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LOUGHBOROUGH DESIGN SCHOOL, LOUGHBOROUGH UNIVERSITY
SCANDINAVIAN DESIGN: PRINCIPLES, VALUES AND WORTH IN TODAY'S UK MARKET BY HANNAH SAGE
Interim Report Dissertation Submitted in partial fulfillment of the requirements for the award of BA in Industrial Design and Technology of Loughborough University.
MAR. 8, 15
© HANNAH SAGE 2014
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ABSTRACT
The research was conducted as part of a final year coursework submission at Loughborough University for Industrial Design and Technology. The study aims to further understand the impact of Scandinavian culture on product design and how British consumers appreciate it. This enables readers to consider more than just the typical stereotypes associated with Scandinavian design by understanding the cultural background and implications. Furthermore visual design research demonstrates the visual make up of Scandinavian design allowing the style to be replicated if desired. Before addressing the main aim of the study the region of Scandinavia was clearly defined as the definition is often disputed. In this study it is considered the countries: Norway, Sweden, Finland, Denmark and Iceland. Four methods were used in the study. A visual research and design method process to establish visual design clues evident in Scandinavian design alongside two interviews with Scandinavian academics and a prior literature view. To ascertain British consumer opinion a survey and consumer comparison of products from eight different countries was undertaken. Findings suggested four key principles found in Scandinavian design: simplicity, affordability, high quality and functionality. These four principles are suggested to be founded on the four cultural values of 'hygge', tradition, nature and an egalitarian lifestyle. Each country may exhibit elements of these principles and values but ultimately are individuals. Results determined no obvious effect of COO on appeal of products, suggesting this is quite a personal choice. In addition findings noted that many stereotypes are accurate but limit Scandinavian designers from pushing the boundaries. British consumers tend to find Scandinavian design synonymous with IKEA and have notions that Scandinavian design must therefore by practical, functional and affordable.
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Further research could be conducted looking into the effects of COO on consumers opinion of Scandinavian design as the results in this study are not thoroughly validated. In addition a more extended assessment of the visual design and research methods could be undertaken to clarify findings and provide further evidence.
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ACKNOWLEDGEMENTS
This dissertation would not have been possible without help and support from a number of people including my supervisor, interviewees, friends and family. I would like to acknowledge the support and advice I received from my tutor, Professor Serpil Acar, which has been highly valuable. Thanks to all my friends who took part in the survey and helping to spread the word, and also to those who gave up their time to conduct the consumer comparison study. Your time has been hugely valued and contributed to the result of this work. I must also acknowledge the time from both Professor Korvenmaa and Dr. Hestad for willingly answering my questions on the subject. I appreciate the time given up from their busy, everyday lives running businesses, teaching and even being on sabbatical. Thank you to my family for their continued support and vigilant proof reading.
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TABLE OF CONTENTS Abstract ……………………………………………………………………………………………………………………………………………………………ii Acknowledgements ........................................................................................................................................ iv Table of Figures ............................................................................................................................................. vii Table of Tables................................................................................................................................................ xi 1.0
Introduction ..........................................................................................................................................1
1.1
Objectives.................................................................................................................... 1
1.2
Research Questions ..................................................................................................... 1
2.0
Literature Review ...................................................................................................................................3
2.1
The region of Scandinavia ............................................................................................ 3
2.2
Principles of Scandinavian design ................................................................................ 3
2.3
Values and cultural references ..................................................................................... 5
2.4
Unified design across Scandinavia ................................................................................ 6
2.5
Scandinavia and the UK CONSUMER ............................................................................. 7
3.0
Methods .................................................................................................................................................9
3.1
Visual Research and Design Methods.......................................................................... 11
3.2
Consumer Comparison Study modified from Gürhan-Canli, Maheswaran (2000).......... 12
3.3
Interviews ................................................................................................................. 13
3.4
Consumer Survey ....................................................................................................... 14
4.0
Results and Empirical Data .............................................................................................................15
4.1
Visual Research and Design ........................................................................................ 15
4.2
Consumer Comparison Study ..................................................................................... 18
4.3
Interviews ................................................................................................................. 29
4.4
Consumer Survey ....................................................................................................... 29
5.0
Discussion .............................................................................................................................................48
5.1
Visual Research and Design ........................................................................................ 48
5.2
Consumer Comparison Study ..................................................................................... 49
5.3
Interviews ................................................................................................................. 54 v
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Consumer Surveys ..................................................................................................... 62
Conclusion ............................................................................................................................................66
7.0 References ...............................................................................................................................................68 8.0 Bibliography .............................................................................................................................................74 Appendix A Project Planning ..........................................................................................................................86 Appendix B Ethics ..........................................................................................................................................88
Ethics Checklist – UNsIgned at time of printing this document ................................................. 88 Consumer Comparison Study ................................................................................................. 93 Interviews ........................................................................................................................... 103 Appendix C Visual Design Research Methods Supporting Work ................................................................... 107
Initial Work (Before Feedback) ............................................................................................. 107 Secondary Work (Following Feedback) ................................................................................. 113 Appendix D Consumer Comparison Study Ranking Sheets ........................................................................... 122
Participant Pack ................................................................................................................... 122 Appendix E Consumer Comparison Study Raw Data .................................................................................... 129 Appendix F Interview Questions .................................................................................................................. 132
Interview with Professor Pekka Korvenmaa .......................................................................... 132 Interview with Dr. Monika Hestad ........................................................................................ 136 Appendix G Interview Transcriptions ........................................................................................................... 139
Interview with Professor Pekka Korvenmaa .......................................................................... 139 Interview with Dr. Monika Hestad ........................................................................................ 152 Appendix H Interview Content Analysis ....................................................................................................... 169
Content Analysis from both Interviews (combined and refined) ............................................ 169 Appendix I Survey ........................................................................................................................................ 176
PDF of Survey on www.surveymonkey.net ........................................................................... 176
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TABLE OF FIGURES Figure 1: 'Scandinavia' the region, as defined in this study. Image: Ferryto .......................................................... 3 Figure 2: One of Carl Larsson's watercolours from the book 'Ett Hem'. Image: www.rare-posters.com .............. 5 Figure 3: An overview of visual research and design methods - before expert validation .................................. 16 Figure 4: Visual research and design methods following expert validation ......................................................... 17 Figure 5: Graph showing overall product rankings (total scores from all participants ranking) .......................... 18 Figure 6: Graph showing total scores from all participants regarding the statement 'Would definitely buy this' .................................................................................................................................................................... 19 Figure 7: Graph showing total scores from all participants regarding the 'good' and 'bad' statements.............. 19 Figure 8: Graph showing total scores from all participants regarding the 'positive' and 'negative' statements . 20 Figure 9: Graph showing total scores from all participants regarding the 'functional' and 'impractical' statements .................................................................................................................................................. 20 Figure 10: Graph showing total scores from all participants regarding the 'simple' and 'complex' statements . 21 Figure 11: Graph showing total scores from all participants regarding the statement 'user-friendly' ................ 21 Figure 12: Graph showing the total scores from all participants regarding the statement ' aesthetic' ............... 22 Figure 13: Graph showing total scores from all participants regarding the 'affordable' and 'too expensive' statements .................................................................................................................................................. 22 Figure 14: Graph showing total scores from all participants regarding the 'poor quality' and 'high quality' statements .................................................................................................................................................. 23 Figure 15: Graph showing total scores from all participants regarding the 'modern' and 'traditional' statements .................................................................................................................................................................... 23 Figure 16: Graph showing total scores from all participants regarding the 'mass-made' and 'handmade' statements .................................................................................................................................................. 24 Figure 17: Graph showing total scores from all participants regarding the statement 'environmentally friendly' .................................................................................................................................................................... 24 Figure 18: Graph showing total scores from all participants regarding the statement 'ergonomic' .................... 25 Figure 19: Graph showing total scores from all participants regarding the 'natural' and 'unnatural' statements .................................................................................................................................................................... 25 Figure 20: Graph showing total scores from all participants regarding the statement 'homely' ......................... 26 Figure 21: Graph showing total scores from all participants regarding the statement 'family oriented' ............ 26 Figure 22: Graph showing total scores from all participants regarding the statement 'innovative' .................... 27 Figure 23: Graph showing total scores from all participants regarding the statement 'fun' ............................... 27
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Figure 24: Graph showing results from Q2 - the chosen key qualities of Scandinavian design ........................... 33 Figure 25: Graph showing results from Q3 - cultural values associated with Scandinavian countries ................ 34 Figure 26: Graph showing results from Q4 - ranking exercise determining how 'Scandinavian' various products are ............................................................................................................................................................... 35 Figure 27: Graph showing results from Q5 - how many participants own Scandinavian products ...................... 36 Figure 28: Graph showing results from Q7 - what people think Scandinavian products they own say about themselves .................................................................................................................................................. 40 Figure 29: Graph showing results from Q9 - which product chosen when only difference is COO ..................... 43 Figure 30: Alvar Aalto's Paimo chair with natural, pale woods and flowing shapes. Image: Architect at Work, n.d. .............................................................................................................................................................. 48 Figure 31: A participant conducting the study ..................................................................................................... 49 Figure 32: A participant during the study ............................................................................................................. 50 Figure 33: The chair used in the study from Sweden. Image: Ikea, 2012b ........................................................... 50 Figure 34: The chair used to represent the UK in the study. Image: John Lewis, 2014 ........................................ 51 Figure 35: The product chosen to represent Denmark. Image: Norr 11, n.d. ...................................................... 52 Figure 36: The chair representing Germany in the study. Image: Bauhaus 2 Your House, 2015 ......................... 53 Figure 37: Finland - part of 'Scandinavia' or not? Image: Encyclopaedia Britannica, 2015 .................................. 54 Figure 38: Beautiful, modern and stylish example of the Scandinavian simplicity of form and function. Image: Social Design Magazine, n.d. ....................................................................................................................... 56 Figure 39: Jante's law as written on a BBC News article. Image created by Hannah Sage ................................... 59 Figure 40: An example from IKEA's catalogue. Image: Home Designing, 2012 .................................................... 62 Figure 41: Arne Jacobsen's Swan Chair. Image: Republic of Fritz Hansen, 2015g ................................................ 63 Figure 42: Gantt chart for study ........................................................................................................................... 86 Figure 43: Detail section of Gantt chart with Interview dates.............................................................................. 87 Figure 44: Page 1 of ethics checklist ..................................................................................................................... 88 Figure 45: Page 2 of ethics checklist ..................................................................................................................... 89 Figure 46: Page 3 of ethics checklist ..................................................................................................................... 90 Figure 47: Page 4 of ethics checklist ..................................................................................................................... 91 Figure 48: Page 5 of ethics checklist ..................................................................................................................... 92 Figure 49: Participant information sheet for consumer comparison study page 1 .............................................. 93 Figure 50: Participant information sheet for consumer comparison study page 2 .............................................. 94
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Figure 51: Consent form from Alice Dowson ........................................................................................................ 95 Figure 52: Consent form from Emily Sage ............................................................................................................ 96 Figure 53: Consent form from Kathryn King ......................................................................................................... 97 Figure 54: Consent form from Paul Hawkins ........................................................................................................ 98 Figure 55: Consent form from Jamie Sage ............................................................................................................ 99 Figure 56: Consent form from Lauren Gibson .................................................................................................... 100 Figure 57: Consent form from Wendy Sage ....................................................................................................... 101 Figure 58: Consent form from Amy Felsinger ..................................................................................................... 102 Figure 59: Participant information sheet for interviews page 1 ......................................................................... 103 Figure 60: Participant information sheet for interviews page 2 ......................................................................... 104 Figure 61: Email from Professor Korvenmaa agreeing to take part in the interview after reading the participant information sheet and consent form ........................................................................................................ 105 Figure 62: Signed consent form from Dr. Hestad ............................................................................................... 106 Figure 63: Keyword generation and selection .................................................................................................... 107 Figure 64: A selection of work considered during the visual research phase .................................................... 108 Figure 65: A selection of work considered during the visual research phase .................................................... 109 Figure 66: A selection of work considered during the visual research phase .................................................... 110 Figure 67: A selection of work considered during the visual research phase .................................................... 111 Figure 68: Common shapes found during phase 1 process ................................................................................ 112 Figure 69: Selected works from Lunning Prize Winners for visual research ....................................................... 113 Figure 70: Selected works from Lunning Prize Winners for visual research ....................................................... 114 Figure 71: Selected works from Lunning Prize Winners for visual research ....................................................... 115 Figure 72: Selected works from Lunning Prize Winners for visual research ....................................................... 116 Figure 73: Selected works from Lunning Prize Winners for visual research ....................................................... 117 Figure 74: Selected works from Lunning Prize Winners for visual research ....................................................... 118 Figure 75: Selected works from Lunning Prize Winners for visual research ....................................................... 119 Figure 76: Selected works from Lunning Prize Winners for visual research ....................................................... 120 Figure 77: Common lines found during visual research ..................................................................................... 121 Figure 78: Product leaflets for the Danish product (A) and the Finnish product (B) .......................................... 123
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Figure 79: Product leaflets for theNorwegian product (C) and the Swedish product (D) .................................. 124 Figure 80: Product leaflets for the British product (E) and the American product (F) ....................................... 125 Figure 81: Product leaflets for the German product (G) and the French product (H) ........................................ 126 Figure 82: Raw data in design matrix form from Consumer Comparison study part 1 ...................................... 129 Figure 83: Raw data in design matrix form from Consumer Comparison study part 2 ...................................... 130 Figure 84: Raw data in design matrix from Consumer Comparison study part 3 ............................................... 131 Figure 85: Page 1 of online survey ...................................................................................................................... 177 Figure 86: Page 2 of online survey ...................................................................................................................... 178 Figure 87: Page 3 of online survey ...................................................................................................................... 179 Figure 88: page 4 of online survey ...................................................................................................................... 180 Figure 89: Page 5 of online survey ...................................................................................................................... 181 Figure 90: Page 6 of online survey ...................................................................................................................... 182
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TABLE OF TABLES Table 1: Design methods - assessing the advantages and disadvantages to aid choice of method for study ....... 9 Table 2: Categorised comments from 8 participants ........................................................................................... 27 Table 3: Categorised responses from respondents for Q1 asking what participants think of Scandinavian design .................................................................................................................................................................... 29 Table 4: Categorised responses for Q6 with information about Scandinavian products owned ......................... 36 Table 5: Categorised responses for Q8 - what does 'Made in Scandinavia' evoke for you? ................................ 40 Table 6: Categorised responses for Q10 - justification of product choice based on COO .................................... 43 Table 7: Example ranking sheet for participants use per product ...................................................................... 127 Table 8: Key questions for interviews ................................................................................................................. 132 Table 9: Additional or modiefied questions for interview with Dr. Hestad ........................................................ 136 Table 10: Content analysis following both interviews ........................................................................................ 169
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SCANDINAVIAN DESIGN: PRINCIPLES, VALUES AND WORTH IN TODAY'S UK MARKET 1.0
INTRODUCTION
The aim of this study is to understand how Scandinavian culture is reflected in product design and how this translates to UK consumers.
1.1
OBJECTIVES
1. Review existing literature to understand how 'Scandinavian design' is defined and from what region/culture the designs originate. 2. Identify and explore the principles of Scandinavian design and the values behind them by reviewing existing literature on the history of Scandinavian design and talking to experts in the field. 3. Evaluate the effect of culture and its influence on design by comparing Scandinavian design to other products around the world. 4. Investigate and explore Scandinavian design cues by evaluating prominent Scandinavian design icons. Validate these with experts in the field. 5. Investigate what value British consumers hold of Scandinavian design using a consumer survey.
1.2
RESEARCH QUESTIONS
How is the region of 'Scandinavia' defined?
What are the key principles of Scandinavian design?
What are the values behind Scandinavian design?
Are these principles and values: o A stereotype? o Valued by Scandinavian designers? 1
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Are Scandinavian countries unified in their design 'style' or is each country individual?

Does the UK consumer appreciate Scandinavian values or the design aesthetics?
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2.0
LITERATURE REVIEW
2.1
THE REGION OF SCANDINAVIA
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The abstract region of 'Scandinavia' (Power, 2009) is a complicated term due to political implications (Fallan, Ed.; 2013) and a rich cultural history with no basis to justify a 'Scandinavian state' (Halén, Wickman; 2003). As suggested by Fallan, (op cit.) any publication concerning Scandinavian design should issue its own, clear definition. Though not always adhered to within existing literature, for the purpose of this study the region is defined in Figure 1: 'Scandinavia' the region, as defined in this study. Image: Ferryto
Figure 1.
'Scandinavia', a broadly accepted though vague term (ibid.), and 'Nordic design', of more official authorisation (Power, 2009), are seemingly regarded as equal in English speaking countries (Halén, Wickman; 2003). However, the former has more positive associations – conceivably the official authorisation of 'Nordic design' suggests susceptibility to political changes typically abundant in any one country (Werner, 2012).
2.2
PRINCIPLES OF SCANDINAVIAN DESIGN
Scandinavia has a culture of 'pleasant' and 'comfortable' living (Polster, 1999) in a society where design is not typically an industry but a cultural commodity (Power et al., 2006). Design has two main purposes: to represent Scandinavia culturally and to encourage international trade (Halén, Wickman; 2003). 3
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Typically, Scandinavian design is viewed as the work produced during the ‘Golden Age’ (ibid.) demonstrating a balance between simplicity of form (Segerstad, 1961 & Werner 2012), soft colour and practical functions (op cit.) at an affordable cost (Llorella, 2005). By the early 1990's minimalist design was becoming a prevalent term and it was suggested “Scandinavia invented minimalism” (pp. 10, Polster, 1999). For much Scandinavian design this is the case but the 21st Century brought new styles, materials and colours incrementally (Gura, 2007). Scandinavian design often focuses on beautiful, stylish, everyday objects for the home (Segerstad, 1961). For the Finns this was a practical choice resulting from post-war depression and for the Norwegians a simple lack of rich, upper classes with a desire for expensive furniture (Gura, 2007). Some authors describe this as functionalism that was often 'softened' by the traditional 'culture of materials' (Polster, 1999). This material philosophy has close ties to nature (Werner, 2012) employing the 'honest' use of natural and regional raw materials, typically pale woods (Gura, 2007). Functionalism is not simply a style but part of Scandinavian heritage (Fallan et al., 2012) resulting from social welfare reforms (Breunig, 2012) and the 'commitment to progress' (Polster, 1999) following the war effort. More recently functionalism is demonstrated in the abundance of simple furniture that can be stacked, folded or 'nested' (Gura, 2007). High quality in every detail is not compromised by functionalism but is a fundamental custom (Power et al., 2006). Quality is evident in the design education system and the logical progression from traditional crafts, demonstrating skilled workmanship, (Solaguren-Beascoa, 2010) is entrenched in Scandinavian heritage and culture (Gura, 2007). The development of user-centered design, later known as 'Ergonomics', was initiated by Scandinavian designers (ibid.). Critically, the authors reviewed all agree that this ensured the unity of all aspects of Scandinavian design. Those principles are: simplicity and purity of form, honest materials, knowledge of new and traditional
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crafting techniques, high regard for function and use by all at affordable costs for the masses.
2.3
VALUES AND CULTURAL REFERENCES
Four vital values recurred during the review concerning value of the home, traditions, nature and the 'democratic approach' (Edvardsson et al.; 2006). Figure 2: One of Carl Larsson's watercolours from the book 'Ett Hem'. Image: www.rare-posters.com
As early as 1899, the Scandinavian home was portrayed (Figure 2) as an idyllic, family oriented place sparse of furnishings in Carl Larsson’s watercolours (Polster, 1999). The paintings opposed the flamboyant Bourgeois style of the era (ibid.) in favour of a more charming, pastoral scene (Gura, 2007). Though this portrayal was romanticised, the values have surpassed fashions and survived until the modern day. More important than the cosy environment these paintings impart, some authors consider that the home and its décor portrays the homeowner's identity, morals and, political views (Halén, Wickman; 2003). Therefore, it is a, 'duty' to portray oneself appropriately (ibid.).
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This notion of the home draws on ancestral traditions and crafts (ibid.) which may not have been lost as the Scandinavian countries were comparatively late to industrialisation (op cit.). Some design cues were sought from old folk traditions in an effort to create or emphasise a national identity. The Norwegians craved an identity following their modern independence in 1905; contrastingly the Danes had no such qualms (ibid.). Affinity with nature is frequently regarded as 'Scandinavian' (Llorella, 2005) due to associations with freedom, sentimentality and community (Halén, Wickman; 2003). Scandinavian society is socially responsible and egalitarian (Polster, 1999) following a 'democratic approach' to design (Edvardsson et al.; 2006). Such an approach focuses on the design of high quality, low cost products for the broadest range of users (Halén, Wickman; 2003). This notion was demonstrated by Sweden's 'IKEA' as an advertising slogan for their 50th anniversary entitled “Democratic Design” (Polster, 1999).
2.4
UNIFIED DESIGN ACROSS SCANDINAVIA
Scandinavian countries may have a shared culture with entwined histories but some authors note the political agenda to blur national images for the interest of country and tourism etc. (Gura, 2007). Most country images are stereotypes and given the way 'Scandinavian design' is used, similarly to a country, it is likely to be no different (Kotler, Gertner, 2002). Their shared cultural unity does not negate each country’s own identity (Sergerstad, 1961) and using the umbrella term 'Scandinavia' masks their diverse heritage (Power, 2009). More appropriately the term denotes an attitude, not style, (Gura, 2007) reflecting the key values and principles discussed thus far. Many authors on the subject appear in agreement of this shared culture but contrastingly when considering the four essential aspects of culture: language, associations, materials and symbols (Usunier, Lee, 2005) it could be argued opposingly.
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Despite this definition of culture the Scandinavian countries showed a wealth of similarities, brought together by war, a struggle for independence from as early as the 14th Century (Fallan, Ed.; 2013) and the early exhibitions of design during the Golden Age. However, for some this quest for self-definition may be the only commonality (Polster, 1999). The evidence suggests that key values may be shared but each country places greater emphasis on a different area.
2.5
SCANDINAVIA AND THE UK CONSUMER
Early acceptance of Scandinavian design was adopted at the Swedish Industrial Art exhibition, Dorland Hall, London, in 1931 (Davies, 1997). Worldwide acceptance followed later on in the 'Design in Scandinavia' exhibition, 1954-57 (Halén, Wickman; 2003). Scandinavian design is regarded as being consistent in quality and aesthetics (Gura, 2007), boasting a blend of nature and European flair (Polster, 1999) appealing to the British. Its common associations with family and home values was originally seen as peaceful and refined (Halén, Wickman; 2003). Furthermore, Scandinavian design shows 'collectivist' values; strong family and community ties typically associated with Eastern cultures (Gürhan-Canli, Maheswaran; 2000). Perhaps this, alongside the European flair, made Scandinavian design more alluring. Alternatively, as any foreign country can be described as an 'outgroup' it could be said that the British should instinctively dislike Scandinavian products in favour of British ones (Balabanis et al., 2001). It is the strong country image of 'Scandinavia' that prevents this attitude as consumers are willing to purchase products from industrialised countries (Kotler, Gertner, 2002). Additionally, consider the implication of 'made in Sweden' vs. 'made in China' in the perception of quality in a product. 'Made in Sweden' suggests long term reliability and high value (Werner, 2012) – attractive qualities to the 'individualist' British (Gürhan-Canli, Maheswaran; 2000). The prominence of IKEA with its userfriendly, convenient, family oriented and practical nature only strengthens the
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stereotype of Scandinavian design (Gura, 2007). This Country of Origin effect (COO) can be more effective than a brand name (Papadopoulos, Heslop, 2002). Aside from the positive associations of family, quality, function and affordability, the acceptance of Scandinavian design lies in the eyes of the beholder (ibid.). Though its favourable reception might be due to the COO effect and the values portrayed as part of Scandinavian culture it may simply be perceived, quite subjectively, to be the most attractive and aesthetic product. Additionally, product semantics speak infinitely about their purchasers (Crilly et al., 2004). It could be suggested that some consumers purchase Scandinavian designs as a way to associate themselves with Scandinavian values.
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METHODS
The research process adopted combines a literature review with semistructured interviews, visual research and design methods a survey and observations from consumer product assessments. The University ethical protocol will be adhered to (Appendix B). To establish a suitable methodology, advantages and disadvantages were compared (Table 1) and methods chosen to result in qualitative data. The CETSCALE and consumer ethnocentrism work helps understand and measure consumers ‘tendencies’ towards foreign goods (Shimp, Sharma, 1987), ideal for this study. However, neither have been validated for UK consumers and subsequently had to be dismissed. Furthermore, the consumer comparison study provides enriched data because it is able to establish links between the country-of-origin effect (COO) and Scandinavian design values (Gürhan-Canli, Maheswaran, 2000).
Table 1: Design methods - assessing the advantages and disadvantages to aid choice of method for study
Research
Advantages
Disadvantages
Method Interview:
Generic
Accurate qualitative data (Cohen
et al., 2007).
Poor for obtaining quantitative and factual data
In-depth answers (Bush, Hair; 1985)
Understanding of sensitive or complicated issues (op cit.)
Interview:
Face-to-Face
More socially acceptable than
telephones (Bush, Hair; 1985)
Difficult if participants are 'widely dispersed' geographically (ibid.)
Greater engagement (ibid.)
Transportation costs
Cover a number of topics with a
Time consuming
number of participants (Gillham,
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2000) Interview:
Telephone
Cheap and quick (Cohen et al.,
Less willing to speak negatively
2007)
(Bush, Hair; 1985)
Standardised interviews deviating
Suspicious participants (ibid.)
less from questions (ibid.)
Excluded responses (ibid.)
Convenient for participants (ibid.)
No body language (Cohen et al,
Greater response rate (ibid.)
2007)
Feel under pressure (ibid.)
Non-contact rate high (op cit.)
Often short as people don’t like talking on phones (Cohen et al., 2007)
Low motivation and interest (ibid.)
Issues capturing full attention (ibid.)
Interview:
Skype
Interview:
No cost/time associated with
N/A
People may not be inclined to
travel
Arranged at short notice
Bias can be removed if carefully
Mall Intercept
controlled (Balabanis et al., 2001)
stop
Bias unless multiple interview locations/days (Bush, Hair; 1985)
Not always representative sample (Balabanis et al., 2001)
Survey
Factual questions (Gillham, 2000)
Response rate can be poor
Cost-effective (Oppenheim, 1992)
(Klein, 2002) resulting in bias
Avoid bias of interviewer (ibid.)
(Oppenheim, 1992)
All geographical locations (ibid.)
Incomplete responses (Klein, 2002)
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Least engaging (Gillham, 2000)
Misunderstandings may skew results (Oppenheim, 1992)
CETSCALE
(Shimp, Sharma,
Independent, control variable
(Balabanis et al., 2001)
1987)
Metric scale (Shimp, Sharma,
(Shimp, Sharma, 1987)
1987)
Establish tendencies among
Compare product to existing or
Initially limited to American market (ibid.)
different groups or cultures (ibid.)
Paired
Subject to regular change
Participant age may affect validity (ibid.)
Limited validation testing on UK
Bias if participant involved in
Comparison
competing products (Torrens,
different comparisons (Torrens,
Approach
Smith, 2013)
Smith, 2013)
Rank designs in order of preference (ibid.)
Minimal constraints context (ibid.)
Ethnographic
Discovery of cultural themes
Interviews
(Spradley, 1979)
interviews to build rapport
In depth and subjective
(Spradley, 1979)
information gathered (ibid.)
Visual
'Native' perspective (ibid.)
Understand visual elements that
Research and Design Methods
Time consuming with series of
Issue of interpretation
Issue of validation – is the
comprise a brand
investigator’s assumption
Introductory method to visually
correct?
assess a brand
Need a clear, defined brand to be most effective
3.1
VISUAL RESEARCH AND DESIGN METHODS
Visual assessment of a brand was conducted by (Torrens, 2011): 1. Selecting representative images from Scandinavian design sourcebooks 11
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2. Determining keywords to describe images and brand 3. Conducting 'visual deconstruction' and analysis of brand to generate 'product DNA' (ibid.) 4. Establishing distinctive visual design cues 5. Validating with experts in the field 6. Refining as required NB: the umbrella, more conceptual, term of 'Scandinavian Design' (Power, 2009) is considered the ‘brand’. An expert recommended that the ‘Lunning prizewinners’ may provide a wider range of source products. As a result selections of these works have been incorporated into the study.
3.2 CONSUMER COMPARISON STUDY MODIFIED FROM GÜRHAN-CANLI, MAHESWARAN (2000)
To establish the effect of consumers’ cultural attitude and the relationship with COO Gürhan-Canli and Maheswaran (2000) conducted a study which could be applied, with modifications, to this research. Gürhan-Canli and Maheswaran (2000) began by producing product leaflets describing a given product and its COO. These were distributed to a number of participants alongside product leaflets in the same format for competing products from various countries. Subjects were asked to rank the products, based on the information given, against various statements such as, 'good', ‘bad', 'negative' and 'positive', on a scale of 1-7. Additionally, purchasing intentions could be established by ranking the products against the phrases 'would definitely consider buying this product' or 'would definitely not consider buying this product'. Furthering the ranking element of the study, participants had three minutes to provide comments on the products. For this study modifications were orchestrated to include statements pertaining to Scandinavian cultural values. This assessed consumers predilection or aversion to the uniquely 'Scandinavian' elements discussed in Section 2.
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8 product leaflets were generated; 4 Scandinavian countries and 4 other prominent countries (the UK, USA, Germany and France) to balance the findings (Appendix D). Iceland was not included since a suitable reference product could not be sourced. To ensure uniformity and reduce bias each leaflet contains information regarding product description, COO, cost, key features and dimensions. A pilot study involving 3 demographically different participants raised issues prior to full release. Adjustments were made to labeling and page numbers to prevent confusion. Further feedback noted that materials information was present on some but not all product leaflets and thus was addressed. Additionally, product leaflets were reordered providing the Scandinavian products first followed by the UK (as most relevant to this study), USA, Germany and France. Furthermore, two prompts were created for the researcher to offer if participants were unclear what comments to provide in the final section: 1. What information did you find most important? 2. What was the biggest purchasing influence based on the information provided? The study was then conducted with 8 Participants, results collated and displayed in a ‘Design Matrix’ style (Sinclair, 2014) for simplicity of communication and interpretation (Appendix E). Key comments from the final page were categorised (Table 2). The benefit of a design matrix allowed direct use of participants’ ranked answers. For example, a score of 7 (strongly agree) could parallel with the design matrix presentation giving that word a score of 7. These could be totaled up to rank all 8 products as a whole and on individual merits.
3.3
INTERVIEWS
Interviews comprise a critical aspect providing opportunity to discuss the subject in depth (Bush, Hair, 1985) from a number of perspectives. 13
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Due to the nature of research and proximity to geographical location of participants, telephone and Skype interviews take precedence as a result of convenience (Cohen et al, 2007). Interviews were conducted using a semi-structured method where questions and prompts were prepared (Appendix F) following suggestions from Gillham, 2000. Following completion of each interview, recordings where transcribed (Appendix G) using transcript symbols (Houtkoop-Steenstra’s, 2000, pp. xiii-xiv). Furthermore, a content analysis was performed for each interview identifying key, significant statements and categorising each (Gillam, 2000). Subsequently, statements of significance from each interview were combined and categories refined (Appendix H).
3.4
CONSUMER SURVEY
The survey (Appendix I) was distributed to UK consumers via website link using ‘Survey Monkey’ as a hosting platform. A diverse pilot study involving six participants raised some areas to address. This included reducing the predicted time taken to a more realistic representation (15 minutes instead of 30) which also helped ensure participants were not dissuaded from participating. Additionally, question 9 was reworded for clarification and a ‘Don’t know’ option added to question 5 to provide feedback on how many users are aware of product origins. To ensure diversity of participants the distribution was not limited to friends, family or known acquaintances but posted on Facebook groups for various home or department stores e.g. John Lewis, Magnet Kitchens etc.
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4.0
RESULTS AND EMPIRICAL DATA
4.1
VISUAL RESEARCH AND DESIGN
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An overview of the initial work undertaken is demonstrated in Figure 3 including representative images from Scandinavian design sourcebooks, keywords and a summary of ‘visual deconstruction’ (Torrens, 2011).
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Figure 3: An overview of visual research and design methods - before expert validation
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Following feedback from experts, further evidence was gathered to provide the results in Figure 4.
Figure 4: Visual research and design methods following expert validation
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Appendix C demonstrates the extent of research undertaken.
4.2
CONSUMER COMPARISON STUDY
Results from the ranking sheets were collated and graphs formulated for clear presentation of facts alongside categorised comments (Table 2). All raw data in design matrix form is available in Appendix E.
Overall Product Ranking from All Participants D - Sweden E - UK B - Finland G - Germany Ranking Total Score
F - USA A -Denmark C - Norway H - France 850
900
950
1000
Figure 5: Graph showing overall product rankings (total scores from all participants ranking)
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Overall Purchasing Scores from All Participants Sweden
Finland UK USA Would Purchase
Norway Denmark France Germany
0
10
20
30
40
50
Figure 6: Graph showing total scores from all participants regarding the statement 'Would definitely buy this'
Finland Norway Denmark Sweden Bad UK
Good
USA Germany France 0
10
20
30
40
50
60
Figure 7: Graph showing total scores from all participants regarding the 'good' and 'bad' statements
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Denmark Sweden Norway USA Negative Finland
Positive
France Germany UK 0
10
20
30
40
50
Figure 8: Graph showing total scores from all participants regarding the 'positive' and 'negative' statements
Sweden USA Finland UK Impractical Norway
Functional
Germany Denmark France 0
10
20
30
40
50
60
Figure 9: Graph showing total scores from all participants regarding the 'functional' and 'impractical' statements
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France Sweden Finland USA Complex UK
Simple
Denmark Germany Norway 0
10
20
30
40
50
Figure 10: Graph showing total scores from all participants regarding the 'simple' and 'complex' statements
Overall 'User- friendly' Scores from All Participants Sweden Germany UK Finland User-friendly
Denmark USA Norway
France 0
10
20
30
40
50
60
Figure 11: Graph showing total scores from all participants regarding the statement 'user-friendly'
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Overall 'Aesthetic' Scores from All Participants Denmark UK Sweden USA Aesthetic
France Finland Germany Norway 0
10
20
30
40
50
Figure 12: Graph showing the total scores from all participants regarding the statement ' aesthetic'
Sweden USA UK Germany Too Expensive Finland
Affordable
France Norway Denmark 0
20
40
60
Figure 13: Graph showing total scores from all participants regarding the 'affordable' and 'too expensive' statements
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Germany UK Denmark Norway
Poor Quality
France
High Quality
Finland USA Sweden 0
20
40
60
Figure 14: Graph showing total scores from all participants regarding the 'poor quality' and 'high quality' statements
Germany
UK Finland Sweden
Modern
Denmark
Traditional
USA France Norway 0
20
40
60
Figure 15: Graph showing total scores from all participants regarding the 'modern' and 'traditional' statements
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Germany Denmark Finland Norway
Mass-made
UK
Handmade
France USA Sweden 0
20
40
60
Figure 16: Graph showing total scores from all participants regarding the 'mass-made' and 'handmade' statements
Overall 'Environmentally Friendly' Scores from All Participants UK Germany USA Sweden Finland Norway France Denmark
Environmentally Friendly
0
20
40
60
Figure 17: Graph showing total scores from all participants regarding the statement 'environmentally friendly'
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Overall 'Ergnomic' Scores from All Participants Norway Finland France Germany UK Sweden USA Denmark
Ergonomic
0
10
20
30
40
50
Figure 18: Graph showing total scores from all participants regarding the statement 'ergonomic'
UK
Finland Denmark Germany
Unnatural
Sweden
Natural
Norway USA France 0
10
20
30
40
50
Figure 19: Graph showing total scores from all participants regarding the 'natural' and 'unnatural' statements
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Overall 'Homely' Scores from All Participants Germany UK Finland Sweden Denmark USA Norway France
Homely
0
10
20
30
40
50
Figure 20: Graph showing total scores from all participants regarding the statement 'homely'
Overall 'Family Oriented' Scores from All Participants Finland UK Germany Sweden Denmark Norway USA France
Family Oriented
0
20
40
60
Figure 21: Graph showing total scores from all participants regarding the statement 'family oriented'
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Overall 'Innovative' Scores from All Participants Norway Denmark USA France Sweden Germany Finland UK
Innovative
0
20
40
60
Figure 22: Graph showing total scores from all participants regarding the statement 'innovative'
Overall 'Fun' Scores from All Participants Denmark USA France Sweden Norway Germany UK Finland
Fun
0
20
40
60
Figure 23: Graph showing total scores from all participants regarding the statement 'fun'
Table 2: Categorised comments from 8 participants
Category Materials
Key Comment
Participant
"Materials are important balanced with cost"
A
"Like to know what materials are but often just
D
E
assume from the picture"
"First important thing was aesthetics and then
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what it's made of" Cost
"Materials are important balanced with cost"
"Not willing to pay much for 1 seat chair"
"Second most important information was price"
"I often assume the quality of the product is dictated by the cost"
"Mostly interested in aesthetic, price and practicality"
"Cost and function are key"
"One of the most important features"
"Without price my answers may have been different"
Aesthetics
"Probably highest" purchasing design, "followed by ergonomics then cost"
"Most important part of the spec was the photo"
"Mostly interested in aesthetic, price and practicality"
"First important thing was aesthetics and then
A
C
D
D
E
F
G
H
B
D
G
E
E
F
A
B
E
E
what it's made of" Function
"Mostly interested in aesthetic, price and practicality"
Design
"Cost and function are key"
"Balance between practicality and aesthetics in terms of fitting in with your personal style"
"I like and prefer modern look"
"I like 'Mademoiselle' because traditional as well as modern"
Comfort
"If I'm going to be spending a lot of money on something I want it to be comfy!"
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Other
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"Overall IKEA best because nice, modern, cheap"
"Didn't especially notice the countries or dimensions"
"I definitely pictured each chair in my house and whether I liked it"
"Favourite was the one from IKEA"
"Moderness was difficult to decide - it's a very
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C
E
E
G
G
personal choice"
4.3
INTERVIEWS
Interviews were transcribed (Appendix G) and key statements identified as part of a content analysis (Appendix H).
4.4
CONSUMER SURVEY
78 respondents’ results are displayed visually, with comments categorised in the ensuing pages. Interesting keywords or statements have been highlighted. Table 3: Categorised responses from respondents for Q1 asking what participants think of Scandinavian design
Q1
What do you think of Scandinavian design?
Category
Comment
Modern
“Modern, stylish and usually very practical.”
“From my POV, too minimalistic. “
“Stylish, minimalist, functional, modern”
“Modern and functional”
“Clean modern design”
“Clean, stark”
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“A bit like architect designed housing extensions. Think glass encased office building. Stark”.
Simple
Practical
“Sometimes too cold and stylized”
“It seems stylish, but bare and unhomely”
“Elegant”
“Clean, modern, cold.”
“Relatively minimalist, possibly design over functionality?”
“Good clean lines”
“Clean and crisp”
“Pine wood, light gentle colours, subtle and simple features“
“Simplicity, minimalism and functionality”
“Generally good clean lines.”
“Clean, simple and classic designs which are timeless”
“Simple in form, yet highly functional”
“Simplicity, clean lines, sophistication“
“Simplistic and efficient”
“Clean, elegant, efficient, 'does what it says on the tin' - no frills’.
“Clean, practical, I like it”
“Simple clean designs are functional and cost effective, however some products lack quality.”
Functional
“Clean and efficient design”
“Practical, useful, aesthetic, modern, simple”
“Functional”
“On the whole it's really good - Functional”
“It can be very high quality, simple looking and functional”
“I like it as very functional and looks cosy.”
“Form follows function, elegant design”
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Innovative
Desirable
Materials
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“Modern, stylish, innovative, technical”
“Innovative but I wouldn't buy it”.
“Cool, wooden”
“Cool”
“Minimalist, cultured, desirable, iconic, detailed, functional”
“Clean lines, efficient material usage, modern”
“Woody. I like it, generally get an impression of plenty of light, clean lines and classic wood if I think about it.”
“Natural”
“Beautifully pure. “
Positive
“I like it to some degree”
Opinion
“I like it”
“Mostly it appeals“
“Well marketed and well respected, Scandinavian artefacts
Natural
do seem to combine practicality and aesthetics well”
“Very good”
“Generally I like”
“Great!!!! Love it!!”
“I love Scandinavian design. It aligns with every design principle in my book.”
“Great, I wish my whole house could have Scandinavian influence products. Used too much it can be a little boring but I think it has become a timeless trend that a majority of people want in their homes.”
“The mid-century Scandinavian design style still looks pretty modern 60 years on. I like it.”
“I like it. It's looks good, works well, modern and fun to assemble”
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“Well designed“
Neutral
“Ambivalent”
Opinion
“No opinion”
“Different”
“It’s simple, pine-based. I am indifferent to it. Bit cold
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though”. Negative
“Interesting, but not really my style”
Opinion
“Used to like it in the sixties.”
“Bland”
“Rather last century!”
“IKEA”
“My first experience of Scandinavian design comes from flat
IKEA
pack furniture especially from IKEA, I have bought loads of it over the years, really from a point of view of cost, appeal, I like it” Uncategorised
“IKEA, colourful, modern” “Makes you think about how we design things here in the UK”
“Very nice, unique.”
“What is Scandinavian design?”
“Love it, I'm all about Lagom. I worry that it might become too mainstream though and then it won't be cool anymore since the best thing about it is the way that it doesn't go out of fashion. If it became too mainstream then it would go out of fashion.”
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Q2. From your perspective, what are the three key qualities of Scandinavian design? 70.0% 60.0% 50.0% 40.0%
30.0% 20.0% 10.0% 0.0%
Figure 24: Graph showing results from Q2 - the chosen key qualities of Scandinavian design
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Q3. From your perspective, what cultural values do you associate with the Scandinavian countries? 90.0% 80.0% 70.0% 60.0% 50.0% 40.0% 30.0% 20.0% 10.0% 0.0%
Figure 25: Graph showing results from Q3 - cultural values associated with Scandinavian countries
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Q4. Using the picture above, rate how 'Scandinavian' they are on a scale of 1-7? 1 represents 'not remotely Scandinavian'. 4 represents a 'neutral' opinion. 7 represents 'highly Scandinavian'. 80 70 1
60
2 50 3 40
4
30
5
20
6
10
0 A
B
C
D
E
Figure 26: Graph showing results from Q4 - ranking exercise determining how 'Scandinavian' various products are
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Q5. Do you own any Scandinavian products?
Yes No Don't know
Figure 27: Graph showing results from Q5 - how many participants own Scandinavian products
Table 4: Categorised responses for Q6 with information about Scandinavian products owned
Q6
Category
If own a Scandinavian product please describe it. Product
Product Name
Brief Description
Manufacturer / Retailer
IKEA
[Unknown]
IKEA
Sofa
Desk, bookcase
IKEA
Office equipment
IKEA chair
IKEA
Rocking chair
Bookcase
IKEA
Large simple white
and draws
cubes
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Various bits from
IKEA
IKEA Can’t remember
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Kitchen items, table and chairs
IKEA
A bent wood and leather chair
Poang
IKEA
Armchair
Bookcase
IKEA
Holds books! ok, light wood (ash?), flat pack, 5 shelves
Bookcases,
IKEA
N/A
IKEA
Bed Planks close
shelving units
Futon
to the ground
Bookcases
IKEA
Decent quality simple design
Multiple furniture
IKEA
items
functional, affordable, hard wearing
[Unknown]
IKEA
Desk and office furniture comprising storage, book case and cabinet plus chair
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Bedroom furniture
IKEA
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Wardrobes, chest of drawers and bedside cabinet
Fridolen
IKEA
Pine type
IKEA
Large vertical book
wardrobes
Billie bookcase
cases
Shelving
IKEA
Range of wall shelving units and cupboard incl. corner unit, end unit and overhead lights
Poang
IKEA
Armchair
[Unknown]
IKEA
Wardrobes, shelving
Other Retailer
Glassware
Matt Johansson(
N/A
for glassware-may have name wrong)
Poseidon
Poseidon diving
The best scuba
Jetstream diving
systems ab
regulators
regulator
Coffee table
available
Ekornes
Medium colour wood simple
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design with smoked glass top
Cars
Saab 900
Saab
Saloon Car
Saab Car
Saab Trollhatten
Superb performance car with high degree of built in safety
Car Uncategorised Rocking Chair
Volvo
Large Estate car
[Unknown]
Green moulded plastic chair with metal base
Table glass
[Unknown]
Simple and effective
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Q7. What do you think those products say about you? 90.0% 80.0% 70.0% 60.0% 50.0% 40.0% 30.0% 20.0% 10.0% 0.0%
Figure 28: Graph showing results from Q7 - what people think Scandinavian products they own say about themselves
Table 5: Categorised responses for Q8 - what does 'Made in Scandinavia' evoke for you?
What does the phrase ‘Made in Scandinavia’ evoke for
Q8
you?
Category Brand / brand association
Comment
“Suspicion! If it's made in Norway, say "Made in Norway", etc.”
“Volvo, Saab, Abba - unique, unusual, well made”
“Sold by Ikea"
“IKEA”
“Saab cars and fighter aircraft. Ikea furniture.
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Husqvarna chainsaws and motorbikes! ABBA.”
“That it was made in Scandinavia. Or Ikea. Nothing much as I don't know much about Scandinavian design. Still many think of light and somewhat minimalistic.”
“Unfortunately IKEA is now synonymous with Scandinavia.”
“IKEA High quality of product but not necessarily the most practical of products. Something that looks rather spaceage would fit well in a modern apartment but not in the average home”.
Practical / Functional
“Environmentally responsible. Quality. Practical”
“Most likely from Ikea, modern, stylish furniture. Possibly flat pack, good quality, good value for money”
“Clean and crisp but possibly basic”
“Simple clear design”
“Simple design for the spaces you own and having people in mind”
Stylish / Modern
“Functional design”
“Practical, good quality, stylish”
“Practicality and functional. serves a purpose”
“Stylish, minimalist design that although functional but makes a strong statement”
“Bold - different”
“Clean lines, modernity, practical”
“Normally good quality, practical, comfortable. Scandinavian style no excessive frills, modern but traditional at the same time”
“Modern, stylish, minimalist, fairly expensive”
“Modern quality and functional”
“Innovation and quality, liable to be slightly quirky”
“Stylish, possibly a bit out of the rut, functional”.
“Good quality product with a modern stylish design”
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Value for Money
Materials
Nature
Quality
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“Intrigue”
“Designer stylish expensive/cheap functional”
“Ultra-modern and minimal”
“Simple, stylish, high quality, well designed’
“Affordable, well made flat pack”
“Falls apart after a while if it is furniture”
“Cheap, mass produced, Chairman Mao”
“Chipboard flat pack furniture”
“Wood”
“Well made, often involving pine!”
“Quality craftsmanship, ethically sourced”
“Well made, light wood, flowing lines”
“Natural materials”
“Endless nights in summer. Very cold dark dark winters.”
“Wild, Natural and Pure”
“Local, close to nature, modern”
“Nature, Tall pine trees, Hearty, Cold, Crisp”
“Timeless quality”
“Quality, integrity”
“Modern and well-made furniture”
“Simple quality”
“Genuine quality”
“Modern, cheap, may not last as long as products made in home country”.
Uncategorised
“Good quality, and values”
“High quality product by good designers”
“High quality, stylish design”
“Georg Jensen, marimekko print, IKEA furniture, probably wooden”
“That it was made in Scandinavia”
“Constructed/built in Scandinavia”
“Just okay , but not really to my taste”
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“Rather have British”
“Viking warlords”
“My childhood - I lived in Sweden as a child”
Q9. Looking at identical products made in different countries, which would you choose? Made in UK Made in USA Made in China Made in France
Made in Germany Made in Norway Made in Sweden Made in Finland Made in Denmark
Made in Iceland
Figure 29: Graph showing results from Q9 - which product chosen when only difference is COO
Table 6: Categorised responses for Q10 - justification of product choice based on COO
Q10
Justification of choice of product based only on COO.
Category
Comment
Loyalty to
“British jobs for British people! But actually I'd choose if manufactured in any of the listed countries, except, unless there
home country
was no choice, China!”
“Supporting British industry”
“I'd rather support the UK economy”
“If the price and quality were the same I would buy made in the
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UK to support British industry and British workers”
“If the product, style and quality is the same I would support the UK manufacturing industry”
“With matching price and quality control then I would rather support British industry”
“Wish to support UK jobs”
“Prefer to shop in UK if product identical”
“Buy British where possible, if all identical and same price, why wouldn't you? (unless there were ethical concerns)”
“Buy British if possible. Quality and cost come first, but I would not buy from Syria!”
“Support UK economy”
“Support local economy”
“I really don't like the chair but all other things being equal I would buy British”
“I wouldn't look. If had to think about it and absolutely pick I would potentially go for the UK to avoid the negatives that come with importing goods. (Bad for environment, negative impact on UK economy) Workers may potentially receive a higher proportion of retail price in wages should the company not have to deal with shipping costs).”
“We have to support our own country.”
“Home produced in UK to support UK traders”
“Keep UK production workers in jobs”
“Hopefully supporting Britain's businesses, jobs, eco-friendly”.
“I think it's important to back industry/craftsmanship from your own country, given the product is identical there is nothing to detract me away from the UK made one.”
“It comes from my home country”.
“I would pick the locally made product, given the choice”.
“Where something is made does not influence whether I prefer it or not. I selected UK because it would support our own
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economy”. Environmental concerns
“I would try to choose something made nearest to my location, reducing environmental impact and helping the local economy”
“Supports my country's economy and reduces product delivery miles”.
“Lowest transport miles and supporting local economy in absence of better/preferred choice”
“Proximity”
“Less carbon emissions to transport the materials and the final product. Also means supporting local industry”
Experience / Reputation
“Supporting home businesses, reduced carbon footprint”
“My experience of German made products is that they are generally of better construction”
“If it's made in Germany it's probably better engineered”.
“Germany any day. Based upon their reputation purely”
“German made products are solid and reliable and last for years”
“When I worked with them, the Finns were passionate about quality and service”
“Denmark is known for good design and has been for a long time”.
“Sweden is outstanding when it comes to furniture”
“The Germans still have a reputation for quality but possibly no longer justified. Identical electronic items are available Made in Japan or Made in Korea. Japanese have better reliability”.
“Germany have a good reputation with reliable manufacturing that tends to center on practicality rather than style. I would possibly be concerned about the appearance of the product but it would probably be easy to assemble and unlikely to break”.
Product Associations
“They have a Scandinavian feel so I would choose a Scandinavian manufacturer. I like Sweden!”
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Quality
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“Made to last, strong, solid, good design, high production values (reliable quality of build)”
“Established Chinese manufacturers have improved quality as long as the supply chain is monitored.”
“Made to a standard , not to a price”
“When we (the UK) make stuff it's usually of a high quality these days (unlike in the 1970's when the UK produced low quality goods)”
“Quality and integrity”
“If the product is not only designed, but Made in Sweden, by Swedish standards, it is a guarantee that you are going to get a good, sturdy and sustainable product. Proud of what they do, and it is never good enough, it can be always better. Money back hassle free. If Japan was a choice, Japan, made in Japan at some cultural extent, they have some of this in mind, to design and produce complaint-free products, since they are never too good”.
“Germany has a reputation for greater build quality
“Higher quality compared to China/USA”
“It makes no difference; I would have selected all of them, except China, as the quality of the product will be the same from all the European countries and America”.
“Efficient and high quality manufacturing”
“Germany has a reputation for producing the highest quality”
“Quality, durable design”
“Germans always make good quality - very efficient”
“Germany is world renowned for being high quality, wellengineered”
Uncategorised
“Unable to make a choice”
“Balance of trade”
“I would associate it with the other end of the spectrum to mass manufactured in china. I would have picked Germany if it was
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not a chair but I feel like Sweden has a history with furniture and one would imagine that it might have had human hands touching it during the manufacturing process.”
“I could choose any. I'm not hung up on country of origin”
“Country of origin not important to me, quality and price is. Therefore if they are all the same quality and price the country of manufacture would not be important to me so I chose the first option”
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5.0
DISCUSSION
5.1
VISUAL RESEARCH AND DESIGN
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Though the initial work (Figure 3) was validated by two experts as “they seem to be right interpreted� (Hestad, 2015), both opinions stressed a need for further evidence from a wider selection. In order to achieve this, a more extensive study of the work from Lunning Prize winners (JensenSilver.com, n.d.) over the years aimed to create a less stereotypical view (Figure 4). Time constraints restricted the work exhibited in Figure 4 and this type of work produces personal results reflected on the products chosen. These two facts surmount a note of caution when discussing the results. The chosen key shapes (Figure 4) echo much of the work considered in this study. They demonstrate shapes easily identified as Scandinavian design and thus could be used to mimic the style if desired. Despite the personal selection some solid foundations seem unequivocal - the use of organic or flowing shapes, natural materials (particularly light woods) and neutral colours (Figure 30). This not only is a clear reflection of the natural Scandinavian environment but also their egalitarian style using locally sourced woods to aid the national economy and people. Furthermore, these key elements of Scandinavian visual design language appear to mimic the Scandinavian people who are unobtrusive, polite and considerate. By crafting simplistic designs in neutral tones it can be ensured to suit a variety of tastes in
Figure 30: Alvar Aalto's Paimo chair with natural, pale woods and flowing shapes. Image: Architect at Work, n.d.
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both the personal or public space. There are few uses of angular or solely geometric shapes. It appears the addition of a large radii can create a more Scandinavian feel as demonstrated in Figure 3 and 4 with the ‘gently geometric C’. This work demonstrates that the Scandinavian design style could not be created with a ruler but more likely an artist using the natural swing and arc of his hand to craft his work.
5.2
CONSUMER COMPARISON STUDY
The comments provided by participants (Table 2) demonstrated the significance of aesthetics in the ranking process. Therefore, the choice (determined by the researcher) of the product representative of each country may have had a significant effect on the results obtained. In addition it is unlikely that 8 participants produced conclusive data and thus validation is required with a larger sample size. In future, a selection of chairs from each country should be included and the study approached in stages. For example the first stage allows participants to rank chairs a-h, one from each of the 8 countries involved. Stage two examines chairs i-p, again one from each country. These stages are then repeated until conclusive data is gathered. Despite these concerns some interesting findings have been recorded. Table 2 clearly identified information participants regarded ‘important’ or ‘mandatory’ when evaluating each product. No mention of country of origin was documented but instead the “most important part of the spec[ification] was the photo”. In addition to this statement half the participants made a comment regarding aesthetics as vital. Figure 31: A participant conducting the study
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One participant stated, “I definitely pictured each chair in my house and whether I liked it”. This highlights the importance of aesthetics and personal taste/style in acceptance of a product. The product leaflet photo not only determined the ranked Figure 32: A participant during the study
score for the aesthetics but also other keywords resulting from visual assumptions (Table 2).
The COO was expected to have a similar effect, driving response for ‘quality’, ‘natural’ and ‘environmentally friendly’ for example. This was not the case though and suggests further validation is needed. Moreover the comments clarified the three most prominent factors in ranking choices - aesthetics, cost and material. Overall, Sweden (Figure 33) was the highest ranked, with the UK (Figure 34) following in second (Figure 5). Significantly, the four Scandinavian countries spread from first to seventh place. This suggests that either COO had little effect, aesthetics and question of personal taste took precedence or the Scandinavian countries don’t share similar characteristics and therefore should be treated individually.
Figure 33: The chair used in the study from Sweden. Image: Ikea, 2012b
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From the literature review, shared values were established and the visual research and design methods highlighted visible clues linking products from each Scandinavian country. This restricts the preceding rationale and leaves consideration of the COO and aesthetics as the foremost explanations. Predictably Sweden scored more highly with positive keywords like ‘simple’, ‘functional’, ‘affordable’, ‘user-friendly’, ‘modern’, ‘innovative’ and ‘fun’. Somewhat unexpectedly ‘poor quality’ scored highly as did ‘unnatural’. In contrast the UK scored more highly for ‘too expensive’, ‘traditional’, ‘high quality’, Figure 34: The chair used to represent the UK in the study. Image: John Lewis, 2014
‘environmentally friendly’, ‘natural’, ‘homely’ and ‘family-oriented’.
It was expected that a Scandinavian country would surpass the UK in the ‘natural’ and ‘environmentally friendly’ categories. However, the UK product was manufactured from British woods and would thus support local industry while minimising CO2 emissions during transportation. The sole use of wood in the production of the UK product could suggest why it scored more highly for ‘natural’. Furthermore a striking differential states the UK more ‘homely’ and ‘familyoriented’. This could be due to its higher traditional score therefore resonating with family life, familiarity and existing ideas of what is homely. Alternatively, participants could have projected their cultural experiences of the UK onto the products thus distinguishing it as the most ‘homely’. Significantly Sweden and the UK shared a ranking score in the ‘aesthetic’ and ‘ergonomic’ categories. The UK product is likely to be regarded highly aesthetic on account of its traditional style (supported by Figure 15). The Swedish product also seems familiar; conforming to existing ideas of what is homely warranted by its 51
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origins from the renowned and accepted brand IKEA. In addition affordability (Figure 13) suggests the Swedish chair was more a more all-round suitor effectively balancing cost, style and practicality. The ‘ergonomic’ rankings, Figure 18, are likely based on prior user experience of a traditional British rocking chair and of the quality of products from IKEA. Denmark was a clear forerunner for ‘aesthetics’ (Figure 12) despite its unprecedented cost, followed by the UK and Sweden. The Scandinavian products then extend to as far as eighth place providing no conclusive comments on their aesthetic qualities as a whole. One can subsequently propose that aesthetics are a major influencer based on individual taste and existing home décor as opposed to COO. The three most aesthetic designs all share modernity and neutrality, thus they are able to fit with many existing styles perhaps limiting the effect of personal taste. The UK product is both traditional and embracing a modern twist, nevertheless easily imagined in many UK homes. Similarly the Swedish product suits a variety of UK homes resulting from IKEA’s well-known success. Interestingly the Danish design (Figure 35) residing at the top for ‘aesthetics’ combines modernity and the traditional style. Besides this it provides a little more of the European flair so relished in Scandinavian design (Polster, 1999) and perhaps this was what drove it to the top. Despite its beauty the Danish design resides in sixth place overall (Figure 5) on account of its significant expense (Figure 13) and ergonomic concerns (Figure 18) of such a unique shape. This supports participants’ comments stating cost as an indispensable purchasing influencer. However, perhaps ‘affordability’ should be disregarded in this study because some ‘designer’ products appear which may not accurately reflect each country. Both products from France and
Figure 35: The product chosen to represent Denmark. Image: Norr 11, n.d.
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Norway (ranked in 6th and 7th place) originated from designer companies likely to charge a premium for their products. Contrastingly the Swedish product, in top place for its value for money, stems from a company who design for all. This again further reinforces the need for continued work and validation of this study. Though there were no direct categories to enable ranking of materials Table 2 denotes their significance to consumers. Subsequently some keywords can be used to make inferences regarding quality of material choice. Careful scrutiny of Figures 14, 16, 17 and 19 indicates a correlation between ‘natural’, ‘handmade’ and ‘high quality’. The German product is regarded most ‘high quality’ also scoring most highly for ‘handmade’ and residing in third place for ‘natural’. Likewise, the Danish product is of a ‘high quality’, ‘handmade’ and ‘natural’ according to the rankings. From this relationship it is deduced that mass-made products appear a lower quality and exude a different feel than those that are handmade. This does not mean the products are less desirable when balanced out with affordability and ease of use. In contrast to the earlier deduction that aesthetics were significant to overall ranking, Germany, with its comparatively low aesthetic score, proved a little unexpected (Figure 5). Perhaps this is a direct result of the author’s own preconceptions of German products but the following allows for the reader’s discretion. The German chair (Figure 36) scored highest for ‘high quality’, ‘handmade’ (substantiating prior speculation of a relationship between these two and ‘natural’),
Figure 36: The chair representing Germany in the study. Image: Bauhaus 2 Your House, 2015
‘environmentally friendly’ and
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‘homely’. Note all these qualities have been inferred from the product as opposed to based on facts provided in the product leaflets. This might suggest existing associations with Germany’s esteemed industry had an influence on decisionmaking in a positive manner. The results from the four Scandinavian countries show little correlation, with no obvious trends present. For example, Norway is ranked most ‘innovative’ and ‘ergonomic’ but has the lowest ‘aesthetics’. In contrast, Denmark has the highest score for ‘aesthetics’ but also the lowest for ‘affordable’. Consequently this study has proved inconclusive in understanding the effect of COO of Scandinavian products.
5.3
INTERVIEWS
Both interviews proved useful in gathering in-depth and detailed answers to the research questions. Though the opinions are both compelling and of merit, perspectives of two individuals cannot provide a true representation of a whole culture or design movement. In future it would be important to perform similar interviews with eminent designers or academics from each of the five Scandinavian countries in Figure 1. Some concerns were raised centering around the inclusion of Finland in the term ‘Scandinavia’. Finnish Professor Korvenmaa quite
Figure 37: Finland - part of 'Scandinavia' or not? Image: Encyclopaedia Britannica, 2015
adamantly proposed that “Finland is not a Scandinavian country” (2015), an opinion
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firmly supported by Dr. Hestad, stating “Finland is not normally counted as Scandinavia” (2015). In contrast to this fixed idea that Finland should not be Scandinavian it was suggested this might not be the case for ‘Scandinavian design’ (ibid.). This poses the question, what is the difference with ‘Scandinavia’ as a region and ‘Scandinavian design’? One might speculate that Finland’s position during the Second World War had an everlasting effect on this distinction. Finland was “an in-between country between East and West” (op cit.) where the “war was a great divide separating Finland from the other Nordic countries” (ibid.). Additionally, the four others “share a common history” (ibid.) Perchance it is this shared understanding (Hestad, 2015) that unites Sweden, Norway, Denmark (and Iceland) in their culture as ‘Scandinavian’ countries. Finland may simply not be deemed ‘Scandinavian’ on account of its different birthright. Still the question why Finland is included in ‘Scandinavian design’ remains. Professor Korvenmaa stated that “design is recognised as one of the corner stones of the whole society” (2015) where it plays an integral role in Finnish daily lives. This intrinsic value of design in Finnish society may suggest a logical transformation to join the ranks, and success, of the Scandinavian design movement. “Good design is not intentional or national” (ibid.) so when a Finnish designer creates a beautiful, successful piece of work it immediately becomes great Finnish design. Sustaining that logic, the brand of ‘Scandinavian design’ could only be strengthened by Finland’s inclusion. In turn, Finland benefits from the positive brand image and receives ample opportunity to carve a new identity not stuck between East and West. Conversely the term ‘Nordic’ design receives the inclusion of Finland more favourably (Hestad, 2015). However, the dictionary defines the term ‘Nordic’ as “of, relating to, or characteristic of a Germanic people of northern European origin, exemplified by the Scandinavians” (Dictionary.com, 2015). This suggests the term ‘Nordic’ refers to the people who inhabit the Scandinavian regions as opposed to a region in its own right. 55
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Furthermore some distinctive comments were made regarding the identity of each separate country. Defining the nature of the people or components of a culture could easily be misconstrued as a stereotype. One must question whether stereotypes prove useful or distracting for the purpose of this study. Despite their negative connotations, one can presume stereotypes are founded on some or partial truths and thus offer notions to learn from. Contrastingly if they are completely fictitious then there is also knowledge to be gained in questioning how they came to exist. Perhaps it is even possible they originated from the country in question as a way to differentiate from their neighbours and create an identity. The Norwegians are still hungry for this identity unlike the Icelandic nation who are already “really proud” (Hestad, 2015). Findings regarding the key principles of Scandinavian design from both interviews support one another and prior literature review. Thus the most pivotal aspects of Scandinavian design can clearly be stated henceforth. Function - a product must serve a useful purpose that can better the lives of everyday people in some way (Korvenmaa, 2015). Fueled by the financial crisis (Hestad, 2015) affordability or, more accurately value for money, where anyone can “afford themselves a welldesigned environment” (op cit.). Simplicity of form and function provide a unique balance of elegant beauty in Scandinavian products. Though ‘simplicity’ may
Figure 38: Beautiful, modern and stylish example of the Scandinavian simplicity of form and function. Image: Social Design Magazine, n.d.
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have negative nuances there is more to ‘Nordic minimalism’ (ibid.). Instead Scandinavian design is unobtrusive, quiet, calm and easily suited to a variety of public or private spaces (ibid.). It seems inspired by the serene nature and natural beauty found in much of Scandinavia’s landmass (Hestad, 2015). In addition this simple, uncomplicated approach to design is part of a growing, global trend present today, contributing to the rise in popularity of Scandinavian design (ibid.). According to Hestad (2015) only one story will be communicated in Scandinavian design products. That story may be reflected in the form, the choice of materials or function. It may also be reflected in the conscious choice of materials (ibid.) using local and raw materials to contribute to the natural feel. Scandinavian design principles appear to center around the vital concept that beauty should not be overdone. ‘Lagom’ is at the core of all cultural value (ibid.) meaning just enough and not too much (Scandimania: Sweden, 2014). With regard to personal characteristics it advocates being humble towards life itself and success (ibid.). Thus Scandinavian design products demonstrate a modest beauty that is truthful, honest and open, reflecting the culture of the Scandinavian people who believe in a "high degree of trust among people” (op cit.). Another significant value supporting these central principles is the importance of the home or the lifestyle of ‘hygge’ (ibid.). In the Scandinavian countries the home is where people spend the majority of their time and acts as a “setting for social display” (Korvenmaa, 2015). The Nordic climate is partially culpable for this with no bars, restaurants or café’s following the war. In quick succession the home became pivotal for a Scandinavian (ibid.). ‘Hygge’, meaning “nice and cosy and coming together” (op cit.) paints an inviting picture where Scandinavian’s create a warm and pleasant atmosphere together (Scandimania: Denmark, 2014). The word originates from the Norwegian word meaning ‘well-being’ though has no direct translation to English (Visit Denmark, n.d.). An iconic symbol of ‘hygge’ is the warm flicker of candlelight (Hestad, 2015) to help blot out those long, dark winter days in the Northern regions. Furthermore 57
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Scandinavian design appears to reflect ‘hygge’ in its simplicity and function ensuring focus remains on the people it aims to please. In other words a Scandinavian chair will simply provide its owners and guests a comfortable, beautiful place to sit but when they wish to stand it will make no effort to draw further attention. Scandinavian design is more than simply design but a lifestyle (ibid.) with ‘hygge’ at the center. British consumers in favour of Scandinavian design are likely to relate or aspire to this ‘hygge’ lifestyle (ibid.). Subsequently for these consumers purchasing an item of Scandinavian design is worth far more than a cheaper alternative. On the contrary, many British people aim to create a home that has an innate homeliness. Often this is achieved with small, tucked away spaces where one can cosy up with a roaring fire far away from the cold, harsh rain hammering the windowpanes. Traditionally British homes are full of rich, warm colours, fireplaces and filled with wooden finishings. The notion of ‘hygge’ with its barely there ethos, simplicity, keen desire to serve a functional purpose - is that really what the British consumer craves? Following ‘hygge’ the openness and honesty of Scandinavian culture is echoed throughout its design work defined by the word ‘janteloven’. The word is used to describe Jante’s law (Nordic Spotlight, 2012), a set of rules or guidelines that a Scandinavian person should adhere to (Figure 39).
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Figure 39: Jante's law as written on a BBC News article. Image created by Hannah Sage
‘Janteloven’ is about considering everyone equal, thus you are not better than someone else on account of earning more money, having a better education, a bigger house or a newer car for example. Furthermore, you should talk highly of others not yourself and you should never “step on other people” to get where you want (Hestad, 2015). ‘Janteloven’ is not just in the way people behave but is echoed throughout their law, taxation and education system alongside a unique trust of the state (Scandimania: Denmark, 2014). Trust, honesty and openness are encouraged and thus are both vital and abundant aspects of Scandinavian culture (ibid.). ‘Janteloven’ mimics an egalitarian conviction but is an ethos firmly cemented in the daily life of a Scandinavian. Similarly ‘Janteloven’ creeps into all ‘good design’ as ‘good design’ is founded in its availability to all users from any level of society, contributing to the improvement of their everyday life (Korvenmaa, 2015). This is also evident in Dr. Hestad’s book (2013) commenting on the communication of one story. You can look at a Scandinavian product, understand it and feel readily able to trust it in the same way you might a Scandinavian person. The correlation between ‘lagom’ and ‘janteloven’ is evident. The two speak of a modest nation that does not expect much, instead expecting that everything is ‘ok’, neither really good nor really bad (Scandimania: Sweden, 2014.).
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The very Scandinavian notions of ‘hygge’, ‘janteloven’ and ‘lagom’ are part of a rich tradition in the region. This tradition is part of a strong social and democratic morality seeping through Scandinavia (Korvenmaa, 2015) as demonstrated through social care, design and availability for all, housing and healthcare. Succeeding this ethos of equality tradition exists in craft form, a quality later transformed to industrial and mass production. It is this craft foundation that helps distinguish Scandinavian design from other design movements (ibid.). Specifically, the Danes employed handcraft to great success requiring increased and specialised manpower, resulting in more expensive products (Hestad, 2015). Unlike the Swedes, the Danes did not perceive the Scandinavian design movement as a way to change the lives of everyone (ibid.). Contrastingly Scandinavian design firmly belongs to modernism, which in turn has unyielding foundations in looking forwards (ibid.). Thus Scandinavian design provides a unique balance between both looking back at one’s heritage, and continually striving to improve lives. For the Icelandic people, their heritage is heavily connected with traditional folklore and fairytales (ibid.). Perhaps this is why
Figure 37: An example of Danish craft. Image: Georg Jensen, n.d.c
Icelandic design has grown to be more experimental and playful (ibid.) resulting from a touch of mythical history. Nature (Figure 38) has always played a huge role in the lives of Scandinavian people and the same is true for their design. Nature’s inspiration is especially evident in Finnish work which develops a “mystique around design” (ibid.) in an effort to echo the mystery of the natural world. Some young Scandinavian designers may feel restrained by the works of their predecessors and instead wish to look forward to fresh solutions that play to the ever increasing global market (Korvenmaa, 2015.). The very notion that this global market determines the product appearance (ibid.) might cause the Scandinavian brand to lose its clear identity. This could provide the freedom craved by some to push past the legacy from the “hey-day of Nordic design from the 50’s and 60’s” (ibid.). 60
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Figure 38: An example of Scandinavia's beautiful nature in Norway. Image: Hannah Sage
Whether the UK market appreciates Scandinavian values or simply appreciate the design is no doubt a personal choice but for some it would seem the lifestyle is integral (op cit.). This theory was further supported in Hestad’s book (2013), which explains that ‘fashionable’ products often comprise qualities the consumer wishes to be identified with. One can speculate that some consumers purchase a Scandinavian product because of its beauty, functionality and affordability but also due to a desire to be associated with one of the positive Scandinavian values. It is easy to see a British consumer empathising with the idea of ‘hygge’ and wishing to create a homely environment for themselves and their loved ones. Furthermore, brands and their associated products provide opportunity for consumers to express themselves (ibid.). This is a clear correlation with the Scandinavian idea that the quality of design in their home demonstrates their personality and values. Thus it would seem that some British consumers who buy Scandinavian design agree with this (Hestad, 2015). The effect of both the recession and the current ‘simplicity’ trend (ibid.) also drives popularity in Scandinavian design. One can presume certain types of people are likely to buy Scandinavian design for either one of these reasons. Alternatively this success could result from aesthetics and function being inseparable (Korvenmaa, 2015). The neutrality of Scandinavian design is an
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assurance of its suitability for various environments, styles and tastes, publically or privately (ibid.).This also generates negative opinions for those who find it bland, boring and cold (op cit.).
5.4
CONSUMER SURVEYS
Table 3 denotes an expected response to the question “what is Scandinavian design?” The words ‘modern’, ‘practical’, ‘functional’, ‘stylish’ and ‘minimalist’ frequently occurred alongside “clean lines” as a description of form. These are all synonymous with the Scandinavian design principles identified thus far. Other recurring comments included the use of wood in a central role and an efficient use of raw materials - typical Scandinavian design principles. This also reflects stereotypes associated with the Scandinavian region where nature is at the heart and design is “beautifully pure” (Table 3). IKEA (Figure 40) dominated the comments, no doubt resulting from being renowned across the globe. Additionally many participants will think first of IKEA
Figure 40: An example from IKEA's catalogue. Image: Home Designing, 2012
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when asked to consider Scandinavian design. The mainstream brand is well integrated into homes, offices, hotels and other public spaces across the UK. Besides this, the affordable furniture typically belongs to students or first time buyers, likely placing IKEA as British consumers’ first experience of Scandinavian design. Typically, ‘modern’, ‘minimalism’ and ‘stylish’ are viewed as positive words but contrastingly some participants regarded this as ‘bland’, ‘boring’, ‘cold’, ‘stark’, ‘bare’ and ‘unhomely’. This indicates the Scandinavians and British might appreciate ‘hygge’ in a different manner with personal taste causing an additional effect. Some view Scandinavian design as ‘timeless’ and others “rather last century!” (Table 3). When assessing the keywords in detail attention must be brought to the score for ‘homely’ which was quite low indicating a stark difference in view of home values by the British and Scandinavians. Figure 25 shows the key values associated with Scandinavian culture were ‘socially responsible’, ‘affinity with nature’ and ‘freedom’. None of these offer surprising results and clearly reflect Scandinavia’s egalitarian culture and deeply held link to the natural world around them. Perhaps the British stereotypes are not so unrealistic. The ranking exercise in Figure 26 further demonstrates participants’ ability to correctly identify iconic Scandinavian products. Verner Panton’s chair (E) was ranked the ‘most Scandinavian’ followed by Arne Jacobsen’s Swan chair (A and Figure 41). Despite this correct identification the English sofa (D) did not rank the ‘least Scandinavian’ but instead the table and chairs in picture B. Perhaps this is a result lack of clear brand association whereas the English sofa is very typical of many British furniture
Figure 41: Arne Jacobsen's Swan Chair. Image: Republic of Fritz Hansen, 2015g
stores.
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Figure 27 denotes 68% of participants’ own Scandinavian products of which 18 identified that product as belonging to the IKEA brand (Table 4). This is indicative of the British consumers’ clear association with Scandinavian design and IKEA. However the reader is asked to question whether IKEA truly represents Scandinavian design as discussed thus far? Furthermore 14.7% (Figure 27) weren’t sure if they owned a Scandinavian design product therefore is the British consumer well enough informed? Other participants highlighted owning cars from Saab or Volvo with only minimal mention of less well-known brands such as Ekornes (Table 4). This could suggest British consumers are not decidedly clear about Scandinavian design’s DNA but instead are occupied by the widely accepted global brands. Figure 28 demonstrates participants’ assumptions that their Scandinaviandesigned possessions portray themselves as ‘practical’, ‘modern’ and ‘stylish’ - a clear link with the results from Figure 24. Nevertheless if one ignores the results for ‘practical’ the responses circulate quite broadly over the 18 other keyword options suggesting no strong affinity for the question. Interestingly ‘homely’ was chosen by 31.25% and thus was the fourth highest choice despite Scandinavian products not exuding ‘homely’ as a quality in Figure 24. The findings in Figure 28 also contradict some of the earlier comments describing Scandinavian design as ‘stark’, ‘unhomely’ and ‘bland’ in Table 3. Perhaps participants have simply imparted what they want the products to say about themselves into their choice of keyword. Whereas when asked about Scandinavian design - a simple, open question removed from their personal identity - they may be able to give more accurate answers. The term ‘Made in Scandinavia’ also received many expected answers - high quality design by good designers, simplicity, functionality and of course practicality (Table 5). Significant statements include, “IKEA is now synonymous with Scandinavia”, supported by survey results; it’s “modern but traditional at the same time”, supported by the interviews; and it “would fit well in a modern apartment but not an average home”. This last declaration alludes to the issue of what is and isn’t homely further suggesting that the British do not always relate to the Scandinavian ‘hygge’. 64
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Finally, participants were most likely to support the local UK economy as 58.46% would chose to purchase the product made in the UK (Figure 29). Reasons cited often devolved to supporting local economy, people, jobs and limiting negative associations with importing goods. Moreover the reduced environmental impact of buying locally sourced goods proved important for several. This desire to support one’s home country was aptly described as it’s “important to back industry/craftsmanship from your own country” (Table 6). A number of participants chose ‘Made in Germany’ based on associations of providing better quality (“Germany has a reputation for producing the highest quality”) (Table 6). For others, “I’m not hung up on country of origin” (Table 6) reinforcing the idea that products are purchased based on personal taste not necessarily factors pertaining to COO. The findings from this final question do not provide conclusive evidence to the rise in popularity of Scandinavian design in recent years. However, findings indicate COO is not the driving factor for British consumers.
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CONCLUSION
Though the definition of ‘Scandinavia’ is contentious it appears Finland should be included in the term ‘Scandinavian design’. This is supported by early exhibitions during the Golden Age, the literature review and Dr. Hestad’s distinction between the two terms. The ‘Lunning prize’ was described as “really important in understanding Scandinavian design and where it comes from” (Hestad, 2015). One of the first winners was Finnish designer Tapio Wirkkala (JensenSilver.com, n.d.) displaying Finland’s concrete part of ‘Scandinavian design’. Both interviewees openly discussed the suitability of principles and values determined from the prior literature review. Some points of contention did arise but predominantly the findings are supportive. Thus key principles comprise: simplicity, affordability, high quality and functionality. Key values encompass: ‘hygge’, tradition, nature and a socially aware, egalitarian culture. Furthermore, whilst the Scandinavian countries exhibit similar key principles and share some cultural values, each of the five countries may demonstrate its own flair. The five countries are much like any group of individuals and each one shows unique talent. Not all Scandinavian design will exhibit the same attributes or be founded on the same cultural qualities. However, appreciating the core cultural values allows a better understanding of the Scandinavian design remit and its purpose. In addition the positive and negative results from the ‘Golden Age’ in the 50’s and 60’s are evident. The benefits include global success and reputation, driving profit and industry. Alternatively the past is restricting new, radical design from the region. This study indicates that some British consumers may empathise with the cultural values associated with Scandinavia. Predominantly though the association of Scandinavian design with mainstream brands like IKEA is perhaps stronger alongside beliefs that Scandinavian design is practical, functional and modern. Further studies should be conducted assessing consumer opinion of products based solely on their COO. Participant demographics should be recorded to
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ascertain any correlation between particular user groups and their appreciation of Scandinavian design. This could be conducted using the consumer comparison study demonstrated in this report provided a wider sample size is used to ensure validation. Additionally a more in depth assessment of the visual design and research methods could provide further evidence to support the claims in this study.
TOTAL WORD COUNT: 7192
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7.0 REFERENCES
1. Archi Expo, 2015. Contemporary armchair / by Alvar Aalto / sled base. [Online] Available at: http://www.archiexpo.com/prod/artek/contemporary-armchairs-alvaraalto-sled-base-4051-303215.html [Accessed 12 February 2015]. 2. Architect at Work, n.d. Armchair 41 Paimio [Online] Available at: http://www.archello.com/en/embedded/architect-at-work/event/architectworkzurich-0/product/armchair-41-paimio [Accessed 20 March 2015]. 3. Balabanis, G., Diamantopoulos, A., Mueller, R. D., Melewar, T. C., 2001. The impact of nationalism, patriotism and internationalism on consumer ethnocentric tendencies. Journal of International Business Studies, 32 (1), pp. 157-175. 4. Bauhaus 2 Your House, 2015. Michael Thonet B825 bentwood rocking chair. [Online]. Available at: http://www.bauhaus2yourhouse.com/products/michaelthonet-b825-bentwood-rocking-chair [Accessed 17 January 2015]. 5. Bjorn Weckstrom, n.d. Thinker 1989. [Online] Available at: http://www.bjornweckstrom.com/sculpture-bronze/l4jkokghk4fugaajbkbj0fvj4yodrp [Accessed 28 February 2015]. 6. Breunig, M., 2012. Exhibitable furniture: interpreting images of design. In K. Fallan, ed. Scandinavian design alternative histories. Berg. 7. Bush, A. J., Hair Jr., J. F., 1985. An assessment of the mall intercept as a data collection method. Journal of Marketing Research (JMR), 22 (2), pp. 158-167. 8. Cohen, L., Manion, L., Morrison, K., 2007. Research methods in education. S.l.: Taylor and Francis. 9. Crilly, N., Moultrie, J., Clarkson, P. J., 2004. Seeing things: consumer response to the visual domain in product design. Design Studies, 25 (6), pp. 547-577. 10. Danish Design Store, 2015. Hans Wegner CH07 Shell Chair. [Online] Available at http://www.danishdesignstore.com/products/ch07-shell-chair-by-hans-j-wegner [Accessed 28 February 2015]. 11. Davies, K., 1997. Scandinavian furniture in Britain: Finmar and the UK market, 1949-1952. Journal of Design History, 10 (1), pp. 39-52. 68
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2015]. 74. Made in Design, n.d. Hudson Rocking chair - Emeco [Online]. Available at: http://www.madeindesign.co.uk/prod-hudson-rocking-chair-emeco-refhudrocp.html#description [Accessed 18 January 2015]. 75. Magazin, n.d. Armlehnstuhl About a Chair. [Online] Available at: http://www.magazin.com/armlehnstuhl-about-a-chair-p1468489/ [Accessed 20 March 2015]. 76. Michell, P., King, J., Reast, J., 2001. Brand values related to industrial products. Industrial Marketing Management, 30 (5), pp. 415-425. 77. Motorionline, 2011. Volvo V40 Nova Edition, prima di tutto la sicurezza [Online] Available at: http://www.motorionline.com/2012/09/17/volvo-v40-nova-editionprima-di-tutto-la-sicurezza/ [Accessed 20 March 2015]. 78. Nanna Ditzel Design A/S, n.d. ‘Butterfly Chair’ 1990. [Online] Available at: http://www.nanna-ditzel-design.dk/F2.html [Accessed 28 February 2015]. 79. Nanna Ditzel Design A/S, n.d. Oda Chair, 1953 - 2011. [Online] Available at: http://www.nanna-ditzel-design.dk/F13.html [Accessed 28 February 2015]. 80. Nanna Ditzel Design A/S, n.d. ‘The Seashell Chair’ 1996. [Online] Available at: http://www.nanna-ditzel-design.dk/F22.html [Accessed 28 February 2015]. 81. The National, 2011. How northern European design conquered the world. [Online] Available at: http://www.thenational.ae/lifestyle/house-home/hownorthern-european-design-conquered-the-world [Accessed 12 October 2014]. 82. Nordic Design Review, 2014. Winners of the Lunning Prize. [Online] Available at: http://www.nordicdesignreview.com/blog/2014/3/6/winners-of-the-lunning-prize [Accessed 1 March 2015]. 83. Ostergaard Design, n.d. A-Line Dining Chair [Online] Available at: http://www.ostergaard-design.com/a-line-dining-chair/ [Accessed 20 March 2015]. 84. Petagazine, 2014. Simple Minimalist Wooden Chairs with Gray Fabric. [Online] Available at: http://www.petagazine.com/picture/simple-minimalist-woodenchairs-with-gray-fabric/ [Accessed 7 January 2015].
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85. Peter Opsvik, n.d. Variable balans 1979 [Online] Available at: http://www.opsvik.no/works/industrial-design/variable-balans [Accessed 20 March 2015]. 86. Pinterest, 2015. Packaging || Beverage & Bottle & Can [Online] Available at: https://uk.pinterest.com/pin/285134220133256987/ [Accessed 20 March 2015]. 87. Progetto-verde.it, n.d. Poltrona da scrivania, a casa come in un ufficio direzionale [Online] Available at: http://www.progettoverde.it/Prodotti/ArredoNaturale/duo.htm [Accessed 20 March 2015]. 88. Republic of Fritz Hansen, 2015. Drop. [Online] Available at: http://www.fritzhansen.com/en/fritz-hansen/the-republic/product_news/Drop [Accessed 22 March 2015]. 89. Republic of Fritz Hansen, 2015. Grand Priz. [Online] Available at: http://www.fritzhansen.com/en/fritz-hansen/the-republic/product_news/GrandPrix [Accessed 20 March 2015]. 90. Republic of Fritz Hansen, 2015. Image details. [Online] Available at: http://www.fritzhansen.com/en/fritz-hansen/assetbank?append=action/viewAsset?id=111&index=1&total=24&view=viewSearchIte m [Accessed 28 February 2015]. 91. Republic of Fritz Hansen, 2015. Image details. [Online] Available at: http://www.fritzhansen.com/en/fritz-hansen/assetbank?append=action/viewAsset?id=131&index=1&total=24&view=viewSearchIte m [Accessed 28 February 2015]. 92. Republic of Fritz Hansen, 2015. Image details. [Online] Available at: http://www.fritzhansen.com/en/fritz-hansen/assetbank?append=action/viewAsset?id=3381&index=1&total=24&view=viewSearchIt em [Accessed 28 February 2015]. 93. Republic of Fritz Hansen, 2015. Series 7. [Online] Available at: http://www.fritzhansen.com/en/series-7-3107-chair-laminated [Accessed 22 March 2015]. 94. Rosner, D., Bean, J., 2009. Learning from IKEA hacking: I'm not one to decoupage a tabletop and call it a day. In: Proceedings of the SIGCHI
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Conference on Human Factors in Computing Systems, pp. 419-422. Boston, 4-9 April 2009. ACM: New York. 95. Scandimania: Norway, 2014. Written by Hugh Fearnley-Whittingstall. UK, Channel 4 [Documentary]. Available at: http://www.channel4.com/programmes/scandimania/on-demand/57357-003 [Accessed 13 February 2015]. 96. ScandinavianDesign.com, n.d. Artek Aalto Stool 70 years. [Online] Available at: http://www.scandinaviandesign.com/artek/030209.htm [Accessed 28 February 2015]. 97. Scandinavia Design, 2015. Artek Mademoiselle rocking chair. [Online]. Available at: http://www.scandinavia-design.fr/mademoiselle-tapiovaara-artek_en.html [Accessed 17 January 2015]. 98. Scandinavian Design, 2015. Fauteuil CH07 - Shell Chair. [Online] Available at: http://www.scandinavia-design.fr/ch07-hans-j-wegner-carl-hansen.html [Accessed 20 March 2015]. 99. Scandinavian Design Center, 2015. B枚rge Lindau [Online] Available at: http://www.scandinaviandesigncenter.com/Designers/gbp1/8014&currencychang ed=1 [Accessed 20 March 2015]. 100.
Siete 24, 2014. Lego gan贸 1000 mdd en 2014 [Online] Available at:
http://www.siete24.mx/lego-gano-1000-mdd-en-2014-98741/ [Accessed 20 March 2015]. 101.
Skandiform, 2014. Skandiform movie English. [Online]. Available at:
https://www.youtube.com/watch?v=cfGecUgwW1o [Accessed 17 December 2014]. 102.
Skandium, n.d. EJ 100 Ox Chair [Online] Available at:
http://www.skandium.com/ej-100-ox-chair [Accessed 22 March 2015]. 103.
Skandium, n.d. Pelican Armchair [Online] Available at:
http://www.skandium.com/pelikan-armchair [Accessed 20 March 2015]. 104.
Stelton, n.d. EM Cutlery, Black [Online] Available at:
http://www.stelton.com/en/Category/Products/C-15_EM_Bestiksaet.aspx [Accessed 20 March 2015]. 83
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Stelton, n.d. EM salad serving set. [Online] Available at:
http://www.stelton.com/en/Category/Products/532_EM_salat_og_serveringssaet. aspx [Accessed 28 February 2015]. 106.
Stelton, n.d. Ship's lamp - large. [Online] Available at:
http://www.stelton.com/en/Category/Products/1001_skibslampe.aspx [Accessed 28 February 2015]. 107.
Stelton, n.d. EM vandfilterkande smoke. [Online] Available at:
http://www.stelton.com/da-DK/Category/Products/131010_Vandfilterkande_smoke.aspx [Accessed 28 February 2015]. 108.
Stelton, n.d. Maya cutlery. [Online] Available at:
http://www.stelton.com/en/Category/Products/C-1_Maya_Bestiksaet.aspx [Accessed 28 February 2015]. 109.
Stelton, n.d. Penguin Children’s Cutlery 3 pcs. in pink suitcase. [Online]
Available at: http://www.stelton.com/en/Category/Products/C-23-1_Pinguin.aspx [Accessed 28 February 2015]. 110.
Stool, n.d. Armlehnstuhl About a Chair. [Online] Available at:
http://stool.fi/designers/tapiovaara-ilmari/ [Accessed 20 March 2015]. 111.
Trendnet, 2013. Svart á Hvítu ♥ Arne Jacobsen. [Online] Available at:
http://trendnet.is/svartahvitu/svart-a-hvitu-♥-arne-jacobsen/ [Accessed 28 February 2015]. 112.
Tollmar, K. 2001. 'Towards CSCW design in the Scandinavian tradition',
Doctoral Dissertation, Stockholm University. 113.
Turbosquid, 2015. Ikea Poang Chair [Online] Available at:
http://www.turbosquid.com/3d-models/chair-ikea-3d-max/658991 [Accessed 22 March 2015]. 114.
Valtonen, A., 2005. Six decades - and six different roles for the industrial
designer. [Online] Nordes. Available at: http://www.nordes.org/opj/index.php/n13/article/view/233/216 [Access 15 February 2015].
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Varier Furniture, n.d. Gravity Balans [Online]. Available at:
http://www.varierfurniture.com/en_gb/Movement-Chairs/Gravity-balansR/Variations-Gravity-Balans/Gravity_balans_Black_STE999Natural_lacquered_Ash [Accessed 17 January 2015]. 116.
Verganti, R., 2006. Innovating through design. [Online]. Harvard Business
Review. Available at: http://www.dis.uia.mx/profesores/juanfdonoso/spring2011/dint8/lecturas/innovatin g_through_design.pdf [Accessed 20 November 2014]. 117.
Verner Panton Universe, 2015. Living Tower [Online] Available at:
http://verner-panton.tagwerc.de/products/vitra-living-tower.html [Accessed 20 March 2015]. 118.
Wirkkala, n.d. Art Glass - Bolle Venin. [Online] Available at:
http://www.wirkkala.fi/wirkkala.fi/Tuotanto/Sivut/Taidelasi.html [Accessed 28 February 2015]. 119.
Wirkkala, n.d. Pollo - Rosenthal. [Online] Available at:
http://www.wirkkala.fi/e_wirkkala/Production/Pages/Porcelain.html#7 [Accessed 28 February 2015]. 120.
Wirkkala, n.d. Sculptures - Leaf. [Online] Available at:
http://www.wirkkala.fi/e_wirkkala/Production/Pages/Sculptures.html#3 [Accessed 28 February 2015]. 121.
Woont, 2015. PP 75 [Online] Available at:
https://www.woont.com/en/Furniture/Tables/Dining-Kitchen-Tables/PP-75-PPMøbler-103236 [Accessed 20 March 2015].
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APPENDIX A PROJECT PLANNING
Figure 42: Gantt chart for study
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Figure 43: Detail section of Gantt chart with Interview dates
NB: Professor Brink was unable to be interviewed due to other commitments as determined closer to the interview date.
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APPENDIX B ETHICS ETHICS CHECKLIST – UNSIGNED AT TIME OF PRINTING THIS DOCUMENT
Figure 44: Page 1 of ethics checklist
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Figure 45: Page 2 of ethics checklist
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Figure 46: Page 3 of ethics checklist
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Figure 47: Page 4 of ethics checklist
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Figure 48: Page 5 of ethics checklist
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CONSUMER COMPARISON STUDY
Figure 49: Participant information sheet for consumer comparison study page 1
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Figure 50: Participant information sheet for consumer comparison study page 2
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Figure 51: Consent form from Alice Dowson
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Figure 52: Consent form from Emily Sage
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Figure 53: Consent form from Kathryn King
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Figure 54: Consent form from Paul Hawkins
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Figure 55: Consent form from Jamie Sage
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Figure 56: Consent form from Lauren Gibson
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Figure 57: Consent form from Wendy Sage
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Figure 58: Consent form from Amy Felsinger
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INTERVIEWS
Figure 59: Participant information sheet for interviews page 1
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Figure 60: Participant information sheet for interviews page 2
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Please note Professor Korvenmaa was unable to sign the form due to lack of facilities. However, he was provided with both the participant information sheet and consent form prior to interview and confirmed all was ok. See email below. From: Subject: Date: To:
Korvenmaa Pekka pekka.korvenmaa@aalto.fi VS: Dissertation Contacts 14 January 2015 11:12 Hannah Sage h.c.sage-11@student.lboro.ac.uk
Hi, yes tmrw ok. The sheet: on sabbatical I work from home, no scanner so tough to provide the signature. BR, Pekka Lähettäjä: Hannah Sage [h.c.sage-11@student.lboro.ac.uk] Lähetetty: 14. tammikuuta 2015 12:16 Vastaanottaja: Korvenmaa Pekka Aihe: Re: Dissertation Contacts
Dear Pekka, I just wanted to confirm that tomorrow’s interview and time is still ok? Additionally, as part of our University ethical protocol I have attached a participant information sheet (explaining what I’m doing and for what purpose, which we can discuss tomorrow too) and a consent form I would need you to sign if that’s ok? Many Thanks, Hannah Sage Hannah On 30 Dec 2014, at 18:14, Korvenmaa Pekka <pekka.korvenmaa@aalto.fi> wrote:
Lähettäjä: Hannah Sage [mailto:h.c.sage-11@student.lboro.ac.uk] Lähetetty: 30. joulukuutata 2014 14:07 Vastaanottaja: Korvenmaa Pekka Aihe: Re: Dissertation Contacts
Dear Pekka, Of course, telephone is also good. I return to University on the 5th but unfortunately have quite a hectic week so perhaps during the week beginning Monday 12th? Is there a time in the New Year that would be most convenient for yourself?
Figure 61: Email from Professor Korvenmaa agreeing to take part in the interview after reading the participant information sheet and consent form
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Figure 62: Signed consent form from Dr. Hestad
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APPENDIX C VISUAL DESIGN RESEARCH METHODS SUPPORTING WORK INITIAL WORK (BEFORE FEEDBACK)
Figure 63: Keyword generation and selection
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Figure 64: A selection of work considered during the visual research phase
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Figure 65: A selection of work considered during the visual research phase
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Figure 66: A selection of work considered during the visual research phase
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Figure 67: A selection of work considered during the visual research phase
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Figure 68: Common shapes found during phase 1 process
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SECONDARY WORK (FOLLOWING FEEDBACK)
Figure 69: Selected works from Lunning Prize Winners for visual research
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Figure 70: Selected works from Lunning Prize Winners for visual research
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Figure 71: Selected works from Lunning Prize Winners for visual research
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Figure 72: Selected works from Lunning Prize Winners for visual research
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Figure 73: Selected works from Lunning Prize Winners for visual research
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Figure 74: Selected works from Lunning Prize Winners for visual research
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Figure 75: Selected works from Lunning Prize Winners for visual research
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Figure 76: Selected works from Lunning Prize Winners for visual research
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Figure 77: Common lines found during visual research
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APPENDIX D CONSUMER COMPARISON STUDY RANKING SHEETS
NB: Preceding this introduction each participant was provided a copy of the participant information sheet and consent form pertaining to this study in Appendix B.
PARTICIPANT PACK
Please take a look at the 8 product leaflets you have been given. You will notice each one is from a different country and corresponds to a table on the following pages. Please take a good look at each of the products in turn and then fill in the corresponding sheet. Once completed, please let Hannah know you have finished before moving on to the comments page. This final page will be timed, and you will be limited to a further 3 minutes for any additional comments. Thank you for your time and please feel free to ask any questions for clarification.
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Figure 78: Product leaflets for the Danish product (A) and the Finnish product (B)
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Figure 79: Product leaflets for theNorwegian product (C) and the Swedish product (D)
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Figure 80: Product leaflets for the British product (E) and the American product (F)
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Figure 81: Product leaflets for the German product (G) and the French product (H)
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Product: 1 sheet for each of the 8 products Country of origin: Changes for each product Statements
1
2
3
4
5
6
NB: 1=strongly disagree, 4=neutral, 7=strongly agree Good Bad Functional Impractical Simple Complex User-friendly Aesthetic Affordable Too Expensive High Quality Poor Quality Traditional Modern Handmade Mass-made Environmentally Friendly Ergonomic Natural Unnatural Homely Family-oriented Innovative Fun Positive Negative Would definitely consider buying this product Would definitely not consider buying this product Table 7: Example ranking sheet for participants use per product
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Please let Hannah know you have finished this stage. Comments (3 minutes) __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________
Thank you for participating in this study. Your time and feedback is highly valued.
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APPENDIX E CONSUMER COMPARISON STUDY RAW DATA
Figure 82: Raw data in design matrix form from Consumer Comparison study part 1
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Figure 83: Raw data in design matrix form from Consumer Comparison study part 2
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Figure 84: Raw data in design matrix from Consumer Comparison study part 3
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APPENDIX F INTERVIEW QUESTIONS INTERVIEW WITH PROFESSOR PEKKA KORVENMAA
Date of Interview: 15th January 2015 Preparation Hi Pekka. I'm Hannah. Nice to meet you. How are you? I hope I'm not interrupting your sabbatical too much. I'm really pleased you're able to talk to me today. As I mentioned in my email, I'm interested to understand Scandinavian design, specifically how Scandinavian culture is reflected in the design of products and how this translates to the UK market. By 'Scandinavia' I'm referring to: Norway, Sweden, Finland, Denmark and Iceland. Is this something you might have some thoughts on? I hope you don't mind but I'd like to take a few notes as we talk and record the interview on my iPad if that's ok for reference later? That will help me go over things later if I need to compare notes and write the report. I've got a list of questions in front of me so can I start by asking....? Table 8: Key questions for interviews
Key Questions 1
When I say 'Scandinavian design' what
Prompts Key principles
immediately springs to mind? Aspects of culture Can you put that into 3 words? Personal experience Era â&#x20AC;&#x201C; modern, 19th
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Century, Golden Age 2
What are the 3 most prominent features of
Cultural elements
Scandinavian culture? Language Does this vary across the Scandinavian countries? And to what degree? Is there a clear distinction between the 5 countries? Do you see this reflected in design?
Tourism Unified/separate Attitude Similarities Differences History
3
What are the key features/distinctions you would
Associations
expect from Scandinavian design? Aesthetics, function, quality etc. 4
From my literature review I determined several
Stereotypes
principles of Scandinavian design: simplicity, functionality, affordability and high quality. Do you agree or disagree that this is an accurate interpretation? Why is that?
Unification of principles across 'Scandinavia' Balance of form & function
5
I also determined four cultural values that these
Stereotypes
are based on: value of the home, tradition, nature and 'the democratic approach'. (Aims to bring well designed objects to as many people as possible for the least cost per unit). Do you agree or disagree that this is an accurate
Unification of values across 'Scandinavia' History â&#x20AC;&#x201C; war, independence
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interpretation? Why is that? 6
What difficulties do Scandinavian designers find
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Self-definition Crafts, heritage Adaptation
when they are targeting a foreign market, specifically the UK?
Language Marketing
7
Stereotypically Scandinavian design is often
Approval/disapproval
viewed as practical and modern using neutral colours, raw/natural materials and is closely linked to nature. Would you say that is an accurate reflection of Scandinavian design? Do you think modern designers are happy to follow this philosophy or wish to create a new path? 8
From your perspective is Scandinavian design
New direction Image portrayed of country, people, products, work, family etc. Associations
popular in the UK as a result of aesthetics or the stereotypical views of Scandinavian culture?
Presentation of self Style/Fashion COO effect Influence well-known brands e.g. IKEA, Volvo
Short reflection to summarise information. Provide opportunity for Professor Korvenmaa to give feedback. I'm really grateful for your time; you've given me a lot of useful information to work with which is great.
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If you're interested I can send you a copy of the completed report and transcript of this interview at a later date.
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INTERVIEW WITH DR. MONIKA HESTAD
Date of Interview: 30th January 2015 Preparation Hi Monika… (Followed same template as for Professor Korvenmaa with additional or modified questions targeted to Dr. Hestad’s expertise or to support prior interview). Table 9: Additional or modiefied questions for interview with Dr. Hestad
Key Questions 1
Firstly, during my last interview with a Finnish
Prompts Region definition
Professor of design he made me aware of the distinction between the terms ‘Nordic’ and ‘Scandinavia’. When confronted by the two terms
Language History
do you see a clear distinction? Do you have a preference for one or the other? 2
As with Q1 with Professor Korvenmaa
3
As with Q2 with Professor Korvenmaa
4
As with Q3 with Professor Korvenmaa
5
From my literature review I determined several
Stereotypes
principles of Scandinavian design: simplicity, functionality, affordability and high quality. Do you agree or disagree that this is an accurate interpretation? Why is that?
Unification of principles across 'Scandinavia' Balance of form & function
[Do you find there is a negative association with the word ‘simplicity’? Would you prefer another word such as ‘effortless’?
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During my previous interview we discussed that perhaps availability would be more appropriate than affordability. Would you agree or disagree?]. 6
I also determined four cultural values that these
Stereotypes
are based on: value of the home, tradition, nature and 'the democratic approach'. (Aims to bring well designed objects to as many people as possible for the least cost per unit). Do you agree or disagree that this is an accurate interpretation? Why is that? 7
As with Q6 with Professor Korvenmaa
8
From your experience would you say there’s a
Unification of values across 'Scandinavia' History – war, independence Self-definition Crafts, heritage
Culture
clear distinction between design for the UK market and design for the Scandinavian market? If so could you explain this?
People Expectations Associations
9
Do you think ‘Scandinavian design’ has become like a brand to the UK and other non-
Brand power Trends
Scandinavian markets? Perception If so, what effect does that brand power have? 10 As with Q7 with Professor Korvenmaa 11 Following on from this idea of a stereotypical view
Influences
of Scandinavian design, do you find your clients or consumers have a stereotypical view of the work you might produce at ‘Brand Valley’?
Country of residence Language
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If so, do you think this is due to your Scandinavian
International
roots or otherwise?
success
If Scandinavian, what effect has that had on your
More or loss of
business?
business
12 From your perspective is Scandinavian design
Associations
popular in the UK as a result of aesthetics or the stereotypical views of Scandinavian culture? Do you think there are specific elements about the aesthetics that are appreciated e.g. form,
Presentation of self Style/Fashion COO effect
materials, finish, colour etc.? Influence well-known I’ve put together a page summarising key elements of Scandinavian form in an attempt to
brands e.g. IKEA, Volvo
define the visual elements of Scandinavian design language. This is probably a very personal result but could I email it to you and ask you to take a look and give me some feedback? [Email copy of visual design research methods and ask for validation after some time to consider it]. 13 Lastly, in your book you mention, “a product with a Brand story is crucial to building a brand”. What would you say the story of ‘Scandinavian design’ is if you consider it as a brand?
Values Consumers
Followed by closing section as with Professor Korvenmaa.
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APPENDIX G INTERVIEW TRANSCRIPTIONS INTERVIEW WITH PROFESSOR PEKKA KORVENMAA
Date of Interview: 15th January 2015 Time of Interview: 14:00 (UK time) Duration of Interview: 42 minutes Interview Method: Telephone
For clarity:
Interviewer (HS: Hannah Sage) coloured red Interviewee (PK: Professor Pekka Korvenmaa) coloured blue
NB: Key statements of significance were highlighted during content analysis Recording started after confirming permission from Prof. Korvenmaa to record. Prior to recording the definition of Scandinavia was explained by the interviewer as prepared. This prompted discussion as Professor Korvenmaa disputed the definition in this study.
Transcription HS:
Just for interest, how would you describe the difference between Nordic
countries then and Scandinavian countries? PK:
Well, I think that of course, (â&#x20AC;Ś) (.) Sweden, Denmark, Norway and Iceland,
they share a common history, they share almost the same language and they are Germanic countries. Whereas Finland is an in-between country between East and West and our (genetic and cultural roots) are totally different from the other Nordic countries.
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But, of course, historically, we’re kind of (our own way, we belong to the Nordic realm, sharing the same region and same kind of concepts, which is consistent). But Finland is not a Scandinavian country. It’s different and it has been and that also defines the Finnish design culture being quite different from Norway, Denmark, Sweden. HS:
So what would you say those key differences are in terms of design then
[between]? PK:
[Well], today it’s even more because everything is just a question of (.)
globalisation and global markets defining the appearance of products. But historically there has been (.) a certain divide, a positive one. But how that can be traced in formal differences, that’s kind of much more intricate and that cannot be explained ( ). (…) HS:
I’m focusing on Scandinavian design so I was interested to know, when I say
that term to you, what immediately springs to mind? We’ve sort of discussed that but could you put that into three words do you think? (1.0) PK:
What into three words?
HS:
Kind of, the key aspects of Scandinavian design. So the three key things that
spring to [mind]. PK:
[Well], ((cough)) (1.2) it’s a difficult question because ( ). It’s very difficult,
almost impossible, to point down this very complex issue in three word points or phrases. But I think, one key point ((cough)), (…) I’m just writing an article about the development of Finnish design from the 1930’s and the 1970’s. I have been thinking about this thing but I think ( ) the key issues is that modern design in Scandinavia, in the Nordic realm, has been very closely tied to the social development of these countries in total. Design has been EMBEDDED in social reformist aspiration so it has been, kind of, one tool or ingredient modernising the whole (.) civil and public and private
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life of these countries so it’s not just about objects or aesthetic intentions or even design for the Avant garde elite. It has been, and still is, a kind of tool ( ) in society for the citizens. And that’s why Helsinki was the world’s design capital two years ago because of this idea of EMBEDDED design as a kind of operated instrument in the daily life of the citizens. And that ETHOS was coined EVEN in the 1930’s and it’s still operating. (1.6) HS:
Okay. So that’s the key thing you can think of then? (1.0) [Okay].
PK:
[Then] of course you have the commercial side of production and
consumption and so on, which is part of the package. But the public use of design has been one of the key elements in Scandinavian and Nordic design for the last 80 years. HS:
Okay, that makes sense with what I’ve been reading as well. So my next
question is more about Scandinavian culture. Along the same sort of lines, are there three key aspects, just to culture and irrespective of design in the initial question?] (0.8) Are there three things that stand out? (1.0) PK:
Can you speak a bit louder because the connections a bi-
HS:
Yes of course. Are there three more prominent features of Scandinavian
culture as a whole do you think? PK:
Oh(h). I’m laughing because these are huge, complex, cultural issues to
address. There are aspects bu- (.) Of course, the democratic ideal, equality and a certain, kind of close relationship with nature, which we have an abundance in these countries. It’s beautiful nature. And of course the functionality, the design has to be operative so it helps the everyday of people. Of course there is this aspect of aesthetic beauty which is one always important. But the main goal of design is to serve people in the public and private domain. HS:
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PK:
[It’s still] true. It is the certain credo or ethos of Nordic design.
HS:
I’d come up with four, what I called, key principles of Scandinavian design, in
a very broad sense. But they were simplicity, functionality, affordability and high quality. Would you agree that’s an accurate interpretation? Or (.) do you have any thoughts on that? PK:
Please repeat them one by one.
HS:
Firstly, simplicity.
PK:
Well, simplicity (1.9). I don’t like the word simple because it has a negative
connotation. But a certain, I would say functionality. The main thing is to make the object or service or whatever the design, function as well as possible. Then of course that function has to be resolved with high aesthetic quality. HS:
The next one was functionality. Sorry you’ve just said that one.
PK:
Well, that’s (the thing), you can’t separate them ( ) from the appearance.
Today it’s more and more difficult because we have this immense field of immaterial design meaning co-design, service design (0.6), participative design and the services, where the result is invisible. It’s just all about how things work. ( ) product design, which is actually not so popular anymore with our (young designers or students). HS:
Oh really, why would you say that?
PK:
Because, my MA students (think) the world is already permeated with options.
HS:
Everything has been designed, is that what they think?
PK:
Yes. (…) There’s a huge demand for service design. For example, the
municipality of Helsinki is using a lot of our students to design library services or healthcare services. So they feel that immaterial design is growing (very) fast and there is less and less interest in students ( ) and products. HS:
I suppose it’s similar to my University, everyone moves to app design sort of
quickly and that’s a big thing for us here. I like physical products a lot. PK:
Well same here, but I’m just saying what the (young designers do) right now.
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It’s interesting to hear. It’s actually one of my later questions. So we were talking about the principles of Scandinavian design and we just
discussed functionality and then I also had affordability on my list, making practical productPK:
Affordability, meaning what?
HS:
So it’s affordable to as many people as possible.
PK:
Ah ( ). Yes. Going back to the point which I said in the beginning, where
modern design kind of (entered the Scandinavian realm) in the 30’s or so it was very much tied to the social reformist thinking. And the very famous Swedish slogan that ( ) said, ‘beautiful for everybody’. Just the idea ( ) that all good design should be available to all levels of society. And that became the sort of credo or ethos of Scandinavian or Nordic modern design that through modern production, serial production, lower production costs, anybody would be able to afford themselves a well-designed environment. And also the public sector quite picked up that idea. Also in architecture because you can’t separate architecture from product design, it’s part of the same construction of the environment, just on different scales. I think that the credo, as I said, it’s still running. Unlike Britain for example, where modern or modernist design was for the elite, as well as in France. In the Nordic countries the whole environment from urban structure, to buildings, to products, to furniture, to household glass, ceramics, textiles. The whole (0.4) realm was growing from about 1924 but realised through the modernist vocabulary and intentions. HS:
So perhaps the word availability would be more appropriate than affordability?
PK:
Yes, I think availability is more (.)
HS:
An [accurate interpretation].
PK:
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separating Finland from the other Nordic countries. Then the Welfare State became a reality in the 40’s, 50’s and 60’s and modern design was kind of INTEGRAL part of realising the ENVIRONMENT for the welfare state. HS:
And progress as well.
PK:
It became this sort of everyday modernism because there was nothing else.
The 60’s, Nordic countries, Scandinavia, well, everything, was good modern design. So there, among infrastructure stands the discourse. So modern design became a kind of everyday reality, nothing special or you know expensive, or whatever. HS:
My final principle was high quality.
PK:
Well, high quality is of course (0.4). The one thing is that the craft tradition
survived quite long in the Nordic countries and of course is one reason for the high level of design or craft education. One thing was that these international successes that Scandinavian design had in the beginning, there were several exhibitions, especially after the Second World War. Craft quality was also (passed) to the industrial, serial production. And then was more the (success) factors of Scandinavian design. Even though the objects like furniture or textile or spoons and forks and glass (were serially produced) they had a kind of ( ). Highly skilled craftsman, always seen in production and taking care of the results (to ensure) excellent. So in that way it was a kind of golden period from the post war years to, I would say, the 1970’s because of this kind of industrialised, cautious, craft quality and apprehension. HS:
Also from my literature review I determined, what I call, four cultural values
that those principles are based on. That’s value of the home, tradition, nature and democracy. Would you agree or disagree with those as well? PK:
I’m not sure if I understand totally but especially after the war, up to 1970s,
the home was the kind of main target for design, textiles, ceramics, glass, furniture. So the Nordic/Scandinavian design, its heyday was very much based on the values of the home culture. Why it was that is you should compare it to Italy or Spain or whatever. In the Nordic climate the home was the main place where you stayed. There was no street life or bar life, no café life. The home was most important because that’s where you were. It’s also ( ) how you display your life to your home 144
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and you invite guests and your question of taste and cultural values. Of course, good design was a major issue in displaying your cultural ( ) to understand modern life and community and so on. Sorry these are quite complex cultural issue. And it still is because the climate forces people to be very much at home (h). Look at France or Spain. They go to the street, they are social, but here it’s different and we stay very much at home. Also, before the restaurant culture of today you didn’t go out to dine, you invited your friends to your home and then the home became a social place, a setting for social display. That’s one aspect of this kind of decoration of the home. HS:
What difficulties do you think Scandinavian, or Nordic, designers find when
they’re targeting a foreign country, specifically the UK? PK:
You mean like today [or in the future?]
HS:
[Yes, yes].
PK:
The whole game has changed so much due to the Internet, digital world,
globalisation, heavy travelling and of course copying. Of course for the last 10 or 15 years this kind of Nordic minimalism has been a kind of GLOBAL trend. You have this kind of 1960’s inspired sofas all around the world. The retro aspect is a difficult thing because young designers are inhibited by the fact that people want to go back in history and buy stuff that looks like 50’s and 60’s and now 70’s. That’s one thing, but of course, when one speaks about design one always has to define what kind of design we’re talking about because, are we speaking about the traditional genre of design, are we speaking about appliances, business to business, investment goods, whatever? There’s no one design. If you’re speaking about the traditional genres of, you know, domestic objects or furniture or stuff like that, (0.9) it’s a very challenging time. I know fields of business where the economic downfall and all these things, where it’s very very difficult for young Finnish designers to make a break through because they have to be totally international. So many of my students, now former
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students, they work for the multi-national companies or they work in China. Though they’re Finnish, they are not doing what you would call Finnish design. The design themes in modern, industrial companies are all international so it’s a totally new ( ) during the last 15 years. Everything has changed totally. HS:
So do you think you might eventually lose some Finnish identity in design with
all this globalisation? PK:
Yes, absolutely, yes. It’s sad to say but it’s still, well, it’s impossible to see
what’s Finnish in design because I’m in the same waters. ( ). If a good Finnish designer makes something good and important and then it’s good Finnish design. But you can’t do Finnish design intentionally. You can’t (0.3) start in design and decide; oh this is going to be a Finnish design. But then if it’s good and then in Finland, it becomes good Finnish design. You can’t be intentionally national, it’s a bit of a cliché and that’s not good. HS:
That’s a very interesting point. Do you think young designers are happy to follow the path of Finnish design
or they just have to go where the work is and therefore design becomes whatever it needs to be?
PK:
I think the young Finnish designers, or even Swedish or Norwegian designers,
they just have to follow the market opportunities. ( ). ( ) (young and middle aged) designers do jobs for Finnish companies and they do jobs for Japanese and American companies. You might check the site; I think he has a site, of one of the young-ish Finnish designers. It’s a good example of being able to combine the Finnish roots and ( ) global. Do you have a pen? HS:
I do indeed.
PK:
It’s Harri Koskinen. It’s like Harry but i. H - a - r - r - i. K - o - s - k - i - n - e - n.
Harri Koskinen who was just awarded the prize of the designer of the year. I think he’s in his forties or a bit below but he’s been working for ((famous Finnish
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designers)) and big international companies but still wants to stay here. And many of his designs absolutely somehow feel very Finnish. So I think that’s a rare and good example of being local and global. HS:
Do you think it’s difficult to put your finger on what is innately Finnish or
Scandinavian about design? PK:
(h) Sorry, no, because as I said I’m a fish in the water and I’m in it. But I think
that there has been, as I said, a strong modernist tradition of this kind of social and democratic ethos. That design is part of the everyday. Yes, kind of a close bond to nature, yes. As in architecture too. Those two things are certain because we have this great design tradition so there’s a sort of cautiousness to quality, because as Issac Newton said, ‘we are dwarves standing on the shoulders of giants’. You have people like ((Finnish designer x3)). You have to be careful to be good. HS:
There’s a lot of pressure.
PK:
Yes. You can’t betray the legacy.
(1.0) HS:
Sorry, I’m just writing that down.
PK:
So respect and kind of, ( ) honour to the people who made the whole thing.
HS:
A difficult balance to strike I suppose then.
PK:
((Agrees with indescribable response)). Yes but ( ) (there’s) a kind of pride
and understanding that you’re continuing the story. HS:
Where will it go next is the question?
PK:
Yes. It’s this kind of ethos and this idea that if you do it, you better do it good.
You can’t, you’re not supposed to, fail or produce mediocre stuff. HS:
I think we all feel that these days.
PK:
Yes. All countries have that I think. But of course, design in the Nordic
countries and especially in Finland it is (0.4). Well, it’s quite rare that, for example, in
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Finland design is recognised as one of the corner stones of the whole society. Not something extra [the kind of]HS:
[Something fundamental].
PK:
Main ingredient in the corporate and public and private realm.
HS:
So is there a lot of interest in design as a profession with students?
(.) PK:
Yes of course. I work in the, one of the biggest and best design schools in
Europe and we are very selective. We only take in 7% of the people who apply so it’s quite difficult to get into our school. (…) The interest is international for some programs. Of course, like in the UK too, most of the students are foreign. So there’s great interest but employment with us is not so positive. Not right know because the global economy and the Finnish economy are not doing well. (…) (h). the upheavals in the industrial infrastructures and the loss of Nokia corporation and all these things have shattered the economy. HS:
I hadn’t appreciated the impact of Nokia being bought out.
PK:
Yes. It’s ( ). The scenario has changed in five years ( ). (...) People do what
they want to. There are lots of people who want to study design but then the employment (isn’t so good) and that’s why they have to be very international and push themselves through the Internet and to the global market. (1.1) HS:
Well, we’ve covered most of my questions but I just have one more. From
your perspective, do you think Scandinavian design has become so popular as a result of just how it looks or because of the values it upholds? The values of quality and family? (…) PK:
I don’t know. If you think about virtual design, this kind of Nordic minimalism is
more than simplicity but is of course quite, (.) kind of, anonymous. Its (sole purpose
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is in public and private for several cultures) because it’s quiet. I think the 50’s and 60’s approach of Scandinavian design suits as many homes as hotel lobbies. So it’s kind of everywhere, it’s marketable. And then of course we have the classics, which is a huge market today. Furniture by Arne Jacobsen or Alvar Aalto, glass by ((Finnish designer)), whatever. They’re still selling like crazy today because they have this iconic value of the cultural 50’s and 60’s. So when you buy your Wirkkala glass you’re not just buying a glass, you’re buying into part of the hey-day of Nordic design from the 50’s and 60’s. I’ve been doing my research here but it’s really a set of complex issues. And then you have the retro and vintage and the collectors. And partly it may have a nostalgia for the great years of Western civilization in the 50’s, 60’s and 70’s. The post-war decades full of optimism, good design, better society and positive things. Now when the world looks, sad to say, gloomy because of all these terrible things happening around. So it may also be a kind of issue, you know, of buying a piece of the golden period of the European and Nordic nation of the 50’s and 60’s.
HS:
That’s a really interesting way to look at it actually.
PK:
It’s a very complex issue. Also, it’s an obscure thing to buy classics because if
you go and buy a Wirkkala glass from the 1950’s and 60’s that are in production now you know what you get. It’s a mark of cultural distinction because they’re classics. It’s like buying Beethoven or Mozart. But that eats away the possibilities that young designers come up with fresh solutions. And companies producing these things (.) they are playing safe and they’re just putting more and more of these classics into the market because then it’s a sure bet that people will buy them. So they are less and less prone to take risks on experimental designers and that’s sad. HS:
So many big designers these days are just looking to make money.
PK:
That’s just the rational of companies, its corporate culture. They are in the
shareholder’s interests. The companies are supposed to produce profit for the shareholder, that’s why they exist. Thank god the company directors in the 50’s and 60’s made risks, they invested in bold, new design by young designers.
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HS:
We’ll have to hope that happens in the next few years as well.
PK:
It’s difficult to say. As I said, when we speak about design now in the Nordic
countries the object design or product design is just one small share of it. It’s more and more business to business, its investment goods, machinery, robotics, industrial infrastructure, hospital design, healthcare design, immaterial design, service design. And that is the many bulk of Nordic and Finnish design today. That’s where the main interest and main operators are at right now. One good example is the design of mobile phones. When Nokia was at its hey-day design was immensely important part of its strategy. Now with these smart phones there’s no design, just a flat surface. They are just kind of square blocks, so there’s no design except the software. So that’s how fast things change. (…) PK:
At least when I look at my students, the shift has been very rapid. I would say
in the last, perhaps, 5 years from products to social issues. And then many of our students, they want to work in social projects ((name of company or project)) or something like that. (There are) students recreating the infrastructure (rehabilitating) for the Mayan community in Mexico. So that’s what my student’s want to do nowadays. (…) PK:
As I said, it’s design but not-. (.) It becomes immaterial, systems, services and
logistics. HS:
We’ve covered all my questions now. I’m really grateful for your time. There’s
a lot of interesting information here so I’m going to have to go away and go through it all. PK:
If you want to pinpoint down some things then you’re free to email me. Then I
might be more precise because on the phone it’s always a bit (more difficult). (…) PK:
Good luck and get back to me. [Take care].
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[Thanks] for your time. Goodbye.
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INTERVIEW WITH DR. MONIKA HESTAD
Date of Interview: 30th January 2015 Time of Interview: 12:00 (UK time) Duration of Interview: 38 minutes Interview method: Skype
For clarity:
Interviewer (HS: Hannah Sage) coloured red Interviewee (MH: Dr. Monika Hestad) coloured blue
NB: Key statements of significance were highlighted during content analysis Recording started after confirming permission from Dr. Hestad to record.
Transcription MH:
Let me see, there’s quite a good book on the topic, I’ll send you the reference
after. HS: Ok, thank you. (.) I’ve put together a list of questions I was hoping to run through if you don’t mind? MH:
((Uttered an agreement without words)).
HS:
Firstly, I thought it might be useful to clarify what I’m talking about in terms of
Scandinavia because I understand that the region can be defined in quite a lot of different ways. So, the way I interpreted it was Norway, Sweden, Finland, Denmark and Iceland. Would you agree with that? MH:
Yeh, yes. I think you’ll find there’s a difference between what is Scandinavia
and what is Scandinavian design.
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HS:
Ok, so what would you say is the difference between those two?
MH:
Finland is not normally counted as Scandinavia. I’m not sure, I don’t think,
Iceland either. It’s called-, in Norwegian, we have two different words. We have Scandinavia and then we have something called (Nordan), which is the Nordic countries. And within the Nordic countries-, it sounds like the Nordic countries you are referencing to. However, within design, when you talk about Scandinavia design you almost always include Finland. HS: Right, interesting. MH: Also, you probably have done some research into the term itself, Scandinavian design, how it was coined and all of that? HS: In the early 50’s I believe and the exhibitions in America and [those-] MH: [Yes]. HS: Yes I’ve come across that before. Depending on where you read, people do include Finland or don’t include Finland, and Iceland as well. So it’s interesting to [know-] MH:
[So if you look] at ((name omitted as per Dr. Hestad’s request)) work she did
her PhD on the term Scandinavian design and also something called (.), have you come across lunning prisen? HS:
I haven’t no.
MH:
It’s a prize, a Danish prize.
(…) MH:
It was (.) Georg Jensen, do you know them?
HS:
I recognise the name from your book.
MH:
So they’re also really important in understanding Scandinavian design and
where it comes from.
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Ok, I’ll have a look at them then later, great. (.) So if I say Scandinavian design then, to you, what immediately springs to
mind (.) and can you put that into three words? MH:
Oh wow.
HS:
Tough question I appreciate.
MH:
(h) (4.5) Three words is quite difficult. (.) I think one of the first things I think
about is Georg Jensen. But it’s also some of these key words like honesty for example is one of those that they- that you quite often think about. And (.) of course the (.) almost like everyday objects should be more beautiful. HS:
Yes, that’s a popular phrase isn’t it? Making everyday objects beautiful.
MH:
Yes I think that’s part of the (.) essence in the Scandinavian design
movement. HS:
I agree from what I’ve found out. Separately to design, what would you say are the three most prominent
features of Scandinavian culture? MH:
(2.0) Openness is one of them definitely. And trust. There’s really a high
degree of trust among people. So for example, in Norway it was quite common to not have written agreements but just have verbal agreements. And that is sort of part of the culture as well. If you say something, for example, ‘yes we’re going to meet at nine o’clock tomorrow’, then that’s for sure. Or let’s meet in the future then we know, yes, that’s actually a commitment to meet in the future. It’s not just something really vague that maybe we’ll meet and maybe not. I think that’s one of the key-. So three? HS:
Yes.
MH:
(1.2) Also, (1.1) I would say its (.) What did I say?
HS: [Openness, trust].
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MH: [Openness, trust] and (2.1) of course, you have that in Denmark and in Sweden and Norway, we have the idea about janteloven. Have you come across that one? HS:
I might know the name if I saw it.
((Dr. Hestad sends the written word via Skype)). MH:
Which means about, you should never think that you’re better than anyone
else. So it’s a very egalitarian countries. HS:
That’s also what I’ve been reading. (.) Ok, great. So do you think there’s a distinction in culture between the [five
countries]. MH:
[There’s also] another one ((Skype connection failed)).
(…) MH:
Another word, which is called hyggelig. Have you come across that?
HS:
No.
MH:
It’s a Norwegian word, and there’s a Danish one called hygge. In Sweden it’s
(lagom) which means that everything should be not really good but not really bad, somewhere in between. And I think that’s also something that is really key to understanding Scandinavia. HS:
Ok.
MH:
So you have openness, trust, janteloven and this idea that-, almost in
between, neither really good or really bad. HS:
Somewhere in the middle. (.) My next question, if you can hear me?
((Skype picture froze)). MH:
The next question?
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Sorry, you just froze again so I’m never sure if you can hear me. Is there a clear distinction between culture in the five countries?
((Skype failed and had to reconnect)). (…) HS:
What I was trying to ask is do you think there’s a clear distinction in culture
between the five countries or do they share some similarities? MH:
There’s definitely differences, yes. I think those key things I said in the
beginning (.) are sort of what keeps it together. You have some shared understanding there but the differences I would say, it’s more the nuances. And (1.5) you also have-, it’s almost like you can see it in all of these different jokes you have about the different countries. Like in Norway we always have loads of different jokes about Swedish people and the other way around. And there is one, I think, that explains quite well, especially the Norwegian, Danish and the Swedish differences, is that in Norway I think we’re much more humble in a way. Or at least had-, used to be that. But at the same time you also have the oil which-, then we’re almost sometimes seen as the newly rich (ones within those). But you have a culture which we were in union, both Denmark and later Sweden, and back again I think. Which means that we don’t have that strong aristocracy which means that it’s much more-, I would say we’re even more egalitarian than the other ones. In one way also more humble sometimes. But also, at the same time you found the oil and all of that started to change. I think (.) while the Danish people they are seen as much more-, they are the shrewd business people. So we have all of these jokes about Danish people that if you go into a meeting with a Danish guy to negotiate, make sure you have all of your fingers when you come back (h) because they’re so good at business (parts). They also have been much more globally oriented, in a way, early on and also since they haven’t had that much resources they have had to develop a much more-. They’ve been really good at the business side for years and years and years. And
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you can see that in the whole Scandinavian design exhibition for example. It was the Danish people that took the initiative to start that and there was especially one company called Georg Jensen which was, sort of, the driving engine behind it. While the Swedish people, you can see that they are, sort of the ones-. We sometimes have this joke about them being the ones that are almost like a machine. While Danish people, they are really good at business. So ( ) they say (tacktick), and the Swedish ones say (ticktick) which is more about working as a machine. And the Norwegian one is more like (tacktack) which is about being humble. And tack is thank you in these countries. So I think that sort of explains, at least how the Norwegian people see the difference. But this will be different if you ask a Dane and if you ask a Swedish guy. HS:
Yes, I think that would be interesting to find out.
(…) HS:
Ok, that’d be great.
MH:
And I think also this idea about the Swedish people, they are really REALLY
good at organising themselves and they’re also really good at building these massive, global brands. And have been the ones that is really exploited, almost, Scandinavian design but doing it in a much bigger scale than any of the others with companies like IKEA for example. HS:
Yes, and Volvo.
MH:
I think with Finnish ones, you almost-, when you look at what kind of jokes we
have about the Finnish people is that they’re really quiet. HS:
Oh really? Ok.
MH:
(h) Everybody just thinks about them as really really quiet. And we have one
joke that we tell that is more about two Finnish guys sitting in a bar and one of them says, ‘cheers’ and the other one is just looking at the guy and says, ‘oh would you like to talk or should we drink?’. Which, he’s sort of said cheers, and that was sort of almost talking for them. And I think that is what the majority of both the Swedish and
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the Danish and the Norwegians see that Finnish are almost like, more quiet, and keep more to themselves in a way. HS:
I have a Finnish friend and she’s definitely not quiet (h).
MH:
She’s not quiet?
HS:
(h) No she’s not, so that’s interesting. [But obviously, -]
MH:
[Yes (h)].
HS:
[-that is only one person].
MH:
They’re also really good in business actually because they are quiet. Because
you know if people are quiet in business then you start to talk and then you sort of give away. So I think (h) Finnish people are just really good at (listening). The Icelandic people, I think we don’t know that much about because they have been more distant. And I think the whole Scandinavian design movement came later there than in other countries. So I would say within Scandinavian design you can see (1.1) some of the culture differences in the design objects as well. Like for example, the Danish people, they have been also more-. (.) They don’t-, not so afraid of being slightly more (.), having slightly more class (divisions). So have a really strong-. They don’t see Scandinavian design as a movement to sort of change the better life of everybody, but in Sweden it was much more political movement to create design for everybody. (…) That’s why also, when you’re looking at Denmark, you have some of these classical Scandinavian design objects, you have really a lot of handcrafts, (craft maché), which is extremely time consuming which also means that it’s extremely expensive. And then it becomes really expensive. So if you look at some of the silverware of Georg Jensen for example, it’s really beautiful craftsmanship but they’re also very pricey. While in Sweden it’s all about-. It has been about this political movement about changing, trying to introduce beautiful objects into the world of everybody and
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then-. So it (has always been) a political movement, which also then means that they have much more-, worked in a much more scale. HS:
Yes, more support from the government as well I suppose to help them out.
MH:
And Norway we’ll say, have been, we haven’t found our identity. I think we’re
more about to find our identity the last ten years (than any earlier). So we’ve sort of almost been torn between these differences. While in Finland they have been much more into this, almost like, more the mystique around design. So you can see some of these-, I think its (Tapio Wirkkala) that has these really beautiful mushroom shaped form vases. So that you can see he was much more inspired by the nature and that’s sort of what was driving the design processes. So they’re building more on the mystique. And when you see the Icelandic design scene I think it’s really exciting what’s going on there. They’re much more experimental than any of the more traditional Scandinavian design countries. HS:
Ok, why do you think that is?
MH:
I think they have a much more like, playfulness in the culture. It seems to be
more playful in the culture and that they’re not afraid of being playful. And they are really proud, they have a very strong-. Design is so linked with identity and they have a really strong identity, at least seen from the outside. So that is also what they, sort of-. You can see in the design as well, (it’s) more experimental and playful, and almost provocative some of it. HS:
I think Iceland is the one-, their design I know least about. So maybe I should
look more into that? It sounds interesting. MH:
Yeh, there are some really interesting design objects coming there and you
can see all the inspiration, and also all of these (.) fairytales you have about Iceland, how that is inspiring the design objects. HS:
Cool, I will look into that. My next question is what are the key features that you would expect from
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(1.7) MH:
Key features (0.6). I think nature is actually one of the things that is inspiring us. I probably should
have said that as (one of the words) as well. So I think that is definitely one of them. (1.3) And (0.6) key features (.) [It’s almost]. HS:
[A bit broad I know].
MH:
[Most of that] is simply ( ). But you also have, these days, the discussion
about if there’s been-. Especially in Denmark, there was quite a big debate about (.) Danish design. They ask the question if Danish design is that just an old chair? (1.2) because they found that-, they almost found they were trapped. People had such a strong identity that they almost felt that they were, almost, trapped. So I sort of-, yes, I think-, I expect, almost, them to be-. The Scandinavian design to be, sort of, (.) still conscious about what sort of material you are using, linking with the nature, to have some sort of simplicity, to drive on the community aspects but not to overdo it and things like that. But at the same time also as being (…) an educator within design schools here. I’m sort of pushing my students also to go a bit further and investigate. So I hope that in future you will see that it will become much more experimental than it has been. But I don’t know if we are so caught up in our idea about what it is that we’re not sure about how we can do with it. It’s almost like with Scandinavian design, it’s more easier to say what it should not be than what it should be. HS:
Ok, so what should it not be then?
MH:
I would say that you wouldn’t find too many different materials in one object,
for example; to have objects that are communicating more than one or-, (.) one story; to have objects that have decoration for example. It can have decoration but you wouldn’t find this, like- (0.8). I think Scandinavian designers would find it almost challenging to (.) overdo it with sparkling Swarovski crystals, to go into that. I think if they do it they try to investigate what that kind of material would be and then try to find a story, and simplify that.
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(1.8) HS:
So that run’s into my next question quite nicely because from the literature
I’ve been reading I pulled out what I’ve called, key principles of Scandinavian design. I’ve identified four, which are simplicity, as we’ve already discussed, functionality, affordability and high quality. Would you agree or disagree with that interpretation? MH:
Simplicity, affordability?
HS:
High quality and functionality.
MH:
(2.1) No, it sounds good. I think the only thing you can maybe- (.). I think
functionality is one of those that they almost sometimes can play with. HS:
I also determined four cultural values that these might be based on. They are
value of the home, tradition, nature and democracy. Obviously you’ve already mentioned nature, but would you agree or disagree with the rest of those? MH:
I’m not sure what you mean about tradition.
HS:
Well there seems to be a lot of heritage and craftsmanship going back a long
time. That sort of tradition, if that makes sense? MH:
Yeh, it makes sense because if you’re looking at the- (.). So let’s say, the
whole tradition, nature. What was the last one? HS:
And democracy, (.) being egalitarian as well, (.) which you also mentioned.
MH:
I think for the Danish design the democracy will be less important. (.) If you’re
looking at some of these classics from Georg Jensen for example and also Wegner, it’s not really about democracy. But of course, you can question that. I think nature, definitely. Tradition I think it depends if you-. (.) I think within design itself it will be about tradition to the design discourse and craftsmanship more than tradition to- (0.5). For example in Norwegian design you could see earlier more the-, (.) quite a lot of use of patterns, flowers, more the traditional folklore. (…)
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Scandinavian design, you can see sort of almost belonging to modernism which is almost always about looking a bit forward. HS:
Ok.
MH:
So I think it’s tradition but also without, it’s not only looking back, it’s also
about looking forwards. And the home, yes, definitely. But I’m not sure, what do you mean by that? How will that be different than other-? HS:
I don’t know quite how to explain it but in all my reading I’ve come across
how everything is designed for the HOME, to make the HOME a nice place. It says something about you as a person, it’s where you invite guests, it’s, kind of where the social hub is. That’s kind of what I mean I think. MH:
Yes, I think you can say that. (…) The home is very important (.). We spend
more time, I think, at home than what people do in other cultures. One other thing that you can see is that in Norwegian homes for example-. When you go in Norwegian homes you will always see candle lights. We use quite a lot of candle lights especially in the Winter time. That also goes with what I tried to explain earlier with the Danish and Norwegian word hyggelig which means like nice and cosy and coming together. So if you Google that, the hyggelig, maybe you will find some, even English ( ) to try and understand the concept. I think the home; it’s actually the concept of hyggelig that you’re trying to capture there. So it’s about coming together, I think togetherness. (…) MH:
It’s one of the key words you need to understand if you’re-. That one,
janteloven and (lagom). (Lagom) is the Swedish word. If you understand them then you understand Scandinavian design (h). HS:
Ok, so they’re key. I’ll have a Google later and see what it tells me. It sounds a bit like gezelig in Dutch which means the same sort of thing, it
doesn’t have a translation but it’s kind of cosy and nice.
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Yes, but janteloven is different. It’s actually from a Danish author called ( )
which wrote about-. (.) It was a little village called (jante) and in that little village, (jante), they had (law). And I think it was 10 or 12 different rules, you’ll have to look that up, about how you should behave and all of these rules are like you shouldn’t believe that you’re better than anyone; you shouldn’t believe that you know more blah de blah de blahdy. And there was a really good-, I think it was (.), was it Channel 4 that had that Scandinavian documentary last year? It was really REALLY good and gave quite a good explanation of these terms as well. I think that documentary managed (0.4) to capture the culture quite well and also the differences between the countries and also the-, some of the tensions. Because you can see quite a lot about, for example, that term janteloven which is so important in Norway but at the same time you also know these days we have-. (.) It’s sort of the financial crisis, for example, the recession; people haven’t even noticed that it’s been going on here, which is kind of crazy from [a-]. HS:
[That is] kind of crazy!
MH:
Yeh, since I’ve been living in the UK the last five years I was shocked about
that when I moved back home. HS:
I will definitely see if I can find that documentary as well.
MH:
Yes, it was a good one. I think it was called ‘Scandimania’.
HS:
I was doing a placement in the Netherlands last year so I would have missed
it. MH:
Yes well, see if you can find that one. It probably goes very well with your own
starting point about having this likeness or almost obsession with Scandinavian design and (it’s a) good way to try and understand that. HS:
Yes I think so. ((cough)) Next on my list. What difficulties do you think Scandinavian’s find when they
target a foreign market, specifically the UK? MH:
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Well, the culture. So if you’re designing (.) a product for the UK do you have to
think differently about the culture or is it different than designing for Scandinavian countries? MH:
I think we will never understand, really, the class system (0.5) because you
have like- (.). So many of these objects should be for all but of course, in UK, who would enjoy Scandinavian design? They will probably be like middle class but I think that is something that Scandinavian designers will sort of try to ignore (h). So I think that would be the biggest challenge because we can’t understand, we can’t relate to understand it. HS:
(h) That’s probably a good thing, that you don’t have it.
MH:
Yes, yes and no. I don’t know. It took me a couple of years to start to really
understand that and (want to make sense of it). It’s just different. (0.5) HS:
Recently the whole Scandinavian design thing has become really quite
popular. Do you think it’s become kind of like a brand in a way to the UK and other markets? MH:
Yes I think Scandinavian design is almost treated as a brand, for how people
understand it, and also the Nordic. And you have this idea about-. And that is not only what I found so fascinating when I was living in the UK was that it’s not just about design, it’s also about the lifestyle. And you can see also ‘The Economist’ had quite an interesting article about the Scandinavian (.) lifestyle and the political system so you’ll find politicians there that also inspired by that. HS:
So do you think, perhaps some of the reason it’s so popular isn’t just because
it looks really nice and then it functions really well but actually that we want to associate with some of the cultural values [that you have in Scandinavia?] MH:
I (.) I think it’s actually that, it’s more maybe the openness and the (.) and also
maybe this idea about everybody’s equal in a way (h). Which is-, because this is
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something I’ve had since I’ve been teaching at Central St. Martin’s and still teach there. Also one of the discussions I have with my English colleagues here, they’re really intrigued by the concept of janteloven for example, because they find that it’s something really nice with that and humble and sort of-. (.) Being born and brought up in Norway I find it (normal, they find it) challenging but from a UK perspective it sort of was a nice idea that you sort of should behave, so you shouldn’t step on other people and always talk really good about other people instead of yourself, quite a lot of that is also-. So I think that idea is something that people would like to-. I would say people that also buy Scandinavian design objects and really like that also relate to it. For example, I have some friends, I think, in London (.). They live in Crouch End which is sort of- (.). Have you been in Crouch End? HS:
No I haven’t, but I don’t know London that well.
MH:
It’s sort of, a bit further North than Camden and it’s sort of-. I think you’ll find
some of the same values there as you find in the Scandinavian design culture. You have quite a lot of these second hand shops and really local bakeries and everything is local and surrounded around the family and those kind of values. And I can see so many of my friends that live in that area also really like Scandinavian design because it appeals to them and it’s how they would like to decorate their homes. That they try to keep it quite simple but just have like, a couple of candle lights to light it up and stuff like that. And even British people (h). HS:
Yes, sounds nice and cosy! Stereotypically I found that Scandinavian design is often viewed as practical
and modern and using neutral colours, raw materials and with close links to nature. Some of that we’ve already discussed but do you think that really is an accurate reflection of Scandinavian design or is it just a stereotype? MH:
(.) No I think it’s actually-, yes. It is of course, it’s on the borderline of
stereotype but I think it is true as well. HS:
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I think another challenge and why it’s only certain people, some groups, that
would like to relate to Scandinavian design is that they will also- many people will always find it bland and boring and (.) yes. And I know that that is-, I haven’t looked that specifically at the UK market but I know that that is one of the challenges in the American market. HS:
The Americans are a lot (.) bigger than we are, a lot more grand.
MH:
There’s actually a reference for that if you would like to look it up.
HS:
Ok, sure.
MH:
I think it’s in ((name omitted as per Dr. Hestad’s request)). I’ll send you that
one. HS:
Thank you.
MH:
And he says that- (.). Wait I’ll send you that text. (.) I have the page numbers
on there as well. (…) MH:
He says that it’s (1.0), there’s a code for some American people that he has
interviewed and they say, ‘oh it’s just cold and not personal’. So that’s their association with Scandinavian design and I think that would probably be the challenge for us as well. It would never be like (mars) instead. But at the same time it’s also been like this simplicity trend going on right now which of course also affects the interest on Scandinavian design. I will say that that started with (.) for example; do you remember the Audi TT? It’s a car. HS:
Oh the Audi TT, yes.
MH:
When that car came, that inspired (.) quite a few designers and design
communities. (.) And it was after that also Apple came with their really simple (.) computers and-. So but I think the Audi TT and the language (they sort of) inspired, you can see that simplicity trend going on in all kinds of objects. Which is of course also why it’s so relevant with the Scandinavian design.
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And I think also in the financial crisis is another reason why it becomes more relevant because I think in Scandinavian design the objects you have-. You mentioned affordability and high quality and it’s this value of money idea that people would like to have-, instead of just buying objects that they have to throw away they sort of buy something that is [affordable]. HS:
[That lasts].
MH:
[But also] gives high quality which means that you have good value for
money. HS:
So do you think that young designers, students and people like that, are they
happy to follow the kind of stereotype or do you think they want to create a new path, become a bit more experimental, push the boundaries a bit more? MH:
I think they would like to push the boundaries a bit more. ( ) It’s also more
challenging because you sort of are educated into a way of thinking and acting. But I think if you would like to explore that even further you should definitely have a look at ((name omitted as per Dr. Hestad’s request)). HS:
Ok, great. Well, I think we’ve covered almost all of my questions. Bear with
me I’m just checking. Actually lastly, in your book you mentioned that a product with a story is crucial to building a brand. So if we say Scandinavian design is a brand, what would you say its story is? MH:
((Agrees non verbally). It is the lifestyle that they-, yeh. And the culture.
HS:
Ok great. Cool. Well, you’ve given me lots of useful things to think about and
lots more to go and look at so that’s been really great. (.) I really appreciate your time so (.) thank you. MH:
You’re welcome. Let me know, please, if there’s anything else I can help you
with. HS:
Great, thank you. I will send you a copy of the transcript once I’ve worked my
way through it if you’d like? I can also send you a copy of anything I write up though that might be in the next month or two (h) if that’s ok? 167
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MH:
Yeh, ok. So, good luck.
HS:
Thank you very much. [I really appreciate your time].
MH:
[Let me] know if thereâ&#x20AC;&#x2122;s something else I can help you with.
HS:
Ok, wonderful thanks.
MH:
Have a great weekend.
HS:
And you. Bye.
MH:
Bye.
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APPENDIX H INTERVIEW CONTENT ANALYSIS CONTENT ANALYSIS FROM BOTH INTERVIEWS (COMBINED AND REFINED) Table 10: Content analysis following both interviews
Category
Key Points
Professor Pekka Korvenmaa
Beautiful
Resolve function with high
Dr. Monika Hestad
aesthetic quality. The two
Scandinavian designs don’t have decoration
cannot be separated.
Design for
“Beautiful for everybody”
“Design has been embedded
social development
Design “drive[s] on the
in social reformist aspiration”
community aspects but [aims]
and is an “operated
not to overdo it”
instrument in the daily life of the citizens”
[Design has been] a kind of tool in society for the citizens
For the past 80 years “public use of design” is a key aspect
“Main goal of design is to serve people in the public and private domain”
“Modern design was kind of integral part of realising the environment for the welfare state”
Design is “closely tied to the social development of these countries”
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“Strong modernist tradition of
Democracy is less important to
social and democratic ethos.
the Danes and don’t see the
That design is part of the
movement as a way to change
everyday”.
everyone’s life
Democracy
Egalitarian
“Beautiful for everybody”
“All good design should be
… means nice, cosy and
available to all levels of
coming together”
society”
“Hyggelig … hygge … lagom
In Sweden = “more political
“Anybody should be able to
movement to ensure design
afford themselves a well-
for everybody”
designed environment”
“Janteloven … you should never think that you’re better than anyone else”
“We will never understand, really, the class system [in the UK]… So many of these objects should be for all”.
Function
“Function has to be resolved
with high aesthetic quality”. They two cannot be
with this aspect
separated.
“Design has to be operative
Sometimes designers can play
Value for money, serves a purpose
so it helps the everyday of
Should not communicate more than one story
people”
“Main goal of design is to serve people”
Globalisation
Internet, globalization, ease
much more globally oriented”
of travelling and copying have changed the industry
“Global markets define the
“Danish people they are …
“Swedish people … build these massive, global brands”
appearance of products”
“Design themes in modern, industrial companies are all
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international” Hygge /
Way you display your home
demonstrates “your question
lifestyle
of taste and cultural values”
lifestyle
Scandinavian design objects
would invite friends to home.
relate to it” - the lifestyle too
display”.
“People that like and buy
Before restaurant culture you It was “ a setting for social
More than just design, it’s a
After war, until 1970s “the
The lifestyle - “it’s more the openness”
“You shouldn’t step on other
home was the … main target
people and always talk really
for design, textiles, ceramics,
good about other people
glass, furniture”
instead of yourself”
In Nordic climate there were
“Hyggelig … hygge … lagom
no bars or cafes but “home
… means like nice and cosy
was most important because
and coming together”
that’s where you were”
We spend more time … at home than what people do in other cultures
Janteloven - “you should never think that you’re better than anyone else”, “you shouldn’t step on other people” and you should talk highly of other people not yourself.
Identity
In Finland design is a “corner
“People had such a strong
stones of the whole society”
identity [and] felt … trapped”
and it’s the “main ingredient
The Icelandic people “are
in the corporate and public
really proud” and “design is so
and private realm”.
linked with identity and they have a really strong identity, at least seen from the outside”.
Norway is still looking for its identity
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“Employment [isn’t so good]
and that’s why they have to
market
be very international and
Some Americans “think, ‘oh it’s just cold and not personal’”
The “simplicity trend … affects
market”
the interest on Scandinavian
Corporate culture -
design”
“companies are supposed to
Materials
Many people find it bland and boring
push themselves through the Internet and to the global
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The “financial crisis is another
produce profit for the
reason why it becomes more
shareholder”
relevant”
N/A
“Conscious about what sort of material you are using”
Not “too many different materials in one object”
Nature
N/A
Finland are more interested in the “mystique around design … inspired by nature”
“one of the things that is inspiring us”
Past legacy
“When you buy your Wirkkala glass you’re not just
N/A
buying a glass, you’re buying into part of the hey-day of Nordic design from the 50’s and 60’s”
“Eats away the possibilities that young designers come up with fresh solutions” they’re inhibited
Products from golden age are “a mark of cultural distinction because they’re classics”
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Nordic minimalism = more
Has some sort of simplicity
than simplicity, it’s “quiet”
The “trend going on right now … affects the interest on Scandinavian design”
The “financial crisis is another reason why it becomes more relevant”
Tradition
“Craft quality was also
Danes handcraft products
[passed] to the industrial,
which is both extremely time
serial production”
consuming and expensive
“Strong modernist tradition of
Scandinavian design does
social and democratic ethos”
belong to modernism which is about looking forward so, “it’s not only looking back”
Iceland, in particular, are inspired by their fairytales/folklore
Trust,
N/A
Honesty and openness are key
honesty,
openness
There’s a “high degree of trust among people”
The idea that everyone is equal
Value for
N/A
crisis is another reason why it
money
No category
The impact of the “financial becomes more relevant”
“Design … becomes
People want to have this idea
It’s easier to say what
immaterial”
Scandinavian design should
“You can’t be intentionally
NOT be than what it SHOULD
national, it’s a bit of a cliché”
be
There are different jokes for each country that draw on
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stereotypes NB: Highlighted key statements of significance may have been paraphrased and therefore may not appear word for word unless enclosed in speech marks.
Category
Key Points Professor Pekka
Dr. Monika Hestad
Korvenmaa
Region
definition
“Sweden, Denmark,
Scandinavia. … I don’t think, Iceland
share a common
either”
“Finland is an inbetween country
“Finland is not normally counted as
Norway and Iceland history”
“It sounds like the Nordic countries you are referencing”
However, “within design, …
between East and
Scandinavia design … almost
West”
always include(s) Finland”
“Finland is not a
There is a “shared understanding
Scandinavian country”
there but the differences … [are]
“The war was a great
more the nuances”
divide separating Finland from the other Nordic countries” Denmark
N/A
Democracy is less important
Handcrafts = time consuming and expensive
Democracy is less important to the Danes and don’t see the movement as a way to change everyone’s life
They are “shrewd business people”
They are “much more globally oriented”
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“Design is recognised
“They’re really quiet”
as one of the corner
They’re interested in the “mystique
stones of the whole
around design” and are “inspired by
society”
nature”
Good design is not intentional or national
Iceland
N/A
They’re really proud and more experimental
They’re inspired by historic fairytales
We don’t know that much about them because they’re more distant
“More playful in the culture and … not afraid of being playful”
Norway
N/A
“More egalitarian … [and] more humble sometimes”
Haven’t found their identify yet and have been torn between the other countries
Sweden
N/A
“More political movement to create design for everybody”
Good at organising themselves to build massive, global brands and exploit the brand of ‘Scandinavian design’ more than the others
Aim “to introduce beautiful objects into the world of everybody”
Swedish people “are almost like a machine”
NB: highlighted key statements of significance may have been paraphrased and therefore may not appear word for word unless enclosed in speech marks.
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APPENDIX I SURVEY PDF OF SURVEY ON WWW.SURVEYMONKEY.NET
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Scandinavian Design
Scandinavian Design: principles, values and worth in today's UK market This survey is part of a study to gain valuable insights into how Scandinavian culture is reflected in the design of products and subsequently how this translates to the UK market. The findings from existing literature and the primary research carried out by the student will comprise a 7,500 word dissertation as part of the requirements for the student's final year at University. This study is part of a Student research project for a coursework assignment for Industrial Design & Technology (BA). The research will be carried out by Hannah Sage (the student), the supervisor is Professor Serpil Acar. The survey should take no longer than 30 minutes to complete. Your participation in this study will be completely confidential. The research will be carried out by Hannah Sage (the student). If you have any further questions please contact her at h.c.sage- 11@student.lboro.ac.uk. Alternatively, if you are not happy with how the research was conducted please contact the module leader Professor Serpil Acar, Loughborough Design School, Loughborough University, Leicestershire, LE11 3TU, UK, +44 (0)1509635700. The University has a policy relating to Research Misconduct and Whistle Blowing which is available online at http://www.lboro.ac.uk/admin/committees/ethical/Whistleblowing(2).htm. Please ensure that this link is included on the Participant Information Sheet.
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Figure 85: Page 1 of online survey
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Figure 86: Page 2 of online survey
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Please take a look at the pictures below.
4. Using the picture above, rate how 'Scandinavian' they are on a scale of 1-足7? 1 represents 'not remotely Scandinavian'. 4 represents a 'neutral' opinion. 7 represents 'highly Scandinavian'. 1
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Figure 87: Page 3 of online survey
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Figure 88: page 4 of online survey
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Figure 89: Page 5 of online survey
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Figure 90: Page 6 of online survey
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Scandinavian Design Identical products with identical prices for question 9.
*10. Please explain and justify your choice. Â
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Thank you for participating in this questionnaire. Your opinions, insights are time are highly valued.
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