2011 higHlighting the value of design management
EUROOPA DISAINIJUHTIMISE AUHIND 2011 TALLINN
DESIGN MANAGEMENT EUROPE AWARD 2011 TALLINN
EESSÕNA Käesoleva trükise ning sellele pühendatud tseremooniaga tähistame me viiendaid DME Auhindu. Selle projekti käivitas 19-liikmeline partnerite võrgustik ning esimesel kahel aastal toetas meid Euroopa Komisjon. Meie algne eesmärk oli tõsta esile strateegia ja juhtimise osatähtsust disaini edukal ellurakendamisel. Sel hetkel tundus väikeste ja keskmise suurusega firmadele orienteeritud disainijuhtimise auhindade konkursi korraldamine paljudele meist võimatu ülesandena. Kuidas leida kandidaate? Kuidas neid motiveerida ja toetada? Ning mis kõige tähtsam - kuidas õiglaselt hinnata erinevaid lähenemisviise, mida disaini strateegilisse äritegevusse kaasamiseks kasutatakse? Tänaseks on DMA auhinnale kandideerinud rohkem kui 500 firmat, mis erinevad nii oma suuruselt, on tegevad erinevates sektorites ning mille hulka kuulub ka mittetulundusühinguid. Tänu sellele, et meie kandidaatide ja žüriiliikmete tase on olnud stabiilselt kõrge, on konkursi kvaliteet ja huvi selle järele pidevalt tõusnud. Me töötame pidevalt hindamisprotsessi parendamise kallal, proovides seda karmistada, kuna järjest suurem osa firmadest integreerivad disaini järjest
suuremal määral oma põhitegevusse. Meie eesmärgiks on see, et Design Management Europe oleks keskseks toetajaks ja vahendiks disaini strateegilisel integreerimisel pikaajalise jätkusuutlikkuse tagamiseks Euroopa firmades. Ajal, mil Euroopa vaevleb majanduskriisi käes, annab disainijuhtimine minu arvates põhjuse olla optimistlik. Disainijuhtimise alal ei moodustu koorekiht vaid suurtest ja rahvusvahelistest firmadest. Auhinna kandidaatide põhjal võib öelda, et Euroopa ettevõtete võime disaini abil oma paindlikkust suurendada on kasvanud. Erinevate disainivaldkondade integreerimine oma äritegevusse aitab neil oma innovatsioonipotentsiaali realiseerida. Need firmad oskavad hoida tehnoloogilise ja mittetehnoloogilise innovatsiooni tasakaalus ja tuua turule mitte ainult täiustatud vaid ka läbimõeldud tooteid ja teenuseid. Seetõttu oskavad need firmad ainulaadsel moel klientide vajadusi rahuldada ja nende hingega samastuda. Selle kõige tulemusena on nendes firmades toimuvad muutused ja üleminekud osa asjade loomulikust käigust mitte meeleheitlik katse lahendada klientide vähenemise probleemi.
Viie aasta jooksul on disaini kogukond ja selle tugiorganisatsioonid palju muutunud. Me pühendasime palju aega sellele, et suurendada inimeste teadlikkust sellest, kuidas disaini on võimalik integreerida erinevates sotsiaalsetes ja majanduslikes tegevustes, olgu nendeks firmad või avalikud teenistused. Meie töö selles vallas jätkub, kuid DME auhinna kandidaatide tööd, mis on kõigile kergesti kättesaadavad, on tunnistuseks sellest, et meie töö on kandnud vilja. Ometi on selge, et tänased ootused on rohkem operatiivset laadi – firmad ja organisatsioonid soovivad abi disaini integreerimisel ja kasutamisel oma põhitöös. Ma kinnitan kõigile, et DME auhinna partnerid võtavad selle väljakutse pühendunult vastu.
Jean Schneider /EUROOPA DISAINIJUHTiMISE Ühingu juht
We are celebrating, with this publication and ceremony, the fifth edition of the DME Award. The project was started by a network of 19 partners and with the support of the European Commission for its first two years. Our initial objective was to demonstrate the importance of good management in the successful integration of design.
While Europe is getting entangled in a financial crisis, I see in design management a reason for being optimistic. At that time, organising a design management award with a strong focus on small and medium enterprises looked, for many of us, like an impossible challenge. How would we gather applicants, how would we motivate and support them, and, last but not least how would we evaluate with due care and attention the diversity of approaches developed to integrate design into an organisationâ€™s strategy?
Today, more than 500 businesses, of every size and sector, as well as non-profit organisations of all sizes have already applied to win a DME Award. Thanks to the consistent quality of their entries, and to the high level jurors, the interest and the value of the award is continuously growing. We are constantly improving our evaluation process, making it even more stringent in order to reflect the increasing level of integration of design in the daily activity of more and more businesses. Our aim is to position Design Management Europe as a central advocate and resource for the strategic use of design in the long-term sustainability of European businesses. While Europe is getting entangled in a financial crisis, I see in design management a reason for being optimistic. Obviously, superiority in the management of design is far from being the privilege of the global and largest companies. What the applicants showcase is the increased capacity of European businesses to develop resilience through the use of design. Integrating the various dimensions of design in their activity helps them to make the most of their innovation capacity. They demonstrate a higher capacity to navigate between technological and non technological innovation, an agility to
deliver improved as much as meaningful products and services. This makes them resonate in a unique way to the needs and the soul of customers worldwide. Last but not least, change and transformation become the natural course of affairs, not a dramatic reaction to a loss of clients. After five years, the design community and its support organisations have witnessed many changes. We spent a lot of time creating awareness about the possible contribution of design in the course of social and economical activities, be it enterprises or public services. We still need to do it, and the material provided by the DME Award applications is easily accessible and available to any, and will offer evidence. But it is more and more clear that todayâ€™s expectations are more operationalÂ : helping businesses and organisations integrate and deploy design in the course of their activities. I trust you can rely on the commitment of the partners of the DME Award to stand at the fore of the challenge.
Jean Schneider /DME chairman
DESIGN MANAGEMENT EUROPE AWARD_2011
The DME Award Barbara Cruz / DME Board Secretariat / DME Award 2011 Jury procedure Coordinator
In the world of business, design is recognised as a powerful differentiator, with a clear impact on profitability, quoted value, employment and exports. Companies that invest in design tend to be more profitable and are amongst the top innovation performers. However, the effective deployment of design is not a stand-alone exercise and requires enterprises to develop a wide-range of capabilities in this area. Due to its highly complex nature, it is the ability to effectively manage design that dictates the businesses that get ahead and become innovation leaders. The implementation of good design management enables an enterprise to successfully use design to innovate and, as design becomes an explicit part of company management, it will have larger impact on its performance and secure its position on the market in the long run. The DME Award recognizes those enterprises that have mastered he ability to put design at the service of their business strategies.
The jury procedures The DME Award evaluation is based on four criteria, which were agreed upon by a group of experts in 2008: Leadership in design innovation: Defining and implementing a vision for the whole organistation integrating design across a range of activities;
Driving change through design: Identi fying significant changes within the organi zation where design has played a major role; Excellence in design co-ordination: Demonstrating capabilities, processes, skills and resources in support of the application of design; Strategic performance: Demonstrating performance based on objectives, deliverables and overall effect on the organization; These criteria are communicated to DME Award participants and used in preparing their poster display (841 mm wide by to 2378 mm in height). The poster format provides homogeneity and a leveled playing flied for candidates to freely explore the available space. The poster is the main element of evaluation and is supported by information collected from the DME questionnaire. This information has been introduced to the jury procedures in 2010, as there was a need for the jury members to back the information provided by the posters with data that could offer some insight into the company’s performance. The data is used merely as background information and it does not weigh in the jury scoring. Said Information includes figures such as turnover and number of employees over the last three years as well as the company’s Design Management Staircase score.
1 The company turnover information is used solely for the purpose of understanding the evolution of the enterprise in the last years. It is used as complementary information and not as a main judging criterion. All company data is kept confidential and destroyed at the end of the jury process.
DME Award has five categories: Award for best management of Design in a large company, Award for best management of Design in a medium-sized company, Award for the best management of design in a small company, Award for the best management of design in a micro company and Award for the best management of design in a public or non-profit organisation. Honourable Mentions are given to applicants that excel in a specific aspect of design management. This addition came from the need to recognize and highlight businesses that, although not having entirely fulfilled the four DME criteria, have excelled in selected aspects of design management such as co-ordination of the design process or the integration of design management in a specific sector. Furthermore, the DME Award evaluation is based solely on the application items. Jury members are asked to “forget” previous knowledge of the applicants and base their discussion solely on the elements that are presented to them.
Factor 5 - Resources:
Extent to which a company invests in design projects and deploys an appropriate design staff. Also, if it invests in a creative working environment, hard- and software for design, etc.
Factor 2 - Process:
Extent to which a com pany pursues a robust and effective DM process, embedded into its core business processes.
DESIGN MANAGEMENT EUROPE AWARD_2011
The Design Management Staircase conveys companies’ typical behavior in the realm of design management on four levels. The specifications of these four levels of development are contextdriven, but in principle range from immature to a level where design management is of strategic nature and part of the company’s culture:
Level 4: DM as cultur
e: Strategic manageme nt of design; design leader ship; infused. Level 3: DM as funct
Management of the de ion: integrated with othe sign function, a defined role for de r processes, sign.
Level 2: DM as projec Extent to which a company has developed a strategy for design, articulated in business plans and communicated widely.
Level 1: No Design Mana
gement M): Some or no design ac tivity, not repeat(D defined or manage ed, d.
Factor 4 - Expertise:
Quality of the staff (level of experience, skills and knowledge) and the range of tools and methods applied.
In Kootstra, Gert, L (2007) “The incorporation of Design Management in Today’s Business Practices”
Factor 1: Awareness of benefits:
Extent to which a company (and its management in particular) is aware of the benefits and potential value design and DM can offer.
Factor 3 - Planning:
t: Design project mana gement, repeated.
THE JURY The jury day for the DME Award 2011 was held on July 12th in Tallinn, Estonia. After examining all submitted posters and applications, the jury members selected a total of 15 nominees in five categories.
Carlos Aguiar // Portugal
Jan Kriekels // Belgium
Jan-Erik Baars // Netherlands
Michal Stefanowski // Poland
Carlos Aguiar (Porto, 1953) studied Mechanical Engineering and Architecture. He received his MSc Industrial Design from the University of Porto School of Architecture. Currently, Aguiar is invited Design Associate Professor at the University of Porto, leads the MSc and PhD Programs in Industrial Design and Development (FEUP) and develops University and Industry R&D at DESIGNstudioFEUP. Aguiar works regularly as Design Consultant, both in the areas of Design Management and Industrial Design. He develops Design Strategies and Global Design approaches to products for several Portuguese Companies.
Jan Kriekels is founder and CEO of the JAGA company (Belgium), world leader in the design and production of innovative radiator systems. Kriekels is a non-conventional entrepreneur. Coming from a background in anthropology he seeks ways to transcend the traditional views in industry, art and economy. He is a huge promoter of the ‘creative economy’, letting people design their own products. Kriekels followed several University courses in Experimental Psychology, Entropy, Anthropology, Economics and International Marketing.
After his design studies in Wuppertal (Germany), Jan-Erik Baars joined Philips Design in 1990, where he held various positions working for lighting, medical systems and consumer electronics. Initially as product designer, later as design manager. In 2009 Baars moved to Deutsche Telekom (T-mobile) in Germany to head the design management. Since January 2011 he is associate partner of VanBerlo Strategy & Design and directs their business in the German speaking countries. In September 2011 Baars started as head of the BA Design Management at the Lucerne University in Switzerland. Next to his professional activities he is regularly invited to speak or attend juries for design awards and is an active blogger on designfokus.de
Michal Stefanowski is an associate professor and head of the department of design at the Faculty of Industrial Design at the Academy of Fine Arts in Warsaw. In addition, he has an active design practice, is the vice president of SPFP (the Association of Industrial Designers in Poland) and Board Member of BEDA (Bureau of European Design Associations). He is a graduate of the Faculty of Industrial Design at the Warsaw art academy. From 1983 to 1988, he was a designer with the Mass Studio design company; in 1984, he designed for Ergonomiadesign (Finland) and from 1988 to 2005, he was a partner with the MIMO design studio and the Towarzystwo Projektowe design companies. In 2005, he started his own studio, INNO Projekt, which today operates as INNO+NPD. He has created designs for products, street furniture, packaging, wayfinding systems and visual communication.
r Expe PAGE
n a DESIGN MANAGEMENT EUROPE AWARD_2011
Vestel Electronic Company (Turkey) / / Caetano Bus (Portugal) / / / / / / / / Heineken International (Netherlands) /
13 14 15
Lékué (Spain) / / / / / / / / / / / / / / 17 Franz Blaha & TM Concepts (Austria) / 18 Plastia (Czech Republic) / / / / / / / / 19 SMALL COMPANIES
Texidors (Spain) / / / / / / / / / / / / 22 Velvet Creative Alliance (Estonia) / / / 23 Piodao (Portugal) / / / / / / / / / / / 24 MICRO COMPANIES
Viteo (Austria) / / / / / / / / / / / / / 26 Rolf (Austria) / / / / / / / / / / / / / 27 Supelsaksad (Estonia) / / / / / / / / / 28 PUBLIC OR NON-PROFIT ORGANISATIONS
la 27ème région (France) / / / / / / / / 30 T+Huis (Netherlands) / / / / / / / / / / 31
AWARD FOR THE BEST MANAGEMENT OF DESIGN IN A LARGE COMPANY
DME_WINNER Vestel Electronics is among the biggest OEM (Original Equipment Manufacturer) and ODM (Original Design Manufacturer) companies exporting consumer electronic products worldwide. Additionally, Vestel provides A Brand products to domestic market and some Middle East, North Africa and CIS countries. The design strategy of Vestel Electronics harmonizes these three manufacturing methods which mostly require completely different „products“. The main design problem to be solved at first is to decide the design requirements from different perspectives. Vestel Industrial Design team is capable of providing different solutions such as OEM products to be manufactured from 19“ to 55“ and sold under many sub-brands, A Brand products with state-of- art details with highend materials. Product range designed by Vestel can vary, but main groups are LED / LCD TVs, set top boxes, remote controls, etc. The Industrial Design department of Vestel Electronics is under the Research & Development Center. Thus, approach to design management in R&D center supports the innovational solutions of VID team. Team
VID team consists of 14 colleagues, 3 technical designers, 1 graphical designer and 10 industrial product designers. Other than product design; user interface design of the TV‘s, preparing video contents and products for fairs, graphic design of product catalogues, and logos for different brands that Vestel company owns, design of special packaging for some products could be declared in VID teams‘ job definition.
attraction of audiences are the main design criteria. Mass production constraints, factory feasibility conditions, cost limitations are all determinants of design. All in all, VID team members are working for designing fully functional, feasible, applicable, environmentally conscious and high quality products.
Contact group for outsource design collaboration projects is always the Industrial Design Department. For ODM production, VID group is the contact and responsible to the customer company about the industrial design issues. VIDesign team also supports the design faculties of Turkish universities with the collaboration of final thesis and semester projects. To cover the customer demands, designers in VID team identify and analyze the needs, likes, cultures and latest trends worldwide. General appeal and
works hand in hand with mechanical and software groups in many projects. The synergy created inside the group and between the groups brings sophisticated solutions to niche products.
DESIGN MANAGEMENT EUROPE AWARD_2011
Vestel Electronic Company (Turkey)
DME_Mention for the successful progression of its design strategy CaetanoBus is the leading manufacturer of coach and bus bodies in Portugal. The Caetano brand has exceeded the limits of the Portuguese borders a long time ago, being recognized as a reference in design, quality and reliability for its products. Its mission is to design and build bus bodies that fully meet customers and users requirements introducing innovative and adequate solutions applied efficiently. The partnership established in 1996 with Almadesign introduced the breakthrough design of the Enigma coach. It led to a new project development methodology, bringing the engineering department together with an exterior Design consultancy. Accordingly, CaetanoBus and Almadesign have worked since then on the product communication supports and promotion spaces, contributing to a uniform up-market brand perception. The different projects developed since 2000 introduced new technologies and processes such as full CAD design and rapid prototyping technologies that have changed dramatically the product generation process, the “time to market” and the competitiveness of the company. The models Enigma II, Levante, Winner, Optimo and Cobus are case stud-
PUBLIC OR NON-PROFIT ORGANISATIONS
Caetano Bus (Spain)
ies in successful product development and marketing with thousands of units sold all over the world. In 2002 the partnership established with EvoBus introduced new production methods and management practices, which together with the to know-how inherited from the former “Divisão Fabril de Gaia” led to the achievement of “best-in-class product and production technologies”, placing CaetanoBus amongst the best European coach and bus manufacturers. The design partnership with Almadesign is the result of a continuous trust growing relationship between the company staff and the design team in managing Caetanobus design function creating highly complex products, enabling cross spreading process and cultural changes amid the companies, with top management direct intervention. This design led philosophy helped develop a whole range of coherent products, focusing on users, customers and suppliers as product development and business partners, rationalizing the use of resources and bringing a continuous evolution to CaetanoBus brand DNA.
DME_Mention for its superior branding strategy and touch points executioN Heineken was founded in 1863 with an innovative thought at the basis. The aim was to start brewing a bright and clear beer of consistent quality, which was far from obvious back then. It required the latest brewing technology and lots of craftsmanship. Once Gerard Adriaan Heineken succeeded, Heineken lager beer was born. It was indeed different from all the other beers. Heineken lager beer always had the same unique taste and premium quality, and on top of that, you could keep it in a bottle for quite a while; a novelty. This enabled the beer to travel and Heineken saw great opportunities for new markets around the globe. To make sure that everyone anywhere could recognize Heineken gentlemen’s beer in-between all the familiar brown beer bottles, Heineken made its bottle green. Brand design avant la lettre. Without changing the product ever since, today Heineken is the world’s leading beer brand, always driving for progress and with innovation, branding and design at
Innovation, branding and design are orchestrated from the headquarters in Amsterdam. Teams of specialists develop the new technologies and design the future direction of the brand and its products. Implementation in approximately 180 countries around the world is a challenge in itself. It requires consistency, but also flexibility, patience and pushing to get both the big idea and all the details right. In the end it’s all about the best consumer experience. Heineken is all about delivering exactly that: a great refreshing beer for those who want to enjoy, with friends, make new friends, and be open to the great things that the world has to offer.
its heart. In a traditional category like beer, Heineken adds value and differentiates itself through innovative pack types and draught systems, most iconic, appealing packaging and merchandise, and a vital, worldly brand identity.
DESIGN MANAGEMENT EUROPE AWARD_2011
HeinekEN INTERnational (Netherlands)
PUBLIC OR NON-PROFIT ORGANISATIONS
AWARD FOR THE BEST MANAGEMENT OF DESIGN IN A MEDIUM COMPANY
DME_WINNER Lékué means design and functionality. These are the main causes which have positioned Lékué as the international leader of innovative kitchen products made of 100% platinum silicone. Their original designs have revolutionized many kitchens around the world, turning them into a place of unique experiences and feelings with food and becoming places where new techniques make easier every step of our recipes. Places where new ideas enrich our daily menus and create original dishes and where color and shapes seduce the most refined palates. Lékué also means the revolution of simplicity in a world too complex. User not only learns how to eat well and in a healthy way, but also learns that it has never been so easy, convenient and fast. Lékué is so simple, so amazing, it’s magic, making real “the forgotten magic of the simple things”. This emotional link between the user, technology and business really gets to define their design. A design which is a result of a working method based on design and visual thinking and it’s divided into 3 phases: observation, ideation and development.
In the third phase, development, Lékué refines the concept based on the results of the tests on prototypes and then executes and produces the final prototypes. The brand pays particular attention to both functional tests as emotional user interaction with the product. Lékué products help people to eat and enjoy more healthy food, recovering lost tastes
In the second phase, ideation, Lékué imagines products and services which respond to the identified opportunities and generate emotions and feelings to the consumer. First they visualize and conceptualize new products and afterwards prototype and test them. In this phase they collaborate with external design departments to get points of view “fresh”, supported and coordinated by the internal team.
In the first phase, observation, they observe the context to identify consumer wishes and needs to innovate, answering to the question; What’s on the mind of the consumer? The main aim is to cause emotion of cooking at home.
Lekué analyzes the user lifestyle, the cooking and food trends in order to identify the most relevant insights. They know that nobody should be excluded from the pleasure of a good food and that is the reason why these insights should be ordered with visual maps to facilitate creative and mental connections to discover new opportunities and define stages of innovation.
DESIGN MANAGEMENT EUROPE AWARD_2011
DME_Mention for the challenging presentation of their DESIGN MANAGEMENT implementation Franz Blaha Industrie GmbH
Blaha is a manufacturer of office furniture in Austria. Established in 1933 by the 18 year old Franz Blaha as a small grocery store, it became a producer of seating furniture in the 50ies, in order to evolve later in the 70ies to a manufacturer of office furniture, which it is still today.
Combining knowledge in design, technical understanding and strategic thinking, tm concepts develops concepts for products and corporate environments, that focus on the customerâ€˜s benefit, in order to achieve a sound brand promise and to turn customers into fans.
With carefully chosen milestone programs along the path of the corporate development, Blaha became a well-known local player in Austria and across its borders. In 2007 Mr. Friedrich Blaha - owner in 2nd generation announced the 5th milestone: Design.
To ensure the customers benefit, a thorough innovations and design management is necessary to understand the different opinions and to ensure that the vision is being transformed consequently. Tm concepts starts with an analysis of the clientsâ€™ corporate culture and its competences, in order to then create a precise briefing for the individual tasks with methods of innovation management.
Since then an integrated design management team has been formed. After only 3 years and 12 new product launches later, Blaha won its first red dot design award, and has been noticed throughout media for its consequent design strategy.
Cooperation In 2011 Blaha started a cooperation with tm concepts, founded by Michael Thurow, the former Head of R&D at Blaha, to foster and ensure the quality of the design developments.
Franz Blaha & TM Concepts (Austria)
Only when the framework is defined, the innovation process is carefully transformed into the design process, guaranteeing well balanced results regarding its contents, functions, assembling and design.
DME_Mention for the step by step integration of design in business operations Plastia was established in 1993 and has been dealing in plastics processing ever since. The garden line production was launched around 1995 and has been developing until the present day. The winter program was added in 2003 focusing on products for the winter season. Since 2002 the company has been active in the sphere of subdeliveries of technological components which currently make around 20% of the total production volume. In the same year the company also established its own tool-shop which enables it to produce its own moulds, thus having control over the whole process of design and development from beginning to end. Currently, the company employs 80 people, and its premises have 6000 m2 of flooring, with its warehouse offering room for 5000 pallets. Plastia has been actively involved in the corporate responsibility program, which means they support selected non-profit companies. In line with the companyÂ´s philosophy, they are organizations supporting the family and parenthood.
enough to provide people with a platform for free communication. Little by little, this strategy has also begun to materialize towards the customers whose participation in developing new products is systematically encouraged. Apart from internal workers, Plastia involves design students and design studios, as well as nonprofit organizations that support industrial design or affiliate flower growers.
Equally, the company asserts no less responsible environmental policy inside. All kinds of waste materials are being recycled, and the environment is thoroughly protected and monitored. Workers have the Retap-Rethink Water glass bottles at their disposal â€“ a hydration system that makes it possible to drink quality cooled water all day without having to purchase PET bottles with water. The system of purposeful inclusion of the innovative strategy and the product design was gradually being launched since 2008. In the first stage, which has not yet been closed, it was essential to begin work on creating a working environment open and motivating
A well-considered concept has been pursued, too, in the architectural design of the company buildings. A major part of the outer siding of both the production and the warehouse halls is made of wood, as wood represents the most frequent construction material where the company does business: the Highland. This kind of architecture ideally enables the buildings to blend in with the surroundings. Also, throughout the area, Plastia has planted 200 coniferous and deciduous trees.
DESIGN MANAGEMENT EUROPE AWARD_2011
Plastia (Czech Republic)
AWARD FOR THE BEST MANAGEMENT OF DESIGN IN A SMALL COMPANY
DME_WINNER The passion for designing rugs The development of nanimarquina has been based on a very clear idea: the passion for designing rugs. A simple principle, a transparent assertion of intentions that becomes reality by combining values such as observation, innovative effort, enthusiasm and the ability to carry craft traditions through to the 21st century. Since it began in 1987, nanimarquina has been designing rugs and textile products by paying special attention to the research of raw materials and manufacturing processes. These factors enrich the aesthetics of the products, the main reason behind the brand’s renowned and commercial success. The history of the company started with the first few rugs, which featured popular colours and geometric designs of the 1980s. Designed by Nani Marquina herself, they were very well received and confirmed the success of the idea of making designer rugs. The company was then immediately asked to design new products for various prestigious designers such as Mariscal, Peret and Eduard Samsó. Furthermore, the collection concept was born: a series of rugs varying in size and
The brand continues to collaborate with wellknown designers. Names such as Javier Mariscal, Ron Arad, Tord Boontje, Ana Mir, Emili Padrós, Martí Guixé, Martín Azúa, Gerard Moliné, Ronan & Erwan Bouroullec o Oscar Tusquets have contributed their creativity to the different nanimarquina collections, which are sold in more than 45 countries. The decade of 2000 was when Nani Marquina’s products, the company and her business initiative were consolidated and recognized. The Red Dot Design Award for the Topissimo rug and the special mention at the Delta Awards for the Cuks and Flying Carpet mod-
els are among the most outstanding prizes the company won in 2003. The company’s high point came in 2005, when it won the National Design Award and the Premi Cambra a la Gestió Empresarial (Chamber Award of Design Management). In 2007, the company received a nomination for the Príncipe Felipe Award for Company Excellence and in 2008 won the Culture National Award of the Generalitat de Catalunya government to the Design. In addition, the Little Field of Flowers rug received a Red Dot Award and the Elle Deco International Design Award. Nani Marquina has also recently won the International Women’s Entrepreneurial Challenge Award from the Manhattan Chamber of Commerce, a personal achievement that led to the 2007 FIDEM Award Entrepreneurial Woman of the Year. Now nanimarquina leads the rug manufacturing sector and exports 60% of its rugs. With the second generation already incorporated into its management, the company continues making, living and offering high quality design. It still adheres to its basic concept: the passion for designing rugs.
colour. The success of all these ideas boosted the brand’s presence in the international market. Years later, the company achieved one of its greatest milestones: it started to manufacture rugs in north India. Since then, craftsmanship has become the differentiating factor of nanimarquina, the value that enabled it to explore new manufacturing methods and new ways of identifying with consumers. Working with craft techniques from all over the world imbues the rugs with a unique character, where sensitivity mixes with fusion and where the human touch, warm and close gains a contemporary strength.
DESIGN MANAGEMENT EUROPE AWARD_2011
DME_Mention for using design to sustain the businessEs social and environmental responsibility Teixidors was founded by Juan Ruiz and Marta Ribas in 1983 as a nonprofit cooperative in order to integrate people with mental disabilities to the working environment. It has facilities in Terrassa (Barcelona), a city with great tradition in the Catalan textile industry. The activity of the cooperative focused on a model of pre-industrial looms, made of wood, sufficiently complex to obtain tissue with a different textures and weights. The learning procedure of the people is long and complex but extremely effective for developing new capabilities and skills to become recognized as weavers, artisans. The company employs 41 people of which 30 are disabled workers and the rest is support staff: management and administration, workshop and finishing, sales, design and communication department. After the first years of the construction of the wooden looms and the learning process, came the need to be economically self-sufficient and that gave birth to the first collections of blankets, bedspreads, curtains, foulards and scarves of high quality and 100% natural materials. The sale was channeled through the national fairs. In 2007, Teixidors replanted
the economic viability due to lower sales, a result from the massive influx of textile products in the global market. After several market studies aimed primarily at export, with the incorporation of Antonia BovĂŠ as sales strategist and design manager profile, a new strategy was formed with a vision for the future. This vision aims at turning Teixidors into a benchmark in the textile sector for the habitat and fashion accessories with values: â€œGreat social impact, sustainable and ecologic in all processes, from purchasing raw material with traceability to finished product of high quality. The innovation in I&D in the traditional processes are the key factors of differentiation of Teixidors, its DNA â€œ. Strategies to achieve the target and vision for the future are directed by the Design Manager who coordinates that all decisions are consistent with the target. They are based on balance and connection between: a) Product Strategy. The design team consists of three people within the same company, specializing in designing and weaving techniques and constantly researching the main factors that determine the outcome
and to get innovative results; b) The 100% natural fibers, the transformation of the spinning, the mixture of different fibers with different twists, the particular tension of the threads in the loom, the washing and the drying are all steps that form the process to reach the expected design. It is work of a laboratory; c) Communication Strategy. The new corporate image, labeling, packaging, Web 2.0, blog and Facebook have to be consistent in the expression of the project; d) Management and direct customer relations. The direct, personal and good service serves us feedback that gains both the client and the company.
DME_Mention for offering structured design services to businesses in an emerging market Velvet Creative Alliance is an alliance of creative teams. Being one of the most successful and renowned graphic, web, information, environmental and strategic design enterprises in today’s Estonia, Velvet Creative Alliance is its clients’ strategic partner in the field of visual communication. Through incorporating design thinking and the evolving methods springing from the latter into the creation of every new concept, they help to see and create new solutions by focusing on the actual need of the end user and his perspective. Velvet Creative Alliance creates comprehensive and clear messages that connect people. Through open innovation, the team explores the needs of the future and use these solutions already today. They create solutions to specific tasks. Before starting to come up with ideas, they make sure they know what they are doing, who they are doing it for and what tools shall be used in the process.
Velvet Creative Alliance makes visual communication work to their clients’ advantage and love turning brave ideas into functioning and profitable solutions. We. Make. Sense.
When performing their work, Velvet Creative Alliance relies on the knowledge, skills and experience of their teams as well as the help of external consultants and partners. They work with clients who enjoy the challenges presented by the ever-changing environment and achieve the needed results by combining skills, the insight of the clients and the needs of users.
DESIGN MANAGEMENT EUROPE AWARD_2011
Velvet Creative Alliance (Estonia)
DME_Mention for the use of design to reach a new market position The Piodao Group was founded in Portugal, in 1992 by a group of individuals passionate for the production of artesian textiles. In time and due to market demand, the company focused on the production of rugs and carpets. As the company grew, in the year 2000 a new 2800 sq. mt. manufacturing facility was built to house what would become a reference of excellence in the production of custom hand tufted rugs. In 2005, giving the international success of its products, the company welcomed Stuttgart based Siegfried & Stefan Braun OHG as a new shareholder, a move that dramatically expanded its reach into the German speaking markets. Currently, the shareholders structure represents 3 generations of a Portuguese entrepreneurâ€™s family, carrying on the same passion and creating a tradition that is duly noted by those in contact with its products. Traditionally, the company manufactures items conceived by some of the most respected names in contemporary design worldwide (Among them Verner Panton,
Patrick Norguet, Marcel Wanders and Karim Rashid). Due to its excellence in quality of craftsmanship, these items are ordered by some of the most respected brand names in the world, who them go on to distribute the rugs to some of the most demanding and discriminating customers worldwide. Today, the companyâ€™s expansion strategy comprises three distinct business units: supplying top international brands as a manufacturer, supplying the contracting industry and delivering a design collection oriented to contemporary retailers across the globe.
AWARD FOR THE BEST MANAGEMENT OF DESIGN IN A MICRO COMPANY
DME_ Winner VITEO was founded in 2002 with the intention to create an innovative company within the outdoor furniture section. The co-founder Wolfgang Pichler, who is responsible for the whole creative area, product design as well as marketing, has been aiming to realize innovative materials as well as groundbreaking design approaches since the very beginning. It begins with the basic ideas for product design, the internal choice of the team working on the product and also the cooperation with external professionals. The outdoor theme is dealt with unequally in different countries or continents. Therefore it is essential to acquire an external and international input in order to guide the designing process into the right direction. The teams responsible for the single projects are set up and, from an early stage, start to cooperate with the so-called specialists out of the production, sales and clients area. When an idea is being developed, it is very common to obtain the opinion and know-how of those who are actually not part of the design process themselves but who know about the market and marketing in order to create products that fulfills various requirements.
VITEO does not seek to make a piece that meets only creative aspects. The brand cares about the holistic approach of a product. Apart from the basic design that includes also production, sales and marketing, an early integration of specialists avoids exploding costs in development and production. Regarding VITEO, the developing process can and should be structured, as creation and orientated process are not mutually exclusive but can operate complementarily if applied in the right way. In VITEO the single phases of product development are being worked off chronologically. At the beginning of a product process it is important to define the development work. After creating the idea, VITEO investigates the needs of the market and the adequate materials. Especially in this field VITEO is seeking innovation: new materials on the market are being tested for their suitability for the special application in the outdoor area. This is where the real design process starts. In practice there are several meetings with the specialists about what is possible and what not. Equipped with the basic information, the creative process heads towards
realization and there are first layouts based on the according input. After the so-called creation phase, there are constant meetings in order to reflect within a big team. This way you do not lose focus and stay on track. The longer the process lasts, the more detailed product development gets â€“ always backed up by feedback from the team, starting with simple sketches or drawings and heading to functional models of prototypes as well as 1:1 models. Within this phase the product has already been developed for mass-production and can be passed on to final assembly. Because of process-orientated designing, negative surprises regarding accordance of design and feasibility can be avoided almost completely. In VITEO design is not a detached part of the company but a central element in combination with all other areas. They see design just as a combined feature but never as a separated topic â€“ yet it does influence the major part of their doings. As the managing level of the company consists of creation and production it is made sure that both areas are equally represented when a new product is being launched.
DME_Mention for its innovative manufacturing and excellence in craftsmanship A small, family-run business situated in the heart of the Tyrolean Alps, ROLF Spectacles produces hand-made, lightweight wood eyeglass frames. For ROLF’s line of wooden eyewear the research and development team has created a new and innovative hinge and utilized the optimized ROLF-lens-system. The new joint’s high quality and functionality allow for easy and safe handling. Moreover it unites all the mechanical properties of a high-quality spectacle hinge: during opening and closing, an integrated mechanism prevents the temple from closing on its own and holds it in the right position. The hinge is screw-less and maintenance-free.
ROLF was founded by Roland Wolf and Marija Iljazovic, who both apply their extensive experience and knowledge of various branches of the optometrist’s field to this project. ROLF‘s team also includes the founder‘s siblings, Christian Wolf, Martin Iljazovic and Bernhard Wolf who further contribute to the developmental process through their knowledge in technology, architecture and design. The company is situated in the small Tyrolean village of Höfen, where the spectacles are hand-crafted and then shipped to destinations around the globe. ROLF spectacles are worldwide available at selected opticians.
DESIGN MANAGEMENT EUROPE AWARD_2011
Rolf Spectacles (Austria)
ROLF-lens-system: A special nylon, which goes through drilled holes, fixes the lens smoothly without warming and cutting the eyeglass frame. The advantages: the closed eyeglass frame provides more stability! ROLF eyewear frame is produced completely out of a natural material and without any metal parts. Our aim is to set new trends in design and to turn new and innovative ideas for spectacles into reality.
DME_Mention for its unique and consistent identity and offer The Supelsaksad Café is a little coffeehouse situated in Pärnu- a lovely resort of Estonia. The Café was created to bring back to life the old traditional coffee house, just like the ones that used to exist during the golden era of the resort, the 1930s. In well-preserved house which was built in 1850 - it was easy and suitable to create a place with a voluptuous and lush style where there is plenty of everything. All the design elements were chosen by designers’ intuitive feeling, not following any rules or standard design solutions. William Morris’ classical wallpapers, old oak tables, Viennese chairs and four dominant colours- fuchsia, radiant blue, electric blue and green turquoise match each other and bring a modern pulse into the midst of history. The best photos of the golden age of the resort are covering the walls – after all it is the biggest brand of the town! Surprisingly photos had not been used before. As furniture and wallpapers, the dishes, waitresses’ dresses, menus and covers of the bills had to match the general conception. Nothing is too posh, but still well thought through and carefully chosen.
Supelsaksad Café (Estonia)
By the end of the renovation process it hoped to attract customers with truly good, honest grub and a pleasant atmosphere. News spread fast in a town the size of Pärnu, but not only - journalists and television crews found the new place and were followed by the editors of the women and home decoration magazines. On several occasions, the cafe became a front-page star. It is really wonderful that this kind of retro-eclectic style is now loved by elegant old ladies, young bohemians, pop stars, families with children and tourists alike. In the spring of 2011 the Supelsaksad Café was awarded the Best Restaurant Interior Prize of Estonia! The design of our café has become a true attraction, so the waitresses are all well aware of that and ready to answer the questions concerning the design. Amidst all the modernity a breath of colourful past served as an innovative idea and was put into practice as a result of design management.
AWARD FOR THE BEST MANAGEMENT OF DESIGN IN A NON-PROFIT ORGANISATION
DME_ Winner (re)Designing French Public Policies The 27th Region is a non-profit organization based in Paris. Founded in 2008, it is supported by the 26 French regional governments via the national association ‘Association des Régions de France’, the European Union, Caisse des Dépôts and the Next Generation Internet Foundation. The project is run by a small team - consisting of one director and two project managers - that collaborates with a national network of 40 professionals including service designers, sociologists, architects, urbanists, anthropologists, digital activists and researchers. Furthermore, about 200 politicians and civil servants are directly involved in the projects initiated by the 27th Region.
Why? The creation of the 27th Region was based on the strong belief that (re-)designing public policies was possible, and that design management could highly contribute to reshape the public sector in several ways, by: - transforming traditional “new public management” of the 70’s into a radically more user-driven model; - developing horizontal practices in public departments that are traditionally organized around vertical silos;
la 27ème région (France)
- encouraging civil servants to use creativity as a way to find new solutions; - promoting the participation of the citizens, and concepts such as co-conception led by users and stakeholders, but also visioning and experience prototyping during the administrative process.
a territory or a public space (neighborhood, village, station, high school, university etc.). Their goal was to develop projects and solutions with people in response to issues related to sustainable development, and to get a better understanding of the potential of design in finding new solutions to existing problems.
The role of the 27th Region is to promote design thinking - combined with disciplines such as social innovation and anthropology - as a brand new culture that politicians should put higher on their agendas in order to find new solutions in fields like democracy, sustainable development and poverty.
Since 2011 and till 2014, as a result of this first successful project, the 27th Region has launched a new program with 5 Regions, called « La Transfo ». Its goal is to help these Regions to prototype their own « design lab » within 3 years.
The 27th Region is a partner of SIX (Social Innovation Exchange), DESIS (Design for Social Innovation and Sustainability) and PERL (Partnership for Responsible Education and Research about Living). Strategic Design Scenarios, based in Brussels, is the scientific partner of the 27th Region. In June 2011, the 27th Region received a national award called « Victoires des acteurs publics » for its new program « La Transfo ».
The 27th Region operates as an innovation lab for the 26 French Regions. In the middle term, the ultimate goal is to empower Regions and their partners with this new culture, and to encourage them to create and embed their own « design labs ». In order to build this knowledge, action-research programs are initiated and run together with the Regions.
How? From January 2009 till December 2010, the 27th Region has launched 12 local experiments, based on the principles of « residences ». In each experiment, a cross-disciplinary team led by a designer has spent 3 months, including 3 weeks of total immersion, in
Membership and awards
Contacts www.la27eregion.fr www.latransfo.net
DME_Mention for fostering community building through design thinking The T+HUIS is a non-profit organization based in a marginalized district called Oud Woensel in Eindhoven, the Netherlands. Its mission is to apply design thinking in the social field in order to search for opportunities for children and students to reach their potential. At the T+HUIS, there is a belief that design can play a key role in society, especially in the area of social innovation. They innovate by using design thinking to create, implement, evaluate and redevelop possibilities. They then trigger new ideas and enable those possibilities to come to life. The T+HUIS creates meaningful and engaging learning experiences to children that wouldnâ€™t normally have access to them, due to their social and economic situation. The learning experiences are offered through free activities and programs for children age 4-14 years and are given shape based on six building blocks that help kids reach their potential. T+HUIS offers low threshold activities at a low cost, which means they can continuously try new ideas.
design thinking for social innovation children
T+HUIS is an innovator in the development and understanding of the ever-changing role of design in the social field. Drawing from experience, and using a design thinking approach, T+HUIS continues to research and develop new approaches and strategies as they grow into a leading social design organization that focuses on the potential of children and their neighborhoods.
T+HUIS is composed by two designers that manage over 90 different students on a yearly basis. Their multidisciplinary team approach means that designers maintain the overview of the organization and students from different disciplines run the T+HUIS and its programs. This is a winwin situation as they offer low threshold and low cost activities for the children and an opportunity for students to put theory into practice.
DESIGN MANAGEMENT EUROPE AWARD_2011
Vestel Electronic Company (Turkey) / / 37 Caetano Bus (Portugal) / / / / / / / / 39 Heineken International (Netherlands) / 41 MEDIUM-SIZED COMPANIES
Lékué (Spain) / / / / / / / / / / / / / / 43 Franz Blaha & TM Concepts (Austria) / 45 Plastia (Czech Republic) / / / / / / / / 47 SMALL COMPANIES
Texidors (Spain) / / / / / / / / / / / / 49 Velvet Creative Alliance (Estonia) / / / 51 Piodao (Portugal) / / / / / / / / / / / 53 MICRO COMPANIES
Viteo (Austria) / / / / / / / / / / / / / 55 Rolf (Austria) / / / / / / / / / / / / / 57 Supelsaksad (Estonia) / / / / / / / / / 59 PUBLIC OR NON-PROFIT ORGANISATIONS
la 27ème région (France) / / / / / / / / 61 T+Huis (Netherlands) / / / / / / / / / / 63
Caetano Bus (Portugal)
DME_Mention for the successful progression of its design strategy
Heineken International (Netherlands)
DME_Mention for its superior branding strategy and touch points execution
Franz Blaha & TM Concepts (Austria)
DME_Mention for the challenging presentation of their DM implementation
the commencement of cooperation with a professional designer and Czechtrade, a national trade promotion agency. This agency promotes, among others, introduction of the product design in the Czech Republic as part of the strategic development of production companies. Until then, the product design in Plastia had been effected through cooperation of technicians, technologists and the company´s internal designer. More than 100 products of the garden, plant care and housing accessories product lines.
20 08 March
the tool-shop established (40 employees). The establishment of a tool-shop enabled us to gain control over the quality and the speed with which injection moulds are manufactured.
products of the garden and plant care line (5 employees).
the beginning of the company history. The first three
/Ing.Stanislav Novotný, CEO/.
A good design is not just the result of processes, but – in particular – of the environment in which it is created…
Participation at the Ambiente trade fair in the Czech Selection of design (11. – 15.02.2011).
20 10 20 11
DME_Mention for the step by step integration of design in business operations
holding workshops and the commencement of other projects with students of design and professional designers. The journey we have embarked upon permeats all the company´s processes.
Plastia (Czech Republic)
together with our external designers, we have prepared 2 projects. Design is also becoming a part of the marketing communication.
The end of
The first half of
building up a development department to be supported by the three existing pillars: Environment, Processes, Philosophy. It is essential to create an environment that incorporates, to the best possible degree, rules as well as freedom, chaos as well as order, a possibility to make mistakes as well as the best results. It is very important for certain things to be defined exactly while other things are left to be controlled by those who develop them or, in other words, the point here is to strike the delicate balance between “how“ and “why“. Inevitably, all the company´s departments are supposed to share one common philosophy.
the commencement of student design support – Plastia patronizes Mixer, a multimedia festival in Zlín. The first positive experience with creativity of design students.
20 10 September
presentation of the first product conceived in collaboration with an external designer at a press conference. The first positive responses from customers and journalists to the introduced trend (80 employees).
Palm-size babies: financial and organizational support of preparatory work towards a photographic exhibition and the exhibition itself (December 2008 to May 2009), cooperation with Czechdesign organization.
PLASTIA / MEDIUM COMPANY / CZECH REPUBLIC
DME_Mention for using design to sustain the businessâ€™s social and environmental responsibility
Velvet Creative Alliance (Estonia)
5 to 48
DME_Mention for offering structured design services to businesses in an emerging markeT
New solutions and new initiatives were adopted for the necessary growth and upkeep of the group. The introduction of design revolutionized the entire system and simplified working processes, which would, before, take an eternity until optimization would be reached. We have studied, considered and invested, and added what that was missing to assert ourselves as one of the best, making a difference through design. Through design-oriented management, we have learned better ways of working, using specific tools making more simple and effective production and operational procedures. What in the past was developed using simply a pen to prepare the drawings on the tufting screen, today is implemented and developed by dedicated software and experienced designers, answering quickly to the end customers demand. Designers that became an integral part of the production process from product conception, all the way to the dynamization and re-orientation of the factory floor improve our overall performance. Changes to a product became quick and immediate. Response follows swift. Variations are almost infinite. With the introduction of a design led philosophy into our management, we’ve geared ourselves to attend global brands, creating premium quality products while maintaining the company competitive. Through product design, we left
Piódão Artesanato e Design, was born in 1992, to meet a challenge: To produce rugs for the German market and to take advantage of a specific opportunity. Having been born to produce under the demanding set of requirements that such clients required, the company produced mainly as an industrial supplier for brands that had their own design. Of course, the first years were spent in improving our capacity and skill, know-how and quality of product and service. The quality of our work reached very high standards and allowed us to start producing for renowned brands and design editors. We were ready to produce any kind of design with the utmost quality. We just didn’t have designs of our own, and all models were received already prepared and processed. All we needed then was to reproduce them in rugs with very little adaptations. On the other hand, our negotiation capacity as a player in the market was extremely limited. Margins were constantly threatened. Our relation with the end consumer was very little to non-existent, globalization was a constant threat and price was key. This blockage had to be broken. We had to be able to reach and hold not only our clients (the brand and the prescriber… the distribution chain) but also the end consumer. We had to leave a mark and create a room for ourselves in the global market, something which would make our capacities stand out, and creating trend at the same time - To establish ourselves as a reference – a leading reference.
Piodao (Portugal) PIODAO GROUP | SMALL COMPANY | PORTUGALto reach a new market position
DME_Mention for the use of design
Design management too us from a purely industrial supplier into a rug design reference. Today, we build trends and the market praises our innovation. We are no longer a simple factory, we lead markets and captivate design followers that we are passionate to please and correspond to. Design management allowed us to break through the deadlock of competition, creating a space of our own, gaining notoriety and nourishing growing faithful markets. Price is no longer the soul key element. Concept, reference, status, quality in product and service and design quality are as, or even more, important. We didn’t just evolve; we became an entirely different business. Our focus is different and comprehensive. We could never have come to where we are today, if not for the timely and much needed introduction of a design-based philosophy into our daily operation.
Finally, we brought in the final piece of the puzzle – Marketing. While implementing our strategy, we went out of our way to find a staff that understood design. Although studying different variables, the truth is that, for us, marketing and design became indivisible. Image and product, the study of tendencies and part of future necessities the market demand, presentation and figuring how to convey our capacity and image – what to show and how to show became two sides of the same coin. Graphic design, product design and Marketing came together. And we got through.... Design itself leveraged our company. It attracted attention, development and growth, as through it we were able to evolve and drastically improve our work, becoming better in everything we do, thus allowing us to keep this passion for what we do alive, constantly thriving and evolving. At the high peak we went one step beyond – we became a group of companies and guided by designers themselves, we now offer an entire range of materials and qualities 5 times greater than before. Texture became a tool. Hand-sculpting became an integral part of the production line adding volumetry to our products. Conception of new materials and how to combine them is now our new design weapon to challenge everyone’s creativity.
a mark in virtually every corner of the world, slowly becoming a reference in rug design. An innovative collection was created, with the Piodao soul in its DNA given each rug an unmistakable individuality.
high-end outdoor furniture
design by Danny Venlet
„Viteo Outdoors is the pioneer of the branch with a special feeling for the right niches. We fight for the good. Once we get something into our heads, we see it through!“
Bringing people closer to their true nature by entering a world of distinctive style, innovative and long lasting products at an exceptional quality and service level
customized outdoor solutions
VITEO is a process orientated company - also regarding the innovation process
„In order to make you smile even when standing in the rain“
lean production system
made in Austria
lean innovation system
It‘s about the mobility of seating.
Perhaps the reason for this is that in the South of Austria the seasons present themselves with intensity: living between minus 20° C in the winter and plus 35° C in the summer makes outdoor living just as exciting as it as varied. Out of this fact arises a particularly close relationship with nature which, like every passion, encourages the sounding out one’s own limits and simultaneously suggests respecting those of nature. Timeless design, Austrian craftmanship and innovative top quality materials form the basis for our outdoor furniture and accessories designed and made for today, tomorrow and the day after. Besides, when being produced these pieces also do not lose sight of the ecological standards.
who we are and what we do
PRODUCT LEAN MACHINE
individual realisation individual requirement
integrated and unwasteful design of PRODUCTS and INNOVATION PROCESS
„We combine outdoor competence and experience to realize individual outdoor desires.“
customized outdoor solutions
PURE COLLECTION SLIM COLLECTION
the story so far...
LEAN INNOVATION is an integral part of a LEAN ENTERPRISE
timeline products branding 55
New MATERIALS and TECHNOLOGIES
GATE 2 DECISION Product Launch
Filter of Ideas
first international fair [Cologne]
06 LIGHT COLLECTION
opening showroom Hamburg
constant presence at fairs (Paris, Milan)
VITEO + Internal Designer and Developers
RETAILER | FAIRS | PARTNERS
S P E C T A C L E S
17 different countries
180 customers in
ROLF was founded by Roland Wolf and Marija Iljazovic, who both apply their extensive experience and knowledge of various branches of the optometrist’s field to this project. ROLF‘s team also includes the founder‘s siblings, Christian Wolf, Martin Iljazovic and Bernhard Wolf who further contribute to the developmental process through their knowledge in technology, architecture and design.
f ro m l e f t : C h r i s t i a n Wo l f ; M a r t i n I l j a zov i c ; M a r i j a I l j a zov i c ; R o l a n d Wo l f
ROLF – Roland Wolf KG Unterdorf 31a 6600 Lechaschau Tirol/Austria
Speziell geformter Nylonfaden
innovations Schraubenloses Brillengelenk aus Holz
The glasses are manufactured in many hours of work by hand. We at ROLF not only produce and design eyewear frames - not Telefon. +43 (0)5672 64712 Fax. +43 (0)5672 6534521 only the sample cases and pictures but also the booths are email@example.com done by ROLF spectacles. www.rolf-spectacles.com
One of our main philosophy is to get back to the traditional crafts - spend more time and love in the product and tr y to transport something personal!
finest wood. made in tirol
The ROLF collection currently consists of 20 models in seven different wood types and colors. Through the further development of technical and design-emphasized it is quickly growing in size. In order not to go beyond the scope, weak sales models are swapped during the development process. Frames shown above are our five bestseller in 2010!
Die G Marti junge Bereic
Die Marija unters gesa Projek
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Der B Lechas den.
Das fü tet me der du Fassun Fassun Gestal sene F
Außer tensiv Gelenk Funkti gewäh tigen Schlie selbsts tigen Gelenk seine Verwe
Für die fertigu gewöl fließen reicht Strukt entfalt
In de Famil Brille stellt. darin, Ideen
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fo u r t h s h o o t i n g
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t h i rd s h o o t i n g
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N E W: S p e c i a l Ed i t i o n „ Co nt i n e nt a l 2 0 “
f a i r M I D O, M a i l a n d f a i r New Yo rk , Am e r i c a f a i r H a l l o f Fra m e s, S c hwe i z
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„ re d d o t “d e s i g n awa rd
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s e co n d s h o o t i n g
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s t ate f u n d e d p ro j e c t
St a r t Pro j e c t n at u ra l h o r n f ra m e Impuls XL
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DME_Mention for it’s innovative Rolf (Austria) With loving attention to detail and bold use of innovative techniques, ROLFmanufacturing and excellence in craftsmanship
n Two n ew a p p re nt i ce s
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f i r s t ex i b i t i o n , Le r m o o s
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5. position G E W I N N Yo u n g e nt re p re n e u r s co m p e t i t i o n 2 0 1 0
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S i l m o d ‘O r w i n n e r 2 0 1 0 c ate g o r y « O P T I C A L F R A M E »
f a i r S i l m o Pa r i s
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1 5 0 0 . RO L F B r i l l e sold
N E W: B a m b o o f ra m e b u f f a l o h o r n te m p l e t i p s
f a i r M I D O, M a i l a n d f a i r D ro m m e s y n , Ko p e n h a g e n f a i r H a l l o f Fra m e s, S c hwe i z
M a rc h 2 0 1 0
T V re p o r t O R F - B e i t ra g / Ti ro l He u te
f i r s t m a j o r p u b l i c at i o n
S i l m o d ‘O r w i n n e r 2 0 0 9 c ate g o r y « F R A M E T E C H N O LO G I C A L I N N OVAT I O N »
M e s s e S i l m o Pa r i s
m a rke t e nt r y
f a i r O P Ti M ü n c h e n
s t a r t re s e a rc h
The company is situated in the small Tyrolean village of Höfen . Tirol . Austria, where the spectacles are hand-crafted and then shipped to destinations around the globe.
prevents the temple from closing on its own and holds it in the right position. The hinge is screwless, maintenance -free and is made of consolidated wood – this material is used because for its hardness, stability and low weight. ROLF frames utilize the optimized lenssystem which has several advantages. A special stitch, which goes through drilled holes, fixes the lens smoothly without warming and cutting. ROLF’s aesthetic standards do not allow for any defect in material or design and our manufacturing process ensures these standards are met. In addition, the closed frame design provides more stability.
about A small, family-run business situated in the heart of the Tyrolean Alps, ROLF Spectacles produces hand-made, lightweight wood eyeglass frames. Our aim is to set new trends in design and to turn new and innovative ideas for spectacles into reality. We at ROLF have developed a new method of manufacturing eyewear frames, which enables us to produce cur ved frames made entirely out of wood.Due to the smooth transition between front and temples that our new method now makes possible, the natural grain and varied hues of different types of wood can now appear to their greatest advantage. In addition, ROLF‘s research and development team has managed to create a new and innovative hinge for ROLF’s line of wooden spectacles. The new joint’s high quality and functionality allow for easy and safe handling. Moreover it unites all the mechanical properties of a high-quality spectacle hinge: during opening and closing, an integrated mechanism
DME_Mention for itâ€™s unique and consistent identity and offer
administrations, promoting capacity building in creativity, participation
disseminating a design driven inclusive approach within the regional
rimentations into permanent «embedded» regional labs, in charge of
From 2011 to 2014, the goal is now to transform these local expe-
Then, manage the transformation
produced, and 50% of them have been implemented.
methodologies for the civil servants, etc. Around 70 projects have been
people), innovative solutions fitted to the actual practices, brand new
seldom active in participatory processes (young, old, unemployed
re-questionning the problems, shared visions, empowerment of people
the results were a much better understanding of the local context,
immersive methods, social innovation and creativity. 24 months later,
approach, inspired by design thinking, co-conception, ethnology and
The method used in all these projects was build on a cross-disciplinary
(«the future of the small railway stations»)...
neighborhood»), energy («low-consumption region»), transportation
health («bringing back doctors in rural areas»), It («open data in the
as education («how to open a high school on its environment ?»),
have been involved in 12 local experiments dealing with topics such
1. Role play with the staff of politicians in North-Pas de Calais (Lille, October 2009). 2 Politicians, civil servant, citizens, working together on the future of regional policies (Marseilles, December 2009). 3 A «speed-dating kit» for teachers and pupils, Gabriel Fauré High school (Annecy, February 2010). 4 The «Wall of the invisible» at the Gabriel Fauré High school (Annecy, February 2010). 5 Presentation after creative workshops in Provence Alpes Côte d’Azur (La Seine sur Mer, June 2010). 6 Workshop during the 27e Région steering comittee (Paris, May 2010). 7 «Off session» during the national congress of the french regions (Marseilles, December 2009). 8 Immersive session in Wazemmes (Lille, March 2011). 9 Co-design with teachers and pupils, Jean Moulin high school (Revin, March 2009)
innovation lab through a new programm
is to make the Regions create their own
thinking. It’s middle and long term goal
munity projects, prototyping and design
lity in public institutions, through com-
tion, social innovation and sustainabi-
goal is to foster creativity, co-concep-
French regional governments, and its
The 27th Region works for the 26
gning Re-desi licies o public p
Building «transformation labs» into regional governement
From January 2009 to late 2010, 8 French regional governments
Design Scenarios (Bruxelles).
logists, researchers. The 27th Region works in partnership with Strategic
of 40 civil servants, politicians, service designers, architects, anthropo-
A small team is working full-time on this project, together with a network
resolving issues of general interest.
nities. It uses design thinking to develop more inclusive approaches to
approaches to policy making for the public sector and local commu-
The 27th Region operates as a lab that prototypes new attitudes and
Union, the Next Generation Internet Foundation, and the 26 French regio-
des Régions de France»), supported by the Caisse des Dépôts, the European
2008 by the National Association of the French Regions («Association
The 27th Region is a non-profit organization based in Paris, initiated in
1:1 test, experience prototype, rough prototyping. 15
confidence, co-conception, user-centric methods and cross-disciplinarity. I am convinced that bringing design thinking into the public sector will be part of the answer to the social, ecological, economical and cultural challenges we have to face all over Europe now.»
the public and social sector. They convincingly argue, through a wide range of case examples, that there is another, better way of creating new public policies and services than the stale paradigm of new public management, which dominated the discourse of public policy for more
Christian Bason, Mindlab, Copenhagen
la 27ème région (France)
to their conviction and dedication to challenging the status quo.»
society. This contribution to the future of societal innovation is a credit
open, experimental and engaging approach to the creation of a better
w w w. l a 2 7 e r e g i o n . f r w w w. l a t r a n f o . n e t
Christian Paul, Deputy at the French National Assembly, former Minister
formation of the bureaucratic culture into a modern vision, based on
force through the cutting edge of design-driven innovation efforts in
than two decades. The 27th Region itself as an exponent of a more
«La 27e Région plays a unique and very important act in the trans-
«The team at the 27th Region has produced an impressive tour de
They say :
king spaces within the regional government
• Development of open labs, «third-places», co-wor-
• Partnership with researchers in politics and public
and new medias ;
• More creative foresight, involving user experience
design and creative methods ;
• Cross-government cooperations using experience
universities, hospitals, etc ;
and ethno sessions in urban and rural areas, schools,
• A logistic platform for the organization of immersive
of design thinking ;
• A team in charge of «hands on» training to the culture
partmental projects ;
• An experimentation area, where to develop cross-de-
• A task-force of «friendly-hackers» beside the govern-
cians, civil servants and the local community ;
tory using co-design and design thinking with politi-
• A neutral transformation, social, innovation labora-
used as a tool to manage institutional responses to changes in society.
innovation function that supports policy making. The design approach is
François Charlier, director of education, Champagne Ardenne Regional Council
rience, with a 1 million cost-cut in the initial budget...
with the community, which led to a better project based on user expe-
But there were no smile anymore when i saw the architect working
people were suspicious about the role design could play in the project.
all the staff of this high school that we were about to rebuilt, many
Part of the prototypes become real projects, ranging from new ways of delivering an existing policy, to brand new policies -for instance in education, transportation, culture, health, etc. Project managers are involved in the production of templates and blueprints, and organize play roles with users to simulate the new project. Tools : Templates, play roles, service prototype, role script, blueprint.
Day after day, the whole process is documented with texts, pictures and podcasts through the blog www.latransfo.net, so that anybody can comment, criticize, suggest new ideas. At the end, the whole story is published in a small book and all of them are gathered in a collection of cases. Several exhibitions are organized during the process to stimulate dialogue with users. Toolkits are published so that people can reuse the methods and tools in other contexts. Tools: Pictures, videos, podcasts, blogs, toolkits, posters, leaflets, exhibition, goodies.
Documenting the experiment
When the 27e Région team began working with pupils, teachers and
In times of crisis, there is a strong need to foster cross-regional learning process, in order to save time and energy through a better exchange between the regions. The 27e Région plays the role of a neutral place where this exchange is made possible. Twice a year, the 27e Région organizes a meeting called «Inter-Transfo», where all the stake-holders can share their experience and improve the whole process together.
The cross-disciplinary team works together with civil servants, politicians, citizens, entrepreneurs, NGO leaders, old and young people to launch a process based on capacity-building, co-production of insights and shared visions on the topics selected with the Region. Tools : Role play, group sketching, issue cards, user journey, brainstorming...
What for ?
Together with civil servants and the population, the team produces blueprints, experiments prototypes and new ways of delivering a public policy, and tests its usability both with civil servants in back and frontoffice, and with people concerned by the policy. Civil servants and politicians are involved in the process so that they change their vision on the user experience. Tools: Blueprint, use cases, usability testing, scenarios, participative story-boards,
employment, future of education or rural development.
In these 5 volunteer Regions, a cross-disciplinary team is «embedded» within the administration and works as a «transformation lab» during 24 to 36 months. This team is composed of four people such as service designer, civil servant, sociologist, artist, researcher, social innovator, etc. Its role is to apply new methods on a policy or project selected with the Region, for instance in the field of youth
The challenge is to embed in the structure of regional authorities an
10 A symbol of the Regions involved in La Transfo 11 A creative lab with ENSCI, design school (Paris, December 2010) 12 Cross-regional meeting for the launching of La Transfo (Paris, april 2011) 13 In progress exhibition at La Croix Cordier technical school (Tinqueux, March 2010) 14 Immersive weeks in Auvergne (Pionsat, Octobre 2009) 15 Prototype of social network website in energy projects (Marseilles, September 2009) 16 Issue cards used with teachers and pupils in Revin (April 2009) 17 Service prototyping of a new car-sharing system in Rennes ( June 2009)
sions. Tools: Moodboard, personas, touchpoints, affinity diagram, actors map, mind map.
same residential school, spends days along with entrepreneurs, meets older people at their home, etc. The goal is to get a deeper understanding of the grassroot situation, practices, challenging the traditionnal vi-
During several weeks, the team spends time on the ground with people through an ethnological approach, creating empathy with the inhabitants and users. The team eats with childrens and teachers, sleeps in the
Ardenne, Bourgogne, Provence Alpes Côte d’Azur, Pays de la Loire, Nord-Pas de Calais.
get their own «regional transformation laboratory» within the next 3 years. These Regions are : Champagne
Among the 8 Regions involved in the experimentation stage until 2010, at least 5 of them have expressed their willingness to implement the «Transfo» project. They will
tools and methods..
Lunch break (we all need one!)
Open work time
In order to keep structure with all the students, we believe in establishing a learning community. We empower the students to teach each other, share their own knowledge, and especially work together in diverse teams. Our daily structure illustrates how we capture and share the knowledge of each individual student and build our company layer by layer.
3 employees (designers)
our programs. as we offer low threshold and low cost activities for the children, and the students can implement theory into practice.
In 2010, over 90 students from 17 schools around the Netherlands and Europe worked with over 400 children in our neighbourhood.
age 4-14 years, and are shaped based upon our six building blocks. Children are the eyes, ears, and doors to the neighbourhood, and as we connect with them, we can connect with the neighbourhood as well. A physical location in the neighbourhood enables us to create a stronger social network where people begin by relying on us, and over time can rely on each other.
that children wouldn’t normally have access to, due to their social or
called Oud Woensel in Eindhoven, the Netherlands. Our mission is to apply design thinking in the social field in order to search for opportunities for children and students to reach their potential. At the T+HUIS, we believe that design can play a key role in the social field, especially in the area of social innovation. Surrounded by a social welfare system searching for solutions, design thinking encourages us to create possibilities and to implement, evaluate, and develop again. We trigger new ideas and can enable those possibilities to come to life.
design thinking for social innovation
Local Fontys Hogescholen ROC
3 employees 90+ students 400+ children
Working together towards same vision
Reaching your potential
(Corporate Social Responsibility)
We work to maintain the connection between the diverse knowledge and expertise with our stakeholders. We are also a key player with our own knowledge, experience, and design thinking amongst our network.
De Lage Landen Frits Philips Muziek Centrum Rabobank Domein Netherlands American Community Trust De Verf Kampioen C1000
Our board is an essential part to our strategy; they know what we don’t. Support from our board is through knowledge in different areas such as taxes, finances, communication, contracts, social sector experience, subsidies, network, and coaching. Our board is mostly made up of De Lage Landen (a financial service company part of Rabobank Group) and a past member of the government specialized in the social sector. With our board, we reach a larger network, and are a stronger force reaching our own potential.
T+HUIS design thinking connects students and children, offering them building blocks to reach their full potential.
We are three designers that manage over 90 different students on a yearly basis. We take a multidisciplinary team approach, with both designers and social workers maintaining the overview of the organization and students from different disciplines running the T+HUIS and its programs.
Social design innovation ...it’s not enough to talk about it
Programs Children come into the T+HUIS, and activities are implemented. Internationaal University in Bialystok Universitat de Grigorna Universita di Bologna della Scienza Karel de Grote Hogeschool Antwerp Keulen International School of Design Academy beeldende kunsten Maastricht Hogskolen in Lillehammer Kolleg for Sozialpedagogy Tirol institute of Technology Sligo Ireland Social University Paris
Eindhovenseschool TU/e Master Industrial Design Design Academy Eindhoven Chirsitiaan Huygens Stedelijk college PCN De Korenaar School 23
develops for the children and neighbourhood are manifested through programs and initiatives built from our building blocks.
Our designs present themselves through low
Head Location Oud Woensel, Eindhoven
New Sattelite Locations
building through design thinking
T+HUIS | PUBLIC OR NON-PROFIT | NETHERLANDS DME_Mention for fostering community T+Huis (Netherlands)
What makes up each T+HUIS location
New Location Different locales
We meet the needs, and support the diverse abilities of the children through over 20 weekly programs such as sports, language, technique, nature, arts, and other special neighbourhood initiatives.
Gemeente Eindhoven (City of Eindhoven)
Our design approach combines and shapes our building blocks into relevant programs for the children, and is an iterative process as we develop, implement, react, and develop again new combinations and shapes.
Discovering new talents
Build reputation of education institutions
Developping new talents
of the ever-changing role for design in the social field. Drawing from experience, and using a design thinking approach, the T+HUIS continues to research and develop new approaches and strategies as we grow into a leading social design organization that focuses on the potential of children and their neighbourhoods. is also about partnering and working with other institutions and organizations to exchange knowledge and experience and spaces in which we can research in collaboration as we grow.
children have about their own situation, experience, or living quality. As children aren’t able to recall and express everything they experience, our research method helps us peel back the layers and uncover the story behind their story.
children and understand their choices and motivations while doing the activity.
Our research process puts children in the centre, and uncovers their needs, abilities, and dreams. We develop design games that act as a platform for dynamic dialogue. We let this inspire us and be our platform on which we design programs and learning experiences that are relevant and engaging for the children.
It is our job as designers to lead a team to uncover the current living quality of the children. We take a multi-disciplinary approach, relying on the expertise and knowledge from all
also empowered as experts of their own experience, and they work with the social workers, pedagogues, and designers to uncover and design opportunities that help children reach their potential. (see T+HUIS Design Research method below)
. Children-centered approach
Making structures, making plans, preparing materials
Building on the expertise from each of our students means the T+HUIS must capture and translate the knowledge into both our design, and pedagogic approaches. We have established based on our experience six building blocks that we know are important for all children to experience and develop.
creative time Teams together buidling and develop programs for the children.
Students research, develop, and give workshops about their own area of expertise.
Gathering every morning to keep the diverse students on target, and contributing to the fullest.
NT LEME IMP
DME Network Design Management Europe Network is a pan-European network aimed at raising awareness regarding the contribution of design management to the sustainability of European businesses, public services and Non-Profit and Non-Governmental organisations. Its members include Design Support organisations, Business Development Agencies, Knowledge Institutes and Governmental Bodies that work towards the promotion of design and design management. The DME Network runs, yearly, the DME Award competition to honour some of the best design management examples from across Europe and conducts continuous research for the benefit of industry, education, policy development and the continued evolution of the DME Award. The DME Networks invites European organisations involved in the promotion, awareness raising or education of design management that wish to integrate the DME Network to please contact the DME Network Board Secretariat for more information: Barbara Cruz European Design Centre T: +31 73 610 4000 firstname.lastname@example.org
DME Network members: AUSTRIA / Design Austria BELGIUM / Designregio Kortrijk / Design Flanders CZECH REPUBLIC / Czech Trade ESTONIA / Eesti Disainerite Liit FRANCE / Agence pour la Promotion de la CrĂŠation Industrielle / CitĂŠ du Design GERMANY / Design Zentrum Nordrhein Westfalen ITALY / Associazione per il Disegno Industriale LUXEMBOURG / Design Luxembourg THE NETHERLANDS / European Design Centre, City of Eindhoven / INHOLLAND University
g n ni
POLAND / The Silesian Castle of Art & Enterprise
n a l
PORTUGAL / Centro Portugues de Design
SPAIN / Barcelona Centre Disseny SWEDEN / Stiftelsen Svensk Industridesign UNITED Kingdom / PDR, University of Wales Institute Cardiff, WALES / Centre for Creative Industries, SCOTLAND
The Design Management Europe Award provides the unique opportunity for Europeâ€™s most innovative companies and organisations to present their Design Management practices in detail and gain recognition for their unique Design Management utilization and exceptional performance. One of the objectives of the DME Award is to encourage innovation and advocate dynamic implements of Design Management as a strategic tool. The submitted posters give the opportunity for each company to not only demonstrate their own unique practice of Design Management to the public, but enables self-reflection and assessment of their own processes and strategies. The exhibition of these posters adds to the growing pool of knowledge, stimulating the field of Design Management.
Academic research in this field is young and diverse with untapped potential. The ambition of the DME Award is to raise the standards of Design Management and to develop it further as an academic discipline, validating its key part to enhance competitiveness and the economic performance of European companies by exploring new skill sets, devices and strategies for the future generation of design managers. For this purpose, the DME Award has gathered over 350 questionnaires from their entrants over the past four years. These questionnaires were explicitly de-
signed as a research tool to gain further insight into companiesâ€™ Design Management practices, covering the following areas: 1. Company data (company size, employee count etc.) 2. Financial data (turnover, investments, etc.) 3. Design approach (selection for design, use of design etc.) 4. Self-assessment (affects of DM on performance, customer satisfaction etc.) Doctoral research at the University of Wales Institute, Cardiff is being conducted based on this enormous amount of academically valuable data. This research addresses the core question of the impact and potential positive correlation of Design Management on economic performance. Addressing this lacuna of knowledge may have a significant influence on the basic principles of Design Management organisation and execution in the future. Two conference papers presenting the early findings of this research have already been published. Based on mapping the evolution of the New Product Development process and its design sub-process, it is hypothesized that New Product Development success activities which promote product success are also the central activities to the Design Management process that leads to successful products.
Thus, nine activities deemed important for success were established. The empirical analysis of 313 questionnaires demonstrated that the majority of the DME awardees employed each of these nine established success activities and thus it may be adduced that these activities are universally adopted by successful companies. However, the relative importance of each individual activity and the existence of possible additional activities remain unclear. A value ranking system was developed and the previous DME Award entrants were ranked according to their effective utilisation of the nine activities. This ascertained the top four performing companies based solely on the usage of these activities. These four companies will be interviewed to address the open questions of the importance, centrality and completeness of the identified success activities. The developed interview was used in a pilot study with one of the 2009 DME Award winners and gave preliminary hints suggesting that utilizing a set of equally important and interacting activities is considered to be more important than using single activities non-synergistically. It is expected that the following four interviews will lead to further enlightenment of this question and pave the way to ranking the activities, aiming to identify a standard set of success activities for Design Management.
DESIGN MANAGEMENT EUROPE AWARD_2011
Sebastian Hesselmann / PhD Researcher
DME: Design Management Research and Application
DME AWARD 2011 COORDINATION The DME Award 2011 was organized by: Ilona Gurjanova, Estonian Association of Designers
DME Award 2011 jury day Moderation:
DME Award 2011 administration:
Special Thanks to:
European Design Centre, The Netherlands
Carlos Aguiar Erkki Kannus Jan Kriekels Janek Karakats Jan-Erik Baars Markko Karu Mart Sander Michal Stefanowski Piret Potisepp RenĂŠ Vilbre Sebastian Hesselmann Villu Veski
DME entries collected by: DME Network members and collaborators
DME Award Research:
Jean Schneider, Agence Pour La Promotion de la CrĂŠation Industrielle
PDR, University of Wales Institute Cardiff
Markko Karu, Brand Manual
Barbara Cruz, European Design Centre
DME Award 2011 Book of Winners design:
The DME Award 2011 was supported by: Cultural Endowment of Estonia (Eesti Kultuurkapital) European Culture Capital Tallinn 2011 Estonian Ministry of Economic Affairs and Communications City of Tallinn
-----------------ROTERMANN QUARTERS TALLINN, ESTONIA EUROPEA MANAGEMEN DESIGN -------- NT AWARD GALA RESULTS -----------"IF...LA OF -INNOVATI B:BEST ------ NS “CITIES ON IDEA” AND ----- EXHIBITIO TRIA, TALLINN FOR ALL DESIGN INLAND,AUS PAIN, F COMPETIT FOR ALL” FROM K,FRANCE,S IA, -------- IONS DENMAR IA,LITHUAN , S * PECHA -----------MALAY M,PORTUGAL A BELGIU AND ESTONI ----- * FASHIONKUCHA * DESIGN SHOWS ITALY ---------N -------- NIGHT CLUB ---- ERENCES O -------F * CON VATION & W --W W . D INNO E DESIGN -- ------ ISAINIOO.EE SERVIC ---------- * DE-------------------------S --* INNOIWGWNW.DDRIISVAEINNIO*O----------- SHOPS .EE ---V-A-T-I-O-N-!* WORK DESIGN * ------* DESIGN * FOOD GN AUCTION ---D R I VEN * I * INNOVA * DES ---------T I O N! * ------
you reached your friends more often offline than online?
DESIGN MANAGEMENT EUROPE AWARD_2011