D e s i g n a n d M o b i l i t y - t h e D e s i g n e r a n d 디 자 인 과 t h e 이 동 성 - M o b i l e 디 자 이 너 와 W o r l d 모 바 일 세 상

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1 D e s i g n a n d M o b i l i t y - t h e D e s i g n e r a n d 디 자 인 과 t h e 이 동 성 - M o b i l e 디 자 이 너 와 W o r l d 모 바 일 세 상

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3 Design & Mobility 안나발토넨 노키아디자인리서치시니어디자인매니저 Anna Valtonen Senior design manager, Nokia Design Research

4 04 안나발토넨은노키아의디자인리서치에서시니어디자인매니저로근무하고있다. 지난 10년동안그녀는회사내에서여러직위를거쳤으며, 핀란드헬싱키의 University of Art and Design 의전략및산업디자인학과에서연구원으로, 그리고프랑스파리의 ESSEC 경영대학원경영학과에서객원교수로도근무하고있다. 그녀는 2007 년 3월 산업디자인의재정의. 핀란드디자인관행의변화 라는주제로박사학위를취득하였으며그녀의주요관심분야는디자인, 디자인의역사, 혁신경영및회사나국가가경쟁력을확보하기위해서디자인을어떻게최대한유용하게활용할수있는가등에관한것이다. Anna Valtonen works as Senior Design Manager for Design Research at Nokia. For the past ten years she has held various positions within the company. She also works as Researcher at the Department of Strategic and Industrial Design at the University of Art and Design Helsinki, Finland, and as Visiting Professor in the Department of Management at ESSEC Business School paris, France. Her doctorate was defended in March 2007, with the title Redefining Industrial Design. Changes in the Design Practice in Finland. and her research interests are in design, its history, innovation management and how companies and nations can best use design for their competitiveness.

5 74 디자인과이동성 디자이너와모바일세계 안나발토넨 디자인과이동성 - 디자이너와모바일세상 2006년호모모벤스 (Homoe Movence) 라는주제로열린한국디자인산업연구센터 (KDRI) 의 IDCC( 국제디자인문화학술회의 ) 에서나는모바일의독자성에대해토론하였다. 우리의변화하는세계에서디자인의역할은점점중요시되고있다. 이빠른변화의시대에모바일의독자성중하나는산업에서디자이너가갖는역할이라고생각한다. 나는이논문에서이러한변화를핀란드의몇가지예를통해설명해보려고한다. 1 창조자로서의디자이너 1950년대핀란드는세계제 2차대전의영향에서회복중인빈국으로, 마샬원조를받지못했고소련에많은액수의전쟁배상금을지불하여야했다. 전쟁배상금은새로운산업에대한수요를창출하였고핀란드의산업구조는이시기에크게발전하였다. 1 정부및지방의배우들은디자인을사용하여국가의정체성을강조하고곤란한경제상황을극복하려고했다. 핀란드에서산업디자이너의역할은시간이지나면서빠르게변화해왔다. 산업디자인이전문적인직업으로처음자리잡기시작하였을때디자이너는그작품이예술가의작품에비유되었던창조자였다. 60년대디자이너들은산업과밀접하게협력하여일하기시작했고디자이너는엔지니어및마케팅대표와함께팀구성원이되었다. 70년대인간공학이크게대두되었고 80년대에는디자인관리라는문제가인기가있었다. 90년대에는브랜드구성및전략적디자인이초점이되었으며 2000년대가되자디자인은혁신의수단으로간주되었다. 이새로운디자인분야는산업디자이너에대해여러다른역할을만들었다. 이전역할이사라지지않아여전히존재하지만산업디자이너의일반적인작업분야는다양해졌다. 이논문에서는이역할중일부를설명하고변화를야기한원인에대해살피며각시대의전형적인디자인수사학또는강연을설명한다. 당시 핀란드의디자인 이라는표현이 Kaj Frank, Tapio Wirkkala, Timo Sarpaneva 및 Ilmari Tapiovaara 등각디자이너에의해빈번하게사용되었고더욱개선되었다. 디자인은밀라노트리엔날레 (Milano Triennales) 등국제대회에서커다란성공을거두었고언론에광범위하게논의되었다. 2 트리엔날레에서발표된여러작품들이산업적으로생산되기는하였으나계속하여생산되지는않았다. 대부분의제품은식탁용식기류또는유리또는목재공예품이었으며일부는핀란드의유리및도자기업체인 Iittala, Arabia, Nuutajärvi 및 Karhula에의해제조되었다. 이들기업에서별도의 예술 부서를두는것은매우흔한일이었다. 이부서에서디자이너는실용적인제품보다는예술적인제품을만들었다. 3 밀라노트리엔날레에서강연의전형적인주제는상상속디자이너의영감및창조의근원으로서자연을강조하는것이었다. 디자이너는디자인프로세스에대해거의모든

6 75 Design and Mobility the Designer and the Mobile World Anna Valtonen Design and Mobilitythe Designer and the Mobile World The theme of the conference was homo mobile and the task was to talk about mobile identities. In our ever changing world, the role of design has become increasingly important. I believe, that in this time of rapid changes, one of the most mobile identities of its time has been the role of the designer in industry. In this paper this change will be illustrated through several Finnish examples. In Finland the role of the industrial designer has changed rapidly over time. When the professional practice of industrial design first started to form, the designer was a creator whose work was likened to that of the artist. In the sixties designers started to work in closer co-operation with the industry, and the designer became a member of a team together with the engineer and the marketing representatives. In the seventies ergonomics were largely discussed and in the eighties the issue of Design Management became popular. In the nineties brand building and strategic design became the focus areas, and in the new millennium design was seen as a means of innovation. These new areas of design have created different roles for the industrial designer. The previous roles have not disappeared, they still exist, but the general area of work for the industrial designer has broadened. I will in this article consider which some of these roles are, reflect over the reasons that have caused the change and also consider what has been typical for the design rhetoric or discourse of each period. 1 The designer as the creator In the 1950 s Finland was a poor nation recovering from the World War II, which did not receive any Marshall help and was forced to pay great war indemnities to the U.S.S.R. The war indemnities created the need of new industries and the industry structures in Finland developed strongly during this time. 1 The government and the local actors used design to emphasize the national identity and amend the poor economical situation. At the time the expression Finnish Design was frequently used and further enhanced by individual designers such as Kaj Frank, Tapio Wirkkala, Timo Sarpaneva and Ilmari Tapiovaara. Design gained great success in international competitions, such as the Milano Triennales, and was extensively discussed in press 2. Even though many of the objects presented in the Triennales were industrially produced, they were done in very small series. Most of the products were tableware or artefacts in glass or wood, and several were produced by the Finn-

7 76 디자인과이동성 디자이너와모바일세계 안나발토넨 권한을가지고있었다. 그프로세스란디자이너가영감을받아스케치를시작하여물건을디자인하는것이었고그다음에야이잠재적물건은생산용으로소개되었다. 디자이너는물건뒤에있는창조자였고예술가였다. 또한해당제품의매력중일부는이매력적인디자이너에게서나오는것이었다. 따라서특별한자질이있는기이한성격으로디자이너를묘사하는것은이득이있었다. 밀라노트리엔날레중 Tapio Wirkkala는이탈리아에서 uomo naturale 즉꽃을먹고아침에곰과레슬링을하는남자로홍보되었다 4. 오늘날도여전히개인주의적인디자이너의신화는언론에서꽤쉽게수행하는접근방식이다. 사람들은다른사람에게관심을가지는경향이있으며제품뒤에숨은흥미로운디자이너의성격을묘사함으로써다른제품보다많은주목을받는다. 이는특히디자인에대한사전지식이별로없는일반대중및이들과관련된정보원에동등하게사용된다. 여러기업은이방식을의도적으로사용한다. 즉, 유명한디자이너를이용하여일반대중의제품에대한관심을높이는것이다. 5 50년대후반에예술기반제품으로큰성공을거두었던몇몇디자이너들은산업디자인분야로활동분야를옮겼다. 이들핀란드산업디자인의첫개척자는산업분여로점차이동했던예술가및디자이너였다. 디자이너의역할은필연적으로예술가, 즉산업상생산된제품에형태를부여했던창조적이고표현적인사람의역할이었다. 이접근방식은당시해당분야가그자체새로운분야였으므로자연스러운방식이었고대중은그존재에대해알지못했다. 따라서국제적인전시를위한시리즈로나오지않는디자인의경우매우성공적인것으로입증된동일한도구, 즉디자이너의개인적인매력을사용하여새로운서비스가판매되었다. 후그는전체기업을위한사내디자인조직인 A-studio를설립하였다. A-studio는기업의여러디자이너및다른부서사이의팀워크에중점을두었다. 이는다음 60년대에더욱유행한관행의이른전조였다. 즉, 디자이너가기계공및마케팅과함께팀을이루어일하는것이다. 2 기계공및마케팅과팀을이룬디자이너 60년대에는디자인이단지제품미학또는스타일링이아니라그이상이라는데대한논의가많았다. 디자인은완제품에추가되었던미적기능또는디자이너이름이라기보다는업계와함께수행되어야하는것이었다. 디자이너는자신들이제품개발프로세스초기에필요하며기업의엔지니어및마케팅부서가하나의팀을이루어밀접하게함께작업하여야한다고강조하였다. 디자인은디자이너가홀로수행할수있는기능이라기보다는단지제품개발프로세스의일부분으로인식되었다. 이시기동안산업디자이너들이처음으로직접기업에의해고용되었고디자이너작업의최종결과물이더이상디자이너이름과함께판매되지않고기업이름을걸고판매되었다. 처음에디자이너들은자신의작업방식이기술디자인에가까움에도불구하고업계에서예술가로종종간주되는어려움에직면하였다. 디자이너중한명은핀란드의대기업에서디자이너가어떻게인식되었는지다음과같이설명하고있다. 당시우리는산업디자이너였다. 우리를회사복도에서예술가라고부르기는했지만우리의직함은산업디자이너였다 ( 웃음 ). 8 산업디자이너의역할이형성되고있던중그장점을이해하고있던기업은별로없었다. 디자이너는종종자신의중요성을기업에인식시켜야했다. 밀라노트리엔날레에서목재와유리로디자인한물체로큰명성을얻은 Tapio Wirkkala는핀란드산업디자인을개척한좋은예이다. 그는케첩병, 전기퓨즈및변기시트등매우일상적인물건을디자인하였다. 그는뉴욕 Raymond Loewy의디자인실에서 1955년에서 1956년사이수개월동안작업하였고핀란드산업에자신만의작업방식을구현하려고하였다 년 Wirkkala는전직장이었던유리제품생산업체 Iittala가속한핀란드기업인 A. Ahlström의산업및예술디자이너로임명되었다. 7 그 제품개발의일부로서산업디자인의이접근방식은현재도여전히가장일반적인것이며또한대부분의핀란드산업디자이너가일하는영역에서그러하다. 9 디자이너가활동하고있는조직은마케팅및기계공에서부터더욱광범위한기능을포괄하도록성장하였다. 그러나디자이너는여전히제품개발프로세스에서더욱큰조직의일부로자신을보고있다. 창조적이고기묘한디자이너가이제는여러경우에있어업계에서익명의외교적인팀플레이어가되었다.

8 77 Design and Mobility the Designer and the Mobile World Anna Valtonen ish glass-and porcelain companies; Iittala, Arabia, Nuutajärvi and Karhula. In these companies it was quite common to have a separate art department; where the designers created objects of art rather than utilitarian products. 3 Typical for the discourse at the time of the Milano Triennales was the emphasis on nature as a source of inspiration and the creation of the mythical designer. The designer had almost full control of the design process; the designer got an inspiration, started sketching, designed the object and only then was the potential object presented for production. The designer was the creator and the artist behind the object; and part of the attraction of the product came from this charismatic designer. Therefore it was beneficial to depict the designer as an eccentric character with special qualities. During the Milano Triennales Tapio Wirkkala was, for example, promoted in Italy as uomo naturale, the man who ate flowers and wrestled with bears in the morning. 4 Still today, the myth of the individualistic designer is an approach that is fairly easy to get through in press. People tend to be interested in other people, and by depicting an interesting designer-character behind a product it gets more attention than one without. This is particularly used for a broad public with very little previous knowledge in design, and equally for the sources of information related to them. Many companies use this approach deliberately; by using a famous designer they increase the interest of the general public to their product. 5 In the late fifties some of these designers who had previously gained great success for their art based products moved into the area of industrial design. These first pioneers in Finnish industrial design were thus artist/designers who gradually transferred to the industrial realm. The role of the designer was then consequentially that of an artist, a creative and expressive person who had given form to an industrially produced product. This approach was at the time natural as the area in itself was new, and the public had hardly any knowledge of its existence. Hence the new service was marketed using the same tools that had proved so successful in the case of design for smaller series and international exhibitions; the personal charisma of the designer. Tapio Wirkkala, who had gained great fame for his designed objects in wood and glass in the Milano Triennales, is a good example of pioneering Finnish industrial design. He designed a ketchup bottle, electrical fuses, and toilet seats, all very mundane objects. He had worked several months in the design studio of Raymond Loewy in New York, in , and wanted to implement their way of working to the Finnish industry. 6 In 1957 Wirkkala was appointed industrial and artistic designer for the Finnish corporate A. Ahlström that also the glassware producer Iittala, that he had previously worked for, was part of. 7 He then founded the A-studio, an in-house design organisation for the entire corporate, where the emphasis was on team work between both the different designers and the other units of the company. This was an early forerunner of the practice that become more prevailing in the following decade; the designers working in teams together with mechanics and marketing. 2 The designer in a team with mechanics and marketing In the sixties the debate of design being more than just the mere product aesthetics or styling flourished. Design was to be done together with the industry, rather than an aesthetical function or a designer name that was just added on to a completed product. The designers emphasised that they needed to come in earlier in the product development process and work tightly together in a team with the engineers and the marketing unit in a company. Design was perceived as just one part of the product development process, rather than a function the designer could perform alone. The first industrial designers were during this time hired directly to companies, where the end result of their work was no longer marketed with the name of the designer but with the name of the company.

9 78 디자인과이동성 디자이너와모바일세계 안나발토넨 3 최종사용자전문가로서의디자이너 70년대초기는해당논쟁에대한여러정치적기조를가진핀란드산업디자인분야에서큰격동의시기였다. 다시디자이너들은초기부터해당프로세스의일부가되고자하였다. 즉, 제품개발프로세스의일부만이아니라해당제품의정의프로세스의일부가되고자한것이다. 이논쟁은핀란드에서교육에종사하였고인기있는저서인 Design for the real world10 및 Turhaa vai tarpeellista?11을저술한 Victor Papanek( ) 의사상에큰영향을미쳤다. 이시대에는특히과학으로서인간공학이도래함으로써전문적인관행의이론화가이루어졌다. 과학지향인간공학과소비중시학생들과함께 Papanek의주요초점은결국최종적으로생산된제품을사용할개인인인간을이해하는것이었다. 여러경우에있어이는특수한수요를가진사람들의집단을위한디자인을의미하였다. 특히어린이, 노인및장애인을위한디자인에대한논쟁이인기가높았다. 1976년핀란드산업디자이너협회 (TKO) 에의해발행된산업디자인의핵심을설명하는팜플렛에서 60년대의개발을뒤돌아보면서이방식은다음과같이설명되고있다. 디자이너들이무시해왔고그수요가충분히고려되지않았던분야및개인들의집단 ( 어린이, 노인 ) 이있다는것을알아챘다. 모든디자인에대한토론은빠르게그범위가확대되었고디자이너의 책임 에대한논의가있었다. 디자이너들은진정한사회적수요를해결하는데그들의전문적기술이사용되는디자인문제를찾기시작했다. 12 Henry Dreyfuss가그의저서 Designing for People 및 The Measure of Man and Woman13에서표현한그의이론또한핀란드의산업디자인강좌에큰영향을미쳤다. 인간공학및사용자에대한이해는과학적접근방식과함께산업디자인을더욱예술및공예를기반으로하는응용예술의다른분야와구분하기위한도구가되었다. Tokyo tiedot 팜플렛표지 The cover of the Tokyo tiedot leaflet. 이접근방식의좋은예는 1970(6/1970) 년중앙예술공예학교학생회잡지 Tokyo tiedot 의특별판으로, 이학교에서의산업디자인교육을나타내는문제였다. 이때거의 10년동안산업디자인에대한교육이수행되었고과학기반방식을통해다른교과과정으로확산되었다. 해당부서는이당시산업디자인이아니라 Tekninen 디자인 ( 기술디자인 ) 으로불리었다. 이잡지의표지는 Dreyfuss의 Measure of Man and Woman의방식으로남자한명과

10 79 Design and Mobility the Designer and the Mobile World Anna Valtonen In the beginning they faced the challenge of often being perceived as artists in industry, even if their own approach was closer to technical design. One of the designers describes how they were perceived in a large Finnish company: We were industrial designers then, yes. Our title was industrial designer even if they called us artists in the [corporate] hallways. [laughs] 8 As the role of the industrial designer was only forming, very few companies understood the benefits thereof, the designers often had to convince the company of their importance. This approach of industrial design as one part of product development is currently still the most prevailing and also the area in which most Finnish industrial designers work. 9 The groups with whom the designer works have grown from merely marketing and mechanics to encompass a broader set of capabilities, but the designers still see themselves as part of a larger group in a product development process. The original and eccentric designer has in many cases become an anonymous and diplomatic team player for the industry. 3 The designer as an end-user expert The early seventies were a time of great tumult in the Finnish industrial design field, with many political undertones to the debate. Again, designers wanted to be part of the process from an earlier stage, not only as a part of the product development process but in defining what the product should actually be. The debate was heavily influenced by the thoughts of Victor Papanek ( ), who taught frequently in Finland and wrote the popular books Design for the real world 10 and Turhaa vai tarpeellista? 11. The same period in time also saw the theorethisation of the professional practice, especially with the arrival of ergonomcis as a science. The main focus, both for Papanek with his consumption critical students as for the science orientated ergonomics, was to understand the person; the individual who was going to use the produced product in the end. In many cases this meant designing for groups of people with special needs. Especially discussing the design for children, the elderly and the disabled was popular. In a leaflet describing the essence of industrial design, published in 1976 by the Finnish association of industrial designers TKO, and looking back to the developments in the sixties, this approach is described: We noticed that there are areas and groups of individuals that the designers have neglected, and whose needs have only insufficiently been taken into consideration (children, the elderly). The whole design discussions quickly got a larger context: the designers responsibility was discussed. The designers started to look for design matters were their professional skill would be used for solving true, social needs. 12 Henry Dreyfuss theories, expressed through his works Designing for People and The Measure of Man and Womanxiii, also had a great influence on the Finnish industrial design discourse. Ergonomics and user understanding became a tool for industrial design to distinguish itself with a scientific approach from the other areas in the field of applied arts, which where seen as more arts and crafts based. An good example of this approach is the special edition of the student union publication at the Central School of Arts and Crafts, Tokyo tiedot from 1970 (6/1970) which was a dedicated issue presenting the education of industrial design for the rest of the school. At this point industrial design had been taught for almost a decade and it profiled itself towards the other curriculum through its scientific-based approach. The department was at this time called Tekninen design (Technical design), rather than industrial design. The cover of this publication depicts a man and a woman in the spirit of Dreyfuss Measure of Man and Woman, and in a bubble they say teknokraatit tulevat (the technocrats are coming). Methods and science were the tools that were to be used in designing products and the aim was to design

11 80 디자인과이동성 디자이너와모바일세계 안나발토넨 여자한명을묘사하고있으며거품안에 teknokraatit tulevat ( 전문기술자들이오고있다 ) 라고씌여있다. 방법및과학은제품을디자인하는데사용되는도구이며그목표는예술적직관이아니라사용자수요및입증된계측을기반으로하는제품을디자인하는것이다. 그팜플렛은이접근방식을다음과같이설명하고있다. 기술디자인교육에있어가장눈길을끄는것은방법론에대한강조이다. 산업디자이너의조정역할로인해복잡한디자인문제가있는그들의작업방식은일부사람들이믿는것처럼단지직관적일수가없다. 14 업계에서개발프로젝트의조정자로서디자이너를간주하는개념은 Tomas Maldonado 및팜플렛에서직접적으로인용되고언급되어있는 HfG Ulm-school15의인용인것으로보인다. 따라서주로예술적직관이나창조적사고가아니라과학적접근방식이강조된다. We were industrial designers then, yes. Our title was industrial designer even if they called us artists in the hallways. 이시기에여러연구프로젝트가시작되었고산업디자인에있어여러연구프로젝트는실제로디자인하는것보다제품의기능을정의하는것에대한것이었다. 인간공학및유용성의문제는산업디자인분야에서사라지지않았으며, 반대로컴퓨터및제품의전자디스플레이장치의도래로그역할이더욱명확하게되었다. 제품이더욱복잡해짐에따라유용성의문제는더욱중요하게되었다. 많은수의디자이너가이사용자인터페이스를디자인하는데필요하게되었고새로운산업디자인분야인사용자인터페이스디자인이생성되었다. 유용성및최종사용자에대한이해는모든성공적인산업디자인에있어출발점이되었다 조정자로서의디자이너디자이너는 1960년대부터여러분야에서다양한등급의전문가사이의조정자로자신을간주해왔다. 디자이너를조정자로보는이개념은디자인관리이론이핀란드디자인분야에서많은주목을받음에따라 1980년대에더욱광범위하게수용되었다. 디자이너는단일제품의기능또는그디자인을정의내리는것뿐만아니라대규모의제품조정에참여하기원했다. 국제및국내적으로이문제에대한여러회의가열렸다 17. 디자이너는자신을최종사용자및마케팅및엔지니어링등기업내다른부서사이의통역가로보았고그임무는조정역할이었다. 그목표는일정한제품포트폴리오로서, 기업이생산하는모든제품이동일한기업제품으로인식되는것이었다. 이는디자인매니저의역할로발전하였다. Peter Gorb에의하면 디자인관리는기업목표를달성하기위해라인매니저기조직이사용할수있는디자인자원을효과적으로배치하는것이다 18. 따라서디자인매니저의가장고전적인유형은다른디자이너 ( 디자인에이전시또는기업디자인부서에서일하는 ) 를관리하거나대기업의제품포트폴리오및디자인로드맵등전략적디자인문제를관리하는사람들이다. 오늘날디자인관리는디자인에이전시에서디자인이수행되느냐또는대기업의사내디자인조직에서디자인이이루어지느냐에따라다소다르다. 디자인에이전시에서디자인관리의가장전형적인경우는전무이사를들수있다. 대부분의핀란드디자인회사는매우소규모이다 19.

12 81 Design and Mobility the Designer and the Mobile World Anna Valtonen products that were based on user needs and proven measurements rather than on artistic intuition. The leaflet describes this approach: the most eye-catching in the education of technical design is its emphasis of methodology. Because of the coordinating role of the industrial designer their way of working with a complex design problem can not be merely intuitive, as some still seem to believe. 14 The notion of the designer as a co-ordinator of a development project in the industry seems to be a quotation of Tomas Maldonado and the HfG Ulmschool, 15 who is also directly cited and mentioned in the leaflet. The main emphasis was thus on the scientific approach rather than on artistic intuition or creative thinking. During this time several research projects were initiated, and many student projects in industrial design were about defining what a product should be rather than actually designing it. The issue of ergonomics and usability has not disappeared from the area of industrial design; on the contrary, it gained an even more pronounced role with the arrival of computers and electronic displays on products. As the products became more complex, the usability issues grew increasingly important. Many designers were needed for designing these user-interfaces, and a new area of industrial design; user interface design, formed.usability and end-user understanding then became the starting point for all successful industrial design The designer as a co-ordinator The designers had in various degrees seen themselves as co-ordinators between professionals from various fields since the 1960 s. This notion of the designer as a co-ordinator gained an even broader appeal in the 1980 s, as the theories of Design Management gained larger attention in the Finnish design field. The designers wanted to participate, not only in defining what a single product should do or how it should be designed but even on a larger scale of product co-ordination. Several conferences were held on the issue, both internationally and nationally. 17 Designers saw themselves as interpreters between both the end-user and the different units within a company, such as marketing and engineering; and their task was to co-ordinate. The goal was a uniform product portfolio, were all products that the company produced were to be perceived as coming from the same company. This evolved into the role of Design Managers. According to Peter Gorb Design Management is the effective deployment by line managers of the design resources available to an organization in the pursuance of its corporate objectives. 18 The most classical types of Design Managers are thus those who manage other designers (in a design agency or in a corporate design function) or manage strategic design issues, such as the product portfolio and design roadmaps in a large corporate. Design management today differs somewhat depending on if is done in a design agency or within an in-house design organisation of a large corporation. In the design agencies the most typical case of design management is that of the managing director. Most Finnish design offices are very smallxix. The vast majority of the companies consist of only one or two people. In these cases the designer performs managerial tasks besides other design work. When the company has more than three employees there is usually a designated manager. In most cases this is a designer by background and who still performs other design tasks to some extent. The design manager in a design agency thus has, besides the traditional tasks assigned to design managers mentioned above, also the task of running an, usually fairly small, company. This includes acquiring new customers, creating and developing the strategic business approach of the agency, and managing customer relations. Many of these design managers identify themselves rather in this general manager role than in the orthodox design manager role. If I am totally honest I am more of a general manager at the moment. That sounds dreadful, doesn t it, to be a general manager of a small company.

13 82 디자인과이동성 디자이너와모바일세계 안나발토넨 기업의대부분은한두명의인원으로이루어져있다. 이경우디자이너는다른디자인업무외에관리업무를수행한다. 기업에직원이세명이상인경우보통담당매니저가있다. 대부분이매니저는배경에머무르는디자이너로서다른디자인업무를어느정도수행한다. 따라서디자인에이전시에근무하는디자인매니저는위에서언급한디자인매니저에할당된전통적인임무외에보통꽤작은규모의기업을운영할책임을진다. 여기에는새로운고객을인수하고에이전시의전략적사업방식을창출하고개발하며고객관계를관리하는것이포함된다. 여러디자인매니저는전통적인디자인매니저역할보다이총지배인역할로자신을인식하였다. 완전히솔직하게말한다면지금으로서는총지배인역할을하고있다. 작은회사의총지배인이라는것이따분하게들릴것이다 [ 웃음 ]. 하지만실제로하고있는일을보고판단한다면총지배인이맞다. 20 When running a design agency one of the main focuses for the design manager is always to acquire new projects and to ensure that they are in line with the company strategy. 디자인에이전시를운영할때디자인매니저가가장중점을두어야할것중하나는항상새로운프로젝트를얻어내고그것이회사의전략에일치하도록하는것이다. 따라서디자인에이전시의디자인매니저는가능한한많은일을에이전시를위해창출하는것을목표로한다. 반면기업의사내디자인부문에서디자인매니저는종종그스탭진이수행할예정인업무량을제한하고우선사항을결정하려고한다. 사내디자인매니저는디자인에이전시를운영하는것과사내디자인부서를관리하는것사이의차이점을다음과같이설명하고있다. 물론디자인관리는디자인에이전시에서수행된다. 그러나디자인에이전시의디자인관리는디자인서비스를창출하고우리와크게다른조직을이끄는것이다. 원칙적으로디자인에이전시는모든유형의고객에게서비스를제공하여야한다. 어떤면에서그들은우리와동일한기능을가지고있으나그들이작업하는방식은매우다르다. 그이유는여기에우리가가지고있는이집이작업장이기때문이다. 우리는회계관리를할필요가없으며실제로서비스마케팅을전혀하지않는다. 기본적으로우리는여기에있으며항상우리에게주어진모든업무를수행하여살아남으려고노력한다. 21 그러나사내조직에서디자인매니저역할은디자인에이전시역할과는다소다르다. 사내디자인매니저는디자인 에이전시를위한디자인매니저가보통새로운클라이언트를찾기위해노력하는것과같은방식으로자신의작품을자신의조직에판매할필요가없다는점에서자신을가장큰차이점으로인식한다. 에이전시가상대하는여러클라이언트는또한클라이언트가언제나같은기업인사내디자인의경우보다광범위하다고간주된다. 심지어사내디자인조직내디자인매니저역할은여러가지방식으로나타날수있다. 내부디자인부서에인원이다섯명이하인경우 ( 핀란드에해당 ), 디자인매니저는디자인로드맵및지침 ( 외부 / 기업전체부서 ) 를조정하며디자인기능 ( 내부기능 ) 의재정및인력문제를관리한다. 이는 Peter Gorb 및 Robert Blaich가전에설명한디자인매니저역할에대한전통적인정의와매우잘대응된다. 이것은매우광범위한작업분야이다. 제품디자인에있어내역할은디자이너의내부및외부작업을지휘하거나이에대해논평하는것이다. 지금 3-4년동안처음부터끝까지자신의디자인프로젝트를수행하지않았다. 그러나내역할은지휘및지원역할이다. 그리고항상부하직원을두고리소스관리를해왔다. 그다음에는팀을이끌고비용센터를관리하는것과관련된임무가있다. 예산및급여에관련된모든문제와 [ ] 인력개발및이와같은일들에대한토론. 그다음으로는프로세스, 디자인프로세

14 83 Design and Mobility the Designer and the Mobile World Anna Valtonen [laughs] But based on what I actually do that is what I am. 20 When running a design agency one of the main focuses for the design manager is always to acquire new projects and to ensure that they are in line with the company strategy. The design manager in a design agency thus aims to create as much work for the agency as possible, whereas the design manager in an corporate in-house design function quite often tries to restrict and prioritize the amount of work expected to be performed by his or her staff. An in-house design manager describes the difference between running a design agency and managing an in-house design function: Of course design management is done in design agencies. But their design management is leading the organisation that produces the design service, and that differs from ours immensely. In principle they have to serve all sorts of customers. In a way they have the same functions as we do but the way they work is very different because we have this house here, and this is the house we work for. We do not need to do account managing, and actually no marketing of the services we do at all. Basically we just are here and try to survive with all the work that is thrown at us all the time. 21 Hence the design manager role in an in-house organisation differs somewhat from that in the design agency. The in-house design managers themselves see the biggest difference in the fact that they do not need to sell their own work to their own organisation in the same way that a design manager for a design agency usually aims to find new clients. The variety of clients that the agency encounters is also assumed to be broader than in the case of in-house design where the client is always the same company. Even within in-house design organisations the design manager role can manifest itself in different ways. If the internal design department has less than five members, which in Finland is almost always the case, the design manager role typically consists of the two main areas of focus; the design manager co-ordinates the design roadmaps and guidelines (external/corporate-wide functions), as well as manages the finance and personnel issues of the design function (internal functions). This corresponds very well to the traditional definition of the role of the design manager previously described by Peter Gorb and Robert Blaich. It is a very broad field of work. In product design my role is to direct or comment the work of the designers, be they external or internal. I haven t done any own design projects from start to finish in a few years now. But I have a directing and supportive role. And then there is always resource management, having subordinates. Then there are the tasks that are related to leading a team and managing a cost center. All sorts of issues concerning budgets and salaries [ ] discussions about personnel development and things like that. Then there is the development of processes, design processes and communicating them to the organisation. There is a need for a lot of communication to many directions. Co-operation in many directions. [ ] Product programs, mechanical people, people from production and sourcing, Marketing people. 22 An exception to this Finnish average size of internal design functions is Nokia, where the mere scale of the organisation has caused different types of design management. Some design managers have a role focused only on personnel management; others have no personnel responsibilities but focus solely on the design development and roadmaps of a certain product area. There are design manager roles where the main focus area is one part of the design process as well as positions were the supporting role becomes more apparent. Model making or concept design can be seen as examples of the former and colour and material development or trend research of the latter. These roles vary through history but examples could for example be to manage a particular style category (like the premium style), a category of products (like mobile phone enhancements in general) or a line of products, such as car accessories (a sub-set of mobile

15 84 디자인과이동성 디자이너와모바일세계 안나발토넨 스및조직과의커뮤니케이션개발이있다. 여러방향으로의여러커뮤니케이션이필요하다. 여러방향에서의협조. [ ] 제품프로그램, 기계담당직원, 생산및분류담당직원, 마케팅담당직원. 22 이핀란드의평균크기의내부디자인기능에대한예외는노키아로, 조직의규모에따라여러다른유형의디자인관리가수행되었다. 일부디자인매니저는인력관리에만중점을두는역할을가지고있으며나머지는인력에대한책임이없으나특정제품분야의디자인개발및로드맵에만전적으로중점을둔다. 주요중점분야가지원역할이더욱분명해진위치뿐만아니라디자인프로세스의일부인디자인매니저역할이있다. 모델만들기또는개념디자인은전자의예이자후자의색상및재료개발또는유행연구로간주될수있다. 이역할은역사를통해다양하나예를들어예는특정스타일범주 ( 프리미엄스타일 ), 제품범주 ( 일반적으로휴대폰개선등 ), 자동차부속품등제품라인 ( 휴대폰개선의하위집합 ) 을관리하는것이다. 이역할에는보통그렇게많은실제 제품디자인 작업이포함되지않으나해당디자이너는모든회의에서특정분야를대표하고해당작업을조정하며이분야에대한디자인작업에대해정의를내린다. 일반적으로제품의스타일링은외부또는내부디자이너에의해수행된다. 몇몇디자이너는분명히이를디자인매니저의역할로보고있다. 다른사람들은특정문제를 처리 하거나특정분야에대해 책임을진다 고말하고있으나여전히자신의작업이디자인관리로볼수있는지여부에대해의문을품고있다. 조정 이라는단어는그들의말에서판단할수있다. 여러경우에있어이개인들에대한 관리 및또한 디자인관리 라는단어는상사또는디자인문제에대해최종결정을내리는공식적인디자인위원회에대해사용된다. 자신의작품을설명하기위해 디자인관리 라는말을사용하기꺼리는것은관리업무가여러수준의디자인조직에나타난다는사실과관련이있으며 디자인관리 라는용어는빈번하게기업에서최상위수준의디자인관리로간주된다. 이에도불구하고이런유형의활동에대해서는다른말이사용되고있는것같지않다. 그러므로이위치에있는대부분의디자이너는자신이하는일을설명하며, 디자인관리 라는용어를사용하지만자신의분야를설명하는보충적인단어또는전문가 ( 또는선임전문가 ) 라는다소일반적인용어를사용하는경향이있다. 이전문가들중한명은자신의일을디자인관리로여기는지 여부에대해다음과같이설명하고있다. 이것은단지프로젝트관리이거나프로젝트관리의또다른유형일수도있다. 나는프로젝트를관리하는사람들의이그룹에서디자인을대표하는사람일뿐이다. 하드웨어, 소프트웨어및마케팅등에대해서도비슷한일을하는사람들이있다. 자신의분야를관리하는나와같은사람들말이다. 23 여기서이개인들의신분은종종이중적이다. 자신이일하고있는부서의다른중간관리역할뿐만아니라디자이너로서의역할을한다. 최근브랜드및디자인관리컨설턴트등다른형태의디자인매니저가국제적으로나타나기시작하였다 24. 디자인에이전시에서컨설턴트에의해제공되는이런유형의서비스가핀란드에서도나타나고있다. 이들개인은디자인매니저가될필요가없으나디자인관리서비스또는브랜드디자인서비스를외부기업에제공한다. 25 따라서오늘날디자인매니저의역할은 1980년대후반의원래정의보다더그범위가넓어졌으며여기에는기업내디자인리소스의관리외에여러작업분야가포함된다. 디자인관리는일관적인제품포트폴리오를만드는것에서부터기업전략및브랜드경험에대한더욱폭넓은관점까지발전하였다. 5 경험을만들어가는디자이너 90년대가도래하면서기업에서브랜드의중요성이증대하였다. 동시에디자인및디자인관리가제품포트폴리오뿐만아니라기업및그브랜드 26 에대한전체최종사용자의경험을포함할정도로확대되었다. 산업디자이너는해당고객에대해이브랜드경험또는총체경험디자인을보장하는역할을한다. 이는디자이너들이첫개념부터마지막소매솔루션에이르기까지모든것에대한전략적기획에있어일부가되기를원한다는것을의미하였다. 27 Robert Blaich는디자인관리가평범한관리업무를매니저에게할당하는일뿐만아니라디자인이기업에전략적가치를제공할수있는방식을커뮤니케이션한다고강조한다. 28 Blaich에의하면디자인매니저는이중으로업무를수행한다. 즉, 기업에서디자인의전략적역할을홍보하고확인하는동시에관련동료와일상적인업무관계를조정한다. 90년대후반 전략적디자인 이라는용어가종

16 85 Design and Mobility the Designer and the Mobile World Anna Valtonen phone enhancements). These roles typically do not contain that much actual product design work, but the designer represents their particular area in all meetings, co-ordinates the work and makes the definitions of the design tasks for this area. Generally the styling of the products is then done by either external or internal designers. Some of these designers clearly see these as design managerial roles. Others say that they take care of a certain issue or are responsible of a certain area but they still question whether their work can be seen as design management or not. The word coordinate figures in their speech quite often. In many cases the management for these individuals, and thus also the word design management is used for their superiors, or the formal design board, who have the final decision on design issues. The reluctance of using design management as a word describing their own work is hence related to the fact that managerial tasks appear on several levels of the design organisation and the term design management quite frequently is seen as the top level of design management in the company. Despite this there doesn t seem to be any other word for this type of activity in use either, so most designers in this position just tend to describe what they do, use design management but with an additional supplement describing their own area, or they use the rather generic term specialist (or senior specialist etc). One of these designers aim to describe whether he considers his own work design management or not: it s just project management. It could be any other type of project management. I m just the guy who represents design in this group of people who manage the project. There are similar guys for Hardware and Software and Marketing and so on. Guys like me who take care of their own area. 23 Here the identification of these individuals is often twofold both to the design functions as well as to the other middle management functions of the unit they work for. Recently even other forms of design managers, such as brand and design management consultants have started to appear internationallyxxiv. This type of service, provided by a consultant in a design agency, is appearing in Finland as well. These individuals do not need to be design managers, but they provide design management services or brand design services to external companies. 25 Today the design manager role has thus become broader than its original definition in the late 1980 s, and includes several areas of work besides the management of design resources in a company. Design Management evolved from creating a coherent product portfolio to a broader view on corporate strategy and brand experience. 5 The designer creating experiences With the arrival of the nineties the importance of brands grew for companies. At the same time design and design management broadened to encompass not only the product portfolio, but the entire end-user experience of the corporate and its brand. 26 The industrial designer was to ensure this brand experience, or total experience design, for the customer. This meant that the designers wanted to be part of the strategic planning of everything from the very first concept to the last retail solution. 27 Robert Blaich emphasises that design management is not merely the assignment of the normal administrative chores to a manager but also the role in identifying and communicating the ways that design can contribute strategic value to a company. 28 The design manager, according to Blaich, operates at dual levels; promoting and identifying the strategic role of design in the corporation while coordinating day-to-day operational interface with relevant colleagues. During the late nineties the term strategic design was frequently used. This discourse of strategic design in Sweden was portrayed in Christina Zetterlund s: Design i informationsåldern. Om strategisk design historia och praktik. 29. In Finland several initiatives, such as the From Design Services to Strategic Consulting -report, 30

17 86 디자인과이동성 디자이너와모바일세계 안나발토넨 종사용되었다. 스웨덴에서이전략적디자인이라는용어는 Christina Zetterlund의 Design i informationsåldern. Om strategisk design historia och praktik. 29에설명되어있다. 핀란드에서는디자이너가기업전략에대한정의등기업의의사결정에더욱빨리참여할수있도록 From Design Services to Strategic Consulting - 보고서 30 등몇가지선구적인시도가시작되었다. 이논의는 IT 업계의부흥및전자경제의붐에크게일치하였다. 전문적인관행의가장초기단계이후로산업디자이너가기업의가장큰수익을목표로해왔을지라도이전략적디자인이라는용어는최근에와서야더욱주목을받게되었다. 세계가이미제품으로가득차있다고인식되었을때한가지제품또는브랜드를다른것과차별화하기위한새로운방법은제품자체에만중점을두는것이아니라제품사용자를위해창출된전체경험에중점을두는것이었다. 첫개념상의아이디어에서부터마지막소매상정보에이르기까지전체경험을이해하기위한디자인작업을의미하는 총체경험디자인 이라는이새로운방식의예는 Nokia 7200였다. Nokia 7200에대한마케팅은다음과같이수행되었다. 총체경험 디자인철학을통합하여 Nokia 7200은패션중심의소비자가조정하는스타일팩을제공하여소비자의휴대폰을 치장하였다. [ ] 조정이완료된휴대폰앙상블을완성하기위해사용자는이에맞는배경무늬및화면보호기를 31 단지기능적인수요로인해제품을구입하는것보다감성적인수준에서고객을브랜드에연결하는것에중점을두었다. 미래학자 Rolf Jensen은감성적인수요를목표로하는시장을그의저서 The Dream Society. How the coming shift from information to imagination will transform your business. 에서묘사하였다. 가장중요한원료는산업노동자시대처럼석탄, 석유및철이아니라상징분석가의이새로운시대는지식, 사진및스토리로넘쳐난다. 32 Swoosh 라는기업로고로자신을표현하는추종자무리를가지고있는 Nike 는고객의브랜드에대한헌신의가장좋은예이다 새로운혁신을앞당기는디자이너새천년이도래함에따라경제적인상황이안정되고경쟁은더욱치열해졌으며더욱전세계에서볼수있는현상이 it s just project management. It could be any other type of project management. I m just the guy who represents design in this group of people who manage the project. There are similar guys for Hardware and Software and Marketing and so on. Guys like me who take care of their own area. 되었다. 낮은고용비용으로산업노동력을국가에전환하 는등의현상은종종차이나신드롬이라고언론에서명명 되었다. 일반적인공포는이다른국가들이경쟁력싸움에 서우세할것이라는것이었다. 이상황에대한해결책은 새로운혁신 이었다. 34 Richard Florida 는사회의혁신및 다양성의힘을그의저서, The Rise of the Creative Class: And How it s Transforming Work, Leisure, Community, and Everyday Life 35 에서보았다. 이창조적인계급은사 회의경쟁우위로간주되었다. 낮은노동비용경쟁에서 승리할수있기때문이다. 핀란드에서는국가적인차원에서이새로운혁신에대한 추구를통해연구및기술정책이기술주도중심에서흔 히 새로운혁신시스템 이라고불리우는새로운단계로 변화하였다. 36 이혁신시스템의개념은새로운연구결과

18 87 Design and Mobility the Designer and the Mobile World Anna Valtonen were initiated in order for the designers to participate earlier in the corporate decision making; as early as in the defining of the corporate strategy. This discussion coincided to a large extent with the rise of the IT-industry and the boom of the e-economy. Even though the industrial designers have aimed for the biggest possible profits for the company since the very early stages of the professional practice, it is only recently when this discourse of strategic design has become more pronounced. As the world was already perceived to be filled with products, the new way of differentiating one product or brand from another was not to only focus on the product itself, but on the entire experience that was created for the user of the product. An example of this approach of total experience design ; of the design effort comprehending the entire experience from first concept idea to last retail store detail was the Nokia It was marketed as: Incorporating a total experience design philosophy, the Nokia 7200 offers fashion-centric consumers coordinated Style Pack s to dress up their mobile. [ ]To complete their coordinated mobile ensemble, users can download matching wallpapers and screensaver graphics from www. nokia.com/shop. 31 The focus was on getting the customer tied to a brand on an emotional level, rather than to buy a product merely for a functional need. The futurist Rolf Jensen painted the picture of markets that targeted emotional needs in his book The Dream Society. How the coming shift from information to imagination will transform your business. The most important raw materials were not to be coal, oil and steel as in the age of the industrial worker, but this new era of the symbol analyst thrived on knowledge, pictures and stories 32. Nike, with tribes of followers tattooing themselves with the corporate Swoosh -logo, was seen as an ultimate example of customers brand commitment The designer pushing new innovation With the turn of the new millennium the economic situation cooled and the competitive situation became fiercer and even more global. Phenomena, such as the transferring of industry labour to countries with lower employment costs, frequently referred to as the China-syndrome, figured in the press. The general fear was that these other countries would prevail in the race of competitiveness. The solution to this situation was to be new innovation. 34 Richard Florida saw the power of innovation and diversity in a society in his The Rise of the Creative Class: And How it s Transforming Work, Leisure, Community, and Everyday Life. 35 This creative class was seen as the true competitive advantage for a society; one with which the race of cheaper labour cost would be won. On a national level in Finland this quest for new innovations lead to a change in the research- and technology policy from a technology driven focus to a new phase, frequently referred to as the national innovation system. 36 The aim of this notion of innovation system was to enlarge the concern of the policy to encompass all parties that had a part in the process of producing or using new research results. It was thus possible to create a larger social discussion of what the industry development in the country was to be, and equally to interlink it with its international counterparts. During this time design issues gained a vastly wider importance than when the focus was on technological development. The design ideology coincided well with the idea of innovation; of looking at things with a creative mind and finding new solutions. When creating the Finnish design policy, the notion of a national system of design was cunningly aligned with the notion of national system of innovation. In 1996 Sitra, the Finnish National Fund for Research and Development, invited a group representing various areas of design to discuss the question of whether design could again play a prominent role in industry and this national system of innovation. 37 As a result the report Muotoiltu Etu I-II. Muotoilu, teollisuus ja kansainvälinen kilpailukyky. (Designed Asset I-II.

19 88 디자인과이동성 디자이너와모바일세계 안나발토넨 를낳거나사용하는절차에서역할을담당하는모든주체를포함하도록해당정책의관심사를확대하는것을목표로하였다. 따라서해당국가에서산업발전이국제적인산업발전과동등하게연계되는것에대한더큰사회적논의를창출하는것이가능하였다. 이시기에디자인문제는기술발전에중점을두었을때보다매우광범위하게중시되었다. 디자인이데올로기는사물을혁신적인마음으로바라보고새로운해결책을찾는혁신이라는아이디어와훌륭하게대응되었다. 핀란드의디자인정책을수립할때 국가디자인시스템 의개념은 국가혁신시스템 개념과교묘하게연결되었다. 1996년핀란드국립연구개발펀드인 Sitra 는다양한분야의디자인을표현하는단체를초청하여디자인이다시업계및이국가혁신시스템에서중요한역할을할수있는지여부에대해토론하였다 37. 그결과 Pekka Korvenmaa가저술한 Muotoiltu Etu I-II. Muotoilu, teollisuus ja kansainvälinen kilpailukyky.( 디자인자산 I-II. 디자인, 산업및국제경쟁력 ) 라는보고서가발간되었다. 38 핀란드디자인정책의근간이되었던또다른선구적인기관은핀란드국립공예위원회및예술디자인위원회 ( 교육부산하 ) 였다. 이위원회는핀란드의디자인이발전할필요성이있으며그위치가개선되어야한다고제안하였다. 이들위원회는 1997년솔선하여이전연구보고서를기반으로핀란드디자인정책을공식화하였다. Pekka Saarela는이보고서를작성하도록의뢰를받았다. 이보고서는 Muotoilu 2005!( 디자인 2005!) 39 라는국가정책프로그램의근간이되었으며 1999년발행되었다. 이보고서의상당부분은 2005년핀란드의디자인체계에대한비전을이루었다. 이정책은핀란드산업디자인의양과질문제에있어가지고있는영향을명확하게정의하였다. 품질에대한제안은디자인이경쟁력을이루는주요요인중하나가되어야하며디자인이국가혁신시스템의일부가되어야한다는사고를기반으로한다. 이보고서는이목표를달성하기위한정책에대해구체적으로제안하였다. Nokia 7200 에대한마케팅자료. 제품자체는나타나있지않으나제품의배경및향상된기능 ( 헤드셋 ) 에대한정보가표시되어있다. 가장눈에뜨이는것은잠재적인경험고객이다. Marketing material for the Nokia The product itself is not shown, but for the product detail as a background and the enhancement of the product (the headset). Most visible is the potential experiencing customer. 핀란드국립기술에이전시인 Tekes는자신의디자인프로그램을시작함으로써디자인정책프로그램에참여하였다. 산업디자인기술프로그램인 DESIGN 2005( ) 은 ( 종종기술중심 ) 기업의산업디자인부문을기업경쟁력의요소로만들기위해 2002년초에발주되었다. 이목적은프로그램의제목 ( 산업디자인 -기술과동등한경쟁력 ) 에표현되어있다. 표명된목표는디자인연구

20 89 Design and Mobility the Designer and the Mobile World Anna Valtonen Design, Industry and International competitiveness.), written by Pekka Korvenmaa, was published. 38 Another initiative that was as a basis for the Finnish design policy was that of the National Council of Crafts and Design of the Arts Council in Finland (working under the Ministry of Education). The Council suggested that Finnish design needed development and its position was to be ameliorated. They took the initiative to formulate a Finnish Design policy in 1997, much based on the previous research report. Pekka Saarela was commissioned to write this report, which then was the foundation for the national policy programme of design Muotoilu 2005! (Design 2005!) 39 and published in It was to a large part a vision of what the Finnish design system should be in It clearly defined the impact that this policy should have both in the matter of quantity and quality of Finnish industrial design. The quality suggestions where based on the idea that design should become one of the main factors in competitiveness and design was to be part of the national innovation system. The report then gave concrete proposals for action of how these goals could be achieved. The National Technology Agency of Finland, Tekes, took part in the design policy program by initiating their own design programme. The Industrial Design Technology Programme, DESIGN 2005 ( ), was launched early in 2002 with the intention of making industrial design part of the (often technology driven) companies competitiveness. This was exposed through the (sub)title of the program: Industrial Design - technology s counterpart in competitiveness. The pronounced aim was to raise the standard of design research and make use of design expertise in corporate product development and business strategy and to develop the services provided by design firms. In the programme promotion material the main promotional thesis was Design brings added value for companies and the aims were described as follows: Nokia Recognizing the end user s needs and expectations and generating innovations based on them are

21 90 디자인과이동성 디자이너와모바일세계 안나발토넨 의표준을개선하고기업의제품개발및사업전략에있어디자인에대한전문지식을이용하며디자인회사가제공하는서비스를개발하는것이었다. 이프로그램홍보자료에서주요홍보주제는 디자인이기업에부가가치를가지고온다 였으며이목표에대해다음과같이설명하였다. 최종사용자의수요및기대를인식하고이를기반으로한혁신을창출하는것이점차중요한성공을위한파라미터가되고있다. [ ] 더욱효율적으로디자인을사용하여핀란드의산업이전세계적인곤란에잘대응할수있는경쟁우위를가지도록할수있을것이다. 사용자경험등사업운영및새로운유형의사업을창출하기위한새로운디자인전문지식분야를이용하는것이여기서가장중요하다. 가장성공적인주요글로벌기업은사회적, 문화적전문지식을전세계의제품개발에통합하고있다. 40 디자인을혁신을위한원동력으로보는이추세속에서핀란드는단지국제적인예를따르고있을뿐이었다. 41 국제적으로 산업재발명 이라고가장흔히불리웠던최신제품은 2001년에처음출시된뮤직플레이어인애플사의아이포드였다. 42 디자인에이전시인 IDEO는종종인용되었고 Tom Kelley의저서, The Art of Innovation. Lessons in Creativity from Ideo, Americas Leading Design Firm 43 외에여러국립디자인연구소에서벤치마킹되었다. 디자이너들은이논의의일부가되려고하였고향상된경쟁력으로기업의비전을만들어나가기위해팀이설립되었다. 산업디자이너의이새로운역할이제품에어떻게영향을미치는가와기업의큰이윤은여전히관찰되어야한다. 여러기업이 Tekes가주창한프로그램등디자인을통한혁신을목표로하는이들프로그램에참여하였으며그결과는빠른시일내에볼수있어야한다. 7 Nokia 의디자인 업계의창조성및연구디자인이이모든다른방식으로사용되는한가지예는노키아의디자인조직이다. 디자인은실용적인지성및심미적인즐거움으로간주되고있다. 디자인을통해제품에대한의미를만들어나가고일상생활을개선할수있다. 노키아에서는디자인이사용자가아니라사람들에게서시작된다. 가장중요한것은사람들의경험및세계에접근하는방식이다. 인간의욕구는디자인의핵심으로, 경험외에단순함과사람과의관련성이중요하다. 이욕구는자신의연구에대한사람들의기분, 모드, 행동및생활양식에 The same values are cherished also in our own organizational culture in Nokia Design we emphasize multidisciplinary teams, inspiring environments, and diversity, in order to achieve the best possible innovations. Design is a creative activity, and the organization needs to be built accordingly. 중점을둔인간중심접근방식을통해이해할수있다. 우리의조직문화에서또한동일한가치가중시된다. 노키 아디자인에서우리는가장가능한혁신을달성하기위해 여러전문분야에걸친팀, 영감을주는환경및다양성을 강조한다. 디자인은창조적인활동이며해당조직은이에 따라수립될필요가있다. 사내디자인조직의역할은언제나이중적으로, 과거를 미래와연결하는것이다. 우리의유산과발전을존중하 고디자인언어의연속적인핵심요소를보장하는것이 중요하다. 동시에우리는새로운것을기대하는사람들 을위해제품을만들고가장혁신적인미래의개념을목 표로한다. 결국디자인은감성적, 필수적, 효율적인것을창조하고사 람들사이의단순한커뮤니케이션에대한것이다.

22 91 Design and Mobility the Designer and the Mobile World Anna Valtonen becoming increasingly important parameters for success. [ ]By using design more effectively it will be possible to give Finnish industry a competitive edge that can respond better to the latest global challenges. Harnessing new areas of design expertise, such as user experience, for business operations and for generating new types of business is of crucial importance here. The most successful major international companies integrate social and cultural expertise into global product development. 40 In this trend of seeing design as a driver for innovation Finland was merely following international examples. 41 Internationally a recent product that was most frequently referred to as re-inventing the industry was the Apple ipod music player, first launched in As a design agency Ideo was often referred to and benchmarked in several national design enquiries, as well as Tom Kelley s book The Art of Innovation. Lessons in Creativity from Ideo, Americas Leading Design Firm. 43 The designers wanted to be part in this discussion, and a part of the team that was to create the corporate vision with which this increased competitiveness was to be established. How this newest role for industrial designers will affect the products and the corporate profits on a larger scale is still to be seen. Many companies have participated in these programs aiming for innovation through design, such as that initiated by Tekes, and the results thereof should be visible shortly. 7 Nokia Design creativity and research in industry One example where design is used in all these different ways is the design organization in Nokia. Design is considered to be both practical intelligence and aesthetic delight. Through design, it is possible to create meaning to products, and to enhance our everyday life. At Nokia, the design approach starts with people, not users. What is most important is their experiences, and how they approach the world. Human needs are at the heart of design besides experiences it is important to focus on simplicity and on relevance to people. These needs can be understood through a human centered approach in our own research, focusing on people s moods, modes, behaviors and lifestyles. The same values are cherished also in our own organizational culture in Nokia Design we emphasize multidisciplinary teams, inspiring environments, and diversity, in order to achieve the best possible innovations. Design is a creative activity, and the organization needs to be built accordingly. The role of an in-house design organizational is always dual to connect the past with the future. It is important to value our heritage and evolution, and to ensure the continuum of essential elements in our design language. Simultaneously, we create products for people who expect something new, and aim for the most innovative future concepts. In the end it is all about creating emotional, essential, efficient, and simple communication between people.

23 10 디자인과이동성 디자이너와모바일세계안나발토넨 References 1) Antti Karisto, Pentti Takala, Ilkka Haapola: Matkalla nykyaikaan. Elintason, elämäntavan ja sosiaalipolitiikan muutos Suomessa.Werner Söderström OY, Juva 1997, 57. 2) A good description on the Finnish participation to the Milano Triennales and the discourse around them can be found in Harri Kalha: Muotopuolen merenneidon pauloissa. Suomen taideteollisuuden kultakausi : mielikuvat, markkinointi, diskurssit. (In the coils of an assymmetrical mermaid. The golden age of Finnish design: image, marketing, discourse.) Suomen historiallinen seura, Gummerus Kirjapaino, Jyväskylä 1997 or Kruskopf, Erik: Finlands Konstindustri. Den finländska konstflitens utvecklingshistoria. WSOY, Porvoo 1989 or Armi Ratia [et al.] (ed.): The Ornamo book of Finnish design. Ornamo:Finnish Society of Crafts and Design, Helsinki ) Histories of Finnish art departments in the glass industry can be found for example in Kaisa Koivisto: Kolme tarinaa lasista. Lasitutkimuksia Glass Research XIII (2001). Suomen Lasimuseon tutkimusjulkaisu. The Bulletin of the Finnish Glass Museum. Vammala or on a more general level in Erik Kruskopf: Finlands Konstindustri. Den finländska konstflitens utvecklingshistoria. WSOY, Porvoo This practice of artdepartments and art for industry was by no means a purely Finnish phenomenon; for Swedish equivalents see Gunilla Frick: Konstnär i industrin. Nordiska museets Handlingar 106, Borås 1986 or Bengt Nyström: Konsten till industrin. Alf Wallander och Gunnar Wennerberg som konstindustriella formgivare. Bokförlaget Signum, Lund ) Marianne Aav (ed.): Finnish Modern Design: Utopian Ideals and Everyday Realities, Yale University Press, New Haven and London, 1998, 32. 5) A recent example of this approach is the cooperation between the faucet company Oras and the designer Alberto Alessi in their new series of bathroom products, Il Bagno Alessi by Oras. As presented by Jari Paasikivi, CEO, Oras, at The Helsinki Design Summit 2004: Competitiveness by Design. The Helsinki Summit for Senior Business Leadership. 1-2 September, ) Tuula Poutasuo: Futurismia ja arkitavaraa. In Marianne Aav (ed.): Tapio Wirkkala. Ajattelevat kädet. Werner Söderström Osakeyhtiö, Porvoo 2000, ) ibid. 8) Designer interview The designer describes the situation in ) On current job descriptions of Finnish industrial designers, see for example with on-line designer portfolios. 10) Victor Papanek: Design for the real world Thames and Hudson, London ) Victor Papanek: Turhaa vai tarpeellista? (Unneccessary or necessary?) Kirjayhtymä, Helsinki 1973 Translated from the German Das Papanek Konzept by Jyrki Saarikivi. 12) Ornamo/TKO: Teollinen Muotoilu. (Industrial Design). Craftsmen and Designers TKO, Espoo 1976, 3. The editorial staff consisted of the industrial designers Jussi Ahola, Tapani Hyvönen, Heikki Kiiski, Hannu Kähönen and Jorma Pitkonen. 13) Henry Dreyfuss: Designing for People. Simo & Schuster, New York Henry Dreyfuss: The Measure of Man and Woman. Revised Edition by Alvin R. Tilley and Henry Dreyfuss Associates, ) Tokyo tiedot 6/1970, The Central School of Arts And Crafts, 1970, 8. 15) for a description of the HfG Ulm school and its principles see for example Herbert Lindinger : Ulm design : the morality of objects : Hochschule für Gestaltung Ulm Ernst & Sohn, Berlin The importance of the HfG Ulm for Finnish industrial design was also depicted by Susann Vihma, in her lecture Significance and relevance of the HfG Ulm a Finnish perspective. at the Ulm, tysk designtradition og Skandinavien seminar by Nordisk Forum for Formgivningshistorie in Copenhagen The contents of this speech is also forthcoming in the Scandinavian Journal of Design History. 16) see Petteri Huotari, Ira Laitakari-Svärd, Johanna Laakko and Ilpo Koskinen: Käyttäjäkeskeinen tuotesuunnittelu. (User centered product development), Taideteollisen korkeakoulun julkaisu B74, University of Art and Design, 2003.