Creativity Unleashed: The design agenda in China

Issue 5 – January 2011
SHARING EXPERIENCE EUROPE
POLICY INNOVATION DESIGN
EDITORIAL
RESEARCH
Global Design Watch 2010: Design Policy and Promotion
Programmes in Selected Countries and Regions – Henna
Immonen, Juha Järvinen and Eija Nieminen
INTERVIEWS
Design Policy and Promotion Map
Israel, Turkey, Venezuela and France
SPECIAL REPORTs
Creativity Unleashed: The Design Agenda in China
Next Generation Design Support Programmes
POLICY IN PRACTICE
Innovation Union – a win for design!
CASE STUDies
Centre for Design and Innovation (c4di), (Scotland, UK)
Design your Profit (Poland)
SEE LIBRARY

2 SEE BULLETIN Issue 5
The SEE Partnership
This SEE bulletin is produced by Design Wales as part
of the activities of the SEE project, which is operating
from September 2008 to June 2011, co-financed
by the European Regional Development Fund
through the INTERREG IVC programme.
SEE is a network of eleven European design organisations
working to integrate design into innovation policies
at regional, national and European levels.
Design Wales / UWIC – University
of Wales Institute, Cardiff
Cardiff, UK
Design Flanders
Brussels, Belgium
Danish Design Centre
Copenhagen, Denmark
Estonian Design Centre
Tallinn, Estonia
Aalto University
School of Art and Design
Helsinki, Finland
ARDI Rhone-Alps Design Centre
Lyon, France
Centre for Design Innovation
Sligo, Ireland
Consorzio Casa Toscana
Poggibonsi, Italy
The Cieszyn Castle
Cieszyn, Poland
BIO / Museum of Architecture and Design
Ljubljana, Slovenia
Barcelona Design Centre
Barcelona, Spain
EDITORIAL
The European Commission has set three
interconnected goals as part of the ‘Europe 2020’
strategy: smart, sustainable and inclusive growth.
As Dr Buescher, Head of the Creative Industries
Unit at DG Enterprise and Industry, stated at
the ‘Design and Learning’ conference in Brussels
(November 2010): ‘design can contribute to all
three factors’. Throughout the course of the SEE
project, we have provided insight into not only
how design can bring innovative and sustainable
products and services to market, but also how it
can promote an inclusive society. With design now
a priority in the flagship initiative ‘Innovation
Union’, policy-makers across Europe will be able
to draw on project material for understanding the
role of design in innovation policy for meeting
challenges in industry, services and society.
In SEE bulletin 5, we present a number of articles
on this theme. First, the research article is the output
of an extra SEE activity by our Finnish partner.
The Global Design Watch is a study examining the
design policies in a selection of countries (including
the SEE partners) to enable governments to
understand design capabilities in their nation and
enhance performance. We also present two special
reports. The first one is an observation of recent
developments in design promotion policies in China.
The second is a report of the SEE project’s recent
workshop in Tallinn, Estonia. It explored six design
support programmes from around the world in order
to distil good practices and identify ‘next practice’.
In our two case studies, we highlight the Polish
business support programme ‘Design Your Profit’,
and the Scottish initiative ‘Centre for Design and
Innovation (c4di)’. This issue also includes the next
in the ‘Policy in Practice’ series, exploring the latest
round of policy developments at EU level and the
implications of including design under ‘Innovation
Union’. Finally, we have selected a number of
publications that provide an overview of the
increasing importance of design around the world.
We finish with an invitation to the SEE project’s
final conference, about policies for design
and innovation, to take place on 29 March
in Brussels. We hope to see you there!
Dr Gisele Raulik-Murphy and Anna Whicher
THE SEE PROJECT

www.seeproject.org 3
research
Global Design Watch 2010
Design Policy and Promotion Programmes in Selected Countries and Regions
The aim of this survey is to examine and compare public and/or political
innovation programmes from Finland and various other countries and regions,
in order to evaluate how creativity and creative industries (CI), such as design,
are utilised. In addition, this survey examines how creative potential is in evidence
in leading industrial companies and, more generally, in national competitiveness.
Henna Immonen, Juha Järvinen and Eija Nieminen, Aalto University,
School of Art and Design, Designium, Helsinki, Finland
This is the fourth time that Designium has examined the
national design policies of the countries selected for this
study. Designium’s surveys in 2003, 2006 and 2008 aimed
at laying a foundation for long-term evaluation and analysis
of the development of national design policy and design
promotion programmes. The Global Design Watch 2010
report examines the current situation and compares it to
the situation in 2008. The factors in this survey examined
the main objectives and implementation of national design
programmes, the measures used for promoting national
design, and the organisations at which they are targeted.
The survey is divided into three parts. The first section
examines the National Design Programmes and
Strategies for Design Promotion. In the second section
we have sought out a combination of design-related
indexes from the World Economic Forum (WEF)
report and drawn up a design competitiveness ranking
on that basis. In this survey we have also added a third
section, which deals with the situation in Finland.
The first part of the survey provides an initial comparison
of nations based on available data from public sources
on the internet. We have tried to find the newest data
available, and wherever possible data has been sourced
from the relevant national bodies’ web pages and recent
surveys. In most nations, design programmes are run
by different government bodies. Some aspects of design
programmes are often included in government departments
related to culture, media or the arts. Other aspects of
design promotion are under the department responsible
for industry, technology or innovation. Whatever the
case, specific statistics on design are rarely collected.
Many countries also have a body specifically mandated to
promote and support design, or this role may be fulfilled
at a regional rather than national level. In other cases there
are no government-funded bodies, but other professional
associations have similar ambitions and responsibilities.
In the second section we have looked at a combination of
design-related indexes from the WEF report. In 2002 the
New Zealand Institute of Economic Research (NZIER)
published a study called ‘Building a case for added value
through design’,1
with a design ranking drawn up using
indicators from the World Economic Forum’s Global
Competitiveness Report.2
According to the NZIER
report, the competitiveness of design is based on the
use of design by businesses and on the maximisation of
economic performance. The 2002 NZIER design ranking
included indexes for Extent of branding and Uniqueness
of product design listed by the WEF. However, Uniqueness
of product design was dropped from the list after the
2001/2002 competitiveness report, and Extent of branding
was last included in the WEF report for 2004/2005.
Compared to the New Zealand original ranking list, we
included design-related indexes on a broader front in
our 2006 survey. The purpose of the new ranking is also
to take into account the impact of immaterial spending
on design competitiveness. The seven selected indexes
(Company spending on research and development,
Nature of competitive advantage, Value chain presence,
Capacity for innovation, Production process sophistication,
Extent of marketing and Degree of customer orientation)
measure the elements of competitiveness on a broader
scale: the status of production processes, and the effects
of product design, marketing and after-sales services on
the international competitiveness of export companies
and their placement in the value chain. We have used the
same indexes in the present survey and that for 2008.
The aim of the third section is to analyse the profitability
of the content, practical measures and actors in design in
Finland. In the Finnish section we have interviewed several
experts and design executives from key fields in industry.
Key Results
Creativity Competitiveness Ranking 2010
The Creativity Competitiveness Ranking 2010 is
based on an average of seven design competitiveness-
related indexes (Company spending on research and
development, Nature of competitive advantage, Value
chain presence, Capacity for innovation, Production
process sophistication, Extent of marketing and Degree of
customer orientation), on a scale of 1 to 7. The indexes used
in the ranking were selected in the WEF 2009 report 1.
In the survey we have compared the national competitiveness
of leading countries against their design ranking to show

RESEARCH
Table 1: The correlation between national competitiveness and level of design
Table 2: National competitiveness of leading countries against their design ranking
CREATIVITY
COMPETITIVENESS
RANKING 2010
1. Switzerland 6.1
1. Japan 6.1
2/3. Germany 6.0
2/3. Sweden 5.9
3/4. United States5.7
3/4. Denmark 5.7
5. Finland 5.5
5. Netherlands 5.5
5. France 5.5
5. Austria 5.5
Source: World Economic
Forum 2009
DESIGN COMPETITIVENESS
RANKING 2007
1. Germany 6.1
2. Switzerland 6.1
3. Japan 6.0
4. Sweden 5.9
5. Denmark 5.9
6. Austria 5.7
7. United States 5.7
8. Finland 5.7
9. Korea, Rep 5.7
10. France 5.6
Forum 2007
DESIGN COMPETITIVENESS
RANKING 2005
1. Japan 6.2
2. United States 6.2
3. Germany 6.1
4. Switzerland 5.9
5. Denmark 5.8
6. France 5.7
7. Finland 5.7
8. Sweden 5.7
9. Belgium 5.6
10. Austria 5.6
Forum 2007
the correlation between national competitiveness and
show the correlation between national competitiveness
and level of design (Table 1). We have also compared the
national competitiveness of leading countries against their
design ranking to show the correlation between national
competitiveness and level of creativity (Table 2).
Creative potential is evident in leading
nations’ competitiveness
In many countries design is increasingly being recognised
as important for national competitiveness. However, to
enhance understanding of the economic potential of design
and creative industries in general, these concepts should
be clarified. While the concept of creative industries is not
really ambiguous, the UK Department of Media, Culture
and Sports (DCMS) definition from 1997 – ‘those industries
which have their origin in individual creativity, skill and
talent and which have a potential for wealth and job creation
through the generation and exploitation of intellectual
property’ – is widely accepted and has lasted remarkably
well as the general concept of CI. The DCMS category of
creative industries consists of the following thirteen sectors:
advertising, architecture, arts and antique markets, crafts,
design, fashion design, film, interactive leisure software,
music, television and radio, performing arts, publishing,
and software. All of these industries have the potential
for wealth and job creation through the generation and
exploitation of intellectual property.3
In this context, design
thinking has a considerable role to play in tackling some of
the most urgent issues such as climate change and helping
industry unlock the value of technology breakthroughs.

research/special report
Design thinking and innovation are
among the focus areas of the European
Commission Europe 2020 Flagship Initiative
According to the European Commission, the biggest
challenge is to adopt a much more strategic approach to
innovation. Hence, the heart of the Europe 2020 Flagship
Initiative strategy is innovation.4
Strengths in design and
creativity must be better exploited, while social innovation
must be championed.5
As the Initiative suggests, well-
performing national research and innovation systems
are reliant on pursuing a broad concept of innovation,
which goes beyond technology and its applications.
Among other aims, the Europe 2020 Initiative stresses
that there is a need for a broad concept of innovation,
including, among other factors, user-driven innovation,
innovation in services and design, and public-sector
innovation.6
These challenging tasks also open up a
wide variety of possibilities where user-centred design
innovations can be utilised in order to have a substantial
influence on building an environmentally and societally
more stable and competitive European Community.
In order to access the full survey, please visit Designium’s
website: http://www.taik.fi/designium/english/ or
http://www.seeproject.org/papersanddocuments.
For more information, please contact the corresponding
author Juha Jarvinen: juha.jarvinen@aalto.fi.
This survey has been developed with support of the SEE
project, co-financed by the European Regional Development
Fund through the INTERREG IVC programme.
[1] Building a case for added value through design, NZ Institute of Economic
Research 2003.
[2] World Economic Forum, The Global Competitiveness Report 2001/2002.
[3] Järvinen Juha and Emilia Koski (1997). Nordic Baltic innovation Platform for Creative
Industries. Helsinki: Designium Innovation Centre, University of Art and Design Helsinki
UIAH, pp. 9–10.
[4] Communication from The Commission to the European Parliament, The Council, The
European Economic and Social Committee and the Committee of the Regions: Europe
2020 Flagship Initiative – Innovation Union, p. 2.
[5] Ibid., p. 3.
[6] Council of the European Union: Conclusions in Innovation Union for Europe, p. 5.
Creativity Unleashed:
The Design Agenda in China
The explosion of the creative industries in China marks a shift in the way China wants to do business. In the drive
to become an innovative economy, has policy acted as a catalyst or a fuel for this remarkable growth?
Darragh Murphy, PDR – The National Centre for Product Design & Development Research
In 2005 the governing Communist Party of China proposed
objectives of the 11th five-year plan (2006–2010) for
national economic and social development. In the plan is a
section specifically dedicated to enhance the ‘independent’
innovation capability of industry, which implied the use
of design. A five-point strategy outlined the direction for
such a change and recommended measures that would
encourage and support enterprises to research, develop
and innovate. This included financial incentive policies,
improving market conditions, resourcing global expertise
and strengthening the status of IPR-protection mechanisms.
China wants to change the old adage ‘Made in China’
to ‘Created in China’ and is encouraging companies
to start developing their own products. This inevitable
industrial evolution will require a difficult transition among
companies to graduate from being original equipment
manufacturers (OEM) to original brand manufacturers
(OBM). The incentive for companies is clear: OBMs have
a significantly higher profit margin than OEMs. However,
the lack of experience and management skills required for
such a change presents a resource and cultural barrier.
A key contributor in this plan is the development of a design
sector large enough to cope with the potential demand and
sophisticated enough to deliver products, services and brands
of a global standard. As a country with no contemporary
design history, China has adopted a multi-pronged approach
to developing its design base. First, it recognises the need
to nurture its own talent; secondly, it wants to attract its
ex-pat population back to the country with their acquired
skills; and last, it is aiming to import external expertise
to ensure that modern theory and skills are practised.
Statistics on China are always impressive no matter what
field or discipline you research. In design education there
are 1275 universities and colleges in the country, with
design courses producing over 300,000 design graduates
per year. Every design course is oversubscribed, and due to
the high number of applicants, acceptance onto a course is
not always assessed by creativity but in many cases on the
ability to draw. Many parents see the potential of a career
in design and are prepared to support their children even
though the tuition fees for design courses can be almost
twice as much as those for law, medicine or business.

special report
At the prestigious China Academy of Art in Hangzhou
there are five design schools with 1166 students and 81
staff. They teach fashion, visual communications, industrial
design, design theory and comprehensive design. The latter
department is a reaction to the problems created after
the opening up of China and teaches its students to be
conscientious on a human level rather than a commercial
level. The students are taught all possible design disciplines,
many different crafts and the importance of finding a
problem and solving it. Although students want Western
training and Western theory, the better design schools still
include traditional crafts in the curriculum. Lecturers, as they
say, like their students to have one foot in the past and one
foot in the future, to ensure that they continue the ideologies,
traditions and values that have served their culture well. This
self-consciousness reflects a lack of confidence in design,
but at the same time a respect for the responsibilities of the
discipline and the importance of maintaining an identity.
Of the thousands of design graduates released every year,
there are some who seek further education and experience
outside China. These are the elite design graduates with
qualifications from significant colleges in the USA and
Europe, fluent in English and/or German, industrial
experience, and when they return to China they can
command a good salary or establish their own practice.
Such is the rapid growth of the design sector in China that
it is not uncommon for a design consultancy in one of the
major cities to grow to twenty employees within five years.
This growth is attributed to the development of several
design markets: Chinese companies beginning to realise
the importance of strategic design and creative innovation1
,
foreign companies investing in Chinese design agencies to
develop products for the Chinese market, and government
policy encouraging companies to develop their own
products. On this point the Chinese government drafted
a policy in September 2010 specifically to encourage
manufacturers to adopt industrial design practices.
According to Beijing Design Week, there are 250,000
design professionals working in 20,000 design institutes
and companies in Beijing and generating $11.75 billion in
business. The Beijing municipal government is expected to
support the creative industries further with an investment
of approximately $74 million and the building of thirty
new creative parks in the city over the next five years.
Established in 1995, the Beijing Industrial Design Centre
(BIDC) has been a central organisation in the promotion
and development of the design sector in the city. It is a public
institution affiliated with the Beijing Municipal Science
& Technology Commission and provides a wide range of
services directly to designers, industry and government. For
the government the BIDC provides up-to-date information
on the development of the design industry to assist in the
formulation of macro policies for mid- and long-term
strategies. Significantly, it has established measures for the
effectiveness of design promotion. The BIDC is proactive
in promoting design to enterprises through hosting
design forums and exhibitions, and supporting enterprises
by providing consultancy, diagnosis and training.
The BIDC also organises the China Red Star Award on
behalf of the government. The objective of the award is to
encourage innovation among Chinese manufacturers through
rewarding commercially successful design. The ambition is
for this to become a world-famous design award and to have
Chinese design regarded as a player in the global market.
The significance of the global ambitions of the China
Red Star Award should not be underestimated. Chinese
consumers do not value Chinese products but instead
aspire to the high quality of and association with top
European and American brands. For the foreseeable future,
Chinese manufacturers will be concentrating on their
enormous domestic market and for some this will mean
competing against the world leading brands on quality and
design. Currently this is done through sourcing European
designers and specifying design on a purely styling basis.
Eventually the deeper fundamentals of design will filter
through and sharpen abilities of Chinese manufacturers
to be original and to lead, manage and source design. It is
only a matter of time before conquering foreign brands at
home will give Chinese manufacturers the confidence to
look outside of China and export their own products.
The growth of the design sector is representative of the
explosion in the creative industries as a whole. ‘Only ten
years ago contemporary Chinese artists worked underground,
now the government is buying their work,’ says Huang
Hui, associate director of the Himalayas Art Museum,
Shanghai, who takes delight in explaining the dramatic
shift in circumstances for artists in China today. This
change of heart is recognition by the government of the
economic potential that the creative industries can offer.
The material evidence of this cultural shift is the
mushrooming of space, galleries and creative clusters in
Design education in China has a strong emphasis on Western
theory and practices. PhD Students at the Academy of Arts and
Design, Tsinghua University, Beijing.

special report
China’s cities. Creative Parks is one of several ways in
which the government is facilitating and encouraging
the growth of the creative industry sector. ‘The Chinese
government is good at providing the hardware – schools,
infrastructure, creative parks,’ explains Gavin Anderson,
British Council area director for East China, as he
outlines the speed and determination with which the
Chinese government acts on its own initiative.
The development of creative parks is big business. City
governments issue licences for private developers to redevelop
old industrial sites for a new type of industry. Rather than
housing factories and office blocks, these new industrial
parks have studios, galleries, cafés, boutique shops and
museums in what were once the remains of large factories.
Not only has this initiative restored old, disused industrial
estates and the surrounding environs, it has generated
significant tax revenue for the local government. The
Shanghai Creative Industry Centre (housed in a refurbished
but once derelict industrial abattoir) conducted a review of
the 75 creative parks in Shanghai. It found that by January
2007 the first 50 creative parks had achieved a combined
turnover of US$3 billion from a total investment of US$450
million and had created 27,000 jobs. The tax generated from
these revamped industrial estates far exceeded the tax revenue
of the previous occupants. It is estimated that the workforce
in the 75 creative parks will reach 50,000 once they have
attained full capacity. The full occupation of the creative
parks can be partly accounted for by the low rent they
charge compared to the prime commercial sites in the city.
Because of the success of the creative parks, developers are
running out of old industrial sites to turn into bohemian
art centres that replicate the successful Beijing 798 model.
In the rush to generate creative parks, developers – with
the support of central government – are building new
creative parks from green field sites. Instead of factories
and office blocks, they are constructing clusters of studios.
Compared to traditional industrial estates, the new creative
parks are relatively non-polluting, consume much less
energy and are regarded as environmentally friendly.
Because China is a statist government it is difficult to
determine whether the growth in the creative industry has
been manufactured or carefully controlled. The growth
that has been experienced to date could largely be due to a
dormant latent capacity reawakened by a more favourable
environment. What is clear is that the Chinese government
will expect results and will do all it can to ensure that it
achieves its objectives. Providing the hardware for a creative
economy to flourish is straightforward and can be measured.
Providing the talent and creativity in sufficient volume
to supply industry’s needs is not as straightforward.
It is not possible in this short report to go into detail about
each and every aspect of design in China, so instead the
intention has been to give an impression of the dynamics
of design in the country. For example, the BIDC is only
one of many design organisations, associations, networks
and federations in the country. There are new business
models that have been created to deal with the high
volume of design work, new types of policies, many
large design festivals, award exhibitions and significant
conferences that have been held in the past and are being
planned for the future. China is compensating for what
it lacks in design heritage with vigour and resources.
[1] Comley, D. , IVCA report March 2010, The creative industries in China; www.ivca.org.
[2] Fu, X & Xu, H., The original of explosive development of creative industry in China,
Institute of Urban and Regional Economics, Renmin University of China.
This report was made possible with the support of the Cultural
and Educational Section of the British Embassy through
their China-UK Connections through Culture programme.
For more information: www.bidcchina.com;
www.redstaraward.com; www.hkdesigncentre.org;
www.scic.gov.cn; eng.caa.edu.cn; www.tsinghua.edu.cn
Yang Design, Shanghai was established by Jamy Yang,
a former industrial designer for Siemens Germany. The
consultancy was established five years ago and already has
several top European brands in its portfolio.
0
50
100
150
200
250
Graph of the accumulative number of creative parks in 12 cities in
China (Fu & Xu, 2009)2

INTERVIEWS
Design Policy
and Promotion Map
To get a global perspective on the growing number and increasing maturity of
design policies and promotion programmes and following up the good feedback
from the previous issue of our Bulletin, this feature presents statements from
design practitioners from four countries. Each interviewee provides an overview of
developments in their country and outlines how design fits into various government
strategies, in order to build a profile map of the state of affairs around the world.
VENEZUELA
Venezuela has never had a structured government programme for promoting design.
However, the current government has strongly used graphic design as a propaganda
tool in guidelines issued by the Ministry of the Popular Power for Information and
Communication. In 2008, this Ministry, in collaboration with the Ministry of the
Popular Power for Science and Technology, tried to create awareness about design
through the project ‘Design for people’s better living’ (Diseño para que la gente
viva mejor), with three debates and an exhibition. As a result, a shared vision has
emerged from debates among designers: in Venezuela design could be integrated in
two ways – as an element of social transformation and as direction to carry forward
the country’s sustainable growth agenda. Unfortunately, the project ended when the
Ministry changed hands in early 2009. In 2003 the Technology and Industrial Design
Center (CTDI) was founded under Conindustria (the Venezuelan Federation for
Private Industry), with the aim of collating a design consultants database. However, the
functions of the Centre have been limited due to the volatile socio-political situation.
The most recent phenomenon has been that designers have organised themselves
and some promising brands have arisen from talent incubators. Conventionally, it is
the joint effort of collaboration between the triad of the state (through the creation
of innovation policies that include design), private enterprise (fostering R&D) and
cultural entities (promoting design to the public) that gives rise to an organised design
sector. Although these three factors are clearly identifiable in Venezuela, the will to
join efforts is still missing. Until now, initiatives issued from the state have not been
well received in enterprise and vice versa, so the triad has not yet been achieved.
Elina Pérez Urbaneja
Journalist, Bachelor in Arts. Design Researcher
www.2dvenezuela.blogspot.com
FRANCE
In France design is promoted by separate and independent organisations in the
various regions. At national level, the Ministry of Economics, Finances and
Industry via the DGCIS has launched several initiatives to promote design
among French companies, in particular SMEs. Among them is a recent pilot
programme to encourage and support SMEs in their initial collaboration with
designers. In 2010, five French regions were pilots for the implementation of this
design support scheme, which will work with another five regions in 2011. The
DGCIS regularly conduct studies about the use of design in French companies
and about the national design industry. In 2006, 2009 and 2010 the DGCIS
launched calls for proposals on “Innovation, Creation, Design” for SMEs to
finance 10 non-technologic innovative projects. Another important tool of the
DGCIS is the website Entreprise et Design aiming at increasing awareness among
companies of the added value of design. Several major events for promoting
design take place across France at regular intervals. Among them are the Biennale
of Design of St Etienne (Cité du Design), the Escales du Design (4Design), the
L’Observeur du Design and the annual European Conference on Design Promotion
(APCI) and the Janus du Design (IFD). The informal network Design Fr@
nce strives to connect the various design centres across the French regions.
Philippe Barq
Director, Design Department, ARDI Rhône-Alpes
www.ardi-rhonealpes.fr; www.biennale2010.citedudesign.com; www.4design.fr;
www.apci.asso.fr; www.institutfrancaisdudesign.com; www.entreprise-et-design.fr

INTERVIEWS
Map available at:
www.seeproject.org/map
ISRAEL
Efforts to promote design in Israel have been sporadic, the result of initiatives by
different sectors (industry, academics, government, professional organisations) and
largely uncoordinated. Although graphic design played a central role in defining
Israeli culture prior to and following the establishment of the State in 1948, only
at the turn of the twenty-first century with the opening up of Israel’s protectionist
economy did design begin to be recognised as a key ingredient of economic success.
At that time, observing models from Korea and Taiwan, the Ministry of Trade,
Industry and Employment established a design promotion programme focusing on
industrial design in collaboration with the Manufacturers Association. Success was
limited by a lack of coherent focus and emphasis on quick-fix solutions. In 2005,
graphic and industrial designers came together to establish the Israel Community
of Designers (ICD). Its objectives were to establish a dialogue with government and
industry, to promote design as a key component of economic, social and cultural
development, to raise the recognition of Israeli design abroad and to move the
discussion of design from the lifestyle sections of the media to the financial pages. In
2007, the ICD established the annual Designed In Israel series of events, including
exhibitions, conferences and international publications. At present, discussions about
a national policy are ongoing, but Israel would benefit from effective collaboration
between stakeholders to develop a coherent national programme of design promotion
to take advantage of design-based opportunities for economic development.
David Grossman
President of Israel Community of Designers (ICD)
www.israel-designers.org
www.designed-in-israel.com
TURKEY
The Turkish Design Council was established in 2009 as an advisory council to
the government, with the responsibility for establishing a national design policy
with the support of the Ministry for Industry and Trade. The objective was to
introduce design to industry and society in order to help Turkey’s designers
and national industries become more internationally competitive. The Council
facilitates annual stakeholder meetings with representatives from governmental
bodies, professional associations and academic institutions. In terms of supporting
companies, emphasis should be given to TURQUALITY. This organisation runs
a programme that provides financial and managerial support to value-added
Turkish products. Investors, manufacturers and designers are encouraged to
work together to create international Turkish brands. In Turkey, design is also
promoted by ETMK, an organisation that aims to bring industrial design to the
attention of professionals, manufacturers and consumers through exhibitions,
competitions, publications, seminars and training. Also promoting design, but
focused on sustainable, efficient and better-designed physical environments, is
the TAG platform, an NGO founded in 2008. TAG works to raise awareness
about ‘design for all’, aiming for human diversity, social inclusion and equality
to be taken into consideration in Turkey’s future policies and strategies.
Neslihan Şik
Projects Director, TAG Platform
www.tagplatform.org

SPECIAL REPORT
Recently, this same Ministry has articulated the potential role
of an Estonian design policy: ‘Although there are many areas
on a national level that include design elements, it is evident
that Estonia’s economic situation and social welfare could
benefit from a national design policy.’1
A design policy would
determine a strategic vision for Estonia and a design support
programme could be a component of the policy’s delivery
that provides direct advice to companies for the effective use
of design.2
The Ministry has already set in motion the first
stages of this process. ‘At the beginning of 2008, the Ministry
of Economic Affairs and Communications began an initiative
to work out a national action plan for the design sector.
Surveys have been carried out and discussions with various
target groups, partner organisations, and entrepreneurs in
the creative field have taken place. It is hoped that a national
design sector action plan will be approved in 2011.’3
In this context, the SEE project partners from Estonia and
Ireland got together to organise the fifth project workshop
as an extra activity on the theme ‘Meeting of Minds: Next
Generation Design Support Programmes’. The purpose of the
two days was to distil best practice and outline an approach
for creating ‘next practice’ for programmes. The event was
opened by the Deputy Secretary General for Economic
Affairs and Communication, Ahti Kuninjas, who mentioned
that as a result of the spotlight on design, partly as a result
of SEE project activities, he now understood design as a
much broader topic and looked forward to learning from
the best-ranking design countries across the world. The
workshop brought together delegates from Enterprise Estonia
(the primary provider of support to Estonia’s entrepreneurs)
and the Ministry, as well as coordinators of design support
programmes in Brazil, Denmark, Ireland, New Zealand, the
UK and Wales. The six presenters were requested to focus
on key learnings from their programme delivery, i.e. what
they did which proved particularly successful and what they
would do differently in the next round. The key insights
from the six presentations are summarised as follows:
Next Generation Design
Support Programmes
The Ministry of Economic Affairs and Communications, responsible for the design agenda in Estonia, is currently
formulating a proposal for a national action plan for design. As part of this proposal, the Ministry is investigating
the possibility of a national business support programme for enabling companies to bring innovative products
to market through design. In order to provide input for defining, delivering and measuring a programme, the
Estonian Design Centre held a workshop as part of the SEE project in Tallinn on 6 and 7 December 2010 to learn
from the experiences of other countries in implementing design support programmes.
Brazil – Criação Paraná,
presented by Ken Fonseca
Keep: Increased visibility by moving the
exhibition from a museum to a shopping
mall to ‘bring design to the people’.
Change: Improve the
impact of the case studies
as a means of enrolling
more companies.
New Zealand – Better by Design,
presented by Judith Thompson
Keep: The concept that design is a
journey not an intervention.
Change: Engage primarily on the
demand side of the equation enabling
businesses to use design strategically.
Wales – Service Design Programme,
presented by Paul Thurston
Keep: A democratic approach that
supports all types of business.
Change: Increase demands on clients
for investment, resources and input.
Ireland – Innovation by Design,
presented by Justin Knecht
Keep: Employ baseline measures to see how
companies progress following design intervention.
Change: Ensure that measurement is systematic
to obtain more quantitative data.
UK – UK Design Programmes,
presented by Jonathan Ball
Keep: A focus on client readiness as well as legacy.
Change: How the programme is
recorded, measured and evaluated.
Denmark – 360° Design & Design
Boost, presented by Christina
Melander
Keep: Involve someone at the head of the
organisation to endorse the process as well
as a middle manager to drive the project
forward – the ‘CEO plus one’ approach.
Change: Aligning priorities with the funding
body to ensure that expectations are met.

SPECIAL REPORT
The second day involved an interactive session to
develop an outline approach for a new programme,
using Estonia as a case example. First, the workshop
participants mapped the key learnings from the six
examples onto the ‘Business Support Canvas’ developed
by the facilitators Justin Knecht and Jonathan Ball:
Key learnings:
POLICY
PRIORITIES & OBJECTIVES: Ensure that the programme
is aligned with government policy priorities.
DEFINE
SUPPLY & DEMAND: Focus on providing support to
both designers (supply) and industry (demand), as a
gap between the two can affect programme success.
LEARN & ADAPT: Gain insight from the other countries
that have delivered support programmes and investigate
transferability for specific national contexts.
SET UP
SELECTION & COMMITMENT: Invest time in client
readiness and gaining the go-ahead from the company
CEO, as their endorsement is vital for engaging that
company through the duration of the process. Often a
small fee for enrolment is a token of commitment.
DELIVER
LANGUAGE & OFFER: Speak their language, don’t
use jargon and be relevant to the target audience.
Encourage dialogue between designers and companies
by making the offer clear and providing a step-by-step
process so they know what is expected of them.
MEASURE
EVALUATION & BENCHMARKING: Build evaluation
into the programme from the outset using ‘baseline
measures’ and diagnostics to demonstrate both qualitative
and quantitative results. Evaluate both the programme’s
delivery (quality) as well as its outcomes (impact). Ensure
that measurements are systematic and conducted at regular
intervals at the beginning, middle and end as well as beyond.4
PROMOTE
PUBLIC & PRIVATE: Work with both public and
private organisations to raise design awareness.
IMPACT
KNOWLEDGE TRANSFER: Ensure that
the programme generates knowledge that
remains within the country or region.
FEEDBACK & IMPROVE: Make sure that
evaluation and company feedback contribute
to the improvement of the programme.
DISSEMINATION OF RESULTS: To continue
the legacy beyond the programme.
Secondly, in order for these observations to be applicable
in an Estonian context, we heard presentations from
Martin Pärn, practising designer and PhD candidate,
about the history of design in Estonia; Lylian Meister from
the Estonian Academy of Arts in Tallinn about design
education; and Kristiina Sipelgas from the Ministry of
Economic Affairs and Communications about design-
sector developments and state programmes. The workshop
participants were therefore able to apply the learnings from
the previous day to developing a roadmap for an Estonian
design support programme. The output of the workshop
will be presented in a report that will be made available
on the SEE project website in the coming months.
If Estonia chooses to go down the route of developing a
design support programme, the SEE project hopes that this
workshop has created a useful foundation on which to build
this activity.
For more information on any of these design support
programmes, visit the SEE project Case Study
Library at www.seeproject.org/casestudy.
[1] Poslawski, G. & Sipelgas, K. (2010) ‘Estonia’s Tiger Leap into the World of Design’,
Design Management Review, Vol 21, number 4, p. 45–46.
[2] Raulik-Murphy, G., Cawood, G. & Lewis, A. (2010) ‘Design Policy: An Introduction to
What Matters’, Design Management Review, Vol 21, number 4, p. 52–59.
[3] Poslawski, G. & Sipelgas, K. (2010) ‘Estonia’s Tiger Leap into the World of Design’,
Design Management Review, Vol 21, number 4, p. 44–51.
[4] For more information about evaluation look at SEE Policy Booklet 3: Evaluating Design
www.seeproject.org/publications
Except where otherwise noted, this work is licensed under
http://creativecommons.org/licenses/by-sa/3.0/
Designmine Ltd. & Verticalbones Ltd., 2010
POLICY MEASURE IMPACT
DELIVERSET UP
DEFINE
PROMOTE
BUSINESS SUPPORT CANVAS
Mapping the stages of developing and delivering a design support
programme, SEE Project workshop 5, Tallinn (December, 2010).
Source:businesssupportcanvas.com

POLICY IN PRACTICE
Innovation Union – a win for design!
Early in 2010, the European Commission published its vision for the next decade, ‘Europe 2020 – A European
Strategy for Smart, Green and Inclusive Growth’. At the heart of this strategy is the flagship initiative ‘Innovation
Union’, which was articulated in October 2010. Here, the Commission recognises that a number of Member
States are ‘world leaders in design’ and that Europe must capitalise on its strengths.1
This article forms part of the
SEE bulletin series ‘Policy in Practice’ following the policy developments at European, national and regional level
towards integrating design into public policy.
Highlighting design as a priority under innovation in
the European Commission’s strategy ‘Innovation Union’
is the culmination of a long chain of events, including a
public consultation, staff working document, lobbying
by pan-European, national and regional design bodies
and conferences organised as part of the European Year
of Creativity and Innovation (see bulletin issues 1 and
2 for details). ‘Innovation Union’ is the centrepiece of
the ‘Europe 2020’ strategy, the successor to the Lisbon
Strategy, which was the economic development plan for
the period 2000 to 2010. Since the EU fell short of the
Lisbon objective to make the EU ‘the most competitive and
dynamic knowledge-based economy in the world capable
of sustainable economic growth with more and better jobs
and greater social cohesion’, the European Commission
realised that an integrated approach needed to be adopted,
one which embraced economic, sustainable as well as social
considerations. Consequently, innovation is the ‘overarching
policy objective, where all policy instruments, measures
and funding are designed to contribute to innovation’.2
By pursuing a broad concept of innovation, design is a driver
of products, services, processes and models that add value for
users and offers ‘huge potential for new growth and jobs’.3
As part of ‘Innovation Union’, design falls under the
remit of a number of priority areas, including ‘promoting
excellence in education and skills development’ and
‘getting good ideas to market’. First, under skills and
strengthening the knowledge base, the strategy states that
businesses should be more involved in university curricular
development so that skills match industry needs. ‘There
are good examples of inter-disciplinary approaches in
universities bringing together skills ranging from research to
financial and business skills and from creativity and design to
intercultural skills.’ Encouraging exchange between industry
and academia has been a consistent theme at European
level, but including design as part of the multi-disciplinary
skills set that fosters innovation is a new development.
Secondly, in commercialising ideas, the European
Commission recognises that ‘companies innovate in various
ways’ and that design is a ‘key discipline and activity to bring
ideas to the market, transforming them into user-friendly
and appealing products’. The Commission advocates
measures to increase the interaction between components
of national innovation systems, stating: ‘Although some
European countries are world leaders in design, others
lack a robust design infrastructure and design capability
in companies and engineering schools. This systemic gap
has largely gone unnoticed but must now be tackled.’
Getting innovative ideas to market more quickly using
design is an issue that the SEE project has been examining
as part of the thematic workshop held in Cieszyn (Poland)
in November 2010. The partners and their regional
government representatives engaged in a series of interactive
sessions examining the role of design in new product and
service development processes. Conventionally, design is
understood as playing a role in the early conception phases
of the development process, involving storyboarding and
prototyping. However, from exclusively applying design at
the first stages of the value chain, policy-makers increasingly
understand the contribution of design as a strategic discipline
for enhancing process efficiency at all stages of development,
production and distribution. The workshop participants
also explored where government support can have the most
impact as part of the development process of products and
services in companies, particularly SMEs. Finally, the group
discussed the policy options for government intervention in
the national/regional design systems in order to maximise
the interaction between stakeholders in the system. The
fourth SEE Policy Booklet will investigate these issues in
more depth and will be released in the coming months.
‘The question is how can we make our
economy smarter, more sustainable
and more inclusive? These are the over-
riding objectives of this 2020 strategy
and design contributes to all three
objectives. It is evident that design enables
companies to be smart, to better take
into account user needs, to save costs,
to bring products to the market more
quickly or to minimise risks of failure.’
Dr Reinhard Buescher – DG for Enterprise and Industry,
at the Design and Learning Conference,
25-26 November 2010, Brussels.

Late 2011
First European Design
Summit to be organised
by the Secretariat
3 March 2010
European Commission publishes Europe 2020
6 Oct 2010
Commission publishes
Innovation Union
1 July 2011
Polish Presidency of the EU
where design will be a means of
communicating Polish identity
26 May 2010
Competitiveness Council ‘invites
the Commission and Member
States to give special attention to
design considering its leverage
effect on innovation performance
[…] as a competitive advantage
for European companies’
25–26 Nov 2010
Design and Learning
conference organised by
DG Education and Culture
in Brussels
Dec 2010
Aalto University School of Art
& Design is awarded the
Secretariat for the European
Design Innovation Initiative
Early 2011
Appointing
members to the
European Design
Leadership Board
29 March 2011
SEE project final conference:
Design Policy Conference,
Flemish Parliament, Brussels
2010 2011
A further commitment from the European Commission as
part of ‘Innovation Union’ will be to set up the Secretariat
for the European Design Innovation Initiative and its
Leadership Board. The Leadership Board will be invited to
make proposals to enhance the role of design in innovation
policy, for example through EU or national programmes
and a European Design Excellence label, providing
direction for the European Design Innovation Initiative.
Following a call to tender, the European Commission
awarded the Secretariat to Aalto University School of Art
& Design in Finland. The Secretariat will be responsible
for organising an annual European Design Innovation
Summit, coordinating the activities of the working groups
and conducting a communication campaign. The Secretariat
and its Leadership Board have a number of objectives:
• To better integrate design into innovation (projects,
policy, support) by creating a joint platform;
• To develop a joint vision, joint priorities and joint action
with the Commission and stakeholders across Europe;
• To improve the circulation of experiences
and good practices in the area of design policy,
support, education and research;
• To provide advice to the Commission on policy
matters related to design and innovation;
• To raise awareness of design-driven innovation.
If the initiative is successful, it will attract other
design and innovation players (e.g. innovation
support organisations, regions, Member States) who
have not yet made the link between the two.
Speaking at the ‘Design and Learning’ conference in Brussels
(25–26 November 2010), Dr Reinhard Buescher, Head of
Unit at DG Enterprise and Industry, expects the Leadership
Board and Secretariat not just to be a talking shop but to
provide a concrete roadmap for actions for 2011, a ‘user-
driven policy where designers design a policy’. A budget
of €3 million has been put aside by the Commission for
this purpose and will be allocated to a range of projects in
2011, subject to further calls for tender. He hopes that the
Board and Secretariat will support traditional industries in
taking better advantage of design services; this, he explains,
will help traditional sectors to procure services they may
otherwise not have, and at the same time will also help
design companies to improve their offering, respond to
user needs and become more competitive businesses.
With design firmly on the European political agenda as part
of the strategy ‘Innovation Union’ and with the initiatives
of the Leadership Board and Secretariat, policy-makers
across Europe will be looking at how design can meet
challenges in industry, services and society. However, without
insight on current practices across Europe, we risk missing
key opportunities for consolidating the contribution of
design to competitiveness and innovation in our regions.
Consequently, the SEE project intends to provide an
overview of the role of design in innovation policy and
present recent design policy developments from across
Europe and beyond at the Design Policy Conference on 29
March 2011 in the Flemish Parliament. For further details
about the conference, have a look at the SEE website. It
will be an occasion for design stakeholders in industry,
government and the public sector to gain an insight into
concrete measures for maximising the use of design.
[1] European Commission Communication (2010) ‘Europe 2020 Flagship Initiative
Innovation Union’ SEC(2010)1161, Brussels p. 18.
[2] Ibid, p. 8.
[3] Ibid, p. 7.
POLICY IN PRACTICE
EU Policy Timeline

CASE STUDIES
Centre for Design and Innovation (c4di)
(SCOTLAND, UK)
Give a man a fish and you feed him for a day. Teach a man to fish and you feed him for a lifetime. Chinese proverb
The Centre for Design and Innovation (c4di) has adopted
the above wisdom and developed material to teach
companies techniques with which to identify improved
products and services for themselves. The core philosophy
of the centre is based on applying user-centred design
and developing teaching materials targeted at SMEs in
Scotland that encourage a creative and playful approach to
innovation. This can include innovations centred on the
business strategy, service delivery, product development
and branding. The significance of this challenge is to
make companies put aside their self-preconceptions and
review their business in an objective yet creative manner.
Focused on front-end thinking, the centre employs
a strategy of serious play and hands-on exercises
to engage with its clients. The exercises include
user-centred research techniques, idea-generation
exercises and quick prototyping methods. A version of
TRIZ specifically for the services sector has also been
developed by c4di (www.c4di.org.uk.servicetriz). The
skills transferred are universal and have been taught to
companies in a wide range of sectors, including food,
energy, biotechnology and the creative industries.
The use of design as a driver of innovation is well understood
among the most successful companies in Scotland, but
there is still some misconception as to what design can
achieve at a strategic level. This programme aims to
improve the awareness of the barriers to innovation and
the adoption of clear strategies for developing a culture
of innovation within their client organisations.
The success of the programme is heavily reliant on
SME participation. Although participation in the
programme is free, attracting interest in the centre is
difficult, as companies often defer innovation during
periods of economic constraint. A great deal of effort
was expended at the start of the programme to develop
a clear brand and mission that can be easily understood
by SMEs. It is important to use a language targeted to
the audience – ‘design speak’ is not necessarily ‘business
speak’ – in order to make it clear what the centre offers.
Contact with companies is made initially through a
workshop programme entitled ‘Innovation by Design’, with
an introduction to design thinking and service design. From
here the centre aims to create a one-to-one relationship
with companies, beginning with site visits and undertaking
design audits or bespoke workshops. Projects that progress
beyond the remit of the initial programme, for example
new product development, could be funded by knowledge
transfer vouchers from the Scottish Funding Council.
C4di was initiated by the Robert Gordon University in
Aberdeen. In addition to the university’s support, c4di
is funded by the European Regional Development Fund
and the Scottish Government’s SEEKIT Programme.
C4di is aligned with the Scottish government’s economic
priority areas, which are focused on support for innovation
in the key sectors of the creative industries, energy,
food, tourism and IT. Other partners in the programme
include Aberdeen City Council, Skills Development
Scotland and Scottish Enterprise, which recently
updated its strategy to include design as a key driver
of innovation. The total amount of funding provided
to the centre is £1 million to December 2011.
When the project was originally conceived it aimed to
produce new jobs, but since the recession the targets have
been revised and now the emphasis is on retaining existing
jobs. To date the programme has achieved most of its
‘SMEs assisted’ targets and is on course to complete all
of the targets or exceed them. Further evaluation of the
programme comes from statements from SMEs. These are
related to an awareness of how design thinking can assist
innovation and how practical steps can be implemented
to develop a culture of innovation within the company.
Furthermore, participating companies have agreed to
share data on the amount of investment they have spent
on innovation as a result of the centre’s intervention.
For more information contact c4di@rgu.ac.uk
or visit www.c4di.org.uk.
Project
Target
Achieved
so Far
Estimated
Achievement
Number of events
held
14 18 20
Number of SMEs
assisted (1–5 days)
33 41 50
Number of SMEs
undertaking
innovation/RTD
projects
11 10 14
Number of new
patents issued/IPR
registrations made
5 2 2
Number of new
links between SMEs
and Research
Institutions
22 55 60
Project Targets:

CASE STUDIES
In a significant step in 2007, design was incorporated into
a national strategic framework in Poland: Operational
Programme Innovative Economy 2007–2013. The
policy presents nine ‘priority axes’ and within the fifth
priority axis, ‘diffusion of innovation’, a number of
measures are supported, including ‘information and
promotion regarding industrial design’. Under this remit,
‘Design Your Profit’ (DYP) is the key programme for
improving the competitiveness of Polish businesses by
applying design for process and product innovation.
The rationale behind the implementation of DYP centres
on the notion that ‘at present, enterprises, in particular
SMEs, are not using opportunities created by industrial
design. That is why the support in this area will contribute
to the promotion of industrial design as one of the sources
of competitive prevalence and, at the same time, to the
growing interest of SMEs in conducting R&D activity in
this respect.’ Highlighting industrial design on the policy
agenda as a mechanism for innovation illustrates that Poland
is at the forefront of a growing trend across Europe.
DYP is operating from September 2008 to December
2011 and is delivered by the Institute of Industrial
Design with 23 full-time members of staff. With a
budget of €18 million (85% subsidised by the European
Union), DYP has the largest budget dedicated to a
single design business support programme in Europe.
The project has two target audiences, entrepreneurs and
designers. The main objective is to develop a professional
business environment facilitating collaboration between
entrepreneurs and designers in the field of industrial design.
The programme is free for participants. A national
information and advertisement campaign in printed and
online media has been conducted to attract involvement,
supported by active telemarketing. Participants are able to
log into the project website and complete a self-assessment
questionnaire. The self-assessment questionnaire for
companies contains questions and a ranking system that
helps to diagnose the ‘design implementation maturity’
in specific fields, such as awareness of design strategy,
cooperation with designers, marketing strategy, design
project management, resources and so on, resulting in a
simple spider graph and recommendation of the best type of
workshops for employees depending on their experience.
DYP offers four types of workshops: (1) methodologies
for business processes, focusing on design management
within companies; (2) principles of cooperation in
multidisciplinary teams, which include designers (for
companies); (3) methodologies and practices of cooperation
with entrepreneurs in design implementation processes
(for designers); (4) engaging both designers and companies
in practical simulation of new product development.
As well as workshops, DYP delivers a comprehensive
offering: e-learning capabilities through online access to a
digital library containing design management resources,
biographical profiles on prominent Polish designers
available in the ‘Polish Designers Lexicon’, research articles,
interviews and films, as well as exhibitions presenting
business models used to develop products and enhance
cooperation between designers and manufacturers.
A thorough evaluation process constitutes a tool for providing
information about project implementation status, facilitating
quick reaction if necessary. The project’s implementation
process is subject to standard reporting procedures that
conform to EU co-financing requirements. However, an
additional, systematic and substantive evaluation of project
results is performed using a specially developed methodology
in cooperation with the Polish Evaluation Association based
on guidelines from the Ministry of Regional Development.
The programme evaluation is designed to assist project
coordinators in the correct implementation and delivery of
the project. This includes periodic evaluation covering all
the major outputs of the project during rollout. A general
report is drawn up biannually during the project, presenting
results and recommendations for the next period designed
to improve the project’s efficiency, effectiveness and quality.
A robust evaluation component should not to be
underestimated, as the lack of tools to evaluate the role
of design in competitiveness has been a stumbling block
in communicating the value of design to policy-makers.
Consequently, one of the key merits of DYP is the emphasis
on learning and adaptation as a result of regular evaluation.
Although the achievements to date are behind the original
schedule, the DYP team are confident that as a result of what
has been learnt, it will be possible to achieve the objectives.
For more information visit: www.zsz.com.pl/en/
Design your Profit (POLAND)
Activity
Target To Date
Participants
1,600 580
Designers
100 52
SMEs
500 159
Large enterprises 50 20
Design exhibitions 23 15
Workshops/networking
sessions that bring
together designers and
entrepreneurs
5 1
Digital library, number of
digitised items
2,500 1,505
Interactive communication
platform (portal)
1 1
Quantitative Targets & Progress to Date:

SEE LIBRARY
The SEE bulletin is printed alcohol free using vegetable based inks on 100% recycled paper made from post consumer waste.
©Design Wales 2010 (ISSN 2044-3226) All rights reserved. Reproduction of parts of the SEE bulletin may be made without seeking permission from SEE partners, on condition that reference is clearly made to the source of the material.
This is the fifth of six SEE bulletins to be published between 2008 and
2011. They include research papers, interviews, reports and case studies
relating to policies and programmes for design and innovation from around
the world. The opinions expressed in the articles are those of the authors
and do not necessarily reflect those of the SEE partners.
Publisher: PDR – National Centre for Product Design
& Development Research (UK)
Editors: Dr Gisele Raulik-Murphy, Anna Whicher, Darragh Murphy
& Gavin Cawood
Design: Malin Flynn
Design Wales is delivered by the International Institute of Design Policy &
Support (IIDPS)
Design Wales
UWIC – Western Avenue,
Cardiff, CF5 2YB, UK
Tel: +44 (0)29 2041 7028
e-mail: info@seeproject.org
www.seeproject.org
www.designwales.org
www.iidps.org
To receive or unsubscribe to SEE bulletins
please email: info@seeproject.org.
9 772044 322004
Économie du Design (2010): Three French design organisations
(l’Agence pour la promotion de la création industrielle, la Cite
du Design and l’Institut Français de la Mode) were commissioned
by the Ministry of Economy, Industry and Employment to conduct
a study on the state of design in France. The study examines
the offering by design agencies and freelancers, the demand
for design by companies, design’s economic performance,
the evolution of the discipline and the impact of the crisis.
DMI Review (2010): The DMI Review has dedicated its December
issue (volume 21, number 4) to the topic of ‘Design and National
Policy’, exploring different national priorities, diverse perspectives
on managing economies and their consequences for design and
public policy. Insights are provided in a national context from
Belgium (Flanders), Denmark, Estonia, Italy, Mexico and the USA
as well as cross-comparisons between the UK and Asian countries
and between China, South Korea and Japan. An analytical article
also presents an ‘introduction to what matters’ in design policy.
Asia Design Survey 2009 (2010): This survey was published
as part of the World Design Survey pilot project supported
by ‘World Design Capital Seoul 2010’ and Icograda. Nine
regions (Seoul, Beijing, Hong Kong, Istanbul, Japan, Taiwan,
Singapore, India and Victoria) provide policy-relevant data
based on 20 common indicators for understanding the status
of design in each region in an international context.
Australian Design Alliance Launch Report (2010):
Efforts to create a flagship for design in Australia to facilitate
collaboration with government, industry, education and the
private sector have resulted in the Australian Design Alliance
[AdA], a not-for-profit association. In September 2010, twelve
peak organisations representing all aspects of Australia’s design
industry and research networks launched the AdA, which emerged
from a series of consultations about how design should be an
integral element of Australia’s national innovation system.
Design for Innovation in
Wales: Industry, Services
& Society (2010): In October,
Design Wales launched its
manifesto. In a debate on
innovation in the National
Assembly for Wales, Assembly
Members unanimously passed the
manifesto’s recommendation to
‘harness the power of design for
innovation in industry, services
and society’. The manifesto also
encourages Assembly Members to
form a cross-party group for design and innovation to champion
design. Building on this momentum, Design Wales set up a
petition, gaining 369 signatures, which is currently under review
by the Deputy Minister of Science, Technology and Innovation.
Barcelona Design against the Crisis (2010): On 21 October
2010, the Barcelona Design Centre celebrated the 5th anniversary
of Barcelona Design Week by launching the manifesto ‘Barcelona
Design against the Crisis’. This Manifesto focuses on the importance
of the Barcelona Design brand for the city’s socio-economic
system, as well as underlining the importance of its promotion at
all levels in order to add value to the products and services made
in Barcelona. The petition is still open for signature from anyone
anywhere and over 400 signatures have been collected so far.
SEE Library
Access to these documents is available from the SEE website: www.seeproject.org/papersanddocuments
CBP0001840710105042
POLICY, INNOVATION & DESIGN
Conference
29 March 2011
Flemish Parliament, Brussels
The SEE project final event will be
organised by Design Flanders.
For more information about the programme and to
register please visit: www.belgiandesignforum.be

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