| 1. |
- Svengren Holm, Lisbeth, et al.
(author)
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Sustainable fashion : a driver for new business models
- 2010
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In: Nordic Textile Journal. - : University College of Borås. The Swedish School of Textiles, Centrum för textilforskning. - 1404-2487. ; 1
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Journal article (other academic/artistic)
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| 2. |
- Ainamo, Antti, 1963-, et al.
(author)
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Designers as innovators in organizational contexts : A proposal for a typology
- 2016
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Reports (other academic/artistic)abstract
- Task 2.2.2: Developing a Typology of the Roles of Designer and Design Competence in InnovationThe purpose of this paper is to specify and develop a classification scheme of the roles of designers in innovation, in particular to how they may contribute to business and economic growth and success. The purpose, in other words, is to make sense of such new concepts in the new and conflated field of innovation and design as “open innovation” and “co-designing” and of how to become an innovative and creative organization that is highly successful; whether talking about in-house designers, hiring design consultancies to work on product or service design or on organizational processes in commercial or public contextsDespite a high interest, there has been a paucity of research that would have defined or specified on the basis of case-based evidence, for example, roles that designers and their competence can have as a force for innovation. Such definition is the objective of our research project, Creativity for Growth and Innovation in Europe (Cre8tv.EU), where we define these roles and create a typology for the roles designers and design competence have for innovation and how such design involvement can be harnessed for creating competitive advantage of firms.
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| 3. |
- Anderson, Helén, et al.
(author)
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Skapa kundnärvaro i innovationsprocessen
- 2008
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In: Innovationsförmåga. - Malmö : Holmbergs i Malmö AB. - 9789197785204 ; , s. 40-59
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Book chapter (pop. science, debate, etc.)
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| 4. |
- Bodenfors, Sven-Olof, et al.
(author)
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Design Management i teori och praktik
- 2014
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In: S+B Sandin Bülow. Designentreprenörer.. - : Bokförlaget Arena. - 9789178434398 ; , s. 63-72
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Book chapter (other academic/artistic)abstract
- ”När man inte står för något faller man för vad som helst.” Det är ett citat som kan gälla många områden, till exempel politik, men även företagande och design management. Det kan lätt kopplas samman med varumärkeslogiken och brand management. Starka varumärken står för något specifikt och kan stå emot externa och interna kriser. Men inte hur länge som helst. Det krävs ett gediget arbete bakom kulisserna i ett företag för att åstadkomma och upprätthålla ett starkt varumärke. Detta arbete kan betecknas design management. Företaget Materia och dess grundare Lars Bülow och Kersti Sandin Bülow, som har betonat vikten av design management i sin ledar- och företagsfilosofi är ett bra exempel på detta. Design management har som begreppspar inte fått samma spridning som brand management, inte heller samma status, trots att brand management till stora delar bygger på samma princip och idé som design management. Detta kapitel visar den teoretiska utveckling av design management och designtänkande och hur det har praktiserats i ett antal framgångsrika företag, där Materia är ett intressant svenskt exempel.
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| 5. |
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| 6. |
- Christoforidou, Despina, et al.
(author)
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Good Taste vs Good Design : A tug of war in the light of Bling
- 2012
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In: The Design Journal. - : Berg Publishers. - 1460-6925 .- 1756-3062. ; 15:2, s. 185-202
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Journal article (peer-reviewed)abstract
- Some products are considered ‘bad taste’ and therefore of less value. However, if we focus on what a product does with and for its users, rather than on what a product is, we can disregard superficial statements based on taste and instead get a better understanding of good design. This reasoning is based on the relationship between ‘good taste’ and ‘good design’, terms which are sometimes confused and treated as synonyms. In this article, we explore the tension between ‘good taste’ and ‘good design’ and how designers can use that tension in the design process. We consider ‘good taste’ to be rooted in a subjective context of inherent values, whereas ‘good design’ arises from competence and is based on professional skill. In this paper, ‘bad taste’ is exemplified by products associated with the lifestyles of rap artists and the subculture of bling. Our experience is that bling products often generate strong feelings and opinions and are dismissed by many as ‘bad taste’ because their appearance is incompatible with what is perceived to be ‘good design’. In the context of a course on trends, industrial design students were given the task of exploring how bling products are perceived in everyday life. Their views on bling were compatible with how bling is presented in the media. The students perceived bling products to be far from what is regarded as ‘good taste’ within their own culture. Consequently, they were unable to regard bling as a source of inspiration in their design work. However, when the students began to consider what the product does rather than what it is, they were able to use bling as a source of creativity. What other design opportunities are overlooked by regarding products as being in ‘bad taste’?
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| 7. |
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| 8. |
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| 9. |
- DeBont, Cees, et al.
(author)
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Editorial: Research Perspectives on Creative Intersections
- 2017
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In: Conference proceedings of the Design Management Academy. - : The Design Management Academy. - 2514-8419. - 9781912294114
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Conference paper (other academic/artistic)abstract
- The interdisciplinary nature of the conference enabled active intersections of scholars from the fields of design, social sciences and business studies. The mingling of researchers from diverse disciplines reflects the need for interdisciplinary approaches to research complex issues related to innovation.
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| 10. |
- Digerfeldt-Månsson, Theresa, 1964-
(author)
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Formernas liv i designföretaget : Om design och design management som konst
- 2009
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Doctoral thesis (other academic/artistic)abstract
- Design management has become strongly associated with strategic management of creative resources or immaterial assets within the creative economy. It is a development that has involved a growing interest in the way innovative and aesthetically oriented design companies use design as a resource. They constitute a category of companies that claim to represent a unique way of looking upon design itself and also a more intuitive and entrepreneurial design management philosophy. The research concerns Swedish so-called “radical design innovators” who are active in the furniture and interior decoration industry. The study is based on in-depth interviews with leaders, and the aim has been to gain greater insight into how they look upon design as a resource. The study was done from an art point of view. Since design management, due to its alliance with creative economy, has incorporated aspects traditionally associated with the artistic sphere, the aim of the study has also been to improve our theoretical understanding of how art broadens the way by which design is looked upon as a creative resource. Art is represented by Henri Focillon and his notion of “form as life”. Art is understood as something that belongs to knowledge and reality directly at a basic level. The study shows that the design leaders perceive design-form as a poetic image, i.e. as a “lived” quality that escapes verbal definition as it appears as a movement in space, matter, mind, and time. It also shows how their intuitive design management philosophy can only be understood if we look upon design as an artistic process, i.e. a process based on the dynamic relationship between seeing, doing, and bodily being-in-the-world. To sum up the study shows the importance of conceptualizing radical design innovators as aesthetic actors - and not only as innovative ones - if we are to achieve a fuller understanding of where their creative potential resides.
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