DME Award Book of Winners 2012

DMEBOOK OFWINNERS

2012

01//WELCOME NOTEHost (Celso Ferreira, President of the Municipality of Paredes)02// FOREWORD (Jean Schneider, Chairman Dme Network)

03//THE DME AWARD 2012 (Barbara Cruz, Moderator DME Award 2012)

04//THE DME AWARD JURY PROCESS05//DME FEEDBACK (Sebastian Hesselmann, DME Rsearcher)

06//DESIGN FOR STRATEGY (Darragh Murphy: DME Ambassador | Partner at Murphy & Raulik Consultoria

em Design Ltda, Brazil)07//POSTERS WINNERS AND

HONOURABLE MENTIONS08//THE DME NETWORK

01//WELCOMENOTE HOST(PRESIDENT OF THE MUNICIPALITY OF PAREDES)

CELSO FERREIRA MESSAGE – DME AWARDS 2012

For the second time since its creation in 2007, Portugal has the honour of hosting the cere-mony that announces the winners of the Design Management Awards, the only European awards that annually recognize the most innovative com-panies and organizations in the development of their products and services through design. ¶ After Lisbon, in 2010, it is naturally with pride and great expectation that this year Paredes takes on the challenge of holding the award ce-remony of the sixth edition of the DME Awards, joining a short list of hosts that include cities such as Essen (Germany), Cardiff (Wales), Eind-hoven (Netherlands) or Tallinn (Estonia). ¶ For our part, we will strive to be worthy of such distinction, and uphold the usual organizational quality of this event before such a distinguished international audience. ¶ It is a choice that truly honours the Municipality of Paredes and one that occurs at a particularly special moment, as it co-incides with the closure of the international ex-hibition Art on Chairs, the biggest event of art and design associated with the chair ever held, that has been running for 66 days in the city of Paredes. ¶ Fitting into the broader project of Paredes – Furniture Design Centre, the interna-tional exhibition Art on Chairs was intended to enhance and promote creative and artistic activ-ities, as well as to reinforce the quality of the local furniture industry, accounting for over 65 percent of national production in the sector. ¶ More than a mere display of chairs, Art on Chairs provided a moment to think and reflect on the changes that are being experienced in Design, posing questions about objects, their functions and their ability to chart new paths in the fu-ture. ¶ In this context, I would go so far as to say that this association with the DME Awards is a perfect marriage, because it recognizes Paredes as an emerging centre of design, and the fur-niture industry as an instrument of competit-iveness and engine of this innovation. ¶ I admit that the path may be long and that in Portugal, as in other European countries, most companies continue to disregard design, associating it with a merely aesthetic role, underestimating the im-portance of the sector in the expansion of busi-ness at home and abroad. ¶ It is not a question of economic difficulty, but of a lack of perception by entrepreneurs and leaders. ¶ However, I am now

absolutely convinced that there is no other way forward for the survival of the economic fabric of our region and the growth of national exports. ¶ Design adds value and brings profitability and quality to products, enhancing their sales in in-ternational markets. Basically, because design is not just aesthetics. It attempts to solve problems and, above all, to conquer the market, through quality and added value. ¶ As the founder of Apple, Steve Jobs once said: “Design. It’s not just what it looks like and feels like. Design is how it works.“ ¶ This is the challenge that lies ahead. This is the vision that we are implementing in Paredes: Design as the main driver of a policy of innovation and as a distinguishing factor of its main industry. ¶ I extend to you all a very warm welcome to Paredes and to the Furniture Design Centre.

CELSO FERREIRA,President of the Municipality of Paredes

PAREDES:A TERRITORY OF OPPORTUNITIES //

You have probably already heard of Paredes, one of counties with the youngest population in Europe, and where more than 60 percent of Por-tuguese furniture is produced.

Located in northern Portugal, in the transition between Porto Metropolitan Area and the region of Sousa River Valley, the municipality of Paredes offers extraordinary conditions of location and accessibility.

A true transport axis of the North, Paredes is served by an excellent road and railway network. It is currently connected by four motorways (A4, A41, A42 and A43) that provide easy access to the county and place it just a few minutes from major international gateways such as the Francisco Sá Carneiro Airport and the Port of Leixões.

Polarized by Porto Metropolitan Area, adjacent to major urban centres and with a strategic loca-tion in the Northwest Peninsular, the county also detains a privileged position in its interaction with Spain.

As a reflection of all of these competitive ad-vantages, Paredes is now the 27th most populous county in the country and seventh largest in the District of Porto, housing about 90 thousand in-habitants in its territory.

A region marked by the strong historical and cul-tural heritage of its past, Paredes is a land of opportunity, where tradition and modernity co-exist harmoniously.

Those who live here know better the secrets of this land, marked by beautiful landscapes and a rich heritage that is worth discovering. Windmills, castles, churches, medieval monasteries, farms and manor houses, frame a landscape clad mostly in green where you can breathe breathe Nature’s fresh air.

Discovering the allure of this territory is to enjoy the beauty and tranquillity of the mountains and valleys, bathed in rivers and streams with crystal clear waters. It is, also, means enjoying its mod-ern infrastructures, its gastronomic delights or its numerous outdoor Moreover, it is also implies absorbing the richness of its archaeological and architectural heritage.

Paredes is all this and much more. Now it’s your turn to discover Paredes. A county near you and close to everything.

02//FOREWORD

JEAN SCHNEIDER – CHAIRMANDME NETWORK

Can design’s contribution to business be meas-ured? Answering this question has been and still is the driver of many research projects. Most of them struggle with similar questions: “what is design?” (or rather: what is it about?), “what are the key indicators of its contribution?”, “how to translate qualities into quantities?”.

There is an alternative: the DME Award applica-tions. Here, you will find evidences. Yes, design contributes to the success of businesses and public services. Yes, like any living thing, design starts from a common seed, but flourishes in di-verse forms. This is why it can adapt to almost any soil, grow in almost any condition, has no prerequisites except three: open mind, passion for quality, attention for the end user. By the way, aren’t these the key drivers of innovation?

If you take a close look at this year’s posters, you will witness the vitality and the capacity to re-spond to change of European design —or should I say designs? This year’s large companies ap-plications highlight the crucial contribution of design in turning global brands into responsive, context sensitive, yet clearly identifiable offers. When one looks at how each of these businesses has developed its unique approach to stream-lining design into its operations, it shows that managing design lies at the opposite of the “one size fits all” approach : talent, fine tuning, clar-ity ensure internal success. I could easily say the same about the small and medium enterprises. We see this year a wonderful illustration of the use of design to drive to the top the most tradi-tional, almost timeless products. The spirit that prevails in the luxury goods can also deliver out-standing hammers or furniture, and craft super-ior services.

We are aware that too many countries are un-derrepresented, we are conscious that there is more going on then what is shown here. Yes, the crisis is partly to blame, businesses have scarce resources and a limited time to spend for any-thing else than their core activity. We also know that identifying, convincing and supporting ap-plicants is a demanding task, and all partners are doing this out of their own budget, while many are getting their share of the global cuts

in public expenses. We believe that the value of the award is not only in the ceremony itself, and in the pride of the winners, but also in the ma-terial that is being gathered since 2007. We have a mine of information ready for sparks! We need some support to open that resource, to derive material that, more than figures and rhetoric, will help any CEO to see where and how design fits in his or her vision of the business.

The recently released report of the European Design Leadership Board presents a set of stra-tegic actions for the near future. It’s 10th recom-mendation is to “improve [the] access to design management expertise and tools for companies across Europe…”. The Design Management Europe network and partners should be one of the easi-est touch points for all those —consultants or businesses— who wish to access first-hand in-formation, gain insights on methods, approaches and models.

JEAN SCHNEIDER //

Jean Schneider is currently European Projects man-ager at the APCI (Agence pour la Promotion de la Création Industrielle) and an independent de-signer and consultant.

His work involves driving and managing projects set up with other design promotion and design support bodies in Europe, mostly in response to calls from the European Commission.

Recently, he has been in charge of APCI’s contribu-tion to the «Design Management Europe» project (DME Award, surveys, library…), and the «Design for Future Needs» study. He also contributes to the standardisation of questionnaire and surveys de-signed to measure the economical impact of design.

Jean has launched and manages the yearly european conference on design policies and design support in Europe. This conference was started in 2003, and has now become a yearly meeting point for all those who deal with design and innovation sup-port. It is also an informal platform for addressing the European Commission’s design and innovation support actions, and networking. He also repres-ents APCI at the Beda meetings and in other events.

He is a speaker in conferences and chairs round tables on design, design support and innova-tion. As a former professor in design culture and head of the design leadership programme at the University of Art and Design Helsinki, Jean is in-vited to give workshops, seminars and lectures in design schools.

His main areas of interest and study are the so-cio-cultural value of design, design theories, the integration of design attitudes in project man-agement and businesses.

(more information)www.apci.asso.fr/l_apci_uk/index.php

03//THE DMEAWARD2012

BARBARA CRUZ – MODERATOR DME AWARD 2012

The Europe 2020 strategy for smart, sustainable and inclusive growth reinforces the need for Europe to deliver high levels of employment, pro-ductivity and social cohesion through the support of new forms of innovation beyond technology. Design has become a key component to achieve Europe’s innovation objectives as it is a power-ful differentiator, impacting profitability, quoted value, employment and exports.

“Design management is the cultural, strategic and operational use of the design resources (internal and external) available to an organisation, direc-ted towards the creation and attainment of busi-ness and organizational objectives.”(McGrory, Peter, 2007).

Design Management brings together different man-agement areas (including project management and design strategy) and is used to control creative pro-cesses, support a culture of creativity and build the structure for design within an organisation. Design management encompasses all levels of business, from operational to strategic and is the business side of design. Over the last decades, design management has evolved from being limited to design project to an holistic discipline that com-prehends ongoing processes, business decisions and strategies that enable innovation and create effectively-designed products, services, commu-nications, environments and brands.

“Once all businesses are using design, it will be those managing design that will get ahead” Dar-ragh Murphy, DME Ambassador.

The DME award promotes the use of design man-agement as a strategic tool to implement design at a strategic level within an organisation. It is concerned with how design and innovation are ad-opted and not just with what is created within an organisation.

The Design Management Europe Award is the only award dedicated to the management of design in companies and organisations across Europe. It sets out to award the best practices that demon-strate effectiveness, originality and ingenuity. Winning a DME Award means recognition from an international jury of management experts, that

your organisation is a leader in innovation and management

CATEGORIES //

Companies and organisations can enter only one of the categories listed below:

// AWARD FOR DESIGN MANAGEMENT IN A LARGE COMPANYThis category is open to private companies with 250 employees or more.

// AWARD FOR DESIGN MANAGEMENT IN A MEDIUM SIZED COMPANYThis category is open to private companies with 50 to 249 employees.

// AWARD FOR DESIGN MANAGEMENT IN A SMALL COMPANYThis category is open to private companies with 10 to 49 employees.

// AWARD FOR DESIGN MANAGEMENT IN A MICRO COMPANY This category is open to private companies with 9 employees or less.

// AWARD FOR DESIGN MANAGEMENT IN A PUBLIC OR NON-PROFIT ORGANISATIONThis category is open to all public or non-profit organisations.

DME CRITERIA //

The judging process of the DME Award is based on the set of criteria of the DME Award competition:

// CRITERION 1: LEADERSHIP IN DESIGN INNOVATIONDefining and implementing a vision for the whole organization, integrating design across a range of activities.

In this category, the jury looked for leadership in facilitating and stimulating design across a wide range of activities and disciplines within an or-ganization.

// CRITERION 2: DRIVING CHANGE THROUGH DESIGNIdentifying changes within the organization where design has played a major role. E.g. how does your organization foster the creative pro-cess to anticipate emerging technologies, new le-gislations or changes in the market?

In this category, the jury looked at the role that design plays in keeping the organisation compet-itive when faced with challenges such as changes in the market, restructuring, growth, etc. For ex-ample, what role does design play in keeping the organization competitive? How does the organiza-tion restructure itself to respond to new challenges? How radical or innovative have the products or ser-vices had to be to remain competitive or achieve company objectives? This could be represented with an evolution of products, or a comparison with competitor products or previous services. The jury looked for evidence of the advantage gained through the creative design process.

// CRITERION 3: EXCELLENCE IN DESIGN CO-ORDINATIONDemonstrating capabilities, processes, skills and resource in support of the application of design. E.g. what is the framework in your organization to monitor and facilitate the design process?

Managing the design process and its input is very different in each organization. Some organizations keep the process deliberately informal to encourage creativity. Simple project management is all that is required for many organizations. Others may have a very structured process to monitor every aspect of the process to meet strict deadlines and control costs. In some cases metrics have been developed to measure the design factor.

The DME jury looked at how the design process is coordinated in an organization and why it works. How much emphasis is on research, creativity, test-ing, monitoring, etc? How do they co-ordinate the range of skills, disciplines and external sources of expertise required to deliver a product or service? Who makes the decisions.

//CRITERION 4: STRATEGIC PERFORMANCEDemonstrating performance based on objectives and overall effect on the organization. E.g. To what extent has design enabled the organization to real-ize its strategy?

Whether design is an integral part of an organiz-ation’s strategy or a means to achieve key object-ives, the jury looked for the difference design has made to an organization’s performance and how it differentiated it from others. What were the or-ganization’s targets and to what extent have they been met? What role did design play in enabling the overall strategy? Performance indicators could include: the realizations of new technologies and innovations onto the market place; reduced waste; customer satisfaction; material selection; and other indicators important for an organization. The jury also looked for intangible benefits from design cul-ture: the value that design brought to the company, awards, staff moral, etc.

04//THE DME AWARDJURYPROCESS

The DME Award 2012 jury included three members: Marjukka Mäkelä (Finland), Gerbrand Bas (Nether-lands) and Krzysztof Bielski (Poland)

It was coordinated and moderated by Barbara Cruz, DME Board Secretariat (European Design Centre) and supervised by DME Board Research Team: Se-bastian Hesselmann and Lynne Elvins from Cardiff Metropolitan University.

KRZYSZTOF BIELSKI //

Krzysztof Bielski, retail executive, with experience from different global and multi-cultural organiza-tions, having worked for brands such as SANYO, IKEA, AHOLD and Habitat. His expertise is in sourcing and product development management, including private labels. Recently working in Russia and Poland, where he is developing new retail concepts.

Krzysztof has previously worked as Design Center Director in Warsaw, Poland. Design exhibition and festival’s curator and manager, where he was pro-moting design management as well as cooperation between designers and industry processes. Design critic with specialty on consumer’s needs, Krzysztof was a jury chairman in Good Design competition as well as jury member in several design competi-tions. Design management expert for Polish Agency for Enterprise Development (PARP), in innovation through design programs.

GERBRAND BAS //

Gerbrand Bas is generalist in the area of industrial product design with over thirty years of experi-ence. One of his missions is to research and high-light the meaning of design. He is active within a number of organizations, including Designlink and the Federation Dutch Creative Industries, the um-brella organization of the creative business service providers in the Netherlands. Gerbrand is also a member of the supervisory board of CRISP, a big project that investigates Product Service Systems for the creative industries. CRISP wants to develop knowledge, tools and methods that stimulate the knowledge infrastructure of the design sector and creative industries. Together with the Federation he currently develops the concept of knowledge co-operations. The main goal in this is to com-bine the forces of creative organizations that together want to develop knowledge or let know-ledge institutes develop it.

MARJUKKA MÄKELÄ //

Mäkelä holds an MA degree in Industrial and Stra-tegic design from the University of Art and Design Helsinki (currently a part of Aalto University). She has also studied Business Management and Mar-keting, as well as Photography, which she has kept as her hobby.

Mäkelä has worked for Design Forum Finland, KONE and ABB.

At ABB, initially as a Project Manager and currently as a Product Manager, she has focused on develop-ment of an overall design view as well as coordinat-ing and consulting internally different projects in her business unit.

Mäkelä has served as a Board Member of Ornamo (Finnish Association of Designers), and is currently Vice President of the Finnish Association of Indus-trial Designers TKO, a member society of Ornamo.

BARBARA CRUZ– MODERATOR, DME BOARD SECRETARIAT //

Barbara Cruz is a Senior Project Manager at the European Design Centre in The Netherlands. She has been involved in the DME Award since its genesis in 2007 and is the Coordinator of the Application and jury procedures. Barbara Cruz is a Board Member of the DME Network, representing its Secretariat.

At the European Design Centre, she is respons-ible for the management and execution of inter-national projects in the fields of design, design management and creative industries.

She integrates EDC’s acquisition team, responsible for the preparation and acquisition of new R&D projects to develop concepts and products to be exploited by EDC’s commercial team. Managed pro-jects stretch across different sectors, with special focus on design, design management, culture and creative industries.

SEBASTIAN HESSELMANN – DME BOARD TECHNICAL OFFICER //

Sebastian Hesselmann has been a PhD researcher at the PDR since 2009 and is also one of the Design Management Europe (DME) Award U.K. National Contacts. His research of “An Investigation Into The Correlation Between Design Management Cap-ability And Economic Performance” examines the impact of Design Management (DM) on companies’ economic performance, seeking to identify which DM activities need to be addressed in order to pre-dict the greatest possible success when developing a new product.

As a member of the DME consortium, Sebastian sup-ports the development of the DME Award assess-ment process and undertakes the academic assess-ment of annual DME Award entries. He maintains the day-to-day contact between PDR and the wider DME network and provides guidance for businesses

through the DME Award application procedure. Fur-ther, he provides academic insight and guidance to Design Management activities undertaken by the PDR. Currently, he is working on the development and delivery of the STEM Design Management pro-gramme providing workshops and training courses to a wide range of businesses.

Keywords: Design Management / Design Manage-ment Europe (DME) Award / STEM Design Manage-ment

LYNNE ELVINS– DME RESEARCH TEAM

Lynne Elvins runs the Design Management Pro-gramme at Design Wales, which supports SMEs with the management of business decisions and strategies that enable innovation and create ef-fectively-designed products, services, commu-nications, environments and brands that deliver success.

Lynne has a Design Management degree from the Surrey Institute of Art & Design and was previously a Design Advisor for The Design Programme and was one of the national Design Demand Advisors for The UK Design Council. With a specialism in sustainable design Lynne was a Senior Advisor on Sustainable Innovation for Forum for the Future where she helpeddevelop a Streamlined Lifecycle Assessment tool for products and services that re-ceived an ICI award for product stewardship.

NUNO SÁ LEAL (DR.)– FACILITATOR

Degree in Equipment design / Master in Design and Marketing / PHD student at the University of Barcelona / Researcher at the University of Minho.

His passion is teaching. During the last years he has dedicated his scientific research regarding Design Management. He was the only designer in-vited by FCD (Oporto City Council) for the confer-ences “Culture and Society” that has been pub-lished in 2012 (ISBN 978-989-97439-8-4). Wood is his favorite working material, so he works with some factories producing unique pieces, some of them exposed in international fairs.

The process was also supported by Nuno Sá Leal, representative from the hosting organisations, Municipality of Paredes and Industrial Associ-ation of Paredes.

The jury day took place on October 9th at Casa da Cultura in Paredes, Portugal.

The DME Award 2012 jury session was comprised of five jury sessions, one per category where the applications in each category were analysed and the winners and honourable mentions were agreed upon.

Each jury session was initiated by the individual assessment of the applications in a given cat-egory. The process was assisted by a scoring card to verify the compliance of each application to the DME Award criteria. The scoring cards were also used as basis for the jury discussion. The in-dividual assessment was also supported by back-ground information of each application collected through the registration questionnaire.

The individual assessment in each category was fol-lowed by a round-table discussion during which the judges compared notes and scores and discussed the highlights of the best applications and agreed on a shortlist of nominees to be recognized with a prize or a mention.

At the closing of each judging session, jury members discussed the merits of the shortlisted organisations and, per category, reached a common agreement on the attribution of a prize or a mention to the short-listed entries.

The jury found the process an insightful experience which generated a constructive dialogue on several design management topics showcased by the parti-cipating organisations.

05//DME FEEDBACK

SEBASTIAN HESSELMANN – DME RESEARCHER

The Design Management Europe team is continu-ously improving and developing the DME Award to increase the entrants’ experience and satis-faction. Following a triumphant DME Award Cere-mony 2011 in Tallinn we analysed and evaluated the last year’s performance.

In order to capture the appropriate insight a ques-tionnaire was developed and the 2011 DME Award entrants were asked for their opinions and exper-iences. The great response rate with lots of pos-itive feedback put us in a much better position to understand what really matters to our entrants. The Tallinn Award Ceremony in particular received over-whelming positive feedback. In addition, the poster format was perceived as a great way of expressing and illustrating the Design Management achieve-ments of our entrants, not only to for the DME Award but also to showcase achievements to customers, clients and employees, raising the awareness of the benefits of Design Management.

Designing the poster in combination with filling out the registration questionnaire appears to be a great self- learning experience for many entrants, formalising certain principles for the first time. But, another dominant topic was also revealed. The DME Award entrants raised that they would like to receive feedback on their Design Management capacity, po-tential for further improvements and benchmarking against their competitors in the business world and for subsequent DME Award competitions.

Following this, the DME Award team developed a twofold feedback approach. The first part of the feedback is details of the decision regarding the respective entrant from our jury members dur-ing the judging process, enabling them to review their Design Management structure through the eyes of world-class experts. The second will be commentary based on the internationally recog-nized Design Management Staircase Model, ana-lyzing their Design Management capabilities in a research driven context.

The Staircase model is a unique context driven re-search tool analysing and classifying Design Man-agement capabilities on four levels based on five underlying factors: Resources, Process, Awareness, Expertise and Planning. This unique tool was de-

veloped in 2009 as part of the DME Award and has been undergoing rigorous evaluation confirming its validity and utility in the field of Design Man-agement. For all DME Award entrants the scores of the Staircase model were calculated and a feedback form based on these scores was developed. This included highlighting weak and strong areas of performance, giving useful tips of how to improve and incorporating good Design Management case studies from the extensive DME Award library. The combination of both types of feedback will give our entrants a review from the industrial and academic perspective, highlighting the unique benefit of en-tering the DME Award. The DME Award team hopes that the feedback provided addresses the wishes of our entrants and we are looking forward to your input in 2012 so we can keep improving the award and your experience.

06//DESIGNFOR STRATEGY

DARRAGH MURPHY– DME AMBASSADOR;PARTNER AT MURPHY & RAULIK CONSULTORIA EM DESIGN LTDA, BRAZIL

“WHEN YOU KNOW WHERE YOU WANT TO TAKE YOUR BUSINESS THAT IS WHEN DESIGN CAN BE AT ITS MOST EFFECTIVE”

When the DME Award started in 2007 is was pos-sible to see the wide array of design management practices employed by businesses and organisa-tions across Europe. Every entry was unique, even similar sized companies in the same market were using design in their own unique way. Every sub-sequent year of the award further illustrated this diversity and always surprised us with new design management practices and new business models.

When looking at the DME entries it is import-ant not to review them through the end results (products, brands, services) but how they man-aged design to support their business objectives. It soon becomes clear that design is managed best when it supports a primary business objective i.e. when you know where you want to take your business that is when design can be at its most effective.

When reviewing entries by the primary objective of the company or organisation it is possible to see theory put into practice and occasionally practice challenging theory. Over the six editions of the DME Award to date, a comprehensive range of different business strategies and their associated design practices have been documented. These business ob-jectives include (with DME Award winners and case studies cited with year of participation):

// TO BE A CONSTANT INNOVATOR (Loewe 2007, Festo 2007, Eva Denmark 2008, Vacu Vin 2008, International Innovation Company 2009, Kundalini 2009, Figueras International Seating 2010, Larus 2010, Puff-Buff 2010, Lékué 2011)

// TO IMPROVE PRODUCT PERFORMANCE (Sunseeker International 2007, Senz Umbrellas 2008, Van Moof 2009, LeBorgne 2012)

// TO TRANSFORM THE COMPANY (Bionade 2007, Benedetti International 2007, Curana 2008, Nightingale Care Beds 2008, Temahome 2009, Trespa 2009, VOX Industrie 2009, Estiluz 2010, Teixidors 2011)

// TO REALIZE A NEW TECHNOLOGY (Feonic 2007)

// TO DETERMINE THE COMPANY BRAND (Nlisis 2008, Sobor 2008)

// TO REBUILD A COMPANY (Labinprogress 2008, Venrooy 2009, GMG 2012)

// TO HARMONIZE IDENTITY (Gemeete Amsterdam 2008)

// TO REINFORCE/REVISE BRAND (Mam Babyartikel 2009, Achmea 2009, Rabobank 2009, Getronics 2009)

// TO IMPROVE QUALITY OF LIFE (Performance Health Product 2008, D4E1-Howest 2010, Tyromotion 2012)

// TO START UP A NEW BUSINESS (Chocolate Factory 2007, Madara 2008, Nomad 2009, Bolin Webb 2012)

// TO DIFFERENTIATE FROM THE COMPETITION (Thrislington Cubicles 2008, KTM 2008, Shadelab 2009 & 2012, Watt & Co 2009)

// TO TARGET A NEW MARKET (Eliet 2008, Magnus Olesen 2008, Vipp 2008, Eppelpress 2009, Royal VKB 2009, Vlisco 2009, Acquaefuoco 2010, WAAR 2010)

// TO MINIMISE ENVIRONMENTAL IMPACT (Extremis 2008, Cityroofs 2009)

// TO BUILD BUSINESS CO-OPERATIVES (Plusarkkitehdit 2008, Velvet Creative Alliance 2011)

// TO OFFER NEW SERVICES TO CUSTOMERS (Grupo Vangest 2008, ArcelorMittal 2009)

// TO ENHANCE CUSTOMER EXPERIENCE (Virgin Atlantic 2008, DSB 2008, Supelsaksad 2011, Tallinn Transport 2012)

// TO ADDRESS SOCIAL PROBLEMS (T+Huis 2009)

// TO CREATE NEW BUSINESS MODELS (Industreal 2008, Vlaemsch 2008)

// TO IMPROVE PUBLIC SERVICES (NHS NPSA 2008, Sociale Zaken en Werkgelegenheid 2010, La 27ème Région 2011, Design Silesia 2012)

// TO MANAGE A GLOBAL BRAND (Heineken 2011, Beiersdorf 2012, Scheider Electric 2012)

// TO MANAGE A MULTIFACETED DESIGN AGENDA IN A LARGE CORPORATION (BSH Bosch and Siemens Home Appliances 2007, Alfred Kärcher 2008, RATP 2008, Contour Premium Aircraft Seating 2009, LEGO Group 2009, Zelmer 2010, Artweger 2010, Vestel 2011, Caetano Bus 2011, Kale 2012)

// TO PROMOTE DESIGN TO BEING PART OF THE COMPANY CULTURE (Roca 2008, Hisar Catal Kasik 2008, Revigrés 2010)

Each of the business objectives listed above have multiple examples that demonstrate how design management practices are adopted to suit the indi-vidual companies and different management styles.

In addition to the business objective examples above there are many more examples of compan-ies were design is already a core activity of the company. These design driven companies include design consultancies, manufacturers of furniture, lighting, house ware goods, fashion and home dé-cor. The design management challenge presented in these companies is to provide strong design lead-ership. It is worth noting in many of these cases that designers with little or no formal management training have established successful businesses.

With the benefit of six editions of the DME Award we can start to identify trends and practices that best suit different business challenges and busi-ness types. The challenge ahead is to transfer this knowledge in terms of teaching, research, tools and consultancy in order to show the role design plays in reaching strategic goals.

DARRAGH MURPHY– DME AMBASSADOR //

Darragh Murphy is a partner at the design man-agement consultancy Murphy & Raulik Consultoria em Design Ltda in Curitiba, Brazil. The consultancy helps organisations to assess their design strategy in order to help them plan future developments and improve current practices. In addition Murphy & Raulik are advisors in design policy and have consulted with several government bodies in South America.

Darragh has developed several tools that provide objective and practical insights to support design managers and consultants. He is also a visiting lecturer in Design Management at the MBA Innov-ation course at Pontifícia Universidade Católica do Paraná and Universidade Positivo. He has published several joint papers on design man-agement and regularly holds talks and workshops for academia and industry.Before moving to Brazil in 2011, Darragh was a senior researcher and European projects man-ager at the National Centre for Product Design & Development Research (PDR) at Cardiff Metro-politan University. PDR was a key partner in the establishment of the DME Award and hosted the 2008 DME Award in Cardiff. Darragh’s commit-ment and contribution to DME was recognised in 2011 when he was appointed DME Ambassador.

Darragh has a degree in Industrial Design from Loughborough University and worked as an In-dustrial designer in Hood Associates, Dublin and Norsk Hydro in South Wales, where he received several awards for his work. He has collaborated with Mathias Bengtsson in developing a range of aluminium furniture and is also a professional photographer. [email protected]

All of the examples listed above, and ma-ny more, can be accessed for free on the DME Website. With 145 posters and case studies of expert reviewed design man-agement practices the DME website is a rich source of information and ideas.

07//POSTERSWINNERS AND HONOURABLE MENTIONS

MICRO COMPANIES

// WINNERGMG, the Netherlands

// HONOURABLE MENTIONBollin Web, UK: Mention for the excellent design coordination as a start-up

SMALL-SIZED COMPANIES

// WINNERLeborgne/ Fiskars

// HONOURABLE MENTIONShadelab, Italy: Mention for the excellence in a global approach to Design Management

MEDIUM-SIZEDCOMPANIES

// WINNERTyromotion, Austria

(there are no HM)

LARGE COMPANIES

// WINNERBeiersdorf, Germany

// HONOURABLE MENTIONKale Group, Turkey: Mention for the excellence in using Design Management to grow from a local to a global market

// HONOURABLE MENTIONSchneider Electric, France: Mention for the excellence in designing the management of a global company

NON-PROFIT AND NON-GOVERMENTAL ORGANIZATIONS// WINNERDesign Silesia, Poland

// WINNERTallinn Transport, Estonia(there are no HM) // HONOURABLE MENTIONGMG (Netherlands): Best Poster DME Award 2012

Primary processes as production, assembly andPrimary processes as production, assembly andlogistics to be fully outsourced.The old factory was closed down in 2010 leavingThe old factory was closed down in 2010 leavingthe new HQ of the GMG company with just 3 people.the new HQ of the GMG company with just 3 people.(Operations, Marketing & Sales and Design &General Management)How lean and mean can you get?

Giving GMG as the 'producer' full flexibility in termsGiving GMG as the 'producer' full flexibility in termsof materials, production locations and capacity,looking for the state-of-art options and solutions.The optimal framework for designers and marketersfor new product concepts and initiatives.Since 2008 industrial and graphic design, web designand photography are fully outsourced yet at the sametime operational as a fully integrated team workingtogether; lead by the new owner

In a nutshell: driving change through designmanagement in products and processes.

Yepp: the story in brief

THINKFoundation

Introducing (1): GMG BV (est.1930)A traditional national family driven producer with its own factory and warehouse located at Gouda. Simple production techniques, market leader in The Netherlands until mid 1990’s, no innovation and renovation in machinery and with strong increasing risk of discontinuity.

STARTdeSIGN MANAGeMeNTThe complete turn-aroundDesign management as the strategic multidisciplinary tool for improved

sustainable growth and performance and to achieve our key objectives:• To become the market leader of safety bicycle seats in The Netherlands

within three years after introduction;• To establish solid market shares in international markets for future

growth;• To support innovation in and enhance the use of bicycles and their

accessories to improve health and mobility in urban and rural areas.

The watershed momentum in 2008 appeared to be the turning point of a very successful and profitable basis for national and international growth.

ReSULT: GMG BV (2008) The change of ownership turns this small company into an international global business through integrated design management and innovation.

Excellence is illustrated through the many national and international design awards and recognitions since 2008 awarded by external professionals.

Based on the foundation and distribution of the traditional parent company a complete new portfolio was designed and introduced. Not only the products but simultaneously also the company structure and its services were completely redesigned: from a production oriented organization into a marketing based company.

Brand values and corporate identity reinvented and redesigned.

CONCePTProduct and process designProduct and process design

BUILdProduction and services outsourced Partnerships

SeLLMarketing sales based

eVALUATe ANd IMPROVeThe continuous process

exCeLLeNCeThe ultimate proof of quality

Based on the existing distribution of the products a new foundation was created of outsourcing production and services. The design team was strictly conducted by the owner to enable the best conditions and challenges in order to deliver the best concepts and products according a tight planning schedule.Along the way the cooperation between the external design experts was growing and acting as a multidisciplinary team. Simultaneously new suppliers and logistic companies were sourced and found both in China and The Netherlands supporting the design process and to keep the planning.The result was the introduction of a complete new range of bicycle seats within just 12 months: from brief to first-out-of-tool.Since the launch beginning 2009 the team of experts continues to act and leading to permanent new initiatives, concepts and products. Challenge and rewards as stimuli and to keep the momentum.

Simultaneously with the design of the seats new easy fixations for bicycles were designed. GMG succeeded to persuade major national and international bicycle producers to incorporate in their luggage carriers a simple and very effective window framework to mount the Yepp Maxi seat in just seconds safely. The start of a new international fixation standard. Among the bicycle producers are Royal Dutch Gazelle, Giant, Sparta, DBG (Union), Cortina, Batavus, Montego, Xtracycle, Winbikes, QWIC, Mercure and Matra.Xtracycle, Winbikes, QWIC, Mercure and Matra.

The international sales of the Yepp range took off immediate after its introduction beginning 2009.Supported through innovative booths at international fairs, a complete new website focused on users, new packaging, dynamic photography, creative displays, guerilla marketing activities.

Before 2008 the products were only sold in The Netherlands and Belgium.Today’s customers are also found in Denmark, United Kingdom, Germany, France, Spain, Italy, Poland, Iceland, Japan, Australia, United States, Canada, Chili and more to join shortly.

New groundbreaking products and accessories are added like a sleeping support, a foldable highchair support to use with the YeppMini front seat or characters to create your individual name on each Yepp.Permanently all products and components are being monitored for further improvements in their function, design and to control the costs.The introduction of the innovative Yepp bicycle seats means just a start of a completely renewed company that will not only be restricted to the traditional distribution channels of cycle shops but will also focus on other channels like chain of stores specialized in the sale of products like chain of stores specialized in the sale of products for mothers and children as a first next step.

logo

front seatsfront seats601

608 682 900 900

671671 676676 901 T31S

801 809 T11ST11S

rear seats

junior seats

catalogue

packaging

exhibition

website

Philosophy• Invest in design, design management and design

awareness.• Benefits and values through design management.• Using tools and methods.

Strategy and values• To create emotional and functional design;• To deliver international top quality products which

are safe, comfortable, easy to use and to install;• Differentiate from competition;• Fully outsourced production, assembly and logistics

to maximize flexibility in materials and capacity;• Service and communication.

Introducing (2): Michel Krechting (1953)• Industrial designer• Head product development• Managing Director• Design management expert• Cofounder Design Management Network (Netherlands)• Member of Raad voor de Kunst

(Council for Culture: legal adviser of the government)• Winner of SRA Award 2009 (Company Acquisition Award)• Serial entrepreneur: owner of

- GMG Holding BV- GMG BV- GMG International Trade Inc.

Working as a design team As a condition to deliver the best creative results with high success factor.Network of experts:• Van der Veer Designers, industrial design• Studio Christa Jesse, graphic design• Chris Hoefsmit, photography• Green Media, web design

Netherlands: • Dutch Design Award 2009 • Bicycle Innovation Award 2009 • SRA Overname Award 2009 (Company Acquisition Award) • GIO Award 2009 (Best in Category) •GIO Award 2009 • GIO Award 2010 • GIO Award 2010 • GIO Award 2010 • Baby Innovation Award 2011 • Best Designed booth Fietsvak Fair 2012. • Germany: • Red Dot Design Award 2009 • IF Eurobike Award 2011 • IF Eurobike Award 2012 • USA: • Seal of Approval 2012 • Moms Best: Hot product Winner 2012 • denmark: • Taenk national consumer test 2012: Best product.

GMG BV | MICRO | THE NETHERLANDS

Primary processes as production, assembly andPrimary processes as production, assembly andlogistics to be fully outsourced.The old factory was closed down in 2010 leavingThe old factory was closed down in 2010 leavingthe new HQ of the GMG company with just 3 people.the new HQ of the GMG company with just 3 people.(Operations, Marketing & Sales and Design &General Management)How lean and mean can you get?

Giving GMG as the 'producer' full flexibility in termsGiving GMG as the 'producer' full flexibility in termsof materials, production locations and capacity,looking for the state-of-art options and solutions.The optimal framework for designers and marketersfor new product concepts and initiatives.Since 2008 industrial and graphic design, web designand photography are fully outsourced yet at the sametime operational as a fully integrated team workingtogether; lead by the new owner

In a nutshell: driving change through designmanagement in products and processes.

Yepp: the story in brief

THINKFoundation

Introducing (1): GMG BV (est.1930)A traditional national family driven producer with its own factory and warehouse located at Gouda. Simple production techniques, market leader in The Netherlands until mid 1990’s, no innovation and renovation in machinery and with strong increasing risk of discontinuity.

STARTdeSIGN MANAGeMeNTThe complete turn-aroundDesign management as the strategic multidisciplinary tool for improved

sustainable growth and performance and to achieve our key objectives:• To become the market leader of safety bicycle seats in The Netherlands

within three years after introduction;• To establish solid market shares in international markets for future

growth;• To support innovation in and enhance the use of bicycles and their

accessories to improve health and mobility in urban and rural areas.

The watershed momentum in 2008 appeared to be the turning point of a very successful and profitable basis for national and international growth.

ReSULT: GMG BV (2008) The change of ownership turns this small company into an international global business through integrated design management and innovation.

Excellence is illustrated through the many national and international design awards and recognitions since 2008 awarded by external professionals.

Based on the foundation and distribution of the traditional parent company a complete new portfolio was designed and introduced. Not only the products but simultaneously also the company structure and its services were completely redesigned: from a production oriented organization into a marketing based company.

Brand values and corporate identity reinvented and redesigned.

CONCePTProduct and process designProduct and process design

BUILdProduction and services outsourced Partnerships

SeLLMarketing sales based

eVALUATe ANd IMPROVeThe continuous process

exCeLLeNCeThe ultimate proof of quality

Based on the existing distribution of the products a new foundation was created of outsourcing production and services. The design team was strictly conducted by the owner to enable the best conditions and challenges in order to deliver the best concepts and products according a tight planning schedule.Along the way the cooperation between the external design experts was growing and acting as a multidisciplinary team. Simultaneously new suppliers and logistic companies were sourced and found both in China and The Netherlands supporting the design process and to keep the planning.The result was the introduction of a complete new range of bicycle seats within just 12 months: from brief to first-out-of-tool.Since the launch beginning 2009 the team of experts continues to act and leading to permanent new initiatives, concepts and products. Challenge and rewards as stimuli and to keep the momentum.

Simultaneously with the design of the seats new easy fixations for bicycles were designed. GMG succeeded to persuade major national and international bicycle producers to incorporate in their luggage carriers a simple and very effective window framework to mount the Yepp Maxi seat in just seconds safely. The start of a new international fixation standard. Among the bicycle producers are Royal Dutch Gazelle, Giant, Sparta, DBG (Union), Cortina, Batavus, Montego, Xtracycle, Winbikes, QWIC, Mercure and Matra.Xtracycle, Winbikes, QWIC, Mercure and Matra.

The international sales of the Yepp range took off immediate after its introduction beginning 2009.Supported through innovative booths at international fairs, a complete new website focused on users, new packaging, dynamic photography, creative displays, guerilla marketing activities.

Before 2008 the products were only sold in The Netherlands and Belgium.Today’s customers are also found in Denmark, United Kingdom, Germany, France, Spain, Italy, Poland, Iceland, Japan, Australia, United States, Canada, Chili and more to join shortly.

New groundbreaking products and accessories are added like a sleeping support, a foldable highchair support to use with the YeppMini front seat or characters to create your individual name on each Yepp.Permanently all products and components are being monitored for further improvements in their function, design and to control the costs.The introduction of the innovative Yepp bicycle seats means just a start of a completely renewed company that will not only be restricted to the traditional distribution channels of cycle shops but will also focus on other channels like chain of stores specialized in the sale of products like chain of stores specialized in the sale of products for mothers and children as a first next step.

logo

front seatsfront seats601

608 682 900 900

671671 676676 901 T31S

801 809 T11ST11S

rear seats

junior seats

catalogue

packaging

exhibition

website

Philosophy• Invest in design, design management and design

awareness.• Benefits and values through design management.• Using tools and methods.

Strategy and values• To create emotional and functional design;• To deliver international top quality products which

are safe, comfortable, easy to use and to install;• Differentiate from competition;• Fully outsourced production, assembly and logistics

to maximize flexibility in materials and capacity;• Service and communication.

Introducing (2): Michel Krechting (1953)• Industrial designer• Head product development• Managing Director• Design management expert• Cofounder Design Management Network (Netherlands)• Member of Raad voor de Kunst

(Council for Culture: legal adviser of the government)• Winner of SRA Award 2009 (Company Acquisition Award)• Serial entrepreneur: owner of

- GMG Holding BV- GMG BV- GMG International Trade Inc.

Working as a design team As a condition to deliver the best creative results with high success factor.Network of experts:• Van der Veer Designers, industrial design• Studio Christa Jesse, graphic design• Chris Hoefsmit, photography• Green Media, web design

Netherlands: • Dutch Design Award 2009 • Bicycle Innovation Award 2009 • SRA Overname Award 2009 (Company Acquisition Award) • GIO Award 2009 (Best in Category) •GIO Award 2009 • GIO Award 2010 • GIO Award 2010 • GIO Award 2010 • Baby Innovation Award 2011 • Best Designed booth Fietsvak Fair 2012. • Germany: • Red Dot Design Award 2009 • IF Eurobike Award 2011 • IF Eurobike Award 2012 • USA: • Seal of Approval 2012 • Moms Best: Hot product Winner 2012 • denmark: • Taenk national consumer test 2012: Best product.

GMG BV | MICRO | THE NETHERLANDS

Bolin Webb is a start-up company in grooming products. The company has secured a premium retail position for its UK made products by combining strong product design with a convincing visual appearance for the brand.

The company has taken a holistic approach to design from product concepts through to the retail shelf.

STOCKISTS

Bolin Webb is dedicated to designing, developing and manufacturing high quality grooming products for men.

The company launched it’s first product,the R1 razor, in 2011.

BRAND VISION

An inspired brand for male grooming through contemporary design and innovation.

KEY DESIGN STAGES

• Creative product concept for look and feel

• Engineering and manufacturing support through the design process

• Graphic design to build a premium brand platform

• Continuing design pipeline to extend product range

DESIGN AND INNOVATION

“Product design excellence is the key measure of competitive success for Bolin Webb – this is how we can make a difference in a crowded market. Our vision for a contemporary razor for men has come successfully through design management to bring a UK made product into flagship retail stores internationally. This is a journey of close working relations and enthusiasm shown by our designers and component manufacturers.”

MARINA BOLIN

APPLIED DESIGN

Suppliers

Website

Product

Exhibition and sale

Packaging

Brand identity

BRAND STRATEGY

ABOUT BOLIN WEBB

FUTURE GROWTH THROUGH DESIGN

Bolin Webb is in detailed design stage for a new range of shaving products for men, which are to be brought to market in 2013. Our manufacturers have been included in the design process from an early stage to accelerate the development timeline.

www.bolinwebb.com

COMPANY NAME | CATEGORY | COUNTRY

HistoryLeborgne is a 183 year oLd brandthe forging story of Leborgne takes its roots with the chartreuse monkswho settled in arvillard, during 11th century in the alps, to forge weapons for knight crusaders.

1829, the Leborgne Family undertook to develop the metallurgy activity. 1860, emile Leborgne supplied a specific designed shovel to dig the suez Canal. 1975, Leborgne designed its first ice axe. Leborgne merged with Fiskars in 2007.

MissionLeborgne is the brand reference for masons and carpenters, through a highly innovative offer bringing health benefits, sustainability for the company, the retailer and the user.

VisionPreVent tHe risks oF HeaLtH issues For Masonsand CarPentersMusculoskeletal disorders are the first cause of occupational disease in the building industry and they increase by 18% each year. Leborgne therefore devotes all its innovation capacities to promote safetyand health solutions to fight against musculoskeletal disorders.

our CustoMer is tHe end userbecause of the continuous changes in the building industry, we constantly visit them to listen to their needs and spot opportunities for innovation

We are in close contact with building institutions, schools and Majors.

Managing user Centered designas our innoVation driVerWe develop, the end user validates. in order to achieve the best product for the user, we consider his comments at each steps of our design process. at the creative step, we accept to disobey, disperse or disrupt in order to get out of the frame. to increase our chance to find solutions, we search for opportunities and we make link with other field.

teaMthe design team, spending his time on building sites, starts and drives innovative projects. a project team involves from the start marketing, engineering, purchasing and manufacturing teams. For the nanoVib® hammer, we have made feel testing of 20 prototypes with local & majors users and with schools. a project last usually 1 year to 3 years.

innoVationthanks to this strategy we have renewed our entire portfolio in the last decade and we prepare some surprise for the next one.

our products are available only in the professional builder’s merchant shops.

sustainabLe deVeLoPMentdesign For tHe Future WitH sustainabLe CoMMitMentsdevelop hand tools for the building of the future.Preserve health and safety of the end user’s.decrease our environmental impact.develop ourselves in harmony with our territory.

Leborgne I MediuM CoMPany I FranCe

1° USERSEXPERIENCE

2° NEEDSUNDERSTANDING

3° CONCEPTSCREATION

4° PROTOTYPING& MODELLING

5° PROTOTYPESTEST

6° MARKETING& PRODUCTION

Mason CraFtMan buiLding Mason road Worker CarPenter LengHtMan seWerMan

LeborgneConstruction_DesManEurAwa2012_420x1189UkFinEdi.indd 1 26/09/2012 09:18:05

tyromotion employees

CARC

Innovators

Users

Doctors / therapists

Doctors / therapistsCARC

tyromotion employees

Industrial designers

Software developers CARC

Engineers

Cooperation partner: research

CARCCooperation

partner: clinicstyromotion

employees

Worldwide distributors

Sales team

MarketingLaunch

External specialists


INTRODUCING MODERN TECHNOLOGY INTO REHABILITATIONRehabilitation is a long process that is in many ways challenging and strenuous for both the patient and the therapist. Regaining sensible function after a stroke re-quires constant training and guidance, furthermore im-mense motivation to reach this goal. As we see in many

areas in our life technology can be of great benefit if implemented properly to assist us in our daily life tasks. Our goal is to provide patients with better outcomes and give therapists new possibilities through the appli-cation of smart technology.

THERAPY SYSTEMMOVEMENT: What the patient needs is some help to move. So we develop me-chanical guidance or a robotic system to support his efforts. Goal: Keep it simple, everything else is too difficult to apply and very expensive.

FEEDBACK: The therapist and the patient need to know what happens. So we apply sensors, measure motion and display it in figures. Goal: Concentrate information and make it easy to understand for everyone.

MOTIVATION: A highly motivated patient is the key to training success. So we create game training scenarios, methodical, challenging and fun at the same time. Goal: Self adapting difficulty level to make scenarios suitable to each patients abilities.

caRc – cLinicaL appLication ReseaRch centeRLEAD-USER CONCEPT AT A NEW LEVELSometimes it’s difficult to understand the needs of our patients. The severity of the problems is very often hard to grasp and rather impossible to simulate without the real subject. So we decided to move the patient and the therapist right into the enginee-ring department. Creating our own Clinical Application Research Center at a company size of 15 people. To create a direct connection between the needs of the patient and the solution competence of our designers. This way we changed usability design from a side activity to a core process. Now we can understand the needs of our customer.

MULTI-DISCIPLINARY PROJECT TEAMSThe interesting thing about our company is that we actually create unique new products from scratch and move it into the medical market. Since we have limited resources availa-ble we are working in changing project teams throughout the design process involving matching specialized on the way. Guided by our vision and a project leader the project is evolved from stage to stage incorporating the various competencies of all important stakeholders. Evaluation of all system components in real clinical environments plays a mayor role before releasing a new product into the market. Design a key tool in the R&D process transports the quality and values of our company through our products.

HOW CAN TECHNOLOGY HELP? WHAT WE dO …

A HEALTHY AGING SOCIETYOur society is aging. So the number of people who need therapy, care and help in their daily life tasks is growing ra-pidly. Furthermore we are all expecting to age healthy, be independent and have a high quality of life while aging. This means there are great challenges ahead of us but also great new possibilities through the application of emerging tech-

nologies. Our next step will be in moving our therapy solutions into the patients homes, gi-ving them a better access to intensive therapy at reasonable costs. What will come next? We don’t know yet, but we are ready!

OUR VisionFOR ThE FUTURE

PROvIDE / ENhANCE MoVeMent(Robotics, Mechanical Guidance)

idea

GIvE qUANTITATIvE FeedBacK(Sensory Systems)

eVaLuation

testing

INCREASE MotiVation (FUN) (Game Training Scenarios, virtual Reality)

deVeLopMent

OUR VisionOUR Mission

GOES dMe

… DESIGNING ThE FUTURE OF REhABILITATION

PROCESS OFdeVeLopMent

tyRoMotion gMBh BAhNhOFGüRTEL 59 / 8020 GRAz / +43 (0)316 908 909 / [email protected] / WWW.TyROMOTION.COM

aMadeo® paBLo® systeM

sensoR technoLogy

ViRtuaL ReaLity

MoVeMent

FeedBacK

tyMo®

TyROMOTIONsysteMs

SySTEMpRincipLe


BEIERSDORF AG | BEST MANAGEMENT OF DESIGN IN A LARGE COMPANY | GERMANY

WHAT

HOW

WHY

ESTABLISHMENT OF DESIGN MANAGEMENT WITHIN BEIERSDORF

DELIVERING ON BRAND & BUSINESS OBJECTIVES

CORPORATE VISION, OBJECTIVES & STRATEGY

VISION & STRATEGY

BRANDVISION & STRATEGY

ORG. SETUP

ROADMAP

A FUNDAMENTAL ROLE OF DESIGN IS THE SUPPORT OF THE CORPORATE STRATEGY

In 2010 Beiersdorf refocused its Consumer Business Strategy on two main pillars: Focus on skin care and closer to markets and consumers. With this strategy Beiersdorf aims to accelerate growth and strengthen their No. 1 position in skin care.

A Design Management department has been set-up in 2010 in order to support this strategy and leverage design as key enabler for their business.

DESIGN NEEDS A CLEAR LINK TO BRAND STRATEGY AND VISION, TO MAKE THE INTENDED BRAND POSITIONING REALITY.

With the new strategy NIVEA started to concentrate on its core compe-tence and core values and consid-ered design as a key success factor, that strengthens NIVEAs iconic status,

makes it stand out at POS and creates a deep emotional connection with the consumers.

The design language is a pivotal step-ping stone in implementing the new strategy and is managed in a system-atic and integrated way, involving: 1.600 products, 13.000 country adapta-tions, 12 production centres, 20 third party suppliers and over 200 people internally involved only in headquarter.

TO MANAGE DESIGN PROFESSIONALLY, IT HAS BEEN INTEGRATED IN A MORE STRUCTURED WAY WITHIN

BEIERSDORF.

1. Integration of design systematically within the organisational development process2. Definition & implementation of departmental set-up, resources and enabling processes a. Development of value proposition and business model for the department b. Definition of department strategy, mission and vision c. Anchorage of Design Management in organisational hierarchy d. Training, education and sourcing of required competencies3. Clear objectives and performance measures to ensure excellent and consistent Design Management

BENEFITSBETTER RESOURCES

• Dedicated and competent Design Management resources in-house and Design Management efficacy throughout the organisation

BETTER OUTCOMES FOR BUSINESS AND END-USER

• Leveraged brand equity through larger shelf impact, alignment with brand strategy, design consistency, design quality and differentiation for all design expressions • Higher design consistency and quality across the whole product portfolio, categories and countries • More sustainable and user-friendly packaging designs

BETTER INTERNAL PROCESSES & EXTERNAL PARTNERS

• Improved quality and ROI of design and innovation outcomes through effectiveness and efficiency of processes, clear definitions of outcomes, roles and responsibilities • Improved collaboration with several lead agencies across different design disciplines

1 ALIGNING BRAND & DESIGN

• Aligns brand & design to strengthen brand equity.

• Uses design strategically and consistently to enable world class design to de-liver on business & brand objectives.

2 3 HOLISTIC, INTEGRATED DESIGN & INNOVATION

EFFECTIVE & EFFICIENT DESIGN MANAGEMENT

• Integrates design as a fun-damental part of innova-tion and product develop-ment.

• Fosters consumer relevant design & innovation through translation of consumer insights.

• Enables design to create consumer relevant, consistent and unique experiences.

• Increases desirability through better design consistency, better design quality and consumer relevant products.• Minimises costs through a more stringent design agency management, better cost control and less rework.• Reduces time-to-market due to easier and faster decision making and less iterations.

WAYS OF WORKING

TOP LEVEL INVOLVEMENT & STRATEGIC PARTNERSHIP• Top-level commitment and their involvement in key design strategy projects• Strong interaction & relationship with other strategic agencies for POS, digital, communication, etc. COMPETENCIES, ROLES & RESPONSIBILITIES• Internal core competencies, skills and capacities in Design Management• Multi-disciplinary teams achieving cross-departmental, cross-category and cross-touch point synergies CLEARLY DEFINED PROCESS, BRIEFING & ASSESSMENT• Clear deliverables, roles & responsibilities along the process• Establishment of a digital Design Management system• Shared objectives, milestones and timings, agreed by all parties CONSUMER CENTRIC RESEARCH APPROACH & VALIDATION• Explorative market research methodologies to foster design innovation• Validated design research methodologies to assess design against objective requirements

top level involvement

strategic partnerships

clear roles & responsibilities

multi-disciplinary interaction

THE NEW NIVEA DESIGN LANGUAGE AIMS TO CONVEY A SENSE OF SECURITY & ENJOYMENT THAT THE BRAND HAS EARNED OVER THE COURSE OF 100 YEARS.

THIS IS DONE BY:• One dominant round logo that reflects the essence of the iconic blue creme tin• Reflecting NIVEA’s values and timelessness by embracing innovation without compromising our strong brand heritage • Expressing expertise and purity without any illusions or deceptive gimmicks by using fully recyclable material• Bold, clear forms that yield an iconic presence that is not trendy but timeless• Prominent and proven shelf stand-out• Reducing packaging by up to 15 %, saving more than 350 tons of plastic per year

FIRST RESULTS OF DESIGN LANGUAGE

THE ALIGNMENT OF THE DESIGN STRATEGIES OF ALL TOUCH POINTS ENABLES A CONSISTENT DESIGN ACROSS THE COMPLETE CONSUMER EXPERIENCE.

This includes for example POS, the NIVEA house, digital media, products and advertisement.

BRAND EXPERIENCEACROSS ALL TOUCHPOINTS

FROM BRAND VALUES TO DESIGN ATTRIBUTES• Understanding the brand

values.• Understanding the heritage

developing design attributes.

DESIGN GUIDELINES V.0 STARTER KITDesign Management, May 2012

THIS DOCUMENT CONTAINS PROPRIETARY INFORMATION OF BEIERSDORF AG. THE DOCUMENT IN ALL KINDS OF VERSIONS IS CONFIDENTIAL AND PRIVILEGED. PLEASE DO NOT DISCLOSE ITS CONTENTS TO ANYONE.

CREATING A UNIQUEDESIGN LANGUAGE• Creating a design language

based on design objectives and strategic input.

STRUCTURED ROLL-OUT• Implementing the design

language over various categories and (sub)brands.

• Steering of design investment, resources and complexity.

UNDERSTANDING THE DISTINCTIVE ASSETS• Understanding the design

history and brand strategy.• Translating brand values & tin

inspiration into design attrib-utes to align brand and design.

F CUS.

CLEAR GUIDELINES FOR DESIGN EXECUTION• Execution rooted in strategy

through clear guidelines, that are based on the design.

• Clear guidance to achieve. consistency throughout the portfolio.

new 3D - shape

new 2D - artwork

1st year Q3 Q2 Q4

2nd year Q1 Q3 Q2 Q4

3rd year Q2 Q1

STRATEGIC APPROACHTO DESIGN LANGUAGE

DRIVING CHANGETO CREATE A CULTURE OF DESIGN AND INNOVATION,

SEVERAL INITIATIVES HAVE BEEN PERFORMED:

1. Communication on global key stakeholder conferences, trade partner communication and on-boarding of 200 countries via live webcast2. Internal road shows on Design Management3. Global train-the-trainer program in design & design management4. Championship model for Design Management5. Communication platform on Design Management6. One central platform for all design guidelines

and design assets

SCOPE & RELATIONS WITH OTHER DISCIPLINES

FORMULA

PACKAGING

COMMUNICATION

POS

WORKSPACES

NEW BUSINESS DEVELOPMENTCORPORATE COMMUNICATIONS

CONSUMER CONNECTIVITY RESEARCH

• designed experience of the formula• shared design attributes

• generate consumer insights for packaging functionality

• translate design language into packaging (2D & 3D)

• link design strategy with comm. strategy• link packaging design (2D & 3D) with

communication strategy

deliver design guidelines for POS execution

provide consumer perspective in discovery phase

provide consumer perspective in discovery phase

shared design attributes

shared design attributes

BRAND STRATEGY

KEY TOUCHPOINTS

KEY SERVICES

GOVERNANCEMODEL

ORGA.SETUP

SIZINGBUSINESSDIMENSIONS

KEYPROCESSES

BUSINESS MODEL

HOLISTICCONSUMER EXPERIENCEManage design at all touch-points

DESIGN AS A PROJECT

FOCUS:• Design strategy & language

DESIGN AS AN INTEGRAL PART OF THE ORGANIZATION

FOCUS:• Manage global NIVEA roll-out• Manage quality & consistency• Design guidelines

DESIGN AS CULTURE

FOCUS:• manage consumer experience • holistically across touch-points.• manage design in the innovation

process (design thinking).

2011

2012

2013

2014+

NO CONSISTENT OWNERSHIP OF

DESIGN

1 ALIGNING BRAND & DESIGN 1 ALIGNING BRAND

& DESIGN 1 ALIGNING BRAND & DESIGN

2 EFFECTIVE & EFFICIENT DESIGN MANAGEMENT 2 EFFECTIVE & EFFICIENT

DESIGN MANAGEMENT

3 HOLISTIC, INTEGRATED DESIGN & INNOVATION

DESIGN MANAGEMENT AT BEIERSDORF is an integrated, globally enabling

department that is dedicated to

strengthening brand equity, process

efficiency, and holistic consumer-

relevant design & innovation.

BRANDING• align brand & design • shared design attributes

& design language

SCHNEIDER ELECTRIC | LARGE COMPANY CATEGORY | FRANCE

HeritageWhere are we coming from and where are we at today ?An industrial visionary that invents and manufactures simple and clever electrical products to build dependable and smart solutions to optimise energy management for a sustainable world.

DriversLong-term international trends the brand will follow to connect with its customers.We see a world where we can all achieve more while using less of our common planet.

VisionThe philosophy of the brand based on its specific drivers.We want our products, systems & services to be: Safe, reliable, efficient, productive and green.

Our cause The unique proposition made by the brand to customers to give concrete form to its vision.We help people make the most of their energy.

Our valuesTo express the cause it supports, the brand must embody three dominant values : The first one conveys legitimacy (legacy), the second specifity and then the third, the "step ahead" that needs to be made. This is the brand contract.

> Reliable> Simplicity> Ingenious

Who?The design department organisation includes internal designers and external design agencies.The objective is not to create strongly integrated design departments but to create a flexible organisation, suited to our products and working methods, open to the exterior, and capable of federating external talents.

Brand platform

Design platform

Schneider Electric Associated brands

Boston

Paris

Grenoble

Shanghai

Where?In view of our ambition to build coherent designs and the globalisation of our activity and our markets, a network of design centres spread over four continents is necessary.The panel of external agencies needs to be split among the three continents, and close to our design lab (Asia Pacific, Europe, and US).

RequestFirst contact with design lab

Fact

collectionProject form

to be completed

Complete AnalysisEvaluation

InternaldesignSchneider Electricdesign lab

BriefWith project teamfor completeunderstandingof the project

ProposalMethodSchedueBudget

Acceptance

OPEN

External

agencyAgency determinedby Design lab

BriefWith project team

for complete understandingof the project

ProposalMethode

ScheduleBudget

AgreementBudget signingContact signing

Internal

External

Rules

Organisation

Project

>

>

>

Bangalore

EVlink

Pico Odace

Ovalis

Pack B to B

D5X

Ohm

Wiser

Gooddesign

Goodbusiness

Design Notebook Design Notebook

Odace

Legitimacy

Specificity

Step Ahead

SCHNEIDER ELECTRIC | LARGE COMPANY CATEGORY | FRANCE

Pack B to B

DESIGN CHANGES SILESIA

DESIGN AT YOUR SERVICE

These are just some of the questions Silesia region has been facing Poland entered the EuropeanUnion. As a region experiencing intensive transformation processes we have been trying to findsolutions that would meet the economical and societal challenges resulting from the demise oftraditional economic sectors, such as heavy industry, manufacturing and mining.Our goal is to build the environment favourable for economic and social development, to en-courage public and private actors to take up initiatives as well as to create a space for dialogue, participation and social activity.There are different ways of achieving these societal aims – we have decided to promote one thatputs a human in the centre of its actions emphasizing the diversity and individuality of their needs and desires.Silesia region has decided to adopt a design management methodology as a tool ensuring re-gional development, increasing the innovativeness of the economy and enhancing the quality of life for people.

How to efficiently encourage the economic and social development in the region? How to achieve regional competitive advantage? Which direction should we take?

FIRSTLY: TEACH AND EVOKE INTEREST

We understand that in order to effectively implement region’s tasks it is crucial to create acollaboration and information exchange network between Silesian entrepreneurs, design-ers, representatives of territorial administrative units, and the academic community. Their systemic cooperation is encouraged within Design Silesia cooperation platform, into which we invited the Academy of Fine Arts in Katowice, Culture Institution Ars Cameralis Silesiae Superioris, Silesian Polytechnic in Gliwice and Cieszyn Castle.

DESIGN IN THE FIELD

Design concepts are still a novelty in Poland, let alone in the public sector. That is the reason why we decided to start by developing a series of workshops for the representatives of public sector in our region. We’ve organized seven meetings with experts from different design fields so far. We taught them, among others, about design concepts in general, serv-ice and product design methods, and finally how to build re-gional strategies on the basis of design management idea. We started with one representative attending our event. Now we

are gathering over 40 participants for each event, building a group of active public figures trying to introduce innovative solutions in terms of regional development in their cities and institutions.Thus we are evoking interest among public administrators who are willing to participate in other activities connected with practical implementation of design management con-cepts in their environments.

TOURIST TRAIL

The design of the tourist trail is aimed at exhibiting landmarks that await tourists in Mstow. The trail includes six places that relate to different spheres of life: culture, relaxation, folk, re-flection, sport, recreation and history. The proposed path on the map is in the shape of the letter “M” as Mstow.

STORYBOARDS

One of the results of the team’s work in the institutions were storyboards visualizing the designed services. Their comics form enables to imagine how the service might look like and emphasize the important elements of the service. Here: sto-ryboard presenting the service of culture emergency in the Katowice Regional Culture Centre.

ECOHOTELS

The next concept concerns the area with the remnants of the barns. The participants proposed the creation of eco-friendly hotels – places to sleep, relax, rest and to promote healthy and active life.

DESIGN BRIEFS

During the work in the institutions it was necessary to present the draft projects of some of the key elements of the service. Projects of the institution’s interiors, communication system, publications or necessary clients’ materials.

OUTPUTS

WHAT DO THEY SAY?

DME

AWAR

D_20

12: P

ubli

c O

rgan

izat

ion

WHAT’S NEXT?

Tychy City:

Design… at your service! was one of the most interesting activi-ties we have ever taken part in. It convinced us that the design management can be an effective tool while adjusting services to the constantly changing reality. During the workshop we had a chance to see how useful the cooperation might be while cre-ating positive changes in our office.

Labour Office in Żory:

it is a step towards our clients. The project’s team cooperated closely with the employees of the office and as a result they came up with new useful solutions which aimed at improving the accessibility of services provided by the office. Thanks to this initiative Labour Office in Żory has started improving its activi-ties and focusing on creating a professional and friendly public institution.

Regional Culture Centre in Katowice:

applying to Design Silesia coincided with introducing big chang-es in our institution. While using unknown method it turned out that there is a lot to do and that we do know what we should change. It was fantastic – thanks to the project we have trig-gered the dormant creativity that had been overwhelmed by everyday duties. When the design team entered our office every-thing turned out to be ease and clear.

1.

2.

1. G

athe

r inform

ation 2. Defi ne vision & developm

ent

1

. Und

ersta

nd 2. Translate

4. Present results 3. Develo

p

4. Test

3. C

reat

e

4. Present results

The core aspect of this method is the citizens’ partici-pation. In order to make them familiar with the results the presentation of the projects is organized in the very centre of the city. Afterwards, the results of the workshop and the implemented methodology are pre-sented in a form of catalogue, movie and photo docu-mentation which become a guide for everyone inter-ested in the design management process.

1. Understand

First stage is all about understanding an institution by conducting ethnographic research. In order to make sure that everything useful is captured different tools are used: stakeholder mapping, interview notes drawn up after conducting user research, observe & under-stand template describing how people behave when they use a space. At the end of stage 1 when important decisions are being made it is significant to bring the voice of the customer into the process. By using perso-na template we capture the people, add images, details and facts about the customers so that later on in the process they remain true to life.

3. Develop

At this stage the design team prepares two alternative project’s concepts for given areas. The idea is to pre-pare one concept and put it aside in order to prepare the concept’s alternative. When two alternative con-cepts are ready, citizens decide which one they prefer. Designing with citizens’ help brings amazing results. It enables the design team to come up with the con-cepts that are coherent and meet citizens’ needs.

2. Define vision and developmentThis stage is about creating the vision. It includes:

creating the positive and negative vision (causes and consequences),identifying strong and weak aspects of the city,preparing design manifesto,creating the vision and identifying two or three pillars of its realization.

1. Gather Information

The first stage of the process is all about getting to know the situation of a given city. While walking around the city and talking to the citizens we try to understand city’s desires, problems and capabilities

from its citizens’ perspective.

Design in the field! is an activity focusing on public space and its influence on local com-munity. Academy of Fine Arts in Katowice has designed a workshop within which a group of young designers attempts to create concepts for development and activation of key places in public space of a selected town. For seven days, Silesian students majoring in design, under experts’ supervision, live and work in a selected commune, trying to get to know it and understand it better. The result of the workshop are specific design concepts but most importantly the change of attitude of local authorities and people towards pub-lic space, ways of diagnosing problems connected with its functioning, development and role of residents’ participation in the process of its transformation.

The first edition of the workshop took place in the Mstów commune – a village with around 2000 inhabitants located in southern Poland near the city of Czestochowa.

Design… at your service! puts the design team entirely at the service of the clients – citi-zens using public services. It introduces the service design process to the public sector and focuses on enhancing key services delivered by its institutions. In search for exper-tise in the field of service design we have established a cooperation with Design Wales – international Design Centre from Cardiff.

First three processes in Silesia region were conducted in: Labour Office in Żory, Regional Culture Centre in Katowice and Tychy City.

We are going to shift the boundaries event further. Silesia region has realized that design management is a key for its future development in harmony with Silesia citi-zens. That is why: we continue implementing the described activities, we prepare new projects aiming at introducing design into schools and hospitals. Design is an important part of Regional Innovation Strategy in Silesia. What we want, though, is design to become its crucial element influencing the shape and direc-tion of activities focused on people and the space they work, socialize and live in.

4. Test

During Stage 4 we gather feedback from the people that will use the service. We take our prototypes out of the studio and into the world for feedback, debate and comment. At the end we gather all the essential in-gredients that make up the designed services by using service blueprint. With this tool we describe, order and present the physical evidence of the service, particu-lar steps a customer possibly take when using the new service , front of the house and back of the house staff actions.

2. Translate

Second stage is focused on translating what we heard and what we saw into design insights. By answering the crucial question “How might we…?” we define the real challenges we need to solve throughout the proc-ess. Moreover, in order to meet up the needs, desires or problems of the customers we try to map their emo-tions by capturing what they experience and how they

feel while using the service.

3. Create

How to draw conclusions from all the points we dis-covered? First, try coming up with different ideas that respond to the insights. Finally, after collecting all the invented ideas we choose the best ones that are the most relevant, interesting, impactful and viable for our project. At the end we are left with the only ones that truly respond to our challenges.

As we work through the design funnel and ideas get further down the process we start drawing them, visu-alizing what they might look like if they were real and how they might work.

Project is co-financed by the European Union within the European Social Found. / Project is compliant with the European Union equal opportunities policy, including gender mainstreaming.

Since 2010 this dynamic group has applied this design approach we have tried to solve to many important problems of citizens of Silesia region using design management methodology.

SECONDLY: FROM THEORY TO PRACTICE

REVITALISING THE MAIN SQUARE AND THE COMMUNE CULTURE CENTRE

This project aimed revitalising Mstow’s Main Square and adapting the inner yard of the Commune Cultural Centre. The idea was to engage citizens in changing the centre’s public space by equipping it with their own things such as sofas, tables, etc. or renovating and painting walls.

ADDITIONALS

The process identified several additional ideas that supported wider adoption of design thinking within each institution. In response to this the design team created tools such as the persona badges pictured here to bring the voice of the cus-tomer into the institution.

OUTPUTS

TALLINN CITY TRANSPORT DEPARTMENT | PUBLIC | ESTONIA

Tallinn Transport —design management from scratch.Tallinn Transport is a public transportation service managed by Tallinn Transport Department to organise and promote public transportation. The service is not new, but its newly designed identity was launched to the public in 2012.

The design project of Tallinn Transport identity started in 2009 and evolved from an international accessibility project Cities for All – Tallinn for All. There were in-house field experts, team of design specialists, design students, external consultants, management team, production & setup team, and reflection group involved in the project.

There was no previous experience of design usage or management in Tallinn Transport Department. Despite that the goal of the project team was high — to change the user experience, image and communication of Tallinn public transportation to a great extent, following the lead of European cities with tens of years of experience (London, Zurich, Stockholm, etc.). Our mission was to make a similar impact on a very short timeline.

Due to the lack of resources there was a need to work with the existing transport infra-structure and design as large-scale as possible into the boundaries it sets. The main keywords were: systematisation, unification, information noise reduction and standardisation, aiming a user friendlier and more accessible service environment.

After a thorough research and target-group analyses, a directional document — Design Standard — was created, to fully dictate any design related decision in connection with Tallinn Transport. It guides user to follow specific rules using, placing and producing Tallinn Transport design and communication elements (from information signage to user-friendly language use or accessible use of colour/type/layout/etc.).

All the following design decisions of the project team were based on, and designs executed following the Design Standard, and therefore systematised and unified. It is recognised that the Design Standard carries one’s point only if consistently followed, audited, updated and its principles shared, trained and communicated.

Tallinn Transport design processDefining design problem:

•A new transport product/service needs design;

•New information has to be communicated to users;

•Existing design solution is inefficient.

Production & setup:•Selecting production materials / techniques;•Sending the prototype to production team;•Monitoring production and setup process;•Live testing.

Testing & review:•Creating a prototype;•Testing the prototype on users;•Collecting feedback;•Mapping problems.•Learning from the prototypes.

Analysing design problem:•Consulting design specialists;•Collecting in-house information;•Creating pre-brief;•Getting approval from management.

Launch:•Timing and planning the launch;•Monitoring the launch;•Public presentation of the design.

Execution:•Finalising the solution;•Working with Design Standard;•Working on usability and aesthetics;•Revising / improving the final solution;•Getting approval from management.

Creating design project:•Collecting estimates;•Managing project finances;•Developing a project timeline;•Getting approval from management.

Communication:•Press release;•Internal presentation and training;•External communication and marketing.

Development of solutions:•Working with Design Standard;•Visualising possible solutions;•Excluding weak ideas;•Choosing the best solution.

Determining team roles:•Selecting qualified designers;•Appointing in-house project management;•Contacting associated partners, experts;•Contacting production/setup team.•Introducing Design Standard to project team;

Conclusions & deployment:•Updating Design Standard;•Updating design files;•Design audit;•Analysing and making conclusions.

Planning & research:•Analysing and mapping the problem;•Analysing project boundaries;•Engaging the user;•Consulting production/setup team;•Defining goals, creating full brief.

“buss” “troll” “tramm” “rong” “laev” “sadam” “lennujaam”

“takso” “auto” “marsruuttakso” “jalgratas” “ratastool” “lapsevanker”

“suukorvikohustus”

“määrimise keeld”

“suitsetamise keeld”

“rulluiskudegasõitmisee keeld”

“pagasi asetamise keeld”

“varguse oht” “pildistamise keeld”

“erivajadusega sõitja istekoht”

“eelkooliealine laps”

“ema ja lapsetuba”

“prügi käitlemise kord”

“bussijuht” “sirge nool” “diagonaalne nool”

“pilet” “piletiraamat” “tunnipilet” “mobiilipilet” “piletiautomaat” “kiosk” “lauatelefon”

� Design management usage on Tallinn Transport is obviously a new practice, but it has already been recognised as a key element of sustainable and user-friendly public transportation service

� We are proud of what we have gained within just a few years and look forward to enhance the customer experience, service accessibility and brand recognition; furthermore the whole image of sustainable transport, with the tools of design management.

Service design tools used

Kleepsud

RONALD

TEHTUD keelenõu pöördumine= SINA, PALUN

uute kleebiste vajadus UUED ära varja vaatevälja

ära jää ette teistele

võta iste, tee ruumi

sõidu ajal ei tohi osta piletit

pilet tuleb komposteerida

väljumiseks vajuta nuppu koos ikooniga

musa võiks kuulata kõrvaklappidega arvesta teistega

VAJA TEHA kleebiste vaatamise manuaal reisijale

vaadata ikoone, otsustada, kas tekstiga või ilma

tekstid muuta

olemasolevad kleebised Ohulüliti, Emergency switchVaruväljapääs, Emergency exitOhu korral pööra käepidetOhu korral bussist väljumiseks pöörata ohulülititnoolega näidatud suunas ja avada uksed käsitsiOhuolukorras väljumiseks purustage küljeakenhaamriga! Haamer asub juhi juures.Avarii korral eemalda mõlemad käepidemed ja lükka luuk lahtiAvarii korral eemalda mõlemad käepidemed ja lükka luuk väljaAvarii korral lükka luuk lahti noolega näidatudsuunasAvarii korral purusta haamriga avariiväljapääsunatähistatud klaasAvarii korral tõmba kaas eemale ja vajuta nuppuava uksed käsitsiAvarii korral väljumiseks pööra ohulülitit ja ava uksed käsitsiLuugi eemaldamiseks pööra käepidemed allaAvarii korral pööra kangi noolega näidatudsuunasTähelepanu! Ära varja vaatevälja juhist paremaleEttevaatust! Õhuaken sulgub löögiga!Ettevaatust! Uksed avanevad sissepooleTähelepanu! Väljumiseks vajutage nuppu võiliikuge enne peatust ukse juurde!KomposterTäispiletSooduspiletNB!Kas sul on pilet ostetud? A u tebja bilet kuplen?EMüügil üksikpiletid – sõidu ajal pileteid ei müüda!Palun leidke täpne raha!Esita oma piletIstekohti, seisukohtiTänanSina ära seisa ukse ees. Ärge seiske ukse ees.Jäta väljujale ja sisenejale ruumi.Arvesta teiste reisijatega.

KARMEN UUED IKOONID, TEOSTUS

TEHTUD invakoht

ema&laps

penskar

lapsevanker

väljumiseks vajuta nuppu

ohu korral vajuta nuppu

tulekustuti

5 piktot

esmaabi

abimärgid nooled MIKRO 1/4, komposteerimisjuhend

MAKRO 4/1 väliskleepsudhüüumärk

ohulüliti vajuta nuppu

keera kangi

piletiinfo kleebised

haamri asukoht

pexa aken katki

piletiikoon mobla vanakooli

idkaarthoia oma asju

hüüumärk

TEHA VAJAakulüliti E

kompostri asukoht veits nagu t-särk hetkel

haamri nurk korda

jäätis moodsamaks, äkki 3 palli või masinajäätisvõi üldse muu toit: sifkad või nuga ja kahvel

kepiga mees kalle-, kepi jämedus

tilga ikoon?

lase buss peatusest välja

POLE VAJA TEHA liikumise flow (algab juba väljast)

keskmisest uksest komposteerijad

esiuksest piletiostjad

kel on pilet, see suvauksest

KRISTI

TEHTUDVÄRVIKATEGOORIADpunanetuli

sininebussikäituminesoovitused

keeludkollaneoht

rohelineavariikäitumine

TEHA VAJABUSSIJUHI FREESTYLE TEMPLATE

KATEGORISEERIDA

reisija meelespea

piletiinfotrahvid

osta pilet

mini piletiinfo (bussist ostmiseks)reisi ajal ei tohi osta piletit

mis maksavad üksikpiletid

pilet tuleb komposteerida

piletiinfo tekstid

OTT

TEHTUD

FORMAATkleebiste formaat

SUHTLUSTTAmiks kompostrid ei ole taga?

uurida TTA uuenduste kohta

bussid

piletisys

TEHA VAJA

FONTfont valida

FORMAATreklaami formaat

välireklaam?

SUHTLUSTAKidentity raamat küsida

PAIGUTUS

MATERJAL

TRÜKKmillised kahepoolsed, millised mitte

kus trükkida

Mindmapping in the phase of determining team roles.

Blueprinting in the research phase of Tallinn Transport design with intent to map any phases that lack of accessibility in the service process.

Customer journey planning in the research phase of Tallinn Transport design.

Timetable Transportationmap

Information panel layout

LED display Vehicle identityTransportation stop signage

Ticket systemVehicle signage Web

Public transport stop Vehicle

Typeface

Language

Adverts

Pictograms

Route

Veh. type ID

Ticket info

Stop name

Accessibility ID

Typeface

Language

Adverts

Pictograms

Route

Veh. type ID

Stop name

Typeface

Language

Adverts

Ticket info

Stop name

Adh. signage

Colors

Map

Pictograms

Route

Accessibility ID

Timetable

Typeface

Adverts

Pictograms

Route

Veh. type ID

Stop name

Typeface

Language

Adverts

Pictograms

Route

Ticket info

Colors

Adverts

Veh. type ID

Accessibility ID

Adh. signage

Typeface

Language

Pictograms

Route

Veh. type ID

Ticket info

Stop name

Accessibility ID

Timetable

Map

Typeface

Language

Ticket info

Adh. signage

TALLINN TRANSPORT DESIGN MAP

Mapping touchpoints of design elements in order to plan future design projects.

Planning ticket system communication

Elektriraudtee AS

(rongid)

HÜTK

(avalikud liinid)

Kihnu Veeteed OÜ

(laevaliin)

HÜTK, Hansabuss

(kommertsliinid)

TTA

(taksod)

(erihind)

TAK, MRP TTTKTTTK

(ekspressliin)

(vedaja)

(ööliin)

(Tallinn Card) (ER tsoon) (tsoon) (TT)

Viimsi (+TT)

System mapping of public transport ticketing system and communication.

Roberto (23), Erasmus-üliõpilaneMeeldib reisida ja pildistada. Kasutab bussi hosteli ja kesklinna vaheliseks liiklemiseks. Ta ei tea midagi kohalikust ühistranspordi käitumiskultuurist, eiräägi eesti keelt, liigub tihti väga suure pagasiga.

Veera. (72), pensionärMeeldib kududa. Lapselastega tegelemine. Käib bussiga tihti teises linna otsas turul. Kasutab kõndimiseks jalutuskeppi ja on sunnitud bussis istuma. Veera kuulmine on kehv ning ta ei tea tihti, millises peatuses väljuda.

ANALÜÜSI TULEMUSEL SELGUSID BUSSIREISIJATE PÕHITÜÜBID:

Anne (32), invaliidsuspensionärAnne kasutab ühistransporti vaid äärmise vajaduse korral arsti juures või pensioniametis käimiseks. Liigub alati koos saatekoeraga, sest Annel on raske nägemispuue.

Personas based on public transport users were used to map customer experiences.

ANALÜÜSI TULEMUSEL SELGUSID BUSSIREISIJATE PÕHITÜÜBID:

Kevin (12), koolilapsBussi kasutab peamiselt kooliskäiguks. Kannab igapäevaselt rasket seljakotti. Bussis pakub istet. Ta ei jaksa rasket ranitsat bussis kätte võtta, kuid põrand on liiga must, et kott sinna asetada.

Mauno (35), töötuMeeldib koguda vana tehnikat. Suur õllesõber. Kaotanud töökoha. Kasutab bussi tööturuametis käimiseks, tihti ka niisama ringi sõitmiseks. Mauno ei ole teadlik käitumisreeglitest bussis.

Maaja (29), noor emaMeeldib kodus ise leiba küpsetada. Kasutab bussi aeg-ajalt lapsevankriga liigeldes. Tunneb natuke häbi ühistranspordis vankrilapsega liigeldes.

Bussireisijate põhitüüpide väljaselgitamine on oluline, et kaardistada probleeme, mis on seotud bussi kasutajate eripäraga.

Designing ticket system

www.pilet.ee

…€

…€

…€

…€

…€

…€

23

…€

…€

…€

A. H. Tammsaare tee

soiduplaan.tallinn.ee

optimaalse reisi otsing

“Design Standard carries one’s point only if consistently followed, audited,

updated, its principles shared, trained and

communicated.”

[email protected]

08//THE DME NETWORK

DME has an extended network across 12 European countries

// AUSTRIADesign Austria

// BELGIUMDesignregio Kortrijk

// CZECH REPUBLICCzech Trade

// ESTONIAEesti Disainerite Liit

// FRANCEAgence pour la Promotion de la Création Industrielle

// GERMANYDesign Zentrum Nordrhein Westfalen DZNW

// HUNGARYHungarian Design Council

// ITALYAssociazione per il Disegno Industriale ADI

// LITHUANIALietuvos dizaino forumas

// LUXEMBOURGDesign Luxembourg

// THE NETHERLANDSCity of EindhovenINHOLLAND UniversityEuropean Design Centre

// POLANDCastle Cieszy

// PORTUGALCentro Português de Design

// SLOVENIAAcademy of Design in Ljubljana

// SPAINBarcelona Centre de Disseny BCD

// SWEDENStiftelsen Svensk Industridesign SVID

// UKThe National Centre for Product Design & Development Research (PDR), Cardiff Metropolitan University

Centre for Creative Industries, Scotland

BENE

FICI

ÁRIO

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