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Industrial Design As a Culturally Reflexive Activity in Manufacturing

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Industrial Design As a Culturally Reflexive Activity in Manufacturing Industrial Design as a Culturally Reflexive Activity in Manufacturing Juha Järvinen Ilpo Koskinen Assisted by Pekka Korvenmaa Juhani Salovaara Jaana Hytönen 1 Tanja Kotro © The authors and Sitra Graphic design: Tomi Lonka Language revision: Katja Battarbee Sitra Reports series 15 The Sitra Reports series consists of research publications, reports and evaluation studies especially for the use of experts. To order copies of publications in the Sitra Reports series, please contact Sitra at: tel. +358 9 618 991 or e-mail: [email protected] www.sitra.fi ISBN 951-563-405-9 ISSN 1457-571X Publication series of the University of Art and Design Helsinki UIAH A 33 www.uiah.fi/publications [email protected] ISSN 0782-1832 Gummerus Printing Saarijärvi, Finland 2001 2 Industrial Design as a Culturally Reflexive Activity in Manufacturing 3 Table of Contents Preface 6 1 Industrial Design and Cultural Innovation in Economy 8 Design as Reflexive Cultural Action in Modern Manufacturing | Design in Manufacturing: Research Design | Concepts, Research Questions, and the Organization of the Study 2 Design as Culturally Reflexive Activity: The Stratification Model of Industrial Design in Manufacturing 20 Design in the Fordist Model | The Design Management Model | Comprehensive Design Concepts: The Case of Olivetti | The Designer Firm | Benchmarking Design | Conclusion 3 Industrial Design in Manufacturing Organizations 38 The Stratification Model and Industrial Design: an Elaboration | Design and Culture: How Designers Shape Design | Conclusions 4 Data and Methods 52 Why Primarily a Qualitative Study | Research Design in Benchmarking | Industry and Network Selection | Company selection | Interviews | Inference | Inference in Benchmarking | Industry comparisons and the use of negative cases | Reliability and Validity – On Gener- alizing the Results 5 The Organization of Design in Manufacturing 68 Design Policies in the Companies | The Stratification Model: The Positioning Of Design In The Companies Examined | The Product Design Level | The Conceptual Design Level | The Strategic Level | Industrial Design in a Multi-Divisional Corporations: The Case of Valmet (Metso Paper) | Conclusion 6 How Design Emerged as an Activity in Firms 82 On Design Histories in Companies | The Importance of Managers | Organizing Design: In- House Organization vs. Networking | Conclusions 7 Networks and Consultancies 100 Taking Consultancies into Good Use:Concept Design and Idea Generation | Towards Long– Term Relationships | Networking | The Size of Design Consultancies as an Argument | Marketing Design | Conclusions 4 Table of Contents 8 Industry Differences 116 Designing for Capital Goods Production: Product Design and Ergonomics | Design- ing for Businesses When Consumers Are in Contact with the Product | Aesthetic Value and Design in Consumer Goods Production | Changing Markets and the Role of Design in the Process: Two Case Studies | Conclusions 9 Design, Isomorphism, and Variations between Industries 130 The Changing Faces of Design after the Eighties | The Growing Importance of Design in the Nineties | Isomorphic Pressures and Clashing Rationalities in Business-to-business In- dustries | Design in Machine Manufacturing Industry | Design Characteristics in the Medical Technology Industry | Conclusions 10 Culture, Design and Business: Alessi on a Fine Line 150 Company in Brief | Organization of Design | The Design Philosophy- Business Based on Art and Poetry | How “Alessi” is Created- Conceptualization and Communication of Design | The Italian Tradition – History, Family and maestros | Other Strategies for Articulat- ing Design Policy - The Metaproject | Art and Business - Together with Markets | Conclu- sion and Discussion 11 Results, Conclusions, and Policy Implications 166 Benchmarking Design: The Main Results of the Study | Policy Implications- The Present Condition in the National Design Policy | Areas in Need of Immediate Development | Implications for the role of SITRA in developing Finnish industrial design. Appendices 178 References 182 5 6 Preface This study was written in 2000, and was funded by Sitra, the Finnish National Fund for Research and Development. It describes how indus- trial design is organized in manufacturing, and aims to find out means to enhance the use of design. It is primarily qualitative, based on a series of case studies. Design is about to become an intensively researched area; several book and studies appeared while we were writing this study (Hendriks 1999; Joziasse 2000; Kelley 2001). We hope to contribute to that emerging literature. Koskinen and Järvinen are mainly responsible for this study. The contri- butions of other authors will will be credited separately. Various people are responsible for various chapters in the study. In particular, we would like to thank professors Juhani Salovaara and Pekka Korvenmaa for their support. Chapter 10 is based on Tanja Kotro’s doctoral thesis, which will be published in 2003. Regarding the Alessi case study she wishes to express her gratitude to managing director dottore Alberto Alessi, design manager Kristiina Lassus, product engineer Roberto Carosio and marketing manager Silvano Gugglielmaggi for their co-operation. This chapter is mainly based on the analysis of Alessi publications and PR-material and observations she made while she visited the factory 15th – 22nd July 2000. Therefore she wishes to remind that all the interpretations expressed in this article are hers, and she alone is responsible for them. The authors wish to thank Ms. Kirsi Valonen, for her contribution in the field interview work during the summer and fall of 2000, Mr. Tomi Lonka for the final layout of this publication, as well as Ms. Katja Battarbee for language revision. Above all, we would like to thank our interviewees. In Arabia, Helsinki, May 6, Juha Järvinen and Ilpo Koskinen 7 Chapter 1 Industrial Design and Cultural Innovation in Economy Assisted by Pekka Korvenmaa 8 When professor Peter Behrens was hired by AEG in 1907, he not only designed the typefaces of the company, designed consumer goods and investment goods, and rules for artistic aspects for production. He also designed industrial and commercial buildings (some of which are still in their original use), pavilions for industrial fairs, villas for AEG management, clubs, buildings commissioned by the German government, and interiors: The range and scope of Behrens’ activity for the AEG in Berlin can be shown by citing a series of almost randomly chosen examples of his work. He designed an exhibition from the pa- vilion right down to the invitation card. This work involved brochures and posters for the electrical appliances exhibited and the appliances themselves, such as a dental drill, a humidifier, and the casings for a whole series of arc lamps and electric fans. He also designed the factories in which these things were manu- factured - for example, the highly complex factory for trans- formers, resistors, and high-voltage equipment and the monu- mental small-motor factory. He was responsible for the planning of the firm’s extensive housing estates and for the design of two boathouses, and he laid out a dignified roof garden above the factories at Humboldt-hain illustrations. Behrens’ designs for the AEG are too numerous to itemize here. They extend from simple box labels to a large–scale industrial town, and can be found in every conceivable area of the firm’s activity. With the exception of the electrical appliances, which as a result of tech- nical development and the pressure of consumerism have be- come collector’s items, many of the relatively large number of works that have survived are still serving their original purposes today. This is true of the advertising graphics and, in spite of the war, of the factories... Behrens’s typefaces are still used in the firm’s signet, and set a standard against which the firm’s present- day graphic material finds it hard to compete. (Rogge 1984: 114) 9 Chapter 1 Although Behrens was trained in three-dimensional arts and architecture (there was no training in industrial design then), his example shows that issues such as product recognizability, loyalty, branding, trust in products, and pleasure in products have been a concern for designers working in industry for a century. As Sony chairman Norio Ohga says, “The product itself must be good, but it must also make the customer think, ‘I’m glad I bought it,’ ‘I’m glad I use it,’ ‘I’m glad I have it.’” (Kunkel 1999: 15). Although design has been dubbed as the second vainest occupation right next to marketing (Papanek 1970), it is also an occupation that makes the world a better, a more beautiful, a safer, and a smoother place to live in. Design also works interactively with socio-cultural phenomena, articulat- ing into objects the broader parameters operative at a certain historical moment. A good example is the famous Kilta ceramics table- and kitchenware set from the early 1950s, produced by Arabia Ltd. and de- signed by Kaj Franck. The purist, minimalist appearance of the objects were in tune with the modernist design idiom and afterwards that feature with the interconnectivity of several pieces has been seen as its main merit. But the ideas of stackability, saving space and affordability echoed the societal fluctuations of post-war Finland and the emergence of the welfare state. The set matched the ideas of standardization in architec- ture and especially kitchen design and the effort to bring a modern apart- ment also for the majority of the population. This was to be achieved in terms of rational planning, cost and space efficiency. Also, these house- holds were expected not to have domestic labor force. Hence the logis- tics of the preparation and serving of the food had to work smoothly, rapidly and with an equally efficient set of tools, that is, kitchen and table- ware. The artefactual, material culture inevitably guides our daily life at work and leisure gives us the most immediate and very tangible cultural frame. The effects of material culture are in general not clear to people and evade explication because of the anonymity and self-evident presence of the artefact world around us.
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