faculties to pursue joint degrees. Dalhousie University in Halifax are discussing ways in ▼ Links between the architecture and engineering which they can work more closely. programs have recently been formed at the With the need to respond to the changing design envi- Technical University of Nova Scotia (TUNS), in ronment, educational institutions are adding “neces- Halifax.The school will try to arrange joint classes. A sary” subjects to already full curricula. The result is common area of interest is the environment. TUNS that the number of electives is reduced, minimizing the also wants to set up joint computer labs for engi- opportunities for students to take courses in other neering and architecture projects. The Faculty of disciplines or faculties. Some interviewees suggested Architecture is working with the computer science that design programs should be flexible — there department to develop 3-D models that may lead should be a minimum number of mandatory courses, to ideas in prefabricated building. with more courses being optional. Interdisciplinary projects could present another approach.
Links to the Community
● Few mechanisms are in place to facilitate The extent to which these advisory boards are communication among the design sector, active varies, however. Faculty members commented industry, and the educational institutions. that the sector could provide input into curricula, organize fund-raising events, and find work place- The concern over the relevance of design education ments for students. But study participants noted programs is deepened by the lack of communication that, in some cases, advisory boards fail because they between the design sector and the design schools. are unable to develop a collaborative group process; While the design sector can be faulted for not commu- design educators and sector representatives often nicating with the education sector, the education lack a sense of shared interest in the success of the sector can be faulted for failing to listen when the collaboration, mutual respect for differences, and a opportunity has arisen. Nevertheless, links between willingness to adapt. In addition, the sector’s input the education and design sectors do exist, among them into curricula is often not welcomed by the educa- the following models: tional institutions. ▼ Many community college programs have advisory ▼ Mentorship programs present another form of boards made up of representatives from the design industry–education linkage. These programs pair sector. The boards provide an opportunity for the students with design practitioners from the commu- sector to clarify its needs and expectations, and for nity, creating opportunities for students to gain educators to develop links with employers and insight into the “business” of design. Students meet stakeholders.
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 137 regularly with their mentors, who provide advice on education, research, and design awareness. The projects and then critique the completed work. program is managed by a 20-member advisory board made up of three representatives from the Mentorships also provide an opportunity for faculty, four from the design professions, and 13 from students to establish networks in the design commu- industry (construction, services, and suppliers).To be nity, leading to job opportunities. Students from the a board member, a participant must pay a fee to University of Manitoba and their mentors “subscribe” to the program and agree to bring on commented that the arrangements have been four new subscriptions. Subscription fees are used to extremely beneficial to both parties. run the program, to bring in speakers, and to Mentorship programs require a significant time operate the student gallery. commitment from faculty, who must find design Faculty members commented that industry repre- practitioners willing to participate; from the design sentatives are pleased to be a part of the program practitioner, who must put aside productive time to because it offers them a link to the university and meet with the student; and from the student, who the opportunity to work with students. Students must fit meetings into an already hectic academic become involved in projects initiated by the part- schedule. ners, with the prospect of getting summer jobs and ▼ Accreditation programs, which exist in the built envi- permanent positions. ronment sub-sector, are another means to facilitate dialogue between educational institutions and the Some other community-oriented approaches: specific design profession. ▼ At the University of Calgary, students in the graduate program work with industry in developing products. ▼ Many design programs bring in practitioners to For example, a group of design and medical students teach part-time or to conduct studio classes. Study worked with a healthcare organization to develop a participants commented that this practice ensures new medical instrument. an ongoing link with the sector and a steady influx of fresh ideas. Although students benefit from the “real ▼ At Kwantlen University College, third-year interior world” experiences that part-time faculty members design students take on a community project, bring to their education, many students commented providing full service to a non-profit client. about the consequent loss in the continuity of ▼ At the Nagaoka Institute of Design in Japan, third- program content. In addition, part-time faculty year students participate in community workshop members are not always available to answer ques- projects with local companies and government tions and to serve as project advisors. agencies to resolve longstanding community prob- An example of a successful model that bridges this gap lems. Projects are selected according to the commu- between the education sector, the design sector, and nity’s specific needs. industry is the “Partner’s Program” at the University of Manitoba. ▼ The “Partner’s Program” was initiated in 1994 to develop links between the University of Manitoba’s Faculty of Architecture and the community. The broad mandate is to deal with issues of co-op
138 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT School-to-Work Transition
● There are few opportunities available to help Unfortunately, such opportunities are becoming scarce. students make the transition from school to ▼ There is a summer internship in interior design at work. the University of Manitoba, but it is not mandatory For most design graduates, making the transition from because of the difficulty finding placements. school to work is challenging. Few design firms have an ▼ Mount Royal College in Calgary formerly offered orientation program for new designers. Generally, the two co-op sessions in the interior design program, approach is “sink or swim.” Graduates who have some but had to drop one because of difficulties placing relevant experience can move along the learning curve students. As well, the program’s placements have faster and make a contribution to their firms sooner. been expanded to include supplier, show-room, and Both co-ops and internship programs are helpful. retail situations.
Many programs include field experience as part of a CO-OPS AND WORK PLACEMENTS design student’s education. Co-ops and work placements are formal means to ▼ At Kwantlen University College, interior design practical learning. They give students opportunities to students spend one day a week in the field.They visit gain industry experience while still in school. In these design offices and design sites to follow the programs, students are placed with design firms or construction and installation of a project, and they related organizations for a preset time. Usually, eat at restaurants when working on restaurant students are supervised by someone at the work site design. These experiences provide an essential and are expected to complete particular tasks in partial context to classroom setting. fulfilment of their education. Co-ops and work place- ments are invaluable ways of providing students with Although such field experience is invaluable, students opportunities to learn how a design firm operates and still need the opportunity to work in the sector while to apply their skills and knowledge. At the same time, completing their education; otherwise, graduates will they provide the sector with a chance to assess the level continue to be ill-prepared to transfer their skills to the of education students are receiving and allow faculty to workplace. find out about new directions in the sector. ▼ Students from Humber College commented that, INTERNSHIPS AND APPRENTICESHIPS while they may end up doing “grunt work,” most For new graduates, internship programs provide a work placements provide an opportunity to develop more formal way of bridging the gap between school business acumen, a skill they do not acquire in and the workplace. The internship program is used school. mainly in the built environment sub-sector, although ▼ Sheridan College and Kwantlen University College the level of formality differs by discipline. In architec- have found that work placements often lead to ture, new graduates must, prior to registration, accu- permanent jobs for graduates. mulate specific experience under the direct supervision of an employer. This experience is documented in a ▼ Some students at TUNS chose to attend its architec- Canadian Experience Record Book.5 Formal intern- ture program because of the co-op approach.They ships for graduates in architecture exist in British believed they would have an advantage in the job Columbia, Alberta, and Nova Scotia; all the other market over graduates from schools without co-op provinces have adopted a policy to develop internship programs.
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 139 support programs. The process is less formal in land- Other examples of innovative initiatives to assist new scape architecture. Some provinces have experience designers in making the transition from school to work requirements; other do not. In interior design, the include: process is emerging: the National Council for Interior • The Institute of Design Montréal has initiated an Design Qualification is launching a three-year North apprenticeship program to encourage firms to hire American-wide internship program in the fall of 1996. new design graduates. The program was developed But firms are hiring fewer people, and internship posi- to promote the creation of paid apprenticeship tions are scarce. Where it used to take about three opportunities, lasting from six to 12 months. The years to accumulate the required experience, today it is intent is that the program will create permanent jobs not uncommon for architects-in-training to take five in the design sector while offering graduates the years to meet the requirements. chance to acquire employment experience. The ▼ Graduates in architecture are experiencing difficulty institute will contribute up to $9,000 towards the meeting the registration requirements because salary of a design graduate, for one year. The fewer positions are available for new graduates. In program is being managed by the institute in collab- addition, because architectural firms are pursuing a oration with Human Resources Development broader range of market opportunities, some of Canada. which are outside the traditional boundaries of • Circle Design, a communications design firm in architecture, it is becoming more difficult for gradu- Winnipeg, offers a one-year internship program for ates to meet registration requirements.6 recent graduates in communications design. ▼ Overseas opportunities for architecture students Typically, these individuals are exposed to a wide range of projects, supported by a high level of direc- are becoming more common. At TUNS, one-third to one-half of placements are outside of Canada. Many tion and supervision. At the end of the internship students go to Germany, especially to Berlin, where program, the firm may choose to hire the intern full- reunification has led to major construction activity. time. Both the graduate and the firm benefit. The But students who go to Italy or Spain often work in graduate receives valuable work experience that can non-traditional areas of architecture, for example in be used to obtain a full-time position; the firm exposition-event design. receives an infusion of new ideas without risking a long-term commitment to someone who may prove Graduates are having to become more innovative to unsuitable. find opportunities.
•A recent architectural graduate started his own firm, Unloonet Inc. in Halifax, to pursue a market niche he had identified. Because he is not yet registered, he cannot call himself an architect. Legally, he is a special agent. He bids on projects and uses his asso- ciates, who are architects, to satisfy the legal and regulatory requirements. Once he is registered, he will be able to be the primary designer on the project. By that time, he will have developed his market niche.
140 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT Challenges Facing Design Programs
● Design educators face a number of challenges as individual students cannot afford the plethora of that inhibit their ability to offer students the software products in general use.The most they can design education they require. hope to accomplish is to keep fairly current with software from which skills are transferrable to similar While the design sector is concerned with the packages used in the workplace. currency of design programs and the lack of opportu- nity for input into those programs, the institutions ▼ Aging faculty — Many design programs are faced themselves have other worries. with aging faculty. Decreased funding means fewer resources available to replace retiring faculty. This ▼ Providing a practical education — Educators situation may lead to greater use of part-time and face the challenge of providing a practical education contract faculty, who are generally design practi- that meets the needs of the sector, given the usual tioners. The lack of research capability in design timeframe for design programs. Meanwhile, gradu- programs will thus be perpetuated. ates are expected to have an ever-increasing body of knowledge and skills. Another issue is where new faculty will be found. Traditionally, new recruits have come from outside Education programs should concentrate on design Canada, especially from the United States and that is relevant to the Canadian market. There is a Europe. As long as there is a continued supply from need for designers to design snowmobiles, for outside Canada, there is little incentive to develop example, but car styling is not a priority here. the kind of advanced programs here that would However, few design schools concentrate on design incorporate research into the curricula. that adds value to a portfolio in terms of enabling the student to get a job. One reason is that teachers ▼ Pedagogy — The perception that a competent may be genuinely unaware of changes in demand. practitioner is, by extension, a competent teacher is Another is that many faculty members teach what common in many design schools. The reality is that they were taught. design education will improve only if design educa- tors are better trained. ▼ Funding — Design education is expensive, partic- ularly the studio component with its relatively low A large number of faculty members and administrators teacher–student ratio. Tighter educational budgets agreed that the most severe challenge they face is a mean design programs are often a prime target for decline in education funding, which directly affects cutbacks. their ability to deal with other challenges. Most study participants expect the trend of reduced funding to ▼ Keeping up with and affording technology — continue. This prospect reinforces the need for the Acquiring new technology is expensive, and most sector to work with the educational institutions to schools cannot afford to keep pace with advances in determine educational priorities. technology. Administrators commented that it is often difficult to forecast where the sector may be headed in this area.
With funding cuts at educational institutions, and given the lack of standardization across the design sector in the type of software used, schools as well
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 141 6.2 CONTINUOUS LEARNING AND PROFESSIONAL DEVELOPMENT
imply graduating from school does not make continuing education units, or CEUs), or it may involve Ssomeone a designer. Education provides a solid conferences, seminars, and site visits where designers foundation of theory and technical skills in a particular can learn about innovations in their fields. It also design discipline, but becoming a designer is a never- includes the less formal kind of learning that takes ending process of research, practice, and experimenta- place each time a designer accepts a new project. All tion. It is not an isolated process. Rather, it is an these opportunities have an important part to play in interactive process involving colleagues from a variety the development of designers and in the advancement of professions. of the profession.
Continuous learning takes many forms. It may include the more organized programs, such as continuing education programs that result in credits (for example,
Role of Continuous Learning
● Continuous learning is a critical component in Professional development is important for other the development of a designer reasons; most notably, it is in the public interest to ensure that professional competency is maintained. Changes in technology, demographics, markets, and client expectations affect the skills and knowledge New learning needs require innovative approaches to required by designers, as well as the ways in which continuing education. Today, with some of the designers work. Competition is increasing, and clients provinces looking towards mandatory continuing have more choice and are more sophisticated. They are education for some disciplines, the professions must also more aware of the capacity and capabilities of take a proactive stance on this matter. technologies, and they expect designers to bring a greater range of knowledge and skills to a design solu- tion. Designers who are not at the forefront will not be in a position to provide value to their clients. While it has always been important for designers to keep up-to- date, the nature of these changes and the pace at which they are occurring make it critical for designers to continue their learning throughout their careers.
142 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT Opportunities in Continuing Education
● Although a wide range of formal learning other skills. Basic finance and A national approach opportunities is available, the opportunities accounting skills are often learned on would reduce the often do not match the needs of designers. the job. Many designers noted a need for resources required, training in marketing and exporting: More formal continuing education for designers is at least for design identifying markets, conducting market available from a number of sources, including profes- research, and determining how to access development and sional associations, promotional organizations, private and service the market. Others noted promotion, while industry, and educational institutions. Some of the training needs in communication skills, design promotion organizations offer lectures and assisting the smaller information management, project exhibits, which are also available to the general public. associations, which management, and environmentally Trade shows and manufacturers’ seminars are venues responsible design. Designers also often must rely on for learning about new technology. confessed to an inability to manage staff. volunteers. The majority of continuing education programs are While many general courses are avail- planned and run by the provincial associations, with no able through the continuing education coordination across the country. Although this departments of local community colleges and universi- approach provides programs geared to the needs of the ties, designers want courses that are tailored more to specific regions, it has resulted in the preparation of the design sector. In addition, designers noted, many similar types of programs with few economies of effort of the university courses are expensive. Some designers in the transfer of concepts and course ideas across commented that the conferences and seminars offered regions. This is a major concern given the lack of avail- by other professional associations, such as the engi- able funding. neering and planning associations, are more valuable Programs are offered in only the large centres, and than those offered by their own. individuals who live outside these centres incur further To better meet the needs of their members, and to be costs for travel and accommodation. Another consider- able to provide a broader range of programs, some ation is that since designers must take time from work associations, for example, the Interior Designers of to attend continuing education programs, firms tend to Canada, have forged alliances with their U.S. counter- limit these opportunities to principals or partners. parts. Not only do they encourage participants to A national approach would reduce the resources attend courses in the United States, but, if interest required, at least for design development and promo- seems high, the associations will sponsor a speaker to tion, while assisting the smaller associations, which appear locally. Cooperative ventures between the often must rely on volunteers. Distance education, design associations and other associations should be Internet, CD ROM, and video or audio conferences encouraged both to reduce costs and to expose might be explored as ways of reaching more people, designers to other disciplines and professions. especially those in remote areas. Table 6-1 summarizes the state of continuing educa- Numerous interviewees reported that the programs tion by design discipline: offered by their professional associations do not meet their needs. Although the professional associations generally do a good job of providing technical types of programs, designers still require management and
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 143 In the United States, legislation in some states requires Generally speaking, designers embrace the idea of members of industrial design and interior design asso- continuous learning, but several factors inhibit their ciations to complete a predetermined number of hours efforts to participate in organized events. Some of the of professional development over a particular period to most significant of these include: retain their professional qualifications. Although no • the number and types of courses available; such legislation exists in Canada, consideration is being given to this approach by some associations, including • the time needed to participate; the Interior Designers of Canada and some provincial • the location of courses; and architecture associations, to ensure minimum stan- • the cost of participating in professional development dards among designers. But designers in more remote programs. parts of the country, where access to educational insti- tutions offering acceptable programs is limited, have As a result, designers place greater emphasis on more concerns about such a requirement. informal means of continuous learning.
Development Through Practice
● An important aspect of a designer’s • In Denmark, designers keep up-to-date with development is the learning that takes changes in the field through the practice of design place on the job. itself. As well, the Danish Design Centre offers designers training courses and literature on specific Most of a designer’s learning is likely to result from topics. practical experience, including research, on a variety of projects. Suppliers also play a significant role in the • In the United Kingdom, the Design Business ongoing education of designers by providing informa- Association (DBA) offers ongoing courses and semi- tion, seminars, and on-site demonstrations. Many nars “to keep members informed of all design- design firms have bulletin boards on which suppliers related issues.” The DBA also runs a series of leave information about new products. Finally, professional practice training courses throughout although reading journals has long been the favoured the year. means of keeping up-to-date, it is fast being replaced by “surfing the Internet.”
The approach by Canadian designers to professional development does not differ significantly in other countries. For example:
• The interviewee from Design World magazine noted that in Australia continuing education in design “amounts to reading a lot”; it is not a structured activity. One of the biggest issues is centred on soft- ware and keeping up with new developments. Most continuing education is on-the-job learning.
144 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT Ta ble 6-1: Summary of the State of Continuing Education in Design Architecture Landscape Interior Design Industrial Communications Architecture Design Design
Associations Local meetings A national confer- IDC offers courses Larger associations National include speakers, ence is held in in cooperation with have programs conference and/or hands-on cooperation with a U.S. professional held every Association of practice on new provincial associa- associations few years Canadian Industrial applications, e.g., tion approximately Highly structured Designers (ACID) Courses offered at software/hardware every 18 months CEU program: organizes confer- a chapter level Symposia and Seminars are courses and ence every two exhibitions through provided on the instructors must years or so the RAIC and day before the meet quality provincial conference standards associations Have held joint Participants RAIC Industry programs given CEU credit Technology with deans of registered in U.S. Advisors organize architecture technical seminars through the Building Envelope Councils
Other Sources Lectures by peers Lectures by peers Lectures by peers Suppliers and Suppliers and at the local level at the local level at the local level manufacturers manufacturers provide training provide training Site visits: provincial Journals Suppliers and and demos for and demos for associations (U.S. journals are manufacturers practitioners practitioners organize visits to well respected) provide training view the work and demos for Journals (mostly Trade shows in of architects practitioners from Europe and Canada and the the U.S., but some Courses offered at U.S. Regional markets Canadian) architecture schools offer seminar U of Guelph just across the country programs, beginning distance e.g., IIDEX, Provincial associa- education programs Designers’ tions offer a variety Weekend of continuing education opportunities to their members. These may vary from sparse in less populated provinces to well developed in the most populous provinces
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 145 Ta ble 6-1: Summary of the State of Continuing Education in Design cont’d. Architecture Landscape Interior Design Industrial Communications Architecture Design Design
Topics in Advances in Advances in Advances in Advances in Advances in Demand technology technology technology technology technology Practice develop- Marketing, business Marketing, business Business skills Professional ment skills skills and practices skills and practices and practices matters, e.g., copy- right regulations, New forms of Advanced courses producing film for project delivery in design printing (and the (design-build, Professional related liability project manage- matters, e.g., issues) ment, construction building codes management) Marketing Environmentally responsible design and building science methods
General Issues Many architects Programs hit IDC looking to form Lack of record Few resources at concentrated in and miss liaison with (no list or tran- the local level to large centres where American Institute scripts kept of organize events Small associations numbers allow of Architects on conferences) with few resources programs; however, some common Little scholarly needs of those in topics research done or remote locations documented so not addressed that practitioners Only the AIBC has can learn from an active profes- each other sional development No central list of program at this recommended time courses exists
Drive Towards In Manitoba, a No requirement; at Recommend each Most associations No requirement Mandatory policy regarding national level, trying practitioner take at too fragile to Continuing mandatory contin- to push concept of least .5 CEUs a year impose require- Education uing education “self-regulation” (5 hours of ments (would lose was adopted in courses) members) Practitioners in 1994 and is being Alberta may be implemented; affected by members will be Omnibus bill required to take proposed by three seminars architects per year
146 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT Improving Opportunities for Professional Development
Professional development can be advanced through a • design associations publishing conference proceed- number of initiatives: ings;
•provincial associations at the sub-sectoral level • design associations using technology to make working together to provide a comprehensive professional development more accessible to professional development program; designers.
• design associations working together at a national level to provide cross-disciplinary professional development opportunities, such as conferences and symposia;
• design associations working with other professional bodies, such as engineering and planning associa- tions, to provide opportunities for designers to develop multidisciplinary team skills;
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 147 6.3 CONCLUSIONS
1 There is a proliferation of post-secondary 4 Making the transition from school to work design programs, with little focus on the is becoming more challenging for design needs of the marketplace. graduates.
• Design educators commented that while they are • Access to co-op and work placements is declining. aware of the needs of the sector, making changes to Students require opportunities to hone their skills in curricula to accommodate changing demands can the sector, or they will continue to be ill-prepared to take time and money that are not always available. transfer their skills to the workplace upon graduation. Educators are also struggling to provide a solid Internship opportunities are also declining. The education in the timeframe available. Within this design sector must make a commitment to providing context, there is a need to refocus design programs. students and graduates with opportunities to hone The sector needs to work with the educational insti- their skills and learn about working in design firms. tutions to determine what they can best provide, in There are some innovative examples that could light of their resources. serve as models.
The design sector needs additional resources to 2 The structure of design education impedes communication between design disciplines, strengthen existing mentorship programs and to and with other professions. introduce new ones.
• Students from one design discipline are not exposed 5 There is little coordination of professional to students from other disciplines or other profes- development activities across the country. sions. As a result, they do not readily develop either an understanding of the roles of all the disciplines, or • In Canada, most continuing education programs are the capacity to work in multidisciplinary teams. planned and run at the provincial-association level. Designers today are being asked more often than ever This approach is costly overall, since associations to work as part of a multidisciplinary team. To date, often end up “reinventing the wheel.” Partnering few design programs encourage and foster such links. with other design associations and with associations for other professions could be more cost-effective. Such coordination would also make a broader range 3 Links between design schools and the design community are weak. of professional development activities available to all designers. • Consequently, there is a growing gap between the needs of the design sector and the competency of the graduates of design programs. Accreditation, advisory boards, and mentorship programs can strengthen the links between school and community. There are a few innovative initiatives to involve the design sector and business in education, especially in architecture. On the whole, more initiatives need to be established to bring together the educational institutions and the design sector.
148 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 6 Access to professional development opportunities Is a major issue facing designers.
Several issues relate to access, including:
– the number and types of courses available;
– the time needed to participate;
– location of courses;
– the cost of participating.
Most professional development activities are offered in major urban centres and by traditional modes of delivery. More convenient, flexible methods for delivery — for example, videos, video conferencing, computer-based training, and the Internet — are required to provide professional development for all designers, particularly those in remote areas.
• The proceedings of conferences and symposia should be documented. Published proceedings would contribute to a body of information about the design sector while providing an important source of material for professional development.
CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT 149 Footnotes
1 Design programs are often difficult to identify because they tend to try to distinguish themselves from one another by adopting unique program titles. A number of the diploma-granting programs included in Appendix G are technology or technician programs.
2 The RAIC syllabus offers an alternative to univer- sity education in architecture. Through a directed, self-paced program of academic studies, design studios, and practical experience, a candi- date can obtain a diploma in architecture. Academic studies are completed through home study.
3Working Group members defined a broad design education to include research, form-giving, mate- rials/processes/structures, design history, design theory and philosophy, computer technology, business principles and marketing, professional practice, communications, and conceptual and problem-solving skills.
4 The programs selected for analysis reflect a broad range of design programs in community colleges, Cegeps, art schools, and universities.
5 The Canadian Experience Record Book was recently revised to provide a more flexible system to record eligible experience.
6 Once the candidate has met the requirements specified in the Canadian Experience Record Book, with approval by the provincial association, the candidate is eligible to write the licensing examination. Many provinces have put into place registration courses to assist their interns in preparing for their licensing exams.
150 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT CHAPTER7
CHAPTER 4 • THE MARKETING CHALLENGE 151 Design is not in my judgement, something special, fragile,…something which demands aesthetic judgements from panels of learned outsiders. Neither is design an activity which can be picked up and put down, added on at the last minute…Design is a significant, potentially powerful management resource, susceptible like every other management resource to intelligent direction and control.
Wally Olin, “Design Management in Practice”
152 CHAPTER 6 • EDUCATION AND PROFESSIONAL DEVELOPMENT CHAPTER 7 ISSUES AND ACTIONS
remendous opportunities are available to Canadian designers, both in Canada and T abroad,to leverage their strengths in the design of leisure, household, environmental, communications, and health-care products; new-media and wayfinding systems; and multi-use facilities, including malls and tourism facilities. Opportunities are rich for Canadian designers to contribute to the economic development of numerous industries. But to take advantage of these opportunities, and to achieve its vision of 2006, the design sector must address a number of human resource challenges that it is facing. Meeting these challenges is complicated by several factors.
CHAPTER 7 • ISSUES AND ACTIONS 153 ▼ The sector is composed primarily of small design In this final chapter of the report, the Working Groups firms and independent design consultants. present their recommendations for addressing the ▼ Traditionally, the design sector has educated practi- human resource challenges as the sector advances tioners according to individual disciplines. The towards its vision. The recommendations put forth by sector’s track record of interdisciplinary communica- the Working Groups provide direction for the devel- tion is limited. opment of a human resource strategy for the design sector. The overall goal of these recommendations is ▼ Membership in the associations varies widely. The to improve the demand for design. More specifically, majority of architects are represented by their asso- the actions strive: ciations, while only a small proportion of communi- ▼ cations designers belong to equivalent bodies. To increase design utilization by Canadian business Communication with non-members will be difficult. through promoting design, developing policies to encourage use of design, developing awareness of The design sector has, however, taken steps to become design in Canada’s current and future managers, and more unified. The last few years have seen the emer- developing the skills of designers in demonstrating gence of a number of new design promotion organiza- the economic value of their talents to potential tions, from British Columbia to Atlantic Canada, clients. whose activities complement those of the existing ▼ To develop the skills of designers to manage their professional bodies. These organizations, whose focus design firms, and to market their competencies both is multidisciplinary, serve as an integrating force in the in the domestic and the international marketplace. sector. In most provinces and regions, they are already working closely with provincial educational and A summary of the key issues and the recommended research institutes; in British Columbia, Ontario and actions is presented in Table 7-1. Atlantic Canada, they have spearheaded the develop- ment of provincial design strategies, attracting the attention and support of their provincial governments.
The formation of the National Design Alliance (NDA) has provided Canada with the cross-country link for both the promotional and the professional design organizations. For the first time, there is a national mechanism for cooperative action by the sector. While the NDA’s member organizations involve architects at the provincial level, at the national level the Royal Architectural Institute of Canada (RAIC) and the NDA also have begun to explore mechanisms for coopera- tion. A national network of design organizations exists that can provide effective leadership for change. In fact, the first steps towards development of an imple- mentation plan for the study’s recommendations have been taken jointly by the NDA and the RAIC.
154 CHAPTER 7 • ISSUES AND ACTIONS Ta ble 7-1: Summary of Issues and Actions Issues Objectives Actions
Design Utilization •To develop a design-literate market • Undertake a national promotional campaign • Encourage design champions • Include design management in the curricula of graduate business schools and management development programs • Include design management in the curricula of design education and professional development programs
•To sustain a design-literate market • Include design in public school programming
Design Education and •To develop the links to facilitate change • Strengthen the links between design education Continuous Learning and practice
•To create a solid foundation for design education • Refine and communicate the objectives of design education
•To foster a multidisciplinary approach to the • Increase the extent of multidisciplinary learning design development process in design programs
•To facilitate the transition to the workplace • Develop/strengthen internship programs for new graduates
•To encourage continuous learning • Improve access to professional development
•To encourage design research • Document the results of design •Develop graduate programs in design
Managing and •To develop the business skills of Canada’s future • Include business management principles in the Developing Design and present designers education of designers Firms • Provide professional development in business management and in domestic and international marketing •Develop business management models and tools for design firms
Policy and Legislation •To create a legislative environment that • Create consistent, relevant, and progressive supports design policies and mechanisms to enhance market development • Ensure that Canadian design is an important element in government-sponsored design competitions and in commissions for the procurement of products and services
•To develop the professional regulatory framework • Evaluate the costs and benefits of professional for the design professions regulation
CHAPTER 7 • ISSUES AND ACTIONS 155 7.1 DESIGN UTILIZATION
lthough Canada has numerous successful market, buildings are constructed, and communica- A designers and design firms, the design sector, tions are published with virtually no professional with the exception of architecture, remains virtually design input. The opportunity for the design sector to unknown among Canadian business, members of the play a critical role in Canada’s competitiveness is general public, and governments. Relatively few tremendous. The challenge is for designers to stimu- Canadian companies see innovative design as a key to late Canadian business to treat design as a core differentiate themselves from their competitors. element of business strategy. Designers lament the fact that many products come to
Developing a Design-Literate Market
● Undertake a national promotional campaign. could be published and distributed through main- stream book stores for availability to businesspeople To create awareness and understanding of the role that and the general public. design can play in business across Canada, the sector should undertake a national promotional “campaign.” ▼ Coverage of design in non-design-focused This campaign should be flexible so that regions and media — Getting the business media to take an municipalities can focus on particular market niches. It interest in the design sector has been a struggle. A will be necessary to identify and develop different major gain was made when The Globe and Mail messages that address the needs of different audiences, decided to provide regular coverage of design activ- such as large corporations, small and medium-sized ities.The sector needs to broaden such coverage to businesses, and educators. Using the “language” of the other publications that target the audience for audience will be an essential part of delivering the design services, such as industry-specific journals, and messages. The campaign can include a variety of it should provide articles and case studies for consid- actions, depending on the audience. These actions eration.As examples, the director of the architecture must focus on the value of design and on the results program at the University of British Columbia was that can be achieved through design. instrumental in the hiring of an architecture critic at the Vancouver Sun; in Quebec, IDM initiated the ▼ Case studies of success stories — The sector creation of a design page in Le Devoir. A design should develop case studies that describe how champion from each of the other provinces or design has contributed to the improved perfor- regions needs to take on this initiative. mance of clients, and how design has benefited their user groups. Case situations need to be specific to ▼ Travelling design exhibitions — The sector, in the particular design firm and client.The cases could cooperation with Canada’s public museums and be used in the media and at trade shows to design promotion organizations, should organize promote the value of design to businesses and touring design exhibits in Canada and to interna- governments. They could also be used in graduate- tional destinations. Emphasis should be on exposing level business programs. As well, the case studies people across the country to the economic benefits
156 CHAPTER 7 • ISSUES AND ACTIONS and business applications of design. Private-sector the Design Exchange, as well as through The sector needs more funding likely will be required. The Department of the “Design for a Strong Ontario” vocal design champions Foreign Affairs and International Trade (DFAIT) often report, to work with graduate business who will ensure design is contributes to such initiatives, and the sector could schools in introducing design manage- on the agenda of business work with DFAIT to ensure that Canadian design is ment concepts into curricula. showcased in trade offices around the world. and governments, and in The design sector should identify an front of the public. appropriate model and assist Canadian ● Encourage design champions. graduate business schools in adopting it, The sector needs more vocal design champions who perhaps working with the association of will ensure design is on the agenda of business and deans of business schools. One way to generate a high governments, and in front of the public. profile would be to focus on design issues in cases used • The faculty members of the landscape architecture for business-case competitions. Setting up joint program at the University of British Columbia have projects between business and students could be been active in task forces and planning commissions, another way of introducing management concepts. and, as a result, have raised the profile of landscape In addition, several business schools in Canada, for architecture with the city council. They are also in example the University of Western Ontario and constant contact with the media. Queen’s University, as well as other institutions such as •A faculty member of the architectural program at the Banff School of Management, offer intensive Carleton University has developed a following management development programs for mid-level and among the general public through the broadcast of senior-level managers. The sector should work with his classes on local cable TV. the directors of those programs to introduce design management concepts into the curricula so that The sector needs to promote these types of activities existing managers are sensitized to the role design can and encourage the undertaking of similar initiatives. It play in corporate strategy. would be particularly beneficial for design champions to be users of design and of designers. ● Include design management in the curricula of design education and professional develop- Include design management in the curricula ● ment programs. of graduate business schools and management development programs. An evolving role for designers is in design management, either as advisors or consultants to senior management The lack of understanding that managers have of the of client organizations, or as in-house design managers. design function as well as of the value of design is a These are valuable opportunities for getting design on problem perpetuated by Canadian graduate business the agenda of corporations, with potential for schools. Generally speaking, design is not addressed in increasing the demand for design. Greater emphasis, their curricula. Schools in the United States, such as therefore, should be placed on developing design Harvard University, recognized this gap some time ago management skills. These skills need to be included in and have now integrated design management princi- post-secondary design educational programs and in ples into their curricula through the use of case studies. professional development programs. The design sector in Ontario has taken steps through
CHAPTER 7 • ISSUES AND ACTIONS 157 Sustaining a Design-Literate Market
● Include design in public school programming. The Design BC program discussed in Chapter 4 is a model that designers should encourage other jurisdic- To build and sustain awareness of the value of design, tions to adopt. Other examples include the “Architects design needs to be included in the curricula of elemen- in Schools” program of the Architectural Institute of tary and secondary schools. The design sector should British Columbia, and the “Architecture Goes to work with schools to determine ways through which School” program of the Saskatchewan Association of design can be integrated into the existing curricula. Architects. Again, design champions in each province The intent is not to expand an already full curriculum, or region need to take responsibility for instituting but to incorporate into a curriculum the skills used in the projects. the design process — for example, investigative, problem-solving, lateral-thinking, and creative skills.
158 CHAPTER 7 • ISSUES AND ACTIONS 7.2 DESIGN EDUCATION AND CONTINUOUS LEARNING
esign is about discovery, creation, and innova- Many but not all of the components of such life-long Dtion. In this context, the career of a designer learning are in place, with numerous institutions inevitably includes continuous learning. A vibrant offering entry-level programs in design disciplines. design community needs an integrated, yet flexible, The extent to which these programs meet the needs of system of life-long learning, extending from the initial the design sector is questionable, however. In fact, the degree and diploma programs through graduate design sector is generally critical about the responsive- programs and ongoing professional development. The ness of the educational system to its needs. goal is that Canadian designers will have a more rigorous design education, will continue to develop their own design competence, and will contribute to a growing body of knowledge of design.
Developing the Links to Facilitate Change
● Strengthen the links between design Successful models exist for communication between education and practice. design practitioners and educational institutions; the initiatives undertaken by the faculties of Architecture To ensure that graduates have the skills and knowledge at the universities of Manitoba and British Columbia required to contribute to the success of the design (Chapter 6) offer one example. The sector needs to sector, the sector needs to develop strong, effective develop more of these types of partnerships. The links with the post-secondary educational system. involvement of faculty in the delivery of professional Although most community colleges have a mechanism development can build and reinforce such links. The for sector input, namely advisory committees made up sector should approach the educational institutions to of representatives from the sector, the extent of their discuss its ideas for participating in the education of involvement in decisions about curricula varies widely. designers. Universities do not have a similar mechanism, and traditionally have been less responsive to input by industry to their curricula; however, accreditation programs necessitate these links.
CHAPTER 7 • ISSUES AND ACTIONS 159 Creating a Solid Foundation for Design Education
Debate and confusion abound over the roles of univer- in terms of the competencies required for entry to sities, art schools, community colleges, and Cegeps in practice (see the discussion in Chapter 6). The require- supplying designers to the design sector.1 Community ments for design technologist roles should be distin- college/Cegep programs vary considerably in length guished from those for the design professional. and quality, although these institutions all tend to hold Once quality standards and learning expectations are out their graduates as designers. The Working Groups defined, programs that meet the standards can be concluded that design education programs have to be accredited.2 The accreditation process should differen- strengthened, both in the theory and in the practice tiate between community college/Cegep and univer- of design. sity programs, with community college programs geared to design technology occupations (as they are in ● Refine and communicate the objectives of architecture, for example), and with a minimum four- design education. year university program for professional designers. Before the post-secondary educational institutions can The accreditation should also look at the practical reconfigure design programs, they need a clear and learning built into programs, and at the strengths of succinct definition of the outcomes expected by the the programs’ links to the sector. design community. This definition should be outlined
Fostering a Multidisciplinary Approach to the Design Development Process
There is a strong trend towards multidisciplinary teams ● Increase the extent of multidisciplinary consisting not only of designers from the various disci- learning in design programs. plines, but also of specialists from engineering, business, Both structural and programming changes are needed anthropology, psychology, and other fields. Yet design to respond to this issue. Design disciplines within an education has tended to be single-disciplinary. Within institution should have formal structural connections, educational institutions, the design disciplines tend to be and preferably be within one faculty. The programs isolated from one another, not only by physical location, should encourage and support cross-discipline studies but also through attitude. Links among the design so that students develop team skills, preferably through programs within an educational institution are limited, practical, project-oriented activities in which they learn if they exist at all. Students from one discipline do not to work with the other disciplines rather than just develop an understanding for the other disciplines or learning about them. Links between design faculties and the capacity to work in multidisciplinary teams. other faculties, such as engineering, business, and In addition, links between design and other faculties psychology, must be reinforced to provide significant generally are weak. It is difficult for practising interdisciplinary educational opportunities. designers to work effectively with designers from other There are a number of possible models. Single- design disciplines and with people from other educa- discipline programs should have interdisciplinary tional backgrounds when their entire education studio courses and projects that include students from program has, essentially, geared them to talk only to other design disciplines. A more thorough approach is their immediate peers.
160 CHAPTER 7 • ISSUES AND ACTIONS to offer an interdisciplinary first degree. Although projects that incorporate students from other faculties, some institutions, such as the University of Manitoba, such as psychology, business, and engineering. have interdisciplinary first degrees, none includes all design disciplines.3 Design programs must also include
Facilitating the Transition to the Workplace
Many designers commented that their first full-time The other two sub-sectors do not have formal intern- job after graduating was an unsatisfying experience. ships as part of the development process, although in They were plunged into an unfamiliar environment, interior design the process is emerging: the National with little direction. These same designers recognize Council for Interior Design Qualification is launching that they have perpetuated the situation. Few design a three-year North American-wide internship program firms have an orientation program for new designers, in the fall of 1996. The two sub-sectors should adopt and even fewer have a structured on-the-job training (or adapt) the approach taken by architects. This initia- program. The typical approach is “sink or swim.” tive could entail developing a standard training approach that employers could use to ensure that new ● Develop/strengthen internship programs for graduates acquire, as quickly as possible, the skills and new graduates. knowledge required to:
Some of the disciplines in the built environment sub- • contribute to the success of their employers’ firms; sector have internship systems to facilitate the school- • set a sufficiently broad foundation for their careers. to-work transition. In some cases, programs need to be strengthened. For example, only some landscape archi- Components might include a training guideline with tecture associations have structured internships for learning expectations and performance standards to new landscape designers. In the case of architecture, guide the on-the-job training process, as well as guide- the role of the mentor should be reinforced (or intro- lines for mentors. duced) in each province, as part of the experience- reporting requirement.
Encouraging Continuous Learning
Professional development for designers takes place • Location — Programs tend to be offered in major largely in the course of the research and experimenta- urban centres. Designers outside those locations tion demanded by a variety of actual projects. Still, face additional costs. these activities are not enough to keep designers up-to- • Cost — Some programs are expensive. Small firms date with the changes affecting their work, especially often cannot afford to send participants, especially technological changes. Although designers acknowl- when the programs require travel. edge their need to develop particular skills and knowl- edge, they reported several barriers to professional • Time — Designers commented that they do not development, including: have time to attend too many courses and seminars.
CHAPTER 7 • ISSUES AND ACTIONS 161 Many look at the time spent away from their work as that include all design disciplines as well as related an opportunity cost. Comments from the president disciplines would help to build an understanding of of the Association of Professional Design Firms in other disciplines and professions while encouraging the United States strongly confirmed this view. multidisciplinary opportunities. Paraphrasing his words, it is not a lack of will on the Technology, including videos, video conferencing, part of designers that prevents them from pursuing CD ROM, and the Internet, may make professional further education; it is a question of opportunity development opportunities more accessible to people cost, or opportunities lost. in remote areas. A web site could be developed to disseminate information. In fact, some design organi- ● Improve access to professional development. zations, including Design Now in British Columbia, Better coordination of professional development activ- have created web sites already. These technologies ities among the design associations, at both a sub- make location irrelevant and reduce the time and cost sectoral and a sectoral level, and with other of professional development. The sector is urged to professional associations (engineering and planning, use these technologies to improve access for all for example) would enable designers to take advantage designers to professional development. of a wider range of professional development activities more economically. Professional development events
Encouraging Design Research
Design research is fundamental to the development of organizations. The sector should develop refereed the design profession. It enables learning and evolution journals that publish the results of research, and should of the practice of design. Designers by nature are inno- publish case studies and conference proceedings. vative, but without rigorous research the standards of practice will evolve more slowly. If each designer has to ● Develop graduate programs in design. figure out what works and why, or what does not work Although it is clear that graduates of design programs and why not, there will be a tendency to stick with an continue to develop their design capabilities through existing range of solutions. Without published practice, the absence of graduate design programs is a research, the knowledge of evolving best practice will definite gap in the design education system. For not be shared across the community. designers who wish to pursue graduate degrees, few Design research should be collaborative and multidisci- opportunities in Canada are found at the master’s level, plinary, reaching beyond the design disciplines to and none at the doctoral level; and only one of the include researchers in business, engineering, psychology, master’s-level programs is multidisciplinary in its and anthropology. Design research also requires a blend approach. Since graduate schools require faculty to of applied and “pure” research, with an emphasis on the have advanced degrees and require research to be practical aspects and the practice of design. undertaken, the availability of local graduate programs would contribute significantly to the development of a ● Document the results of design. body of knowledge on design. Designers must be encouraged to document the impact that their design solutions have on their clients’
162 CHAPTER 7 • ISSUES AND ACTIONS 7.3 MANAGING AND DEVELOPING DESIGN FIRMS
esigners need to develop the skills to manage and essential. The educational system for designers, espe- Ddevelop their firms. Design firms typically are cially at the university level, seems to have underesti- small businesses, founded and managed by designers mated, and in some cases ignored, the importance of who, for the most part, do not have any education or business management and market development skills. training in managing a business. Typically, designers Furthermore, little attention is paid to project manage- rise through the ranks of design firms to become part- ment. Consequently, students and graduates have an ners, or they open their own firms after having devel- unrealistic perception of the work in a design firm. oped their design expertise. They learn how to manage Many express surprise and dismay that design firms their firms simply by doing it, an approach that focus so strongly on completing projects on time and lengthens the learning curve and can result in ineffec- within budget, assuming that means sacrificing quality. tive management practices. Marketing practices gener- Design firm owners and partners are frustrated at the ally are reactive and passive. Few designers have the lack of concern new designers have for the bottom line. capacity to uncover new market opportunities, or to The actions involved in addressing this issue lie in the engage in international marketing research and market education and professional development of designers. development. Because management is so important to a designer’s Although it is unrealistic to expect students to graduate capacity to take advantage of the many opportunities with all the competencies required to manage and facing the sector, the issue is addressed separately. market a business, some appreciation of these skills is
Developing the Business Skills of Canada’s Future and Present Designers
● Include business management principles in the ● Provide professional development in education of designers. business management and in domestic and international marketing. Post-secondary design education programs must address the areas of business management and market The sector should identify existing courses and semi- development. The sector should identify the specific nars in these areas, and adapt them for the design knowledge and skills required of graduates in this area sector. The approach should be multidisciplinary, with (as part of the development of quality standards and examples and cases that span the disciplines. learning expectations outlined in section 7.2), and should work with educational institutions to incorpo- rate these principles into curricula.
CHAPTER 7 • ISSUES AND ACTIONS 163 ● Develop business management models and In addition to providing management models, profes- tools for design firms. sional and promotional design organizations could establish a diagnostics program to identify areas for So that designers are not “reinventing the wheel,” the improvement, and a counselling service to help sector should examine existing business management designers use the models and tools. models and tools, such as succession-planning tools, time-reporting systems, financial management and reporting systems, and career development models, that can be adopted or adapted by design firms. Many of these models and tools are available in other profes- sional firms, such as accounting, law, and management consulting. Useful management tools have already been developed for the architecture, engineering, and construction industries; these could be adapted for the other design disciplines.
164 CHAPTER 7 • ISSUES AND ACTIONS 7.4 POLICY AND LEGISLATION
Creating a Legislative Environment That Supports Design
he design sector requires progressive policies ● Create consistent, relevant, and progressive T and legislation that encourage the use of design. policies and mechanisms to enhance market Specific policies related to the design sector are development. lacking. The sector, through the associations, must work with ▼ Design per se is not a criterion for consideration in government representatives to develop awareness of government procurement policies (the exception is design and of the value in developing policies, such as for architecture, although the importance has been support for research, that will enhance the sector. To eroding over the past 10 years). Moreover, procure- avoid the proliferation of ad hoc solutions, the design ment processes fail to comprehend the design sector must take steps to improve communications development process. among all levels of government. Part of this process might include establishing a network of people ▼ There is little in the way of funding for research in involved in design policy throughout governments design. Design research is not recognized adequately to achieve a more integrated approach to policy by either the Social Sciences and Humanities development. Research Council or the Natural Sciences and Engineering Research Council. Research and devel- ● Ensure that Canadian design is an important opment tax credits do not explicitly recognize element in government-sponsored design design expenditures, except in Quebec. The overall competitions and in commissions for the result is that the sector lacks a body of knowledge procurement of products and services. about design. The sector should work with governments to develop ▼ Design protection is difficult and costly to obtain, consistent guidelines for governments and design and copyright legislation has not kept pace with associations to use in design competitions. These technological advances that affect the production guidelines should include a clear definition of the and distribution of designs. design criteria to be used in larger projects. For example, guidelines might state that architects cannot participate in government-sponsored design competi- tions unless the competition has been approved by the provincial association(s). The results of such competi- tions should be documented, publicized, and marketed as a way of promoting the benefits of design.
CHAPTER 7 • ISSUES AND ACTIONS 165 Developing the Professional Regulatory Framework for the Design Professions
Regardless, professional All the design disciplines are regulated ● Evaluate the costs and benefits of professional regulation is a means of to some extent, but architecture is the regulation. only design profession governed by a developing an identity, The design disciplines need to examine the benefits of licensing regime. Other disciplines have professional regulation. For those disciplines covered and could benefit those title acts, although not all disciplines already, the question is whether to reform the regula- disciplines that are have them in all provinces. For example, tions in order to enhance the benefits that accrue to only in Ontario are communications and not covered. the profession. For example, an agreement on inter- industrial designers covered by title act. provincial reciprocity for landscape architects, similar Practitioners cite the primary benefits of professional to the one that exists for architects, would increase regulation as standards of practice and public recogni- mobility and range of practice. (It is important to note tion of those standards. They note that the costs to that even with a reciprocal agreement, the costs to a maintain and administer the regulatory regime can be firm wishing to work in another province can be high.) high, however, if it is self-governing. Regardless, professional regulation is a means of developing an Those disciplines examining the prospect of profes- identity, and could benefit those disciplines that are sional regulation need to assess the benefits as well as not covered. the costs. For some disciplines, certification would suffice, allowing them to achieve the status they seek. For others, licensing might be more appropriate.
166 CHAPTER 7 • ISSUES AND ACTIONS 7.5 IMPLEMENTING CHANGE
he Steering Committee for this study recognizes • motivating sub-sector stakeholders to initiate sub- T that many of the issues raised and conclusions sectoral strategies; reached will not come as news to designers. •creating an inventory of existing programs and The sector has been the focus of several previous resources within the sector to be used to conduct a studies, of lesser scope, at the national and provincial detailed assessment of study recommendations; and levels. Unfortunately, few of the recommendations • identifying resources and action priorities for collab- contained in these earlier studies have been imple- orative implementation by sectoral groups, mented. Although there are various reasons for the including professional, promotional, entrepre- resulting inaction, a key factor has traditionally been neurial, and educational organizations. the lack of strong national sector leadership to rally the The NDA and the RAIC have already laid the ground- sector efficiently as a whole in support of change. work for a plan to undertake these next steps. They Today, the National Design Alliance (NDA) provides a recognize that all designers have a role to play in cross-country link for both promotional and profes- the development of the sector. Anyone interested in sional design organizations and is currently collabo- participating in any of these initiatives is urged to rating with the Royal Architectural Institute of Canada contact the NDA or the RAIC for information on (RAIC) to explore mechanisms for long-term coopera- follow-up activities. tive endeavours.
Prior to developing a national human resource strategy for the sector, these study findings and recommenda- tions must be broadly communicated throughout the sector and its sub-sectors. In conjunction with the study’s findings and the objectives of a strategy, a thor- ough assessment of existing design sector activities and programs must be made and evaluated for their rele- vance to the study recommendations. Furthermore, the partnerships necessary for developing and imple- menting an effective strategy must be established.
With the study now completed, the specific objectives of this subsequent phase in the process will focus on:
• extending awareness of the study findings;
• mobilizing the sector organizations as partners in the development of an effective sector-wide imple- mentation strategy;
CHAPTER 7 • ISSUES AND ACTIONS 167 Footnotes
1 This issue is more apparent in communications design, interior design, and industrial design. In the disciplines of architecture and landscape architecture, a clear distinction is made between community college and university programs and of the requirements regulating practice.
2 Accreditation standards exist already for edu- cational programs in the built environment sub-sector.
3 It may not be feasible to develop an interdiscipli- nary program that includes all design disciplines. At a minimum, schools could, for example, offer programs that combine the built environment disciplines in one first degree and programs that combine industrial and communications design in another.
168 CHAPTER 7 • ISSUES AND ACTIONS APPENDIX A W ORKING GROUPS
Design of the Built Environment Mr. James R. Taylor, MLA Mr. Roy Willwerth Director DUFFUS ROMANS KUNDZINS ROUNSEFELL School of Landscape Architecture ARCHITECTS LTD. ONTARIO AGRICULTURAL COLLEGE 1498 Lower Water Street Guelph, ON N1G 2W1 The Brewery Tel: (519) 824-4120, Ext. 3352 Halifax, NS B3J 1R9 Fax: (519) 767-1686 Tel: (902) 429-6860 Ms. Jane Durante Fax: (902) 429-9609 DURANTE & PARTNERS Mr. Michael Cox Suite 100, 1152 Mainland Dean, Faculty of Architecture Vancouver, BC V6B 4X2 UNIVERSITY OF MANITOBA Tel: (604) 684-4611 Winnipeg, MB R3T 2N2 Fax: (604) 684-0577 Tel: (204) 474-6434 M. Vincent Asselin Fax: (204) 275-7198 WILLIAMS ASSELIN ACKAOUI ASSOCIÉS Mr. Brian Sim 1600 Notre Dame ouest Post President, RAIC Montreal, QC H3J 1M1 TIELKER SIM HARRISON WELLER ARCHITECTS Tel: (514) 939-2106 Suite 690, 1199 West Pender Fax: (514) 939-2107 Vancouver, BC V6E 2R1 Ms. Donna L. Cooper Tel: (604) 669-2224 NOVA CORPORATION Fax: (604) 669-8149 645 Seventh Avenue S.W. Mr. Peter Heywood P.O. Box 2535, Station M DIEFENBACH, ELKINS AND VANDENBERG Calgary, AB T2P 2N6 54 Berkeley Street Tel: (403) 261-5210 To ronto, ON M5A 2W4 Fax: (403) 261-7438 Tel: (416) 867-9667 Ms. Michele Guest Fax: (416) 867-9857 DESIGN BRITISH COLUMBIA Ms. Helen Moffett 110-355 Burrard Street HELEN MOFFETT AND ASSOCIATES LTD. Vancouver, BC V6C 2G8 45A Hazelton Avenue Tel: (604) 681-3392 To ronto, ON M5R 2E3 Fax: (604) 681-3394 Tel: (416) 925-3831 Ms. Fran Underwood Fax: (416) 921-5211 NDA Liaison Ms. Gina Iaquinta INTERIOR DESIGNERS OF CANADA INNOVA DESIGN 260 King Street East 315 rue du Saint-Sacrement, 5th Floor Ontario Design Centre, Suite 414 Montreal, QC H2Y 1Y1 To ronto, ON M5A 1K3 Tel: (514) 982-0440 Tel: (416) 594-9310 Fax: (514) 982-0592 Fax: (416) 594-9313 Mr. Cary Vollick Address for Fran Underwood: R.L. PETERSMANN LANDSCAPE ARCHITECTS LTD. SPACEWORKS DESIGN 2030 Gottingen Street 55 Duke St. (Box 417) Halifax, NS B3K 3A9 Chester, NS B0J 1J0 Tel: (902) 422-6514 Tel: (902) 275-5430 Fax: (902) 425-0402 Fax: (902) 275-3036
APPENDIX A • WORKING GROUPS 169 Mr. Christopher Browne, MRAIC M. Robert LaRoche NATALE, SCOTT, BROWNE ARCHITECTS Director of Product Design 1558 Queen Street East BAUER INC. To ronto, ON M4L 1E8 1200 boul International Tel: (416) 466-5717 St-Jérôme, QC J7Z 5T5 Fax: (416) 466-0635 Tel: (514) 436-2292 Fax: (514) 436- 7214 M. Michel Roy, MRAIC PROVENCHER ROY ET ASSOCIÉS ARCHITECTES Mr. Gad Shaanan 315 rue de Saint-Sacrement GAD SHAANAN INDUSTRIAL DESIGNS INC. Montreal, QC H2Y 1Y1 4480 Côte de Liesse Tel: (514) 844-3938 Montreal, QC H4N 2R1 Fax: (514) 844-6526 Tel: (514) 735-9550 Fax: (514) 735-3961 Ms. Colleen Mercer-Clark MERCER-CLARK ENVIRONMENTS Ms. Esther Shipman 49 Bayview Road Executive Director Halifax, NS B3M 1N8 VIRTU DIRECTIONS IN CANADIAN DESIGN Tel: (902) 457-0704 P.O. Box 584, Station C Fax: (902) 494-2859 To ronto, ON M6J 3R9 Tel/Fax: (416) 203-7277 Mr. Larry Paterson Executive Director Mr. Paul Arato CANADIAN SOCIETY OF LANDSCAPE ARCHITECTS ARATO DESIGN Box 7, Site 5, R.R. #1 135 Sparks Avenue Okotoks, AB T0I 1T0 Willowdale, ON M2H 2S5 Tel: (403) 938-2476 Tel: (416) 492-0627 Fax: (403) 938-2476 Fax: (416) 492-1574 Mr. John Tyson Industrial Design Vice President, Corporate Design Mr. Bert Van Leeuwen NORTEL TECHNOLOGY BVL INDUSTRIAL DESIGN LTD. P.O. Box 3511, Station C 11 Princess Street Ottawa, ON K1Y 4M7 Amherst, NS B4H 1W5 Tel: (613) 763-3210 Tel: (902) 667-3464 Fax: (613) 763-9788 Fax: (902) 667-1215 Mr. Barry Marshall M. Philippe Lalande President Past-President, Association of Canadian KARO DESIGN RESOURCES Industrial Designers 611 Alexander Street UNIVERSITÉ DE MONTRÉAL Vancouver, BC V6A 1E1 École de design industriel Tel: (604) 255-6100 5620 av. Darlington, Room 2012 Fax: (604) 255-2800 Montreal, QC H3C 3J7 Mr. Chris Tyler Tel: (514) 343-7911 Head Production Crafts Section Fax: (514) 343-5694 Cultural Affairs Division Mme Helen Stavridou NOVA SCOTIA DEPARTMENT OF TOURISM & CULTURE Executive Director P. O. Box 456 INSTITUT DE DESIGN MONTRÉAL 1683 Barrington Street 1037 Rachel est, 3e étage Halifax, NS B3J 2R5 Montreal, QC H2J 2J5 Tel: (902) 424-4062 Tel: (514) 596-2436 Fax: (902) 424-2668 Fax: (514) 596-0881
170 APPENDIX A • WORKING GROUPS Ms. Helen Kerr Mr. Albert Ng Partner Vice President KERR KELLER DESIGN INC. INTERNATIONAL COUNCIL OF GRAPHIC DESIGN 1977 Queen Street East ASSOCIATIONS (ICOGRADA) To ronto, ON M4L 1J1 c/o North York Hydro Tel: (416) 699-1944 5800 Yonge Street Fax: (416) 699-2479 North York, ON M2M 3T3 Tel: (416) 229-5035/229-5121 Mme Florence Lebeau Fax: (416) 229-5228 Director ASSOCIATION DES DESIGNERS INDUSTRIELS Ms. Mary Ann Maruska DU QUÉBEC President 315 rue du Saint Sacrement, Suite 301 SOCIETY OF GRAPHIC DESIGNERS OF CANADA Montreal, QC H2Y 1Y1 c/o Faculty of the Arts Tel: (514) 287-6531 Sheridan College Fax: (514) 287-6532 1430 Trafalgar Road Oakville, ON L6H 2L1 Mr. J. Stuart Carruth Tel: (905) 845-9430, ext. 2587 BLUE SKY Fax: (905) 815-4041 2586 Poplar Street Halifax, NS B3L 2Y8 Mr. Peter Francey Tel: (902) 429-0747 President SPENCER FRANCEY PETERS Communications Design 250 The Esplanade, Suite 200 To ronto, ON M5A 1J2 Mr. Paul Brunelle Tel: (416) 367-8424 2460 John Street Fax: (416) 367-9743 Halifax, NS B3K 4K7 Tel: (902) 423-8145 Mr. Don Dickson DON DICKSON + ASSOCIATES INC. Mr. Frank Fox 1332 Odlum Drive ADVANCEMENT OF DESIGN IN BUSINESS - Vancouver, BC V5L 3M3 NOVA SCOTIA Tel: (604) 254-7470 c/o Nova Scotia College of Art and Design, Fax: (604) 254-7577 Design Division 5163 Duke Street Mr. Robert Peters Halifax, NS B3J 3J1 CIRCLE DESIGN INCORPORATED Tel: (902) 422-7381 200-72 Princess Street Fax: (902) 423-0121 Winnipeg, MB R3B 1K2 Tel: (204) 943-3693 M. Yves Simard Fax: (204) 943-9483 BOUVRY BIENVENU CASTONGUAY & ASSOCIÉS INC. 239, rue Notre-Dame O, 4e étage Montreal, QC H2Y 1T4 Government Representatives Tel: (514) 282-9767 Ms. Martine des Bois Fax: (514) 282-6715 MINISTRY OF EMPLOYMENT AND INVESTMENT 712 Yates Street, 5th Floor M. Richard Gauthier Victoria, BC V8V 1X4 FORUM DESIGN Tel: (604) 387-1098 c/o 356 rue Le Moyne Fax: (604) 387-7969 Montreal, QC H2Y 1Y3 Tel: (514) 288-2872 Mr. Garth McGeary Fax: (514) 844-1664 CONSULTANT, DESIGN INDUSTRIES TECHNOLOGY ONTARIO 15th Floor, 56 Wellesley Street West To ronto, ON M7A 2E7 Tel: (416) 325-6890 Fax: (416) 314-8224
APPENDIX A • WORKING GROUPS 171 M. Louis Brassard M. Philippe Poitras Direction de l’habitat et du design Analyst MINISTÈRE DE L’INDUSTRIE, COMMERCE, SCIENCE Sector Studies ET TECHNOLOGIE HUMAN RESOURCES DEVELOPMENT CANADA 710 Place de Ville, 9e étage 112 Kent Street Québec, QC G1R 4Y4 21st Floor, Tower “B”, Place de Ville Tel: (418) 691-5962 Ottawa, ON K1A 0J9 Fax: (418) 643-4545 Tel: (613) 957-1220 Fax: (613) 957-1523 Ms. Éliane Gaudet DEPARTMENT OF CANADIAN HERITAGE Mr. Paul Thompson 365 Laurier Avenue West, 16th Floor Senior Analyst Ottawa, ON K1A 0M5 Sector Studies Tel: (613) 994-9735 HUMAN RESOURCES DEVELOPMENT CANADA Fax: (613) 994-6249 112 Kent Street 21st Floor, Tower “B”, Place de Ville Mr. Ken Cumming/Allan Doherty Ottawa, ON K1A 0J9 SERVICE INDUSTRIES AND CAPITAL PROJECTS BRANCH Tel: (613) 957-0853 INDUSTRY CANADA Fax: (613) 957-1523 235 Queen Street 7th Floor, East tower Mr. Mathew Blue Ottawa, ON K1A 0H5 Sr. Industrial Consultant Tel: (613) 952-7399 LABOUR MARKET SERVICES (LMS) Fax: (613) 952-9054 140 Promenade du Portage Phase IV, 5th Floor Project Team Hull, QC K1A 0J9 Tel: (613) 953-4406 NDA Fax: (613) 953-7599 Diana Wickham NATIONAL DESIGN ALLIANCE Price Waterhouse e 1037, rue Rachel est, 3 étage Ms. Terry Lister Montreal, QC H2J 2J5 Principal Tel: (514) 933-3393 PRICE WATERHOUSE Fax: (514) 933-8610 180 Elgin Street, Suite 1100 Ottawa, ON K2P 2K3 RAIC Tel: (613) 238-8200 Mr. Timothy Kehoe Fax: (613) 238-4798 Executive Director Ms. Marli Ramsey THE ROYAL ARCHITECTURAL INSTITUTE OF CANADA Manager 55 Murray Street, Suite 330 PRICE WATERHOUSE Ottawa, ON K1N 5M3 180 Elgin Street, Suite 1100 Tel: (613) 241-3600 Ottawa, ON K2P 2K3 Fax: (613) 241-5750 Tel: (613) 238-8200 HRDC Fax: (613) 238-4798 Mr. Christopher Kerr Ms. Allison Dakers Analyst Manager Sector Studies PRICE WATERHOUSE HUMAN RESOURCES DEVELOPMENT CANADA 180 Elgin Street, Suite 1100 112 Kent Street Ottawa, ON K2P 2K3 21st Floor, Tower “B”, Place de Ville Tel: (613) 238-8200 Ottawa, Ontario K1A 0J9 Fax: (613) 238-4798
172 APPENDIX A • WORKING GROUPS Ms. Corey Doering Mme Louise Poitras Senior Consultant Director General PRICE WATERHOUSE LIAISON DESIGN (MONTRÉAL) 180 Elgin Street, Suite 1100 1000 St-Antoine ouest, Bureau 304 Ottawa, ON K2P 2K3 Montreal, QC H3C 3R7 Tel: (613) 238-8200 Tel: (514) 395-4446 Fax: (613) 238-4798 Fax: (514) 395-4448 Mr. Lee Jacobsen DIEFENBACH, ELKINS AND VANDENBURG 54 Berkely Street To ronto, ON M5A 2W4 Tel: (416) 867-9667 Fax: (416) 867-9857 M. René Barsalo SÉMIO DESIGN 10887 Clark Street Montreal, QC H3L 2S9 Tel: (514) 337-9393 Fax: (514) 337-5881 M. Pierre Valiquette LE GROUPE DBSF 7333, rue Saint-Denis Montreal, QC H2R 2E5 Tel: (514) 278-3273 Fax: (514) 278-7224 Mr. Jacques Giard President ASSOCIATION OF CANADIAN INDUSTRIAL DESIGNERS c/o School of Industrial Design Carleton University 1125 Colonel By Drive Ottawa, ON K1S 5B6 Tel: (613) 520-5674 Fax: (613) 520-4465
Other Participating NDA Member Organizations Ms. Sue-Ann Belbin President ALBERTA DESIGN WORKS c/o Belbin & Associates 3816, 19th Street SW Calgary, AB T2T 4X7 Tel: (403) 243-6004 Fax: (403) 243-2922 Mr. John Dunn DESIGN EXCHANGE 234 Bay Street P. O. Box 18 To ronto-Dominion Centre To ronto, ON M5K 1B2 Tel: (416) 216-2121 Fax: (416) 368-0684
APPENDIX A • WORKING GROUPS 173 APPENDIX B METHODOLOGY
The sector study process aimed to ensure that the find- educators, students, and representatives of government ings reflected the views of the people in the sector and and of sector organizations both in Canada and abroad. built the commitment necessary for further action. It In addition, the study involved a brief survey of also enabled sector representatives to develop a graduate business schools in Canada. Please refer to common understanding of the key human resource Table 1 for a brief description of the specific research issues facing the sector. The study involved in-depth techniques employed, and Tables 2 and 3 for a break- interviews and discussions with more than 560 down of contact organizations by sub-sector and designers, buyers of design, technology researchers, region, respectively.1
Ta ble 1: Research Methodologies Methodology Description
Document review •a search of published documents from a variety of countries, including the U.S., the U.K., Australia, Singapore, Italy, Denmark, France, Belgium, and Switzerland.The search was conducted by the Technical University of Nova Scotia and the University of Quebec in Montreal.The detailed bibliography is available under separate cover through the National Design Alliance and the Royal Architectural Institute of Canada.The information obtained through the literature search was supplemented with reports and documents secured through members of the Working Groups and the Price Waterhouse National Library. • an analysis of selected reports and documents from the literature search, focusing on the socioeconomic environment, technology, design management, and design education and training.
Data analysis • analysis of occupational, demographic, and educational data, primarily from Statistics Canada and Human Resources Development Canada.
Interviews and group • about 85 interviews with key representatives, both in Canada and abroad, to discuss the pressures and discussions trends facing the sector, including technological changes. • 15 interviews with buyers of design services to discuss the impact of design in their organizations, the criteria used in their buying decisions, and their relationships with designers. • interviews with about 140 designers and managers in design firms and in-house design departments about the pressures they face and their strategies for dealing with these pressures, marketing and promotion strategies, changes in skill requirements, career opportunities, and professional development. • group discussions and interviews involving 215 students, faculty, and administrators in design educational programs, about links with the design sector, changing educational requirements, challenges facing educa- tional institutions, links to other faculties, and career opportunities. • about 20 interviews with administrators of professional development and continuing education programs in design about directions in professional development and barriers to professional development.
174 APPENDIX B • METHODOLOGY Ta ble 1: Research Methodologies cont’d. Methodology Description
Survey •a survey of Canadian graduate business schools on the extent to which design management is covered in their curricula.
Workshops • regional workshops involving more than 90 people from design firms and in-house design departments to validate the findings of the research and to obtain their input on strategies to resolve the human resource issues facing the sector. • six meetings with the Working Groups to review progress, to provide direction, to vet ideas, and to develop the direction for a human resource strategy.
Ta ble 2: Breakdown of Contact Organizations by Sub-sector SUB-SECTOR Design2 Built Environment Communications Design Industrial Design 45 117 54 63 Arch LArch Interior 49 32 34
Ta ble 3: Breakdown of Contact Organizations by Region REGION International National Atlantic Quebec Ontario Prairies B.C. 28 15 23 70 53 41 49
Footnotes
1 Interviews with buyer organizations and tech- nology experts are not included in the breakdown, as they were not necessarily specific to a sub- sector.
2 Contact organizations that represent more than one discipline are classified as “design.”
APPENDIX B • METHODOLOGY 175 APPENDIX C LIST OF CONTACT ORGANIZATIONS
Adamson Design CIDEM Advancement for Design in Business – Nova Scotia Circle Design Incorporated Aird et Gélinas City Interiors Aitken Wregelsworth Associates City of Vancouver Alberta College of Art, Design Division Clearly Canadian Beverage Allsorts Design Group – Lloyd Alter, Architect Cohlmeyer Associates American Center for Design (U.S.) Collège Ahuntsic, Institut des Communications graphiques American Institute for Graphic Arts (U.S.) Committee of Architecture Councils Angle Design Commutron Engineering APCI (France) Concordia University, Centre for Building Studies Arato Design Cormier St-Denis Associés Architectural Institute of British Columbia Corporate Design Foundation (U.S.) Arnon Development Couture Tremblay Arpeco Engineering Culham Pedersen Valentine Ashley-Pryce Design Associates Chris Dahl Art & Design Association des architectes paysagistes du Québec Michel Dallaire et associés architectes Association des designers industriels du Québec Michel Dallaire Designers Inc. Association of Canadian Industrial Designers Danish Design Centre (Denmark) Association of Chartered Industrial Designers of Ontario Dawson College, Graphic Design Program Association of Professional Design Firms (U.S.) Dawson College, Industrial Design Program Atelier d’architecture imagine Ltée D’arcy Dennehy (independent interior designer) Automated Design Systems Ltd. Deshaies Raymond Avon Canada Design & Graphics Baker McGarva Hart Design British Columbia Barcelona Design Centre (Spain) Design Business Association (UK) Basarab Associates Architecture Inc. Designers Centre Singapore BBC Design Design Exchange BBDO Toronto Design Forum Finland (Finland) BC Employment & Investment Design Link BC Gas Inc., Administrative Services Design Management Institute Belbin Associates Design Matters Consultants Bell Canada Nortel Technology (formerly BNR), Design Profile Ltd. Corporate Design Group Design Promotion Center/CETRA (Taiwan) BCID British Columbia Industrial Designers Association Design World Magazine (Australia) BFE Group Designworks Inc. Blue Sky Diefenbach, Elkins and Vandenberg Bombardier Inc. Distribution Ninaf Rgd. Bouvry Bienvenu Castonguay et Associés Doowah Design Inc. British Columbia Manufacturers’ Association André DuBois & Associés Designers Inc. British Design Council (UK) Dufferin Aggregates Bureau fédéral de développement régional – Québec Duffus Romans Kundzins Rounsefell Architects Ltd. BVL Industrial Design Ltd. Dupuis et Le Tourneux Architectes Byrne Architects Durante and Partners Douglas Cardinal Architect Ltd. Canadian Mortgage and Housing Corporation Canadian Society of Landscape Architects Ebco Industries Carleton University, School of Architecture EDI Carleton University, School of Industrial Design EDM Environmental Design and Management Ltd. CCL Artworks Emily Carr Institute of Art and Design, Design Division: Cecconi Simone Communications Design Cheung Design Group Emily Carr Institute of Art and Design, Design Division: CIBC Development Corporation Industrial Design
176 APPENDIX C • LIST OF CONTACT ORGANIZATIONS Emmarge Design Kruger International (KI) European Design Centre (The Netherlands) Kuwabara Payne McKenna Blumberg Russell Everett Design Services, Unloonet Inc. Philippe Lalande Designers Inc. Ference Weicker & Co. Landscape Architects Inc. Foreign Affairs and International Trade, Le Groupe DBSF Interior Design Program Louis-Paul Lemieux (independent architect) Forum Design Liaison Design Inc. Forrec Ltd./Moorhead Associates Lombard North Group Fowler Bauld & Mitchell Ltd. Manitoba Association of Architects Thomas Garvey (independent industrial designer) Manitoba Parks Branch GID Design Manitoba Telephone Systems, Real Estate Department Wim Gilles (founder of the School of Industrial Design, Marsh & McLennan Limited Carleton University) Marshall Cummings & Associates Gittens Mason Inc. Thomas McBroom & Associates Gouvernement du Québec, Ministère de l’industrie, Patricia McClintock & Associés Inc. du commerce et de la technologie McClelland & Stewart Graphic Design and Electronic Graphics Research Salli McSweeney Interior Design Group Inc. Laboratory (U.S.) Mercer-Clark Environments Graphic Design Associates MGM Design Groupe Conseil TP Minto Developments Inc. Guzzi Perry and Associates Morelli Designers Inc. Motorola, Wireless Data Group Halifax Developments Ltd. Mount Royal College, Interior Design Department Hamilton Beach/Proctor Silex Canada Keith Muller & Associates Hetherington Welch Design Inc. Hickey Canada Inc. Nagaoka Institute of Design (Japan) Hilderman Witty Crosby Hanna Associates Natale Scott Brown Architects Hippo Design Inc. National Design Alliance Howlett Pettipas Inc. Noma Inc. Humber College, Architecture Design Program North York Hydro Humber College, Industrial Design Program Northwestern University, J.L. Kellogg Graduate Humber College, Interior Design Program School of Management Humber College, Landscape Design Program Norwegian Design Council (Norway) Nova Corporation Industrial Design Society of America (U.S.) Nova Scotia Centre for Craft and Design Inglis Nova Scotia College of Art and Design, Design Division Innova Design Number Ten Architectural Groups Institut de Design Montréal Interior Design Council Ontario Association of Architects Interior Designers of America (U.S.) Ontario College of Art, Communication and Design Interior Designers of Canada Ontario College of Art, Industrial Design International Council of Graphic Design Associations Open Learning Agency (ICOGRADA) (UK) Ordre des architectes du Québec International Council of Societies of Industrial Design Parallel Designs (ICSID) (Finland) Parent Latreille et Associés International Federation of Interior Architects and Partners By Design Designers (IFI) (The Netherlands) R.L. Petersmann Landscape Architects Ltd. Ion Design Inc. Tom Powell Design Studio Irwin Group Precision Manufacturing Inc. Jacob Price Club Jodoin Lamarre Pratte et Associés Price Waterhouse Product Ability Karo Design Resources Provencher Roy et associés architectes Patrick Kennedy Interior Design Public Works and Government Services Canada, Kerr Keller Design Inc. Architecture and Engineering Services Korean Institute of Technology (Korea) Public Works Canada Kromar Printing
APPENDIX C • LIST OF CONTACT ORGANIZATIONS 177 Quatuor International UMA Engineering Université de Montréal, École d’architecture de paysage Rat für Formgebung (Germany) Université de Montréal, École de design industriel RBL Rice Brydone Limited Université du Québec à Montréal, Centre du design Red River College, Advertising Art Université du Québec à Montréal, Département des Frank Reimer Designs communications Relief Achitecture de Paysage Université du Québec à Montréal, Module de design Rogers Cantel Inc. graphique Ron Engineering University of British Columbia, Landscape Architecture Royal Architectural Institute of Canada Program Ryerson Polytechnical University, School of Interior Design University of British Columbia, School of Architecture W.M. Salter & Associates University of Calgary, Industrial Design Scatliff & Associates Landscape Architects Inc. University of Guelph, School of Landscape Architecture Norman Schmidt (independent communications designer) University of Manitoba, Faculty of Architecture Seagull Pewter University of Manitoba, Faculty of Fine Art Rita-Sue Segal Resources University of Toronto, School of Architecture SémioDesign Urban Art Management Gad Shaanan Design Ville de Montréal, Services des loisirs et du développement Sharp and Diamond communautaire Sheridan College, Graphic Design Program Ville de Montréal, Aménagement des parcs Greg Silver (independent communications designer) Simon Fraser University, Faculty of Arts Westland Eby Consultants Smith Carter Williams Asselin Ackaoui Associés Société des designers graphiques du Québec Wilmar Heights United Church Society of Graphic Designers of Canada Wilson Furniture Société micro-industrielle de Sherbrooke Winnipeg Parks & Recreation Department Spencer Francey Peters Workers’ Compensation Board Patricia Stanton Designs Yabu Pushelberg Stinson Interior Design Catherine Youngren Designers Inc. James S. Stirton Architect Studio Innova Inc. Peter Zimmer Associates Sutton Javelin Communications J. Tang and Associates Taubensee Interior Design Ltd. Technical University of Nova Scotia, Faculty of Architecture Teknion Furniture Systems Teleglobe Canada Te l met Design Associates The Arnott Design Group The Axis Group The Bay The Design Centre Singapore (Singapore) The Document Company Xerox The Institution of Swedish Industrial Design (Sweden) The Kirkland Group Tielker Sim Harrison Weller Architects Treasury Board Secretariat of Canad
178 APPENDIX C • LIST OF CONTACT ORGANIZATIONS APPENDIX D BIBLIOGRAPHY
The following documents were referenced in the preparation Bruce, Margaret and Maureen Whitehead (1988), Putting of this report. Design into the Picture: The Role of Product Design in Consumer Purchase Behaviour, Journal of the Market Andruszkiewicz, Tamara and Kate J. Cokerill (1989), Design Research Society, Vol. 30, No. 2, pp. 147-162 and Design Policies in Foreign Countries: A Preliminary Review, Ottawa Brunel University (1994), Design Strategy and Innovation, Department of Design, University of West London Armstrong, Larry (1990), California Design: Funk Is In, Business Week, New York Burall, Paul (1991), The Greening of Europe — Finding a Role for Design, Design Management Journal, Boston, Fall, Arnaut, Gordon (August 2, 1994), Computer Both Friend pp. 22-26 and Foe to Graphic Artists, The Globe and Mail, Toronto Business Week (1990), A D-School with a Difference, New BCD (1993), International Design Promotion Forum, York Barcelona Design Centre, Barcelona Business Week (September 25, 1995), Is In-house Design Beck, Nuala (1992), Shifting Gears: Thriving in the New on the Way Out?, New York Economy, HarperCollins, Toronto Canada West Forum (November 1994), Oil and Gas Borja de Mozota, Brigitte (1992), Design Education and Outlook 1995, conference proceedings Research: A Theoretical Model for the Future, Design Management Journal, Fall, pp. 19-25 Canadian Manufacturers’ Association (1995), Manufacturing Our Future, Canadian Manufacturers’ Breskin, Ira (August 14, 1989), Winning Back the Work Association, Toronto That Got Away, Business Week, New York Canadian Tourism Research Institute (Spring 1995), Bruce, Margaret (1991), The Impact of Marketing on Travel Markets Outlook, Conference Board of Canada Design, Chapter in Design: History, State of the Art and Future Trends, University of Trondheim Chan, Mandy (1992), Putting the Pieces Together: Industrial Design and Concurrent Engineering, Bruce, Margaret and Claire H. Capon (July 1990), The Role Canadian Manufacturers’ Association, B.C. Division, of Design in Strategic Marketing, paper presented at the Vancouver Marketing Education Group Conference, Oxford Polytechnic Clark, Joe (May 4, 1993), Report on Graphics and Electronic Publishing, The Globe and Mail, Toronto Bruce, Margaret and Catherine Docherty (October 1993), It’s All in a Relationship: A Comparative Study of Client- Clements, Joe (March 27, 1989), Businesses Need to Design Consultant Relationships, Design Studies, Vol. 14, Compete on Design Level, Too, Boston Business Journal, No. 4, pp. 402-422 Boston Bruce, Margaret and Jenny Lewis (1990), Women Clipson, Colin (1989a), The Architecture and Planning Designers — Is There a Gender Trap? Design Studies, Research Laboratory, University of Michigan, Ann Arbor Vol. 11, No. 2, April, pp. 115-120 Clipson, Colin (1989b), Design America: Promoting Bruce, Margaret and Barny Morris (1994), Strategic Design Excellence in America, University of Michigan, Management of UK Consultancies: Policy and Ann Arbor Practice, University of Manchester, Institute of Clipson, Colin (1989c), The Handbook of Design Science and Technology Management, University of Michigan, Ann Arbor Bruce, Margaret and Barny Morris (1995), Strategic Cohen, Allan R. (1991), Achieving Influence When You Management of Design Consultancy in Sweden and Can’t Give Orders, Design Management Journal, Boston, Denmark: Policy and Practice, University of Manchester, Spring, pp. 64-69 Institute of Science and Technology, unpublished report Cole, Patrick E. (August 14, 1989), Simpler Designs, Bruce, Margaret and Robin Roy (1991), Integrating Simpler Factories, Business Week, New York Marketing and Design for Commercial Benefit, Marketing Intelligence and Planning, Vol. 9, No. 5, Corporate Design Foundation (1993), Corporate Design pp. 23-28 Foundation, Boston
APPENDIX D • BIBLIOGRAPHY 179 Council for National Academic Awards (1992), Ference Weiker & Company (1994), Optional Marketing/ Technological Change and Industrial Design Education, Educational Tools for Promoting the Use of Design CNAA, London Among Manufacturers, Design British Columbia Craven, David (1993), EcoBuilt Environment Report, Ference Weiker & Company (1995), Profile of the Design Centre for Design, Royal Melbourne Institute of Sector in British Columbia, Ministry of Employment and Technology, Australia Investment Decima Research (1990), Report to the Interior Designers Financial Post (1994), The Third Annual Design of Canada on the Complexion of Their Members, Effectiveness Awards, Toronto Interior Designers of Canada Financial Times (May 10, 1994), Technology: Tapping into Deloitte Touche (November 1992), Report on the Third World Telecoms, London Canadian Treatment of Design Expenditures, Financial Times (Oct. 3, 1995), Survey of International National Design Alliance Telecommunications, London Department of Communications and Department of Flaugher, Ronald L. (1988), NCIDQ Report of the Job Industry, Science and Technology (1991), Consultation Analysis of Interior Design, prepared for the National Document — Canadian Design, Ottawa Council for Interior Design Qualification, Educational Department of Trade and Industry (no date), Enterprise Testing Service, Princeton, NJ Initiative, D.T.I., UK Frost & Sullivan (1994), Canadian Telecommunications Design British Columbia and the BC Manufacturers’ Equipment and Service Markets: The Growing Association (July 1994), Use of Industrial Design in Importance of Canadian Telecommunications, Manufacturing in British Columbia, Industry Canada Market Intelligence Company Design Michigan (1977), Guide to Program Services and Gade, Michael, et al. (December 1993), Perspective on Resources, Michigan Council for the Arts and the National the 21st Century: Seventeen Serious Contenders, Chain Endowment for the Arts, Michigan Store Management, Executive Edition, Lebhar-Friedman Design Now Task Force (Spring 1996), Strategic Plan: Giard, J. (1990), Design Education in Crisis: The British Columbians Designing for the Future Transition from Skills to Knowledge, Design Issues: Educating the Designer, MIT Press, Cambridge, MA, Fall, Design Strategy Steering Committee (1995), Design for a Vol. VII, No. 1 Strong Ontario: A Strategy for Ontario’s Design Sector, Design Exchange, Toronto Gornick, Naomi (February 1994), Look Beyond the Stars, Design Week, London Dixon, John Morris (November 1994), A White Gentleman’s Profession? Progressive Architecture, Graphic Design Education Association, Society of Graphic Penton Publishing, Cleveland, Ohio Designers of Canada (September 1994), Charting the Future of Graphic Design Education, University of Donnellon, Anne Joshua Margolis (1994), The Delicate Art Alberta, Department of Art and Design of Designing Interdisciplinary Teams, Design Management Journal, Boston, Summer, pp. 8-14 Group for Design in Business (1988/89), Draft Proposal to Establish the Premier’s Council on Technology Dumas, Angela and Henry Mintzberg (1989), Managing Advisory Committee on Design, Group for Design in Design, Designing Management, Design Management Business Journal, Boston, Fall, pp. 37-43 Group for Design in Business (no date), A New Design Eco-Log Week (February 17, 1995), Steady Growth in Policy for Canada: The Ontario Response, Toronto Recycled Plastics Demand Forecast Hamilton, Joan (1990), From Dullsville to Downright Ellis, Seth R. (1994), Towards the Design Era: The Sexy, Business Week, New York Evolution of the Designer as Functional Interface with Marketing and Engineering, Design Management Hannon, William J. (August 1990), Design Promotion Journal, Summer, pp. 31-34 in Great Britain, Design Management Institute, Boston Entertainment Marketing Letter (September 1, 1995), Hayes, Robert H. (1990), Design: Putting Class into Spending on Entertainment, Communications Rising “World-Class,” Design Management Journal, Boston, Summer, pp. 8-14 Feldman, Wendy (November 1992), Report to the National Design Alliance, National Design Alliance
180 APPENDIX D • BIBLIOGRAPHY Houlihan, John T. (1993), Switching the Buyer to Buying Lawrence, Peter (July/August 1989), Building Design: Mode: How New Technology Is Revolutionizing More Than Meets the Eye, Journal of Business Strategy, Product Design, Design Management Journal, Boston, Boston Spring, pp. 25-29 Le Groupe DBSF (mai 1994), Etude de la valeur socio- Indian and Northern Affairs Canada (1995), Aboriginal économique du design au Québec, Forum Design, Construction Sector Capability Study, prepared by Montreal Informetrica Limited Lemer, Andrew C. (1991), Team Building and Quality Industrial Designers Society of America (March 1991), Buildings, Design Management Journal, Boston, Spring, pp. Design’s Contribution to Competitive Advantage, 54-58 Business Week, New York Levitch, Gerald (September, 1994), Design and Innovation Industry Canada (1994a), A Strategy for the Canadian Busy Signals: Northern Telecom Design Chief John Environmental Industry, Industry Canada and Tyson Explains, The Globe and Mail, Toronto Environment Canada Lorenz, Christopher (1990), Design and Development: Industry Canada (1994b), A Guide to Copyrights, Ministry Total Consistency in All Aspects of a Product, Financial of Supply and Services Canada Times, London Industry Canada (1995), International Travel Forecasts: Madsen, Peter (1991), Responsible Design and the Winter 1995 Update, Industry, Science and Technology Management of Ethics, Design Management Journal, Canada, pp. 4-12 Boston, Fall, pp. 9-12 Institute of Design (no date), Industry Affiliates Program, Manitoba Law Reform Commission (1994), Regulating Illinois Institute of Technology, Chicago Professions and Occupations, Government of Manitoba Ivers, Robert L. (1992), Key Aspects of Comprehensive March, A. (1994), Design to Value, Design to Value: Design Programs, Design Management Journal, Boston, Reprints of Articles from the Design Management Institute Spring, pp. 35-39 Press, Boston Jacobson, Lee (1993), Report on Nagoya Design March, A. (August 1994), Design to Value at Conference and Other Meetings in Japan, Toronto BNR/Northern Telecom: The Vista Modular Phone, Design Management Journal, Design Management Institute, Jacobson, Lee (September 12, 1995), Cool Currents in a Boston Windy City, The Globe and Mail, Toronto Market Europe (March 1994), European Firms Dominate Justice, Lorraine (1993), Technology in Graphic Design: A List of Top 100 Retailers, W-Two Publications Survey of the Changing Tasks and Environments of Graphic Designers, Design Management Journal, Boston, McCoy, K. (1990), Professional Design Education: An Spring, pp. 74-79 Opinion and a Proposal, Design Issues: Educating the Designer, MIT Press, Cambridge, MA, Fall, Vol. VII, No. 1 Keeley, Larry (1991), Taking the D-Team Out of the Minor Leagues, Design Management Journal, Boston, Miller, Robert B. and Stephen E. Heiman (1987), Strategic Spring, pp. 35-38 Selling, Miller-Heiman, California Korea Economic Daily (November 29, 1994), World Ministerio De Industria, Comercio Y Turismo, Spain (no Tourism Growth, Korea date), Design Promotion Plan for Spain Krapfel, Robert E. (1989), The Education Challenge, Ministry of Economic Development and Trade (1993), End Design Management Journal, Boston, Fall, pp. 32-36 of Project Report to M.E.D.T. on the Development of a Business Plan for the Design Exchange, Toronto Kunkel, Paul (March 1991), Competing by Design, Business Week, New York Ministry of Supply and Services Canada (1986), Report of the Consultative Committee to the Ministerial Large, Michael (1992), Positioning Design, Shaping Committee on the Development of the Montreal the 90s: Towards a New Design Curriculum, Carleton Region University, School of Industrial Design, Ottawa Nadler, Gerald (1991), Design Teams: Breakthrough Lawrence, Peter (1987), Winning by Design Report, for Effectiveness, Design Management Journal, Boston, University of Sydney, Australia Spring, pp. 10-19 Lawrence, Peter (July/August 1988), The Design Asset, National Design Alliance (1993), Design for International The Corporate Board, U.S. Strategic Advantage: A Mobilization Plan, Interim Report
APPENDIX D • BIBLIOGRAPHY 181 National Design Alliance (April, 1993), Towards Owen, Charles L. (1989), Design Process Newsletter, Continued Prosperity from Renewal Through Illinois Institute of Technology, Vol. 3, No. 3 Innovation: An Action Plan for Design Owen, Charles L. (1991), Design Education in the National Design Alliance (May 1994) Inventory of Member Information Age, Design Issues, MIT Press, Cambridge, Activity MA, Spring, pp. 25-33 National Endowment for the Arts (1987), Competitive Owen, Charles L. (1993), A Critical Role for Design Product by Design, Design America, University of Technology, Design Management Journal, Boston, Spring, Michigan and the N.E.A., Washington, DC pp. 10-18 National Endowment for the Arts (1989), 89 Design Arts: Peters, Tom (1989), The Design Challenge, Design Application Guidelines, Washington, DC Management Journal, Boston, Fall, pp. 8-13 National Endowment for the Arts (1994), White House Pirkl, James Joseph (1991), Transgenerational Design: Council on Design, Washington, DC A Design Strategy Whose Time Has Arrived, Design Management Journal, Boston, Fall, pp. 55-60 Natural Resources Canada (1996), Announced and Planned Mine Openings in Canada in 1996, Natural Plastics News (January 16, 1995), SPI Canada Predicts Resources Canada Another Good Year: Broad Growth Should Boost Shipments, p. 15 Neff, Robert and Neil Gross (1990), From Buddhist Priest to Japan’s Design Guru, Business Week, New York Plastics News (July 10, 1995), CIT Predicts Continued, Slower Growth, p. 3 Negroponte, Nicholas (1995), Being Digital, Alfred A. Knopf, New York Port, Otis (August 1989), A New Vision for the Factory: Designing Products for Easy Assembly Speeds Them to Newman, Alex (May/June 1994), The Massage (sic) Is Market, Business Week, New York Multimedia, Azure, Toronto, pp. 13-23 Potter, Stephen (February/March 1990), Successfully Nova Scotia Design Sector Strategy (July 1995), Society for Managing Research, Design & Development, presented the Advancement of Design in Business – Nova Scotia, at the 2nd International Conference on Management of Draft Report Technology, University of Miami Novosdlik, Will (no date), Ups and Downs of Design, The Potter, Stephen and Emma Dewberry (July 1993), Globe and Mail, Toronto Ecodesign Management: A Comparative Study of Novosdlik, Will (May 1993), Restructuring Has Startling Companies in Europe and the USA, presented at the 5th Side Effects, The Globe and Mail, Toronto International Forum on Design Management Research and Education, MIT, Boston Nusbaum, Bruce (August 1989), Designed in America, Business Week, New York Potter, Stephen and Robin Roy (April 1990), Managing Design in Small High-Technology Firms, presented at Nusbaum, Bruce, et al. (1990), Design: The New the Symposium on the Growth and Development of Buzzword of the Corporate World in the Nineties, Small High-Tech Businesses, Cranfield Institute of Business Week, New York Technology, UK Okraglik, Henry (October 1992), The Architect, Potter, Stephen and Robin Roy (September 1991), The Sustainability and the Green Client, Centre for Design, International Trade Impacts of Investment in Design Royal Melbourne Institute of Technology, Australia and Product Development, presented at the British Ontario Arts Council (no date), Proposal for a Design Arts Academy of Management Conference, University of Bath, Program UK Ontario Ministry of Economic Development and Trade Potter, Stephen, et al. (1991), The Benefits and Costs (May 1993), Office Furniture of Investment in Design: Using Professional Design Open University (1993), Centre for Technology Strategy: Expertise in Product, Engineering and Graphics Innovation, Environment, Development, The Open Projects, The Open University, UK University, Milton Keynes, UK Ralph-Knight, Linda (1994), New Face of the Design Ottawa Citizen (November 23, 1995), Major Retailers Go Council, Design Week, London on Expansion Spending Spree, Ottawa Roseman, Ellen (September 1994), Spark of Genius, The Owen, Charles L. (1988), Design Education and Research Globe and Mail, Toronto for the 21st Century, First International Design Forum, Roy, Robin (January 1987), Design for Business Success, Singapore Engineering, London, pp. 16-17
182 APPENDIX D • BIBLIOGRAPHY Roy, Robin (1990), Product Design and Company Sinclair, B. (1989), Design in an Uncertain Realm: Performance, Design Management: A Handbook of A Critical Review, University of Manitoba, Faculty of Issues and Methods, Basil Blackwell, Oxford, pp. 49-62 Architecture, Winnipeg Roy, Robin (October 1993), Case Studies of Creativity Society of Graphic Designers of Canada (1994), The in Innovative Product Development, Design Studies, Vol. Accreditation Initiative in Ontario, Axis, GDC (Ottawa 14, No. 4, pp. 423-443 Chapter) Roy, Robin (1994), Can the Benefits of Good Design Be Sorrell, John (January 1994), The Future Design Council, Quantified?, Design Management Journal, Boston, Spring, The Design Council, London pp. 9-17 S.R.I. International (1993), Industrial Design as a Strategic Roy, Robin and Stephen Potter (1990), Managing Design Weapon, S.R.I. International Projects in Small and Medium-sized Firms, Technology Swanson, Gunnar (1994), Graphic Design Education as Analysis & Strategic Management, Vol. 2, No. 3 a Liberal Art: Design and Knowledge in the University Roy, Robin and Stephen Potter (April 1993), The and the “Real World,” Design Issues, MIT Press, Commercial Impacts of Investment in Design, Cambridge, MA, Spring, pp. 53-63 Design Studies, Vol. 14, No. 2, pp. 171-193 Thompson, Phillip (1994), Making Design a Strategic Roy, Robin, et al. (August 1990), The Benefits and Costs of Weapon: The PIMS Contribution, Design Management Investment in Design, Working Paper WP-13, Design Journal, Boston, Spring, pp. 71-78 Innovation Group, The Open University/UMIST Tierney, Lorraine (July/August 1994), Pro Natura, Azure, Royal Architectural Institute of Canada (1994), Reinventing To ronto, pp. 13-15 Practice, 1994 Conference Proceedings Tourism Canada (February 1995), International Travel Royal Architectural Institute of Canada (October 1994), Forecasts: Winter 1995 Update, Industry Canada Forming an Agenda for Architecture and Environment To y, Stewart (1990), His Spartan Look Is the Essence of Royal Architectural Institute of Canada (no date), RAIC Braun, Business Week, New York Roundtable on Innovative Practice Tusler, Wilbur and Jennifer Altenhoff (1993), Architecture Royal Architectural Institute of Canada and External Affairs and Technology, Design Management Journal, Boston, Canada (1987), Precision, Planning and Perseverance: Spring, pp. 62-68 Exporting Architectural Services to the United States, Valaskakis, Simon and Carole Benchetrit (1992), Design for prepared by Chreod International International Strategic Advantage: Issues, Options and a Rutter, Bryce G. (1994), An Interdisciplinary Approach to Mobilization Plan, Gamma Institute, Montreal Quantifying Design: Adding Designers and Ergonomists Walker, David (1990), Managers and Designers: Two Tribes to the Research Equation, Design Management Journal, at War? from Design Management: A Handbook of Boston, Spring, pp. 40-43 Issues and Methods, Basil Blackwell, Oxford, pp. 145-154 Ryan, Chris (June 1992), EcoDesign Not EcoTechnology: Walsh, Vivien, Robin Roy, and Margaret Bruce (1988), Social and Cultural Factors as the Key to Design in a Competitive by Design, Journal of Marketing Greener Market, paper presented at the Technovision Management, Vol. 4, No. 2, Winter, pp. 201-216 Conference, Copenhagen Walton, Thomas (1991), The Hallmarks of Successful Salmon, Mark and Glenn Gritzer (1992), Parallel Content: Design Teams, Design Management Journal, Boston, Social Science and the Design Curriculum, Design Spring, pp. 5-9 Issues, MIT Press, Cambridge, MA, Fall, pp. 78-85 Walton, Thomas (1993), Creative Intersections: Where Schiller, Zachary (August 1989), Big Blue’s Big Overhaul, Design and Technology Meet, Design Management Business Week, New York Journal, Boston, Spring, pp. 6-9 Shadbolt, Douglas, Gerald Carrothers, and Imbi Harding Whitehorn, K. (September 10,1994), A Techno-Peasant’s (1990), Advanced Studies and Research in Architecture: Plea: Make Those Gadgets Simpler, The Globe and Mail, A Canadian Perspective, University of British Columbia To ronto Simon Fraser University Design Program (1989), A Future Wilder, Sarah S. (May 1994), Worldwide Sales of Health with Design: A Resource for Regional Economic Care Products to 1997, Decision Resources Inc. Development, Simon Fraser University, Vancouver
APPENDIX D • BIBLIOGRAPHY 183 Woodhuysen, James (1990), Product Design Management in the European Market, Design Management Journal, Boston, Summer, pp. 32-36 Zaccai, Gianfranco (1991), How to Make the Client/Consultant Relationship More Like a Basketball Game Than a Relay Race, Design Management Journal, Boston, Spring, pp. 43-48 Zuboff, Soshana (September, 1995), The Emperor’s New Workplace, Scientific American, Vol. 273, No. 3, pp. 202-203
184 APPENDIX D • BIBLIOGRAPHY APPENDIX E GLOSSARY OF TERMS AND CONDITIONS
Real Gross Domestic Product (GDP) by Architects usually specialize in a particular type of construc- Industry at Factor Cost tion such as residential, commercial, industrial, or institu- A measure of the economic production that takes place tional. within the geographical boundaries of Canada. As the name Employment requirements suggests, it is designed to display the industrial distribution of •A bachelor’s degree from a recognized school of architec- total output. GDP for a single industry is also referred to as ture and two years of experience under the supervision of net output, or value added. Conceptually it is equal to total a registered architect, or completion of the syllabus of sales by the industry (gross output) less inputs of goods and studies from the Royal Architectural Institute of Canada services that were provided by sources other than the (RAIC) and eight years of on-the-job training under industry itself (intermediate outputs). supervision of a registered architect is required.
National Occupations Code (NOC) 1991 • Completion of examinations set by provincial associations of architects is required. Occupation Definitions • Registration with the provincial association of architects in 2151 ARCHITECTS the province of work is required. Architects conceptualize, plan, and develop designs for the • In Quebec, membership in the professional corporation construction and renovation of commercial, institutional, and for architects is mandatory. residential buildings. Architects are employed by architec- tural firms, private corporations, and governments, or they Additional information may be self-employed. •Progression to senior positions, such as Chief Architect, is possible with experience. Examples of titles classified in this group Architect 2152 LANDSCAPE ARCHITECTS Consulting Architect Landscape Architects conceptualize landscape designs, Architectural Standards Specialist develop contract documents, and oversee the construction of Industrial and Commercial Building Architect landscape development for commercial projects, office Chief Architect complexes, parks, golf courses, and residential development. Residential Architect They are employed by architectural and engineering firms, Main duties landscape consulting firms, landscape contractors, and by Architects perform some or all of the following duties: government environmental and development agencies, or they may be self-employed. • Consult with clients to determine type, style, and purpose of renovations or new building construction being consid- Examples of titles classified in this unit group ered. Architect, Landscape • Conceptualize and design buildings and develop plans Landscape Architect describing design specifications, building materials, costs, Main duties and construction schedules. Landscape Architects perform some or all of the following •Prepare sketches and models for clients. duties: •Prepare or supervise the preparation of blueprints for use • Confer with clients to determine design needs. by contractors and tradespersons. • Survey and assess designated sites and develop designs • Hire and supervise contractors and other personnel taking into consideration landscape features, buildings, involved with the construction. climate, future usage, and other aspects. • Supervise activities on construction sites to ensure compli- •Prepare or oversee the preparation of detailed drawings ance with specifications. for sites, including features such as trees, shrubs, gardens, lighting, walkways, patios, decks, benches, fences, • Conduct feasibility studies and financial analyses of retaining walls, and fountains. building projects.
APPENDIX E • GLOSSARY OF TERMS AND CONDITIONS 185 •Prepare or oversee preparation of site plans, reports, •May supervise drafters, technicians, and technologists on sketches, models, photographs, maps, land use studies, and the architectural team. design plans. •May supervise construction projects and coordinate, • Estimate costs, prepare specifications, and evaluate monitor, and inspect work done by others. tenders for landscape construction projects. Employment requirements • Conduct environmental design studies, including environ- • Completion of a one- to three-year college program in mental assessment, planning, and the preservation and architectural technology or a related subject is usually recreation of historical sites. required. • May manage and supervise landscape construction work. • Certification in architectural technology or in a related field through provincial associations of engineering/ Employment requirements applied science technicians and technologists may be •A bachelor’s degree in landscape architecture is required. required by employers. •A master’s degree in landscape architecture may be • In Quebec, membership in the professional corporations required. for technologists in applied sciences is mandatory. •In Ontario and British Columbia, landscape architects •A period of supervised work experience, usually two years, require some landscape design experience and the is required before certification. successful completion of a provincial registration exam. • In the remaining provinces and the territories, landscape Additional Information architects require some landscape design experience and • There is mobility to other related occupations such as an interview by their provincial associations to receive drafters, civil engineering technologists and technicians, association certification. construction estimators, and construction inspectors. •Progression to supervisory positions is possible with 2251 ARCHITECTURAL TECHNICIANS experience. AND TECHNOLOGISTS Architectural Technicians and Technologists may work inde- 2252 INDUSTRIAL DESIGNERS pendently or provide technical assistance to professional Industrial Designers conceptualize and produce designs for architects and civil design engineers in conducting research; manufactured products. They are employed by manufac- in preparing drawings, architectural models, specifications, turing industries and private design firms, or they may be and contracts; and in supervising construction projects. self-employed. Architectural Technicians and Technologists are employed by architectural and construction firms, governments, and Examples of titles classified in this unit group other industries. Furniture Designer Industrial Products Designer Examples of titles classified in this unit group Industrial Design Consultant Architectural Design Technician Package Designer Architectural Technologist Industrial Designer Architectural Design Technologist Product Designer Building Technologist, Residential Architectural Technician Main duties Industrial Designers perform some or all of the following Main duties duties: Architectural Technicians and Technologists perform some or all of the following duties: • Consult with client, engineers, or production specialists to establish product requirements. •Assist in the development of architectural designs. • Analyze the intended use of product and user preferences. • Analyze building codes, by-laws, space requirements, site requirements, and other technical documents and reports. • Conduct research into cost, properties of production materials, and methods of production. •Prepare drawings, specifications, cost estimates, and list- ings of quantities of material from conceptual drawings •Prepare design concepts, sketches, or models for approval. and instructions. •Prepare specifications and guidelines for production and • Construct architectural and display models. construct prototype of design. •Prepare contract and bidding documents. • Consult with engineers and production staff during manu- facturing stage.
186 APPENDIX E • GLOSSARY OF TERMS AND CONDITIONS Employment requirements Employment requirements •A university degree in industrial design, architecture, or • Completion of secondary school is required. engineering; or a college diploma in industrial design is •A university degree in visual arts with specialization in required. graphic arts, commercial art, or photography •Creative ability, as demonstrated by a portfolio of work, is or required. •Completion of a college or other program in graphic arts Additional information or commercial art is usually required. • There is mobility between positions in this group. •Experience as a graphic arts technician may be required •Mobility is possible to other design occupations. and may substitute for post-secondary training.
5241 GRAPHIC DESIGNERS AND •Creative ability, as demonstrated by a portfolio of work, is ILLUSTRATING ARTISTS required. Graphic Designers and Illustrating Artists conceptualize and Additional Information produce designs, illustrations, layouts, and visual images to •Progression to management positions, such as advertising effectively communicate information for publications, adver- manager, is possible with experience. tising, films, posters, and signs. They are employed by advertising and graphic design firms and by other estab- 5242 INTERIOR DESIGNERS lishments with advertising departments. Graphic Designers Interior Designers conceptualize and produce aesthetic and Illustrating Artists who are also supervisors, project and functional designs for interior spaces in residential, managers, or consultants are included in this unit group. commercial, institutional, and industrial buildings. They are Examples of titles classified in this unit group employed by architectural firms, interior design firms, retail Advertising Designer establishments, construction companies, and other establish- Animator ments, or they may be self-employed. Art Director Examples of titles classified in this unit group Commercial Artist\Graphic Artist Building Space Planner Graphic Designer Office Space Planner Illustrator Interior Design Technician Scientific Illustrator Project Manager, Interior Design Layout Designer Interior Design Medical Illustrator Retail Space Planner Page Designer Kitchen Designer Title Artist Main duties Main duties Interior Designers perform some or all of the following Graphic Designers and Illustrating Artists perform some or duties: all of the following duties: • Consult with clients to determine needs, preferences, • Consult with clients to establish the nature and content of and purpose of space. designs and illustrations for reproduction. • Develop detailed plans and models showing arrangement • Determine medium best suited to produce desired visual of walls, dividers, displays, lighting, and other fixtures. effect and method of reproduction. •Develop decorating plans and advise on selection of colour •Prepare sketches, photographs, or illustrations of subjects schemes, floor and wall coverings, furniture, and other to be rendered. items. • Estimate cost of materials and time to complete graphic • Estimate costs and materials required. design and illustration. •Prepare specifications for the final interior designs. •Prepare specifications for design. • May direct site work crews. •Produce final designs or illustrations, or supervise the production of design by other graphic designers or graphic Interior designers may specialize in designing interiors for arts technicians. residences, offices, hotels, restaurants, or retail establish- ments.
APPENDIX E • GLOSSARY OF TERMS AND CONDITIONS 187 Employment requirements 779 OTHER BUSINESS SERVICES •A university degree or college diploma in interior design Establishments primarily engaged in providing security or architectural design is usually required. and investigation, credit bureau, collection agency, customs •Candidates must possess creative ability, as demonstrated broker, telephone answering, duplicating, and business by a portfolio of work. services not elsewhere classified. • Registration with the Interior Design Association in the province of employment may be required. Proposed Standard Industrial Classification Structure Additional information XX1 Professional, Scientific, and Technical Services • Specialization in a particular field of interior design is possible through specific university or college training, or XXX Architectural, Engineering, and Related Services through experience. XXXX Architectural Services XXXX Engineering Services 1980 Standard Industrial Classifications XXXX Drafting Services XXXX Landscape Architectural Services 281 COMMERCIAL PRINTING XXXX Surveying and Mapping Services INDUSTRIES XXXX Geophysical Surveying Services Establishments primarily engaged in the production of XXX Other Design Services commercial and/or job printing regardless of the printing XXXX Interior Design Services method or process used (letterpress, including flexographic, XXXX Industrial Design Services photographic, or lithographic; intaglio or gravure; stencil (including furniture design) printing or silk-screen, etc.). XXXX Graphic Design Services XXXX Miscellaneous Design Services 284 COMBINED PUBLISHING AND (fashion, fur, footwear, urban planning) PRINTING INDUSTRIES Establishments primarily engaged in combined publishing and printing of newspapers, magazines, periodicals, and Footnote other articles. 1 “X” indicates the code: XX is the two-digit code; 421 SITE WORK XXX the three-digit code; and XXXX the four- Establishments primarily engaged in wrecking and demoli- digit code. tion, water well drilling, septic systems installations, exca- vating and grading, equipment rental (with operation), asphalt paving, fencing, and other site work.
427 INTERIOR AND FINISHING WORK Establishments primarily engaged in plastering, drywall, acoustical, finish carpentry, painting and decorating, terrazzo and tile, flooring and carpeting, and other interior and finishing work.
774 ADVERTISING SERVICES Establishments primarily engaged in operating advertising agencies; acting as media representatives; renting space on outdoor displays and billboards; and providing other adver- tising services.
775 ARCHITECTURAL, ENGINEERING, AND OTHER SCIENTIFIC AND TECHNICAL SERVICES Establishments primarily engaged in providing architectural, consulting engineering, and other scientific and technical services.
188 APPENDIX E • GLOSSARY OF TERMS AND CONDITIONS APPENDIX F SURVEY OF MBA SCHOOLS
Introduction Management of Technology Questionnaires were distributed to 34 graduate-level busi- Science and Technology ness programs across the country. Twenty-two questionnaires Management of Innovation were returned, for a response rate of 62 percent. Entrepreneurship Questionnaires were received from: New Venture Small Business Wilfrid Laurier University Tourism University of Manitoba Environmental Management Université Laval Public Administration Carleton University Banking University of British Columbia Economics University of Moncton Agribusiness University of Victoria Health Services Management Concordia University Industrial Relations Université de Montréal Hospitality Management University of Windsor Accounting Dalhousie University Health Services University of Saskatchewan McGill University 3. How would you describe the dominant pedagogy used ✓ St. Mary’s University by your faculty? (Please check no more than two.) University of Regina a) lecture 5% University of Guelph b) lecture/discussion 26% Simon Fraser University c) case 26% Queen’s University d) lecture/case 11% University of Alberta McMaster University e) lecture/case/discussion 89% University of Calgary 4. What proportion of your faculty are (respond in percentages): Summary of Responses a) full-time 85% PROGRAM INFORMATION b) part-time (including contract) 15% 1. How many students (both full-time and part-time) are 5. What is the average length of service of the full-time currently registered in the MBA program? faculty? Average number of students: 280 Average: 10.6 years Total number of students in programs Range: 1.5 - 15 years responding: 5,044 Range: 50 - 800 CURRICULUM INFORMATION 6. Do you offer a course(s) on design management? 2. In what fields can a student specialize? a) Yes 9% (2 programs) a) finance 74% b) No 91% b) marketing 74% c) international business 68% 7. If you answered YES in Question 6, please list the d) management information systems 63% name(s) of course(s) and please attach an outline(s) for e) organizational behaviour/development/ the course(s). change 63% Innovation and New Product Management f) human resources 68% 8. How often is/are the course(s) offered? g) operations management 63% h) organizational strategy 58% a) Once a semester - I) other (please specify): 53% b) Once a year 100% c) Every other year -
APPENDIX F • SURVEY OF MBA SCHOOLS 189 9. If an individual course is not offered concerning 15. What could be done to make your colleagues more design management, is the topic covered within supportive? existing courses in the MBA curriculum? “Provide model curriculum, texts etc.” a) Yes 25% b) No 75% Proximity to design expertise 10. If you answered YES to Question 9, please list the 16. Is there a design school or department on your name(s) of course(s) addressing the topic. campus, within your system, or nearby that you could draw on for assistance in planning a course in design Marketing management? Organizational Design Organizational Structure a) Yes 41% Advanced Topics in Operations and Technology b) No 47% Seminar in the Management of Research and c) Don’t know 12% Development Current Topics in Research and Development and 17. If you answered YES to Question 16, can your Innovation students take courses in this school or department? 11. If design management is not included in your a) Yes 86% curriculum, either as a separate course or within other b) No 14% courses, does your school intend to include the topic 18. If you answered YES to Question 17, do they? in the near future? a) Yes 29% a) Yes 19% b) No 71% b) No 62% c) Don’t know 19% 19. Is there an engineering school or department on your campus, within your system, or nearby? 12. Given what you know about the topic of design management, to what extent do you agree that busi- a) Yes 94% ness students should be exposed to these issues? b) No 6% a) strongly agree 18% 20. If you answered YES to Question 19, can your b) agree 11% students take courses in this school or department? c) neither agree nor disagree 44% a) Yes 82% d) disagree 28% b) No 18% e) strongly disagree - 21. If you answered YES to Question 20, do they? 13. To what extent do you think your colleagues would be supportive of efforts to include the topic of design a) Yes 21% management within the curriculum? b) No 79%
a) to a great extent 11% Additional comments b) to some extent 21% 22. Please feel free to add any remarks that you believe c) not at all 37% will make your responses to the questionnaire more d) don’t know 32% helpful. 14. If you answered NOT AT ALL to Question 13, what “At a loss for any reason why a business program do you think is the major barrier to including design would want to specialize in design management.” management in the curriculum? (Please check ✓only one.) “Barrier to design management course — the issues involved for the three sub-sectors are very different a) lack of understanding of the topic - and a single course may not hold together too well.” b) unwillingness to make changes to course content/curriculum - “While interesting, I do not see this as priority area for our students.” c) not enough time in curriculum 71% d) lack of availability of resources “Presently, we are discussing the possibility of a (i.e., financial and human) 29% Management of Technology Program with the Faculty e) other (please specify): - of Engineering. Hence, our students may be taking more courses in that faculty in the future.”
190 APPENDIX F • SURVEY OF MBA SCHOOLS “Faculty in the marketing area will stress the impor- tance of good design, but none have the expertise to teach design.” “...because of my own interest in the area and the fact that your survey is being undertaken has made me realise that now may be the time to raise the issue with my colleagues on the need and appropriateness of moving in this direction.” “We are working hard to increase the MBA design management content.” “A collaborative venture is being worked on for grad- uate students at three universities”
APPENDIX F • SURVEY OF MBA SCHOOLS 191 APPENDIX G DESIGN PROGRAMS AT POST-SECONDARY SCHOOL LEVEL
ARCHITECTURE Architectural Technician (Mechanical Systems) Architecture ON, Algonquin College BC, University of British Columbia AB, University of Calgary Architectural Technologies MB, University of Manitoba AB, Southern Alberta Institute of Technology ON, Carleton University ON, University of Waterloo Architectural Technology ON, University of Toronto ON, Algonquin College QC, McGill University ON, Fanshawe College QC, Université de Montréal ON, George Brown College QC, Université Laval ON, Loyalist College NS, Technical University of ON, Northern College Nova Scotia ON, Saint Clair College ON, Sault College Environmental Design ON, Sheridan College MB, University of Manitoba QC, Vanier College ON, Ontario College of Art PEI, Holland College
ARCHITECTURAL TECHNICIAN/ Architectural Technology (Architecture) TECHNOLOGY AB, Northern Alberta Institute of Technology Architectural Design, Technical Graphical Communication Architectural Technology (Design) BC, British Columbia Institute of Technology ON, Confederation College
Architectural Design Technician Design (Environmental Planning) ON, Humber College NS, Nova Scotia College of Art and Design
Architectural Design Technology Drafting ON, Humber College BC, North Island College ON, Cambrian College Architectural Engineering Technology ON, Sheridan College SK, S.I.A.S.T. Palliser ON, Mohawk College NF, Cabot College PEI, Holland College NF, Westviking College NS, N.S.C.C. Strait Campus
Architectural Science Drafting (Architectural) ON, Ryerson Polytechnic University NS, N.S.C.C. Annapolic NS, N.S.C.C. Halifax Architectural Technician NS, N.S.C.C. Hants ON, Algonquin College NS, N.S.C.C. Pictou ON, Fanshawe College ON, George Brown College Drafting (Architectural, Civil, Structural, CAD) ON, Loyalist College BC, Vancouver Community College ON, Northern College ON, Sheridan College Drafting (General) NB, N.B.C.C. Moncton Architectural Technician — Drafting ON, Centennial College Computer Aided Drafting Technician ON, Sault College AB, Medicine Hat College NF, Central Regional College
192 APPENDIX G • DESIGN PROGRAMS AT POST-SECONDARY SCHOOL LEVEL Computer Aided Drafting and Design LANDSCAPE ARCHITECTURAL BC, Kwantlen College TECHNICIAN/TECHNOLOGIST BC, University College Cariboo Architectural Technology (Landscape Architecture) AB, Northern Alberta Institute of Technology Computer Aided Drafting NF, Westviking College Design (Landscape) ON, Fanshawe College Computer-Aided Design and Drafting Technology SK, S.I.A.S.T. Palliser Landscape Architectural Technology ON, Ryerson Polytechnic University Drafting (Computer Aided Drafting and Design) BC, Vancouver Community College INTERIOR DESIGN Architectural Technology (Interior Design) Drafting (Basic) AB, Northern Alberta Institute of Technology NF, Central Regional College Bachelor of Interior Design Techniques d’architecture BC, Open Learning Agency ON, La Cité Collègiale Design (Interior) Techniques de l’architecture ON, Fanshawe College ON, Northern College QC, Collège Montmorency Interior Design QC, Collège de Rimouski BC, Kwantlen College AB, Lakeland College Technologies de l’architecture AB, Mount Royal College ON, Northern College MB, University of Manitoba ON, La Cité collègiale ON, Algonquin College QC, Collège André-Laurendeau ON, Durham College QC, Collège de Chicoutimi ON, Georgian College QC, Collège de Lévis-Lauzon ON, Humber College QC, Collège de Saint-Laurent ON, Niagara College QC, Collège de Trois-Rivières ON, Ryerson Polytechnic University QC, Collège du Vieux Montréal ON, Saint Clair College QC, Collège Marie-Victorin ON, Sheridan College QC, Dawson College Drafting Technician BC, College of New Caledonia Design d’Intérieur BC, University College Fraser Valley QC, Collège de l’Assomption SK, S.I.A.S.T. Wascana QC, Collège de Rivière-du-Loup ON, Canadore College QC, Collège de Trois-Rivières QC, Collège du Vieux Montréal LANDSCAPE ARCHITECTURE QC, Collège F.X.-Garneau Landscape Architecture QC, Collège Marie-Victorin BC, University of British Columbia QC, Université de Montréal MB, University of Manitoba QC, l’Académie (Place Bonaventure) ON, University of Guelph QC, Collège LaSalle ON, University of Toronto NB, N.B.C.C. Dieppe
Architecture de Paysage Design D’Intérieur (Avancé) QC, Université de Montréal ON, La Cité collègiale
Environmental Design MB, University of Manitoba ON, Ontario College of Art
APPENDIX G • DESIGN PROGRAMS AT POST-SECONDARY SCHOOL LEVEL 193 COMMUNICATIONS DESIGN Design (Communication Design) Advertising — Creative NS, Nova Scotia College of Art and Design ON, Algonquin College ON, Centennial College Design and Illustration QC, Dawson College Advertising and Graphic Arts ON, Humber College Graphic Design Fundamentals ON, Sault College ON, Lambton College
Advertising Art Graphic and Visual Design MB, Red River College BC, Kwantlen College ON, Fanshawe College Graphic Communications Commercial Design ON, Canadore College PEI, Holland College Graphic Communications Management Communication Graphique ON, Ryerson Polytechnic University QC, Université Laval Graphic Design Communication and Design BC, Emily Carr Institute AB, University of Alberta MB, University of Manitoba ON, Ontario College of Art ON, Algonquin College ON, York University ON, Durham College ON, Saint Lawrence College Computer Graphics ON, Sheridan College BC, Vancouver Community College ON, George Brown College ON, Sheridan College ON, Georgian College QC, Collège de Jonquière ON, Mohawk College QC, ICARI NS, Nova Scotia College of Art and Design NS, N.S.C.C. Annapolis Computer Graphics (Imagery) ON, Seneca College Graphic Design and Advertising ON, Conestoga College Computer Graphics (Technical) ON, Seneca College Graphic Design and Communication BC, University College Fraser Valley Conception Graphique ON, La Cité collègiale Graphic Design and Illustration BC, Capilano College Creative Graphics Studio NB, New Brunswick Craft and Design Graphisme QC, Collège Ahuntisic Deisgn Graphique QC, Collège de Rivière-du-Loup QC, Université du Québec à Montréal QC, Collège de Sainte-Foy QC, Collège de Sherbrooke Design Foundation QC, Collège du Vieux Montréal ON, Humber College QC, Collège Marie-Victorin QC, Collège Sallette Design Art(s) ON, Seneca College Techniques de Conception Graphique QC, Concordia University NB, N.B.C.C. Dieppe
Design de Présentation QC, Collège de Rivière-du-Loup QC, Collège de Sainte-Foy QC, Collège du Vieux Montréal
194 APPENDIX G • DESIGN PROGRAMS AT POST-SECONDARY SCHOOL LEVEL INDUSTRIAL DESIGN Design de l’environnement QC, Université du Québec à Montréal
Design Industriel QC, Université de Montréal
Industrial Design BC, Emily Carr Institute of Art and Design AB, University of Calgary AB, University of Alberta ON, Carleton University ON, Ontario College of Art
Techniques de design industriel QC, Cegep de Sainte-Foy QC, Cegep Dawson QC, Cegep du Vieux-Montréal ON, La Cité collégiale
Industrial Design Techniques ON, Fanshawe College ON, Georgian College ON, Humber College
APPENDIX G • DESIGN PROGRAMS AT POST-SECONDARY SCHOOL LEVEL 195 Photo Acknowledgements
The Design Sector Steering Committee wishes to thank those who provided the photographic material used in this report. Best efforts have been made to balance this material by design discipline and region, within the limitations imposed by photo availability.
196 CHAPTER 4 • THE MARKETING CHALLENGE