PhD content in brief

Internationalization of design research and education centers.
Promotion of international design networks
Valentina Auricchio

Today, small enterprises and artisans are facing a difficult moment in which they are not able to understand how to survive in a evermore competitive and global market. They no longer have contact with final users, which often live in other territories and belong to different cultures, and do not have the tools to connect and innovate at an international level.
Since the early 70’s, designers around the world have been working in this arena with the aim to help artisans reach new markets and learn how to develop autonomous innovative processes. Through transfer of knowledge and support in creating networks, designers have shown unique capabilities that can support internationalization processes of territories worldwide by:
_identifying new markets and interpreting cultures (EXPORT);
_identifying new technologies (CO-PRODUCTION);
_identifying new cultural context (CO-DESIGN).

In this scenario, design research and education institutions have had a fundamental role in engaging new research paths and developing education programs in the fields of design management and strategic design in order to support international competitiveness. The strive for internationalization has pushed design institutions to enlarge their networks, connect with territories and give students and staff the opportunity to widen their view. By doing so, they have become strategic entities for the internationalization of their countries.
In the knowledge based society, education and research institutions have become important actors in supporting the international competitiveness of their territories by developing innovative researches and forming new professional profiles.
Therefore, design research and education institutions have become gateways for companies interested in connecting and competing internationally.

The main aim of the research is to identify projects in which design institutions have supported the internationalization of productive territories in order to stimulate an international debate in this area.
The area of reference of the research is Social Design and it historically refers to those projects in which designers have had an important role in connecting the periphery with the center. Victor Papanek, Gui Bonsiepe and Victor Margolin have been the main design theorist in this area.
The research developed has aimed to collect projects that have been carried out in the past ten years in this field. Projects that have been developed by design centers, institutions, individual designers that demonstrate that design can have a strategic role in social and economical development. These projects are mainly lead by the desire to help artisans and small producers to reach new markets and to build connections with partners worldwide.
The research has been lead through on field research and interviews of actors involved in the debate and in the projects detected. The projects collected have been saved in an “online platform” (blog of the research which has been the a first interface with the research community.
Fifteen projects selected out of the many projects collected in the blog have been briefly explained through graphs and maps which give a general understanding of the state of the art in this field.

The analysis of the project has been done at different levels:
_geographical map of territories and actors involved;
_chronological map of the projects;
_role of the design actors in the projects;
_results respect to the internationalization of the territories involved;
_aims and objectives of the projects;
_project phases.

The final analysis of the projects aims to give a future view on the trajectories taken by the actors involved, the lessons learnt and the suggestions on how to take forward a debate in this field in order to develop new research and form professionals.
Today, there is a large amount of design centers, institutions and professionals who believe that design can have a strategic role in helping artisans and small companies in building global value chains. This belief has been demonstrated through real projects that show that designers are capable, not only in developing new products and services, but also in building global value chains that allow artisans to access new markets. Through these projects, designers transfer innovation capabilities to communities, enabling them to connect with partners worldwide.
However, this field is still not recognized as a research field in design and there are very few courses which aim to form professionals capable to replicate successful experiences in other contexts. This is also due to the fact that, up to today, design tools applied have not yet been codified.
Although the methods and tools identified in the projects still require confrontation and verification in other contexts, the catalogue of projects collected throughout the research is the first of its kind and the hope is for it to be a starting point for an international debate on design methods and tools applicable in this research area.


The following list of posts are a collection of interesting articles which have been collected during the PhD research. Some of them are Design Centers, others are projects, others are links to websites.
Of these posts, 15 case studies have been picked out to be analysed in depth.


Saturday, 22 September 2007

Ten Thousand Villages

Since 1946 Ten Thousand Villages has supported the work of literally tens of thousands of artisans in over 30 countries in Asia, Africa, Latin America and the Middle East, making us one the largest fair trade organizations in North America. Working with more than 100 artisan groups, we purchase fine pieces from craftspeople with whom we have longstanding, nurturing relationships…helping to bring dignity to their lives.
Ten Thousand Villages is a founding member of the International Fair Trade Association, an organization that includes over 200 members in 55 countries, including many artisan groups in developing countries. We are part of a worldwide movement that is striving to improve the livelihood of disadvantaged people in developing countries through the expansion of fair trade.

Friday, 21 September 2007


A Eurostars project is a European research and development project. It can address any technological area, but must have a civilian purpose and be aimed at the development of a new product, process or service. A Eurostars project is collaborative, meaning it must involve at least two SME participants (legal entities) from two different Eurostars participating countries. In addition, the main participant must be a research-performing SME from one of these countries.
The role of the SME participants in the project should be significant. At least 50% of the project’s core activity should be carried out by SMEs. This percentage can, however, include minor contracting. The consortium should be well balanced, which means that no participant or country will be required to invest more than 75% of the total project costs.A Eurostars project should be market-driven: it must have a maximum duration of three years, and within two years of project completion, the product of the research should be ready for launch onto the market. The exception to this rule applies to biomedical or medical projects, where clinical trials must be started within two years of project completion.

Wednesday, 19 September 2007


The birth of DANISH EDGEDANISH EDGE is sponsored by the Danish Ministry of Culture and is part of a strategy aiming to strengthen Danish design over a four-year period. A key priority is to create synergy between Danish design, crafts and architecture through an array of initiatives that will leave their mark in an international context. This means that for the first time, the Danish Design Centre, Danish Crafts and the Danish Architecture Centre have joined forces to develop the strategy and to launch a number of collective activities. Download summery of the strategy

The activities include:
_International branding activities focusing on China and New York
_Launch of the international website and newsletter Danish Edge
_Travel grants for young Danish designers, craftspeople and architects who wish to go abroad to improve their professional skills
_Consultancy aimed at establishing new learning opportunities for young Danish designers, craftspeople and architect

BCD - Barcelona

BCD works in three fields: business advisory services, promotion and information.
Some activities we carry out:
- - - - --
_Seminars & conferences about design in business
_National Design Prizes in collaboration with the Ministry of Industry, Commerce and TourismOrganisation of design competitions
_Contact with foreign companies, which want to set up a design office in Catalonia
_Partnership in European design and design management projectsProviding information about designers, companies and events to the international design media

BCD collaborates with the main professional, training and cultural institutions of our country, as well as with the international promotional design bodies of other countries around the world.
BCD is the first step for companies willing to improve their design management skills. Design management allows a company to use the input design in an efficient way for a better fulfilment of its corporate goals.
BCD does not answer to private interests, but it promotes actions for the benefit of professional and business world and of the general society.


Workshops for SME
Design Flanders wants to stimulate SME to integrate innovation and design in the strategic planning of their company. Our position is that design is a critical success factor for a company and clearly offers added value.Design Flanders wants to present a number of successful role models via workshops to help these dynamic organisations cross a threshold that can make them even more successful.


Design Support for business
Design Support is the provision of advice, focused promotion, facilitation and mentoring to raise awareness of design issues and to help businesses define and implement their design-related activities. Our team of advisors are all experienced designers who will help you to introduce or develop the use of design with a business but will not actually undertake the design work itself.
Wales has a creative and diverse design industry and the Design Directory for Wales provides free and efficient access to details about the design expertise available here.
For each design business the directory includes full contact information, details of their design expertise and an optional portfolio of recent work. Managed by Design Wales the Design Directory for Wales is reviewed regularly to ensure that the information is up to date.
FURTHER SUPPORT FROM DESIGN WALESDesign Wales is funded by the Welsh Assembly Government to provide a free and independent design advisory service for Welsh industry. With over ten years experience in providing design support for industry Design Wales has a wealth of knowledge in how best to manage and address design issues in your company. If you are a Welsh business and would like support in making use of the design expertise available in Wales or would like to discuss how to manage design in your company then please visit the main Design Wales website or contact us directly.


Design Wales provides design support for individual Welsh businesses and undertakes a wide range of activities to encourage and develop the use of design in Welsh industry and education.
Design Wales provides a free and independent design support service for Welsh industry. The main objectives are to support Welsh companies in realising and achieving their design-related objectives and to promote design as a route to a sustainable competitive advantage.
Design Support is the provision of advice, focused promotion, facilitation and mentoring to raise awareness of design issues and to help businesses define and implement their design-related activities.
Our team of advisors are all experienced designers who will help to introduce or develop the use of design with a business but will not actually undertake the design work itself.

IWDS - international design support

Schemes for design support and design promotion initiatives are no longer a novelty. Almost every country in the world runs either design-dedicated programmes or studies for the establishment of strategies that will enable local companies and the country to exploit design for their economic development. It is clear that we have passed the stage of advocating the importance of design strategies. Nevertheless, it is recognised that there is a need for further mature discussion and sceptical evaluation of current activity while providing inspiration for new challenges and directions. This is the objective of the third International Workshop on Design Support – IWDS 2006 which will take place in Cardiff on 10 - 11 May 2006


SEEdesign is a network for the dissemination of good practice relating to design support for small companies (SMEs). It is made up of seven European partners who are cooperating in order to capture and build upon the knowledge accumulated within the various design support programmes. It aims to improve the effectiveness of the support provided for local SMEs relating to design issues in Europe. SEEdesign will operate from March 2005 until December 2007 and be part-financed by the European Union (ERDF) within the INTERREG IIIC Programme. Activities will include a series of International Workshops and Seminars involving the partners, design programmes and representatives of the small business sector; a network database; a library of good practices in design support; and the publication of bulletins to disseminate the information gathered over the three years of its lifespan. In parallel, the partner organisations are cooperating in the development of measurement tools to objectively assess the impact of the design advisory activity within SMEs and the wider local economy.

Monday, 17 September 2007


Better by Design aims to help New Zealand companies increase their exports and profits through the better use of design in their products and services.
It’s about using design to differentiate and add value. To create desirable products and services with a meaningful point of difference which competitors find difficult to replicate. Well designed services and products are more likely to earn a higher premium, gain a bigger market share, be better quality and cost less to produce or deliver.
The key capability building initiative from Better by Design is the Design Integration Programme. It is a six-stage design journey that aims to help companies integrate design through all aspects of their business – right from leadership, culture, strategy and research, through to functional and aesthetic design, production, packaging and branding.
Other initiatives from Better by Design include design education internships for graduates, a comprehensive design directory to help companies select the appropriate design partner, information resources via the website, events and education courses.
Join up to get regular news on Better by Design here.
Better by Design is part of New Zealand Trade and Enterprise.

Thursday, 13 September 2007




L’iniziativa Il design come ricerca si svolge a Treviso presso la sede del corso di laurea in disegno industriale (claDIS) dell’Università IUAV di Venezia.
Si tratta di dieci workshop (dal 25 settembre al 3 ottobre) svolti nell’ambito del corso FSE Tecniche produttive industriali in stretta collaborazione con dieci aziende.
Circa 180 studenti guidati da designer di chiara fama e affiancati da tutor sviluppano una esercitazione progettuale attorno a tematiche cruciali per il design contemporaneo.
Oltre a costituire un’occasione didattica rilevante, i workshop hanno anche lo scopo di avviare e consolidare rapporti con le realtà del Nord Est presenti in modo innovativo nell’ambito della produzione di beni industriali. L’università si propone così di coinvolgere un numero crescente di aziende per estendere e approfondire i legami tra ricerca e ambito lavorativo. Attraverso il confronto diretto con le imprese infatti gli studenti potranno acquisire esperienze in grado di aumentare le loro competenze professionali e le capacità di intervento nel mondo economico e produttivo. A loro volta, le aziende entrano in contatto con la ricchezza di idee, di metodi e di proposte provenienti dalla ricerca universitaria e possono conoscere direttamente i giovani progettisti che si affacciano sul mondo del lavoro.
I risultati dei workshop saranno presentati in una mostra collettiva promossa insieme dal corso di laurea in disegno industriale e dalle dieci imprese coinvolte.


NABAIncontri di Design - Altra GeografiaGiulio Vinaccia -
'Design Democratico'

06/04/2005 alle ore 18, presso l'Aula Magna della NABA, in via Darwin 20, a Milano, si aprirà il nuovo ciclo di incontri dedicato al design dal titolo 'Altra Geografia', a cura di Alessandro Guerriero, Stefania Vaccari, Rachel Fincken, Monica Rivella e Fatima Bianchi. "Altra Geografia è il tentativo, di entrare attraverso le porte del futuro controllando carte geografiche a più dimensioni per aprire nuovi sbocchi. Ecco allora una serie di nuovi passaporti che rendano possibili dei viaggi al di là della cosiddetta realtà globale verso culture parallele e nazioni invisibili. Vorremmo dare risposte a domande non fatte… Ci piacerebbe costruire magazzini stilematici per viaggiatori senza meta… Vorremmo reinventare il presente ed essere antagonisti con noi stessi…" (A. Guerriero). L'ospite della 1. conferenza è Giulio Vinaccia, Industrial Designer e consulente per progetti di sviluppo internazionali. Nel corso dell'incontro Giulio Vinaccia illustrerà NANDEVA, Progetto Internazionale di Design Democratico, che promuove l'analisi delle culture materiali originali come punto di partenza per lo sviluppo di nuove tipologie d'oggetti. Obiettivo dell'iniziativa è riscoprire e preservare tecniche, espressioni tradizioni tribali, partendo da un'idea di design come azione democratica che permette a comunità senza disponibilità economica di accedere alla consulenza gratuita e volontaria di esperti internazionali. Nandeva coinvolge in particolare le popolazioni artigiane del Brasile, Paraguay e Argentina che sono state "spostate" per la costruzione della diga di Itaipu e la conseguente creazione di un enorme lago artificiale: grazie al progetto gli abitanti di queste zone imparano ad utilizzare nuove materie prime ecologiche e a creare nuovi prodotti che permetteranno loro di commerciare e vivere dignitosamente nel pieno rispetto della loro identità culturale e delle tecniche artigianali tradizionali. L'attività di design attraverso laboratori creativi rompe così l'isolamento classico delle comunità artigianali, le mette a contatto tra di loro, fra le nazioni vicine e con persone di tutto il mondo, rendendole visibili e quindi "difendibili" (comunità sconosciute scompaiono ogni anno senza che nessuno se ne accorga).


San Marino Design Week

13th – 14th september 2007:

Conference Design beyond development borders

Starting from the most meaningful experiences we recently had in many countries of the south of the world, from international institution, non-governmental associations, and independent designers the conference aims at identifying the themes and the better procedure to improve the contribution of design to the development of local economy, considering two demands:

• define the most innovative typologies to answer the primary demands of the local populations and to improve environment, society and healthcare,

• improve the local production for a wider commercialization also considering the network of fair trade,

Besides allowing a confrontation between international experts the conference will also enable to introduce and deepen the themes that we will develop during the Design Workshop that will start after the conference.

Workshop 2007

Design for social improvement

Following the experiment done in 2006 with San Marino september Workshops,on the “Enlarged Use”, this year workshops will be organized on the theme of the“Design for social improvement”.

The 120 enrolled students will be divided into six work groups, some concerning the field of graphics and visual communication tackle the themes of sensibilization campaign promoted by international organisms (ONU, FAO, Amnesty International, ecc) and others about product design deal with problems of the primary needs of the local populations (water, health,etc.) and the possibility to lay the emphasis on local productive capacities.


By Valerio Vinaccia and Andrea Krüger
Democratic Design, that promotes the analysis of the original material cultures as a starting point for the development of newtypologies of objects.The goal is to rediscover and to preserve techniques, expressions and local traditions starting from an idea of design as a democratic action that allows poor communities to access to free and voluntary consultation of international experts. The activity of design through creative workshops goes beyond the classical isolation of the handicraft communities making possible a comparison between them, the surrounding nations and with the people of the whole world, making them visible and therefore “defensible” (communities disappear every year and nobody knows). The project develops through an iconographic research that identifies expressions and peculiarity of the culture at stake, to translate them in a basic bi - dimensional and three - dimensional material, on the base of which the propositions will develop.

Tuesday, 11 September 2007




Workshop objectives
_Identify strategies and partnerships that will link the bamboo producer countries to markets and improve their capacity and linkages to cater to such markets including institutional, financial, logistical and regulatory aspects
_SWOT analysis on different producer (action research) projects, kinds of markets and policy and institutional aspects relating to opening new markets
_Product design improvement and establishment of groups of designers, architects, partnerships for the development of marketable product families/groups
_Role of INBAR to organize rural producer enterprises
_Develop European and developing country partnerships in order to gain market access and organize a trading mechanism for the marketing of the community bamboo products (e.g. trading platform in Europe)
_Determination of information and communication needs

Global Initiative for Marketing Community Based Bamboo Products

The global marketing initiative aims to help poor bamboo producers in Asia, Africa and Latin America access information and technical support in line with larger markets towards bridging the infrastructural gap between the rural producer and the urban buyer.
The GMI is a sub-project of the INBAR Livelihood Development program, which began in January 2004. It is designed to be an outlet and income generation mechanism for the supply driven activities within INBAR.

GMI Activities:
_Creation of database
_Creation of networks
_Identification of existing products with market potencial
_ Development of product catologues
_Creation of GMI website

example project:

Ms. Lara de Greef is a Dutch product designer. She worked in India through the GMI through a collaboration with DDiD, for a period of 2 months, beginning in June 2006. Lara was based in Bagthan, Himachal Pradesh, together with fellow Dutch designer Ms. Eliza Noordhoek, where they designed and trained the field staff on new product lines of bamboo products for the European market.
After this session they further designed products for production in Bagthan while based in the Design Center. These products will shortly be available on this website. Documentation of this design project with the designers is already online in the form of a web log on the DDiD website in Dutch accessible at On her return to the Netherlands, Lara participated in the 'Bamboo Labs' which was a design workshop to showcase bamboo as a material for modern consumers as interpreted by a cross section of Dutch Designers. A documentation of this initiative titled 'Dutch Design meets Bamboo' has been published.


Dutch Design in Development

DDiD matches Dutch designers and SME's in developing countries.
Dutch Design in Development is a matchmaking platform between professional Dutch designers and marketeers and exporting Small and Medium sized Enterprises (SME). SMEs can request advice in the field of graphic, spatial, interactive, product and brand design. DDiD acts as a mediator by facilitating the selection procedure and posting of Dutch experts. Furthermore, DDiD organises meetings for designers to inspire them with its results and goals.
Dutch Design in Development (DDiD) is a matchmaking platform between professional Dutch designers and on the other hand exporting companies (and design academies) in developing countries. With the expertise of experienced Dutch designers businesses who export to Europe get a better chance on the European market.

DESIGN FOR BUSINESS.FI is produced and maintained by Design Forum Finland, Design Museum, Finnish Association of Designers Ornamo, Finnish Crafts Organization, Grafia and University of Art and Design Helsinki.


Design Forum Finland actively promotes the competitiveness and development of Finnish industry and culture through the means of design. This work seeks to improve the exposure of Finnish design and to increase the use and applications of design in industry. Design Forum is an information centre of design presenting a wide range of news and materials on the achievements and strengths of Finnish design both within the country and abroad. Design Forum organizes exhibitions both in Finland and internationally, in addition to projects promoting the use of design, information services and publications.Design Forum Finland is maintained by the Finnish Society for Crafts and Design, which was founded in 1875.
Design Forum Finland makes Finnish design know-how internationally known by developing the Finnish Design brand.
DFF increases the demand for Finnish design by:
_providing media and sales promotion services
_by arranging design exhibitions, competitions and prizes
_by means of Design Forum Shop.
Design Forum Finland’s main customer target groups are:
- International and domestic media (emphasis on leading business and design media)
- Designers and design agencies
- Design intensive companies (where design is seen as a competitive advantage)
- The general public (e.g. exhibition visitors, shop customers and firms)
Design Forum Finland’s services are:
- Media services
- Sales promotion services
- Exhibitions, competitions and prizes
- Design Forum Shop
The contact groups of Design Forum Finland form a national and international design network. These contact groups are, besides the customer target groups, the administration, organizations of the public sector, towns and cities, communities, members of the Finnish Society of Crafts and Design, other actors in the field of design in Finland and abroad (e.g. educational and research communities, professional organizations and museums) and organizations representing Finland abroad.


Designium, the New Centre of Innovation in Design, is built upon close collaboration between the University of Art and Design Helsinki, the University of Lapland, Helsinki University of Technology (HUT), and the Helsinki School of Economics (HSE). The cooperation also includes other universities, polytechnics, businesses and public organisations.

M i s s i o n
The mission of Designium is to promote the development of national design policy and the internationalization of Finnish design. The aim is to develop design into a major competitive factor for Finnish industry.
V i s i o n
Designium and its cooperation networks will become a major cluster of design expertise nationally and internationally. It will promote the internationalization of the design industry, and its activities will have considerable positive impacts on the national economy.
S t r a t e g y 2 0 0 4 – 2 0 0 7
Designium will promote the transfer of new design knowledge and skills to the business sector. It will also promote the utilization of design by the economy with a view to achieving significant growth in the international competitiveness of Finland and improvement in employment in Finland. Designium will promote the creation of new knowledge and expertise in design, as well as market-driven, multidisciplinary research and development, and the commercial utilization of results. Research will be supported by developing new forms of cooperation in innovation, such as experimental and laboratory projects that serve the needs of the business sector. This will be done in cooperation with the departments of the University of Art and Design Helsinki, other universities, research institutes and the business sector. The objective will be to promote the use of design expertise in the innovation and product development activities of businesses and to create new innovations. The key partners of Designium will be the departments and units of the University of Art and Design responsible for research and teaching, the expertise of which also constitutes the foundation for R&D at Designium. Designium will produce knowledge about the current situation and international trends in design, implement programmes that promote the development of design and create new international contacts.


Last October the Centre for Design Innovation commissioned a survey of 405 SMEs from a range of different sectors located in both the Republic and Northern Ireland. The brief of our survey was to examine the relationship between design and innovation and how it correlates to business performance. The primary finding of our survey was that Irish companies that use design experience more success that those that do not. The research also found that companies using design are less risk averse and more likely to be developing new products and services. They are also less likely to be competing on the basis of price. The findings suggest that companies are growing and succeeding because they are innovating and moving. They are not waiting on the challenges of the global economy, they are using design to meet them head on.


Making the transition between art and design education and the complex world of international design consultancy is what many Central Saint Martins graduates aspire to.
The Design Laboratory helps them make that step.Central Saint Martins established the Design Laboratory as a creative bridge between education and the commercial agenda of industry, consultancy and business. It is a design studio housed in the busy and vibrant atmosphere of Central Saint Martins Innovation. The Lab draws on some of the most able and multi-talented of recent graduates from University of the Arts London courses at all levels.Graduates are employed as part of a creative team of designers in a managed, project-orientated, studio environment. They work on commercial briefs with real deadlines, real fees and a wide range of clients with whom to negotiate and inspire.Projects are in key areas such as branding & communications, product design, interiors and trend forecasting, or any combination of these. Designers work in collaboration with clients as enablers, strategists, leaders, implementers and team players. They are employed as creative thinkers who can translate concepts into realisable solutions while challenging and initiating change in the real and digital worlds.

Understanding World Capitalism

Economics II
Understanding World Capitalism
Why do some nations remain poor while others have rapidly industrialized? Why do poverty rates rise even as stock markets spread into emerging markets. Does the heightened internationalization of markets mean that national sovereignty is a thing of the past? What are the merits of the policy proposals of the anti-globalization movement? This course will study some key economic concepts and the major institutions regulating the international economy--labor markets, the balance of payments, transnational corporations, exchange rates, the IMF, World Bank and WTO--in order to build a framework for understanding these and other important questions about today’s world economy.
Credit Hours: 3


Fashion for Global Markets
Explores fashion in the global marketplace, focusing on the effects of social, cultural, and economic factors on the merchandising and marketing of branded and licensed products. Working in teams, students develop a cohesive product line based on either an existing brand or hypothetical brand. 3 credits

Focuses on production management and supply chains, including sales forecasting, sourcing materials, sourcing contractors, cutting procedures and techniques, assembly procedures and techniques, quality control and costing, and the warehousing and shipping of finished products. Emphasizes gearing production to fit the manufacture of goods for a specific market. 3 credits

Explores the challenges facing apparel manufacturers and retailers in penetrating multinational markets. Focuses on analysis of successful examples of international brand profusion. Topics covered include: analyzing potential of global markets, identifying the target consumer and the competition, brand positioning, market testing, centralization vs. localization, customization, licensing vs. vertical, launch strategies, distribution and logistical challenges, and marketing campaigns for introduction. Students will formulate an original marketing plan for the worldwide distribution of a hypothetical brand. 3 credits


Through research, advocacy and action, Designmatters strives to engage students, faculty and staff in an ongoing exploration of the links between design and issues of social and humanitarian importance.
We believe that design, responsibly conceived and applied, can contribute to solving such contemporary challenges as sustainable development and providing for basic needs and services, including adequate public health, safety, education, housing and transportation.


"If you as a designer don't remember that design is about creating things that makes peoples lifes better, then you are a part of the problem, not the solution."
-Richard Seymour, Dick Powell

Design for Africa was a 7 month long trip through Africa with the aim of bringing design as a development tool for the third world into focus. The main project took place in Nairobi, Kenya, where we carried out a two month long design project in Kibera, the largest slum in East Africa.We cooperated with the local NGO Carolina for Kibera and the people of Kibera to attack the local trash problem. The expectation is to not only develop useful solutions but also to leave behind knowledge about creative and rational problem solving.

Internationalisation course

TU Delft
Master's Year 2, ECTS: 3
Responsible lecturer: Ir. J.C Diehl

The profession of industrial designer has become international is several ways. Firstly, industrial designers working in local companies are faced with international aspects of product development and management such as entering international markets, outsourcing production to other countries, international product policies and globalization. Secondly, graduate industrial design engineers will increasingly be finding jobs in other countries as well as their own and will be working in international teams. In order to prepare students for industrial design engineering in the international context, they will be introduced to the international aspects of their profession.

The objectives of the course are:
_To prepare the student to work in an international context (knowledge transfer and management of cultural differences).
_To understand the strategic product development aspects of internationalization (corporate international product policies, international marketing, outsourcing of production).
To understand the integrated product development aspects of internationalization (global product realization, collaborative engineering).
_To develop an opinion on the role of the industrial designer in the context of globalization (fair trade, sustainability, developing countries, design ethics).

Teaching method
The course introduces and discusses relevant IDE topics and internationalization in 14 hours of lectures, of which about 6 are given by invited speakers from practice. The lectures are supported by theoretical reading material. The students are required to complete two assignments in which they reflect on the international context of the industrial design engineering profession. The course concludes with an exam.

Monday, 10 September 2007

PROJECT Campina Grande - POLIMI


Bab Anmil was Milli Paglieri’s brainchild in 1995: she tapped ideas with a new perspective from the Moroccan crafts industry producing furniture and furnishing complements suited to the Italian market. Her careful research merges uses and materials, new shapes and age-old traditions, creating a collection for indoor and outdoor decoration, mingling diverse but complementary cultures.
Designers and artists from both countries have worked with craftsmen to develop original, contemporary lifestyle solutions in which minimalism and rationality are not the only priorities. The extensive and exclusive range of items is produced in Morocco by skilled craftsmen, mainly in the Marrakech area.
Workshop production is carefully monitored throughout by Babnet, the Marrakech subsidiary, that also deals with shipping finished goods to the Turin warehouse; the items are then distributed to the many Italian and foreign sales outlets. The sales network consists of agents who promote the Bab Anmil catalogue regionally.
Clients consists mainly of specialised interior decoration and furnishing shops and are acquired during trade shows (Macef and Salone del Mobile in Milan, Abitare in Verona, Pitti Immagine in Florence), through extensive trade press coverage and through the catalogue, to which new items are added every year.

Tradition and innovation: the items are the ideas of creators and designers from both countries and they are produced by skilled Moroccan craftsmen using traditional techniques.
Experts monitor both features throughout the production stages obtaining the products that are made to order or are included in the Bab Anmil catalogue.

From local context to export goods - UIAH

Dring the past few years, the school of Design at the University of Art and Design and the Local Co-operation Fund of the Finnish Embassy in Windhoek, Namibia have co-operated actively. The goal of this collaboration has been to develop Namibian handicraft production and product development. The main participants have been the Kunene Crafts Centre in Opuwo and the craftswomen in Owambolad (Oshana, Omushati, Oshikoto and Ohangwena regions). Other collaborators are the University of Namibia, the National Art Gallery of Namibia, Svenska Afrika Grupperna, College of the Arts and John Muafangejo Art Centre.
The workshops in Namibia
Workshops are organized in order to develop handicraft production, to exchange ideas and to design new products using local materials. The workshops also help to understand the local culture. New ways of working as well as design skills are passed on to the local craftswomen and to the Namibian art and design students. They form an important resourcefor the future of handicraft development.
Three workshops have been or will be organized in context of this project:-Jewellery workshop in Windhoek, spring 2004. Co-operating with the College of the Arts and the University of Namibia-Natural materials´ workshop in Ongwediva, April-May 2004-Export business workshop at the Käsityö 2004 Fair in Seinäjoki, October 2004
The focal point of the workshops has been on the development of new product ideas, based on the traditional culture and techniques, which will be test marketed in Finland. During workshops, new ways of working and co-operating have been developed as well at the grass root level as between different cultural institutions. The collaboration continues between the University of Art and Design and Namibians.

Sunday, 9 September 2007


ETNICA nasce dall' incontro del network internazionale di design Integral, rappresentato in Italia da Integral Studio Vinaccia (, entità no-profit creata nel 1994 da un gruppo internazionale di professionisti provenienti da diversi settori: design, marketing e tecnologia. Il lavoro è finalizzato alla promozione dell'analisi, sviluppo e qualificazione della produzione artigianale nei paesi del sud del mondo.ETNICA promuoverà periodicamente conferenze e esposizioni d'arte e artigianato di origini e provenienze diverse: esperienze frutto di un lavoro comune, in cui la figura del designer non interviene dal punto di vista progettuale, ma come catalizzatore per riscoprire e riutilizzare forme e tecniche tradizionali. Si da così vita all'idea del progetto "imparato da altri": l'uso del designer non per un intervento progettuale, ma come catalizzatore per la riscoperta e il riutilizzo di forme e tecniche tradizionali.

EDUCATION - Design&internationalization - Carnegie Mellon

Globalization and Design
This mini course explores the various ways that designers, engineers and marketing interact and plan products on a global level. Designers must often plan for products that will be sold in markets around the world. As a result of global markets, design teams must conduct user research on markets in several countries simultaneously. Product programs often require the coordination of designers and other disciplines from around the world. Designers must integrate global manufacturing and assembly and plan for global distribution of products. Globalization has required designers to think and work in new ways. Case studies discussed in a seminar format and research into successes and failures of global product programs will be the two primary methods used in the class. This course is for upper level design majors, and masters students in design, engineering and business.


Il Laboratorio progettuale è un punto di incontro tra designer professionisti e imprese chiamati a confrontarsi su progetti concreti, applicando a casi specifici selezionati sul territorio a metodologia propria del processo di Design.
CRIED in collaborazione con i SEBRAE selezionerà le aziende e i brief che verranno sviluppatidurante il laboratorio in 4 ambiti progettuali:
- Riqualificazione di un prodotto esistente e suo riposizionamento
- Lancio e sviluppo di un nuovo prodotto e suo posizionamento
- Diversificazione della produzione, partendo da un materiale o da una tecnologia esistente
- Riqualificazione di un marchio: corporate identity e comunicazione integrata
i team di progetto, affiancati da professionisti CRIED, dovranno declinare i progetti su valori di riferimento strategici, coniugando nell'elaborazione del concept valore estetico e valore economico pensando al prodotto come ad un sistema, sintesi di innovazione formale, tecnologica e di approccio al mercato.


Il Programma Via Design del SEBRAE Nazionale ha dato vita a una serie di iniziative finalizzate alla divulgazione e all’inserimento del design tra le micro e piccole imprese (PMI).
Gli obiettivi stabiliti dal SEBRAE nel programma Via Design sono:
_Elevare la qualità produttiva delle MPE, attraverso il Design come valore aggiunto per lo sviluppo del sistema produttivo
_Creare connessioni più efficaci tra designer locali e impreseAttivare sinergie cooperative tra gli attori presenti sul territorio: SEBRAE/CE – Università – ImpreseDivulgare la cultura del design nelle PMI Brasiliane Il SEBRAE-CE, attraverso il Programma Via Design, ha stabilito le azioni strategiche per lo sviluppo di settori specifici dell’industria, al fine di promuovere lo sviluppo economico e sociale dello Stato.
Tra queste azioni si inserisce la Rete Cearà Design e il Programma di Formazione dei Moltiplicatori in Design Strategico.


Maasai Women Art - IED

Since March 2007 MWA has an office in Arusha town for the co-ordination of the training, marketing and awareness raising activities with one co-ordinator and one assistant, both Maasai women.At present an Italian Jewellery Designer, Francesca Torri Soldini, supports Maasai women in product development.MWA logo was designed by Franco Testa.
MWA project started in 2006 and at present directly benefits hundreds of Maasai women in Northern Tanzania, Arumeru and Monduli Districts. The project was designed to meet the needs of Maasai women in Arumeru, Longido and Monduli districts, of whom the overwhelming majority are illitterate and extremely poor. Rural poverty in the Maasai steppe is deeply rooted in the imbalance of what women do and what they have. They are responsible for the labour that sustains life - growing and cooking food, raising children, maintaining a house, collecting water and firewood - but this work is accorded low status and no pay. Rural Tanzanian women are a profoundly disadvantaged sub-class in one of the poorest countries in the world. Without power, money and education, they are least able to cope with rapid structural change and have less possibilities of becoming independent and self-reliant.During the 2006 two women groups were integrated in MWA network, in total more than 100 Maasai women from the poorest rural areas of Northern Tanzania, and new groups are expected to join the network in 2007.


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