David report5keytrends

David Report
issue 10/October 2008

5 key
design
trends
YOUR PATHFINDER INTO THE FUTURE

Foreword Our keynote

Welcome to a new issue of David Report. First of all we Design is a strong and important process that has a
are happy to announce that we from now on also bring strong influence on society and it can in many ways affect
our culturally connected trend research live. We of- our well being. Design is as well outstanding as a com-
fer one-hour inspiring lectures, half or full-day engaging petitive ’weapon’ when it comes to visualising a business
workshops and also trend travels where you and your strategy. Design is like a bridge between a company and
team will be able to experience our acclaimed cutting a consumer which can build a trustworthy and reliable
edge thinking and interact around different themes based friendship (important in a time when advertising has tur-
on both current and previous reports. The lectures and ned into a questionable effort to build brand recognition).
workshops are creative directed by our editor-in-chief Da- Even if design is often about bringing function to our eve-
vid Carlson who is also the founder of the furniture brand ryday life, it’s also about creating desire. Design can for
David Design, the knowledge company Designboost and sure also make savvy costumers pay a premium for an
the lifestyle shop Carlson Ahnell. Having worked with de- artefact or ingredient.
sign as a competitive advantage for twenty years David
Carlson is renowned for his knowledge of strategies in On the other hand, we live in a world crowded by bad
design, communication and brand development. With design. Of course, within certain limits, everyone is free to
curious design thinking based on a intuitive trend insight produce and sell whatever they like, and boy, they certain-
David Carlson assist clients like Absolut, Sony Ericsson, ly do. Bad design can be seen in everything from graphic
Audi, Level vodka, Iittala and Ikea in creating attractive artwork to consumer electronics to bad services and ur-
brands ready for the challenges of the future. ban architecture. The list is never ending… Bad design
pollutes our lives, both when it’s around us and after it is
In this issue of David Report we are happy to present 5 thrown away.
key design trends that in one way or the other will change
the future. How did this happen? How may it be avoided in the fu-
ture? We will leave the surface to instead go in depth and
Here we go! relate a number of design trends to social, economical
and ecological patterns and phenomena’s over the entire
global - local scale. Because we are firm believers that
a design trend is worthless unless put in a social macro
perspective. Which effects does design have on our lives,
on our future society and cultural movements? How may
better and more culturally connected design be created?

A bit further on Pandora’s box will be opened and five key
design trends, that we believe in one way or another will
affect our future, will be presented.
But first we intend to talk about why design is so important
and how companies ought to work with design issues.

So if you want a preview of the future, continue reading
and learn about our vision of a, hopefully, bright tomorrow
where design plays an important part.

Design is
outstanding as a
competitive ’weapon’
when it comes to
visualising a
business strategy.
David Carlson
Le 66 shop at Champs-Elysées

It’s not about
the design
world, it’s
about how
we design
the world.
Bruce Mau

Exhibition in Stockholm with Japanese phographer Nobuyoshi Araki

Companies vs Consumers

Design may, from a company perspective, be defined as
“to visualise a strategy”. This means that design is both
the process itself as well as the final product or service.
From a consumers point of view however it is quite dif-
ferent. Professor Robert Young describes the consumers
view on design like this - “ The man on the street sees
design being synonymous with fashion, style, modern cul-
ture and aspirational lifestyle.” A rather humanistic and
prosaic description. So design is interesting and relevant
first after it’s been put in a human relation. The British
Design Council has also made a definition that is close
related to human necessities - “Design is everywhere. It’s
what drew you to the last piece of furniture you bought
and it’s what made online banking possible. It’s made
London taxi cabs easier to get in and out of and it made
Stella McCartney’s name. It’s driving whole business cul-
tures and making sure environments from hospitals to air-
ports are easier to navigate.”

Design is hence all about satisfying needs, solving pro-
blems and attracting us towards new experiences. Which
is the best possible way for companies to meet this, and
how shall they work strategically with their design deve-
lopment?

The blog Core 77 has provided some interesting thoughts
about this for BusinessWeek; “When you start with the
idea of making a thing, you’re artificially limiting what you
can deliver. The reason that many of these exemplar’s
forward-thinking product design succeed is explicitly be-
cause they don’t design products. Products are realized
only as necessary artifacts to address customer needs.
What Flickr, Kodak, Apple, and Target all realize is that
the experience is the product we deliver, and the only
thing that our customers care about.”

This implies that great design often is founded on a so-
cial, aesthetical and cultural perspective. Really success-
ful design always looks through the lens of humanity; life
enriching products that speaks both to our hearts and
our brains. As an entrepreneur you can never forget that
consumers are people of flesh and blood with dreams
and hopes of good lives.

Dean & Deluca temporary café in Tokyo

Break the rules

Dare to be different, brake the rules, zag, find the white that creates order and effectiveness without affecting the
spaces or the blue ocean. NO matter what you call it, creativity. You have to solve problems, deliver to a de-
that’s where all of us ought to be. Because in the blue mand or create new possibilities. You must add magic
ocean concurrence is irrelevant since the game rules and relevance. Tell stories, your products need cultural
have yet to be set. Despite all of the warnings history is relevance and they have to evoke meaning. Do not forget
full of examples of products and services that were not the mantra that applies to the development of all sorts of
sufficiently unique. This makes it crucial to keep an open products - differentiation!
mind towards the future, to understand the market and its Think outside the box, open new trains of thought or ex-
needs. pand the old ones. Amaze!
But even more importantly - to have imagination! To think
of the future, not yet existing, possibilities. People do not However there certainly is a lack of truly visionary compa-
always know what they want. Had Henry Ford asked the nies. It is slightly cliché to refer to Apple when speaking of
people what they needed for transportation they probably companies with a distinct and successful design strategy.
would have answered - faster horses. But why aren’t there more Apples?, as questioned by
architect Tim Power in the David Report blog
So how may this be done? some time ago. The difference in that
company is an entrepreneur by the
When it comes to product dev- name Steve Jobs. German designer
elopment it’s important to have Dieter Rams who was head of
a clear design process in design at Braun in the sixties
order to create products explained how design always
as relevant as possible. must origin from the top
But these processes management like this -
are often limiting and “At Braun they were always
imprisoning. Let’s take willing to take a risk - no-
the motor industry for body could tell you if a
instance, it may be very product would become
expensive to develop successful. We as
a new car but this designers cannot work
has had the unfort- in a vacuum. The
unate result that entrepreneur has to
almost all major want it; the people
car companies at the top of the comp-
now days suffer any have to want it…
from a lack of iden- What’s missing today
tity. Because isn’t it is that these kind of entre-
so that cars today look preneurs are no longer there.
more or less generic? Today there is only Apple
Look back to the sixties and to a lesser extent Sony, but
and seventies when a Volvo not to the same degree as was
was a Volvo and a BMW a the case with Olivetti and Braun,
BMW. Even an Opel could be or Peter Behrens at AEG, or
distinguished on the streets. Herman Miller and Charles
Eames, Florence Knoll with
So how is this trap avoided? Per- Saarinen and so on. These
haps through finding a process kinds of connections are
missing today.”

Steve Jobs, CEO and founder of Apple

”Today there is only
Apple and to a lesser
extent Sony, but not to
the same degree as was
the case with Olivetti and
Braun, or Peter Behrens
at AEG, or Herman
Miller and Charles
Eames, Florence Knoll
with Saarinen and so on.
These kinds of connec-
tions are missing today.”
Dieter Rams

Is design rightly
appreciated?
During a period of time there as been a fullness and a pu-
blic reaction against design, both among companies and
the public. One of the reasons is the constant overdose
from the mass media.

Gui Bonsiepe recently criticised that design more and
more has “moved away from the idea of “intelligent pro-
blem solving” (James Dyson) and draws closer to the
ephemeral, fashionable and quickly obsolete, to formal-
aesthetic play, to the boutiquization of the universe of pro-
ducts of everyday life.” James Mair from Viaduct furniture
in London is on the same track; “The current trend for
entertaining design is not problem solving”.

On David Report we sadly agree, to a certain degree.
Because as well as there are plenty of amazing and crea-
tive young designers out there it seems as if there exists
a group of designers who put there own ego above the
vision of user friendly and desirable design. We actually
see quite a significant waste of talent.

Successful Swedish designer Björn Dahlström has a
clear and set view on the design process; “as a designer
you have responsibility for the money of others - you can-
not play along”.

Also when it comes to this reaction against design we
cannot not mention the holistic responsibility that we all
hold against our fragile planet and all of our fellow citi-
zens.
Josephine Green, Philips Design’s senior director of
Trends and Strategy, is just one person that has con-
cerns about the problem of “selling more stuff at a a time
when we should be re-thinking stuff”. Designer Jay Os-
gerby says; “to design fashion items doesn’t interest me
at all...”.

The essence is that design must be worked with seriously
in order to win respect. This applies to designers but abo-
ve all, producers. Functional design processes, profound
culturally connected trend insights and knowledge about
human behaviour is paramount. Something is wrong
when design in some scenarios has become something
viewed upon as a major source of pollution. If the case of
design is so strong, why isn’t it being adopted more wide-
ly by corporations, organisations and governments? It’s
an important question that we soon must answer. Bruce
Nussbaum of Businessweek has an explanation; “In the
US, CEOs and top managers hate the word “design”. Just
believe me. No matter what they tell you, they believe that
“design” only has something to do with curtains, wallpa-
per and maybe their suits. These guys, and they’re still
mostly guys, prefer the term “innovation” because it has a
masculine, military, engineering, tone to it”.

According to us it is also about having a more purposeful
perspective, a desire to make a difference. It is also about
being educated and to use this knowledge to tell design
from styling and decoration....
Object from Spanish exhibition in Milan

What effects has recession?

We have also given a great deal of thought to how the who can afford to spend.”
ongoing recession will effect our interest for design, our
view on design as well as our need of design. Those of you who read our spring 2008 report “I shop
It is for example not unimaginable that we will spend more therefor I am” probably remember that we spoke about
time in our homes (read our report on Future Luxury) the desire to find true happiness that more and more
both because of recession and the current instability. people harbour. Not just the the rife idea of happiness,
Our home will be our fortress, our safe nest that creates that is, due to outer circumstances mainly ruled by con-
a false sense of security against the surrounding world. sumption. Today more and more people voluntarily chose
Home sweet home will once again be a relevant expres- to downsize, and this trend is growing both as a personal
sion. This will in it’s turn affect our need of products and choice and because we have less money to spend.
services to be used in our homes. One category that will
benefit is electrical gadgets and games. The gaming in- British agency Future Laboratory also sees a growing
dustry is already huge, it has a bigger turnover than the market for products for our homes. Hometailing - retailing
music industry, and will most likely grow even further over for the “homedulgence” generation as they call it. But in
the near future. their case it is not due to recession but “growth of premi-
umisation which are creating a new high-end, high-tech,
Trend analyst Faith Popcorn describes her view on deve- home retail model that requires brands to rethink their atti-
lopment over the near future; “ The overwhelming reaction tude to design, delivery, service and personal after-care”.
is to pare down, to simplify… Nearly everyone is conside-
ring opting for a simpler life as we believe that there is a As usual nothing is nor black nor white. How will reces-
real relief in getting off the consumption treadmill. What sion affect the design world and our need of design, ac-
may have started as an economic reality is rapidly beco- cording to Faith Popcorn? Read the interview on the fol-
ming a bona-fide lifestyle preference--even among those lowing page.

Our interview
”Forecaster Faith Popcorn Predicts”
Faith Popcorn is an Electronic connectivity to me feels very different. It’s com-
author and founder munication by relay, it defers rather than facilitates conver-
and CEO of marke- sation. It allows us to filter the information with which we
ting consulting firm are bombarded every day; enabling us to decide what and
BrainReserve. She when we’ll pay attention, and potentially respond.
is a trusted advisor If this continues, and I think it will, our brains will make
to the Fortune 500 genetic bends to regard electronic connections as positive
and businesses and fulfilling.
around the world
and an internatio-
nally known spea- Shopping has turned into a lifestyle. We are filling
ker on consumer our homes with stuff and decoration. Do you see
trends. any change in attitudes? Will the recession make
us more aware?

I’d honestly say, and my own observation, as well as our
Recession data confirms, that lifestyle is OVER. Our FPBR
Faith, you coined the term Cocooning in the 1990s TalentBank experts are seeing that even people who have
which described how individuals were about to so- the financial means to spend aren’t doing so anymore—and
cializing less and retreating into their home more. they find they are feeling really good about that choice.
You predicted that the ”stay-at-home electronic Downward Mobililty is the new direction or Keeping Down
shopping” should grow. Do you see the same thing with the Jonses; I did without more that you did, kind of
happening during the recession this time? Or any thing.
major differences?

Absolutely, people are taking comfort in the comfort of You recently brought forward research around pat-
home. In FPBR’s recently completed Recession Survey terns in everyday life. Among the different trends,
(talking to 1011 random and representative Americans on- Cashing Out tells us that people feel that their life
line, fielded in June), 72% of the sample found themsel- is too complex, with too little time. How can design
ves “spending a good deal more time at home entertaining make their life easier and more relaxed?
themselves and others.” Of course, what’s different now
is that they are being driven to this behavior for pure bud- I think the answer is in your question—make it easier and
getary reasons, vs. a desire to protect themselves from the more relaxed. Distill it down to the essence, simplify it,
harsh outside world. strip it. Make it completely user friendly, intuitive if at all
possible. Don’t over-package it. I can’t think of an area in
In terms of online shopping, which was really a novel new design where these principles don’t well match the cultural
idea back in 1990; it is now a very mainstream behavior. mindset of today.
And while it still has the same advantages: ability to readily There will be Restful Resorts wherein we will detox from
price compare, see product detail, read reviews, and so on, our over-connectivity.
what’s really driving it today is the very pragmatic savings
associated with a car trip to the mall.
You named another trend 99 Lives. Your research
tells us that nearly everyone is considering opting
How has the upgraded version, Cocooning 2.0 or for a simpler life. Four of five (84%) are inclined to
ubercoCocooning, been affected by the high-speed buy less stuff; 72% to remove clutter.
development of the internet, i.e. we are all more or
less connected nowdays, at least in the developed a. Why do you think we have filled up our homes
parts of the world? with things we don’t need?

I guess that’s really dependent on what you mean by “con- Habit, complacency, a bit of showing off—and some of us
nected.” Sure, we all have buddy lists, we have our Face- are just natural pack rats.
book friends, we dialogue with our favorite blogs, we read The accumulation of goods made up for the barrenness of
and respond to hundreds of e-mail messages a day; most our Spritual Selves.
of us are “always on”, whether on our computers or our
smartphones. But is any of this really “connected”?
I wonder whether all this “connectivity” is really about erec-
ting barriers to what I’d call “real connectivity”—two or more
Shinkansen railway in Japan
people, having a chat, face to face, in real time.

b. Do you think we will start to buy less but better Be willing and open to change—everything—because bu-
stuff? siness as usual simply isn’t anymore.
Decision making is going to become much more rational
Yes, I think we are already seeing that, and I suspect it will vs. emotional; be prepared for that level of scrutiny.
accelerate. Tell the truth. Over-tell the truth. They will discover all you
Mainly we’re looking for Branded Stuff at less cost. Cost are hiding.
Co and Wal-Mart have taught us this is possible Give service, service, service.

c. This must also be good for the environment, how
can companies make the best out of this trend? Please give me three important key words for de-
sign in the future.
Think I’d go back to your last question—make it easy, make
it relaxed, make it completely utilitarian. Make it Cheap and I kinda like yours: easy, relaxed, functional/utilitarian—yet
provide a service to go along side. pleasing
If your selling Cereal to Mom, educate her on her Kid’s nu- I would say beautiful, useful and communicative.
tritional Needs or her relationship with her ‘other’.

Which will be according to you the key design trend
Do you see any major changes in what kind of de- in the next let’s say five years?
sign we are looking for in the future? What will our
preferences be? Reusable, Sustainable, didn’t hurt anyone/thing to get
here.
Again, I think you’ve got in simple and useful and beautiful.
Actually, I’ve always been intrigued by a design concept
originating in your country—Lagom, ”just enough”. That
feels like a very smart aesthetic right now.

I’ve always been
A couple of years ago you wrote the book EVEolu-
tion about marketing to women. Based on the ide-
as of Evolution, if we change the word marketing to
design, how can you make better design (for both
sexes) out of this whole brain thinking? intrigued by a
Certainly some of the principles are as applicable to design
as they are to marketing:
design concept
--Connecting female consumers to each other connects
them to your design. originating in
your country—
There is something wonderfully communal about the best
in design, I think.
--If you’re designing to one of her lives, you’re missing all
the others. Fashion figured this out a long time ago—there’s
work, play, lounge, workout and so on—each is a distinct Lagom, ”just
enough”. That
opportunity
--Design to her peripheral vision and she will see you in
a whole new light. Women appreciate the subtleties, they
look for the nuance—they are not very good at responding
to aggression and head on approaches—in design or mar- feels like a very
smart aesthetic
keting
--This generation of women will lead you to the next. Ap-
preciation of design, one’s “eye” is cultivated and passed
on from our elders.
--Everything matters—You can’t hide behind your logo.
Where did you source your materials; what are your labor
right now.
practices; what kind of “citizen” are you, beyond your bu- Faith Popcorn
siness practices; are you energy efficient in production/
in use.

As a company, how should you act to get the most
out of the current situation (think recession)?

Recognize that this is not the beginning of the recession—
this is the end of the world as we have known it.

London underground

The sustainability gap

Today most companies understand that the products of also be about self improvement. Companies must make
their competitors have the same technology, price, per- money AND make a difference.
formance and functions. To succeed, you have to deliver
emotional as well as rational (and tangible) values that “Sustainability, if it is to mean anything, is something we
differentiates you from your competitors. know is not a fashion. It’s something that must be integra-
ted into the DNA of design, not left on the surface.
Producers and designers need to maximize the trail where Yet, if sustainability is to be accepted into the DNA of
people seek, understands, accepts and finally sticks with design, and not ultimately rejected as something alien, it
different products. The sticking part is the most crucial. must evolve into something that, directly and intensively,
Let us call it affectivity. “Emotions make us buy, whilst delivers value and well being itself to users, citizens, con-
feelings make us keep”, says design researcher Kristina sumers. This bridge, between the constraints of the envi-
Börjesson. “Incredible resources are wasted on objects ronment, and the needs of modern humans for expressi-
and products that are thrown long before their physical as on, creativity, exuberance - life - is the gap that innovative
well as technical function is over, sometimes even before design must bridge”, says sustainability designer John
they even have been used”. Manoochehri.

Today it is impossible to speak of design without a holistic This is something that designers need to take into consi-
sustainable point of view. Because what is the long term deration. To not design just for the sake of designing, but
use with products that we throw away while they’re still to keep the producer and later the consumer in mind.
functioning? Companies hence has a great ethic as well
as ecologic responsibility. As has the consumer. But it Let’s think about this now when we move on to look at the
cannot only be about striving for a better world, it must five key design trends that will change the future.

Consumers are people of flesh and blood
with dreams and hopes of good lives.

Hotel Amour in Paris

The 5 key design trends that
will change the future.
We will now look closer upon those five design trends Then we have the boosted meeting between design and
that, in one way or another, will affect how we will de- art (which we named Vulgarism in an earlier edition of
sign our world in the future. There are both micro sub this trend report), we have crowd surfing, co-producing,
trends and more global macro trends in between which modern heritage, make it yourself, eve-olution, limited edi-
our five trends unimpededly move back and forth. This for tions and...it’s a never ending story. We have consciously
example goes for the debate on sustainable design and chosen not to include these trends separately and instead
how we in a holistic way shall develop it’s efficiency even let them be part of and fuel our five key design trends. Be-
more. Another trend is the movement around luxury which cause that is how our world looks like today, a constant
is moving away from being a monetary concern towards mix and fusion of phenomena’s, life styles and cultures.
being more knowledge and experience based. For better or worse....or?

We call our five key trends Cooltural, Rationaissance,
Responsibiz, Sensuctive and Breaking Boundaries.

Let’s go!

•COOLTURAL
•RATIONAISSANCE
•RESPONSIBIZ
•SENSUCTIVE
•BREAKING
BOUNDARIES

COOLTURAL
Abbreviation of Cool Cultural
Keywords: sensorial, local, tribal

The key words to design trend COOLTURAL let’s us un-
derstand that we speak of a trend that has a personality
and faces away from the anonymous globalisation. We
described globalisation like this in the two year old trend
rapport “Supreme Regionalism”; “How interesting is it to
travel to another country or continent, just to realise that
you for a moment don’t know were you are; Tokyo, New
York, Moscow, London or….? Wherever you go, you find
look-a-like airports, shops or hotels. The interior is exactly
the same in the hotel in Seoul as it is in San Francisco.
You find the same fast-food-chain or super brand flagship
store. And naturally, you find a “popping-up-everywhere”
shopping mall nearby, with all the same retailers as you
find in every mall around the world. Boring, absolutely life-
killingly boring.”

folklore

Pattern by Klaus Haapaniemi on
an Iittala plate by Heikki Orvola

COOLTURAL - sensorial, local, tribal

Unfortunately this anonymity has continued and even es-
calated during the last two years. The force behind glo- Classic Swedish Same handcraft
balisation is strong since big money is involved. Regional
and local specialness is erased to, in many cases, never
be brought back.

But there is change in the making, a light around the cor-
ner. We, the consumers, simply do not buy anymore. We
want to experience the real deal. It may be the regional or
local individuality and the knowledge of who has made a
certain product. We want it to have a scent, a taste and a
feeling. It’s about time. Where’s the fun in entering yet an-
other Luis Vuitton or Gucci store while in Tokyo? We want
to search for the unique, playful and exciting that hides in
back streets, beyond the regular tourist traps. Find those
things that we may be alone to have. Find products and
brands that are honest and tells a story.

If the multi national companies wants to be a part of this
trend and longing for genuineness they will need to view
their clients as individuals with unique, personal needs. In-
stead of shipping generic products around the globe they
should focus on creating a unique profile and a unique
assortment on each continent, in each country, each city
and why not every block? Because it is on this level that
we once again seek inspiration, the unique experience,
that which only I and some of my closest friends know
of. The barista who makes the greatest coffee in town
(without being the most expensive), the hand made piece
of jewellery or the unique selection in a vintage store. It is
about knowledge rather than money.

Bench Twig by Pinch design

tactile

Carved wooden stool


Folklore and artisan production will see a boost. We Cultural nomad Satyendra Pakhale, who is originally from
also borrow inspiration from traditional local or regional India, has developed a ceramic product which takes re-
patterns. Think kurbits, the local pattern from Dalarna in gional cooking tradition into the 21th century, with a pre-
the north of Sweden, applied and used in novel ways. served feeling of localness and history. This makes it hu-
COOLTURAL is also about how we through methods like manistic and easy to understand. This type of products
ReUSe and ReMix reutilise things in other ways, without have, despite of their local origin, a global comprehen-
for that sake hiding its origin. Patina will once again be sion.
important. And also updating ancient traditions. This kind of symbolic products are definitely an interesting
Above all COOLTURAL is about storytelling and authen- way forward and new grounds to explore for the mass-
ticity. market industry.

T-shirt chair by Maria Westerberg

Cooking device by Satyendra Pakhale

honesty
Ace hotel Partland (photo Kristina Dryza)

French indiepop-duo CocoRosie

Another designer who we think really succeeds in adding
feeling into her products and interiors is Ilse Crawford.
Her recent interiors for Stockholm Grand Hotel restau-
rant Mathias Dahlgren and classic british pub The Olde
Bell Inn are good examples.

Yet another good example is belgian clothes designer
Martin Margiela and his shops. They all have a unique
concept, suited for each location. In Paris the theme is
“hotel” and this, in combination with the highly individual
and personal design of the clothes has created a bouti-
que completely free from the stuck upness so common in
the world of luxury fashion.
Here you get the feeling that anything is possible and that
you share the experience only with the lucky few who find
their way to the shop. The Paris store even has a stage,
set with microphones and sound systems. At any minute
you expect to see Paris based indiepop duo CocoRosie.

Martin Margiela Paris store

identity
Mathias Dahlgren restaurant by Ilse Crawford


Commes de Garçons guerilla stores are based partly on
the same principal. Super brands of the world still have a
lot to learn. It’s about daring to let go but above all to offer
a unique experience. This may be described as a search
for a mythic talisman.

Such a talisman could be the Rare Bead Necklace by
Dutch designer Marcel Wanders. Marcel tries to tickle
our imagination and need for storytelling with a neckla-
ce that is only made in thirty copies for web shop 20ltd.
Among the 31 different beads is a hand-cut crystal re-
plica from a Baccarat chandelier made for Russian Tsar
Nicolai. Further on there is a knot bead symbolising
Wander’s famous chair for Cappellini and an African fer-
tility bead. Here’s the description of another bead on the
necklace (from the little storybook which is included); “A
Time bead: usually people buy golden beads and in time
the gold is gone and only something ugly is left behind.
This ‘Time bead’ is a real gold bead painted white so that
when the white wears off, you are left with something
beautiful forever.”

storytelling

RATIONAISSANCE
Abbreviation of Rationalism Renaissance
Keywords: stylish, functional, iconic

The RATIONAISSANCE trend springs from design his- time are stylish and iconic. Especially the iconic bit is an
tory. But it’s at the same time (and perhaps because of important distinction. Because, really, what is an iconic
that) a trend for the future which in a liberating way rebel product? The word timeless captures it nicely. It can tra-
against the dictates of modernism and minimalism. In a vel through space and time, and hence overcome time.
way design is about merging the past, present and the We could also describe it as to “age with grace”. To us
future. If we fail in doing so it all becomes rather dull be- this also makes it ethical (if it is at all possible for things
cause of the lack of history. RATIONAISSANCE is about to be that). RATIONAISSANCE is about the things that
going beyond the short term and fleeting trends. we keep for a long time, that even may become a heri-
tage. We are pretty much clear with what iconic products
As our key words shows RATIONAISSANCE is about throughout history looks like, but what about the future
functioning and often rational things that at the same ones?

sufficient

Vintage record player by Dieter Rams for Braun

RATIONAISSANCE - stylish, functional, iconic

Puppy by Eero Arnio

Imagine if it was possible to figure out a formula to create
these kinds of objects, and make producers strive in that
direction? As a reaction against our wear and tear so-
ciety.

This is our attempt to a definition of a timeless product; a
product that clearly reflects its time at the same time as
it stretches the limits of technology and production met-
hods. Simple as that...Apply this definition to design clas-
sics as Ant chair by Jacobsen, Wassily chair by Marcel
Breuer and The Panton chair by Werner Panton. It works
quite well.

The style that RATIONAISSANCE represents is thought
through and sufficient. It dares to be contemporary. It’s
positive and not rarely playful and colourful in all its sim-
plicity. It is economic in resources. It’s female with less
details and invisible technology. It’s about whole brain
design thinking. The trend balances the simple with the
sophisticated and the discrete with the bold. Quite simply
products that are easily understandable, easy to use and
to have a life long relation with. We need these kinds of
companions in a world that is more and more complex.
Coffee machine by Jasper Morrison

distinct
Felt slippers by Pia Wallén


Apple is a company that works closely with The 10 principles of good design by Dieter Rams was
RATIONAISSANCE’s keywords; stylish, functional and formulated in the sixties and they actually still feel up to
iconic. Their user friendly interface and attractive produc- date:
ts puts them way ahead of their colleagues and competi-
tors. That’s why Apple can pride themselves with having • Good design is innovative.
dedicated brand fans who’s lives depend on the latest • Good design makes a product useful.
products or updates. • Good design is aesthetic.
• Good design helps us to understand a product.
It’s worth to mention that Apple, trough designer Jonathan • Good design is unobtrusive.
Ive, borrows quite friskily from books throughout history • Good design is honest.
and hence unites past, present and future. This is proba- • Good design is durable.
bly one of the reasons to their successes, since it adds a • Good design is consequent to the last detail.
historic relevance to the products while they’re also in the • Good design is concerned with the environment.
absolute front line with their intelligent compatibility. • Good design is as little design as possible.

A fast comparison with Dieter Rams products for German
Braun from the fifties and sixties reveals several clever
design borrowings. This is a great example from the de-
sign world of what is referred to as “convergent evolution”
by biologists. In this case as a homage and recycling of
classic products.
iPhone by Jonathan Ives and calculator by Dieter Rams
logical


Japanese designer Naoto Fukasawa is one of the leading
and most celebrated product designers of today. He has
that something special that gives his products a perso-
nal typography. His own brand plusminuszero presents
a number of home electronic products that by their sh-
rewd ingeniousness differs from everything else. The
wall hanged cd player for Muji is another example. British
designer Jasper Morrison recently made this statement
about Fukasawa; “I have the strange sensation than Na-
oto has gone through some kind of barrier, that he thinks
in a world that hasn’t yet arrived for the rest of us. The
objects in his world are unlike the objects in ours”.

intelligent

All products by Naoto Fukasawa


Sfera building in Kyoto by Claesson Koivisto Rune
In architecture good examples of RATIONAISSANCE are
culture house Sfera building in Kyoto, Japan by Swedish
trio Claesson Koivisto Rune as well as the New Museum
of Contemporary Art by Japanese bureau Sanaa. The la-
ter museums lower-level hallway by Jeffrey Inaba uses a
radical approach to research and design to make opaque
information come alive by using a bold, immersive graphic
environment that identifies and quantifies public and pri-
vate philanthropy around the world.

bold
New Museum of Contemporary Art by Sanaa
Interior of New Museum of Contemporary Art by Jeffrey Inaba


Designers that represents RATIONAISSANCE includes
above mentioned Jasper Morrison, Naoto Fukasawa and
Claesson Koivisto Rune but also the Bouroullec brothers,
Sam Hecht and Konstantin Grcic to name a few.

Let’s listen to Dieter Rams again; “I believe designers
should eliminate the unnecessary. That means eliminating
everything that is modish because this kind of thing is
only short-lived”. Sometimes we simply need LESS. The
forces of the market constantly tries to seize our atten-
tion. A recent study shows that an average urban citizen
is subject to as many as 3000 personal brand trespasses
daily. No wonder that we now and again need to rest our
eyes on something subtle, that we want things that work,
that we can understand and that speaks to us in a low,
subtile voice.

Ten key calculator by Sam Hecht

visual

Chair One by Konstantin Grcic Pol sofa by Ronan & Erwan Bouroullec

RESPONSIBIZ
Abbreviation of Responsible business
Keywords: holistic, sustainable, ethical

The RESPONSIBIZ trend is clever as well as humanistic
and responsible. We’d like to start by claiming that a silent
phase has taken place and nowadays issues concerning
sustainability, csr, fair trade are no longer the property of
nature organisations and their likes. Complaints are made
that some people only go along with a trend as a way to
seek publicity or money when addressing these issues.
The same goes for normally quite traditional companies
when they seek to satisfy the growing demand for solu-
tions that are fair and sustainable. Fine! But these ques-
tions must be about making money too. We are still on
that level where that is the only way to catch the attention
and interest of businessmen in board rooms and make
them realise the importance of these issues. It will un-
fortunately take a while until we see companies with truly
philanthropic values. German research company Trend-
buero is spotting it though; “The creation of meaning will
become the most important source of corporate profit.”
This means that we will see completely new examples of
awareness in companies. And business will be good for
these companies, Trendbuero describes their future like
this; “He who does good to the best of his knowledge
and conscience today can trust that luck will stay with
him tomorrow.”
The quarterly economy will hopefully get a brand new dri-
ving force.

One Laptop per Child

humanistic
Vases made of re-used paper

RESPONSIBIZ - holistic, sustainable, ethical

Solar bottle by Alberto Meda
& Francisco Gomez Paz

But one mustn’t play tricks with these issues. It’s crucial
that the social responsibility communicated by compa-
nies is a well integrated part of their soul and DNA.
Because the world we live in is more or less transparent,
secrecy is officially declared dead. “Don’t bother trying.
You’ll just look like a jackass when your secrets are leaked
and your lies are exposed” as writer Clive Thompson puts
it. There is a word that explains the act to try to make
money out of peoples desire to do the right thing; green-
washing.

John Thackara from Doors of Perception recently wrote
this about greenwashing: “In business, green washing
often means changing the name and/or label. Early war-
ning signs that a product is probably toxic include images
of trees, birds, or dew drops. If all three are on the box,
the product will probably make your skin peel off in se-
conds”.

The transparent world has been born through the rapid
technologic development and the possibility to communi-
cate fast without being limited by time and space. Today
we’re, in the developed parts of the world at least, more or
less totally connected and globally networked.

Cushion made of flip-flops by Karin Wittmann Wilsmann

clever
Puma Bicycle from Biomega


RESPONSIBIZ is, besides an awareness of peoples

awareness
needs and global fairness also about reducing the affects
on the nature surrounding us. British “think and do” tank
New Economics Foundation recently made the proph-
ecy that we only have a hundred months to change the
course of development, and then it will be too late. Even
if this may be rejected as atrocity propaganda it certainly
should awake a few thoughts.

A company which in an interesting way works for global
fairness is Swedish Peepoople who with their life saving
Peepoo bag has made a really interesting innovation. It’s
a personal single use toilet, that sanitise the human ex-
creta shortly after the defecation, preventing the faeces
from contaminating the immediate as well as the larger
environment. This is an extremely useful product, every
15 seconds a child somewhere dies due to contaminated
water. Danish Index award have during several years re-
warded the types of products that makes a difference. An
interesting product that has been awarded is LifeStraw, a
personal mobile water-purification tool is designed to turn
any surface water into drinking water.

LifeStraw


We have earlier pointed out the importance of having a
holistic view on the term sustainable design. We say it’s
important not to trivialise it by equalising it with the choi-
ces of materials and such. As we earlier mentioned it is
very important to dare go in depth and appreciate the va-
lue of affection, authenticity, aesthetics and compatibility
and their long term effects on the durability of a product.

How may companies increase the life length of their pro-
ducts? Vintage and second hand shops are of course one
way. Finish furniture producer Artek has conceptualised
the thoughts around re-duce and re-use further through
their project 2nd cycle. They quite simply buy old Aalvar
Aalto products and put them back on the market. By crea-
ting the concept Artek wants to raise the discussion of
conscious consuming, praise the authentic design and
honour the importance of originality. The dints, the scrat-
ches and the patina tell their never-ending story. A coded
RFID tag embedded in each 2nd Cycle item records the
furniture’s history, stories, as well as information about its
origins. The tag can be read by mobile phone, revealing
an internet link to the particular item’s history, allowing Recycled paper vase by Picapica
also new owners to upload their own stories.

Alvar Aalto stools

re-use


The found the following text in the ’Iittala philosophy;
”Have you noticed how easy it is, in our shopping-oriented
world, to crowd your home with meaningless things? You
find yourself with short-lived items that eventually cease
to function, or go out of style. So they are thrown away,
adding to the growing mountains of unusable rubbish on
our planet, while you keep on shopping for new things.

For a long time, Iittala has been part of an ongoing revo-
lution. This is based on the belief that all human beings
can make conscious choices in everyday life. Choosing
objects that will last in design and quality will please our
senses and create harmony in our everyday lives. Fortu-
nately, this is also a choice for a more sustainable society,
and against buying short-lived things destined for the rub-
bish bin.

The heart of Iittala’s design philosophy
is formulated along Kaj Franck’s early
thinking. According to Franck, “objects
should always be appropriate, durable
and functional.” This is why one of the
most important functions of design is
to make sure that objects designed
for everyday use should be universally
usable.”
Essence glassware by Alberto Häberli

economical


To do the right thing will in the future much more be about
strategical business. You must have clearly visible social
and moral values or no one will buy your offer. This will
also affect which types of products and services will be
developed. Being holistic and not strain our finite resour-
ces wont suffice. These attributes are already becoming
generic. The types of products and services we will see
more of in the future will more visibly benefit both humans
and the society at large.

A great example is New York based designer Stephen
Burk’s works with American producer Artecnica and non-
profit organization Aid to Artisans in South Africa and
Peru. The award-winning Design with Conscience pro-
duct line by Artecnica reintroduces traditional craft into
the high design landscape. Each piece in the collection
is a collaborative effort art directed by Artecnica, concep-
tualised by renowned international designers, and hand-
crafted by artisan communities across the globe.

What is especially interesting with this way to work is the
contribution to a local change, and that it’s not just cha-
rity. It’s simply more modern and a far more sustainable
and long term method.

Stephen Burks and artisans in South Africa

bridging

Tatu tables by Stephen Burks

SENSUCTIVE
Abbreviation of Sensual Seductive
Keywords: narrative, engaging, emotional

The need for design that seduces us by appealing to all
of our senses is constantly increasing. SENSUCTIVE is
about design for human desire and pleasure. In a world
ruled largely by technocrats and technological winnings
it sometimes seems as humans are irrelevant pawns in
a bigger picture. Therefor we want to be seen, we want
to feel with our entire bodies. We seek experience ba-
sed emotional design. Design that sometimes borders to
poetry, design that opens new doors and and gives us
sensory experiences. Design that brings us intimately in
touch with ourselves. It’s all about self awareness.

Many long to once again connect to the important ritu-
als and ceremonies of life that connect us to our history.
At the same time as we are receptive we would like to
be able to share. SENSUCTIVE is about personality, the
small format, naked and natural. Not the universal, but the
small and special moments that makes life worth living.
This is when we are in touch with our senses. Intimate
moments when we’re living life to its full.

poetic

Weather Project by Olafur Eliasson

SENSUCTIVE - narrative, engaging, emotional

Design based on the SENSUCTIVE trend flirts with our Ring by Ida Elsje
dreams. One example is the Paper forest by Petra Eichler
& Susanne Kessler for Dutch company Droog, with sound
and light that invites our thoughts to wander off. Japanese
design group Nendo’s clothes hanger that seems to be
made out of plant vines also speaks to our subconscious.
The entry to furniture brand Moroso’s showroom during
the Milan design week also communicated to our senses
with its cold, dark rain and obscure blue light.

While speaking of experiences we cannot forget to men-
tion artist Olafur Eliasson that has reached fame for his
multi dimensional installations, seen across the world.
One example is the on going The New York City water-
falls. They are a nice experience, but we would like to turn
the clock back a couple of years and mention his Weather
Project, which was a remarkable installation at Tate Mo-
dern in London back in 2003-2004. It was a strong and
special experience and drew attention to the fundamental
act of perceiving the world around us. When David Re-
port talks about design, brands, art and so on we always
state that a true cultural connection is paramount. The
Weather Project definitely had that!
Coathanger by Nendo

multi dimensional

Paper forest by Petra Eichler & Susanne Kessler/Droog

SENSUCTIVE - narrative, engaging, emotional Chair and table by Paola Navone for Gervasoni

SENSUCTIVE is also about feelings and personal mo-
ments. It’s about our memory and thus also about affec-
tivity. Ceremony and rituals helps us understand and ex-
plore the world. SENSUCTIVE is low-tech and globally
understandable, it’s humane and it connects people,
which is why it is so important. Italian designer Paula
Navone creates humanistic interiors and objects with a
distinct emotional and original feeling. She’s a master
of patina with history. She rediscovers design from the
past and brings it to life in new, contemporary forms. As
a citizen of the world: driven by her extreme interest in
the most widely differing cultures, she tells stories about
the essence of the material. Paola Navone brings forth a
feeling that takes the experience to another level. It’s the
charm in the combination of old and new. She is trying to
provide warmth and awake memories of previous expe-
riences. The restaurant Pane e Acqua around the corner
from Spazio Rossana Orlandi is a good example of her
design.

stories

From restaurant Pane e Acqua


The SENSUCTIVE trend also borrows inspiration from
nature and its built in mystic. Picture frost nipped winter
apples on a lawn, or the foggy morning on a meadow. But
it’s also about the city and it’s multi facetted content. We
a friend
quote Charles Baudelaire; “The life of our city is rich in
poetic and marvellous subjects”.

Ilse Crawford was mentioned earlier in this report. We
cannot not show her lamp w08, produced by Swedish
newcomer Wästberg. With its special material combina-
tion it distinctly differs from the main body of newly produ-
ced lamps. According to Ilse w08 is also more than just a
lamp, she sees it as a friend and a companion in the night.
This is how she describes her thoughts on the material
generally; “Materials have hidden messages. These cre-
ate a powerful link to our emotional psyches and shape
our connection to daily life”. By the way we like lamp pro-
ducer Wästerbergs manifesto; “lamps for offices, hotels
and caves”....

Table lamp w08 by Ilse Crawford


Spirituality is no longer just something for the New Age
communities but is about to become a centre part of the
mainstream cultural awareness. Mind, spirit and body are
central. We will see more and more products that has an
added spiritual value.

This will of course influence design as a phenomena at
large. This types of product will definitely appeal to LO-
HAS (Lifestyles of Health and Sustainability). This target
group describes an estimated $230 billion U.S. market-
place for goods and services focused on health, the en-
vironment, social justice, alternative transportation and
energy, green building, eco tourism, personal develop-
ment and sustainable living in general. It’s not only about
striving for a better world, it’s also very much about self-
improvement (never forget that!).

soul

Hella Jongerius buttons Mug by Richard Hutten

BREAKING
BOUNDARIES
Abbreviation of Breaking Boundaries…
Keywords: experiental, curious, interdisciplinary

BREAKING BOUNDARIES is about breaking new
ground. About being proactive. In the big picture this
could of course be the particle accelerator built by Cern
dreams
in Switzerland to, if possible, recreate the Big Bang. In
other words something founded on new technology and
and technical developments. But not necessarily. It can
also be about new materials, but also other things.

Particle accelerator in Switzerland

BREAKING BOUNDARIES - experiental, curious, interdisciplinary

We think this trend will go beyond the surface and go in
depth, below the physical materials and walls and develop
design also on a psychological level. Over all BREAKING
BOUNDARIES is mostly about a transformation between
different anti poles, such as local/global, technology/philo-

linking
sophy and body/mind.

Cultural nomad and designer Satyendra Pakhale puts it
like this” Design is a universal poetry, it’s not a profes-
sion, but a way of life.” His design philosophy is based
on transformation and linking. Both when it comes to ac-
customed ideas, moral or completely technical aspects. It
is thus about daring to take that step into the unknown.
Satyendra tries to merge industrial design with the natural
world, the technological with humanistic, the ancient with
the contemporary, the physical and emotional with engine-
ering. This ground-breaking design will be important in the B.M. Horse chair by Satyendra Pakhale
changing of our world and the improvement of our future.
A new way of thinking is needed. A way of thinking that
can make a difference. That has the ability to combine high
and low, north and south, east and west, the metaphorical
and the concrete.

Plates by Marek Cecula


Author Frans Johansson talks about the Intersection. A
place where wonderful and extraordinary things can hap-
pen. Explosions of creativity. We see a lot of hybrid cars
today, but what is the connection between termites and
architecture? Frans Johansson brings forward an interes-

intersectional
ting example of an energy-saving building in Harare, Zim-
babwe which was developed by architect Mick Pearce
with an interdisciplinary approach. His idea was to get rid
of any need for air conditioning. This in a place where tem-
perature changes dramatically during the day. His passion
for understanding natural ecosystems made him design
a natural ventilation inspired by termites and how they
cool their tower like mounds of mud and dirt. According
to Frans Johansson “people who can step into an inter-
section of different fields or cultures are those who will
change the world.” We agree!

Termite mound Office block in Harare with passive cooling by Mick pearce


Another example is reputed Spanish restaurant El Bulli,

From the Fat Duck menu (world’s second best restaurant…)
situated in Cala Montjoi about ten miles north of Barcelo-
na. El Bulli has, through chef Ferran Adria’s lead, become
one of the worlds most experimental and avant-gardist kit-
chens. They have with their molecular gastronomy brought
cooking and restaurant experiences into the future. The
over all experience they offer is highly desired, the fifteen
tables and fifty seats are booked at least a year in advance
and each year hundreds of thousand of people try to book
a table. When Farran Adria isn’t spending his time at El
Bulli, which is only open during summer, he is at el Taller -
the Workshop, where he and his co workers and chemists
experiments with new ways to present taste.

Heston Blumenthal at the The Fat Duck in England also
has a scientific approach and has been described as a
culinary alchemist for his innovative style of cooking.

Food experience from El Bulli (world’s best restaurant…)

surprising


We also want to emphasise on Branko Lukic, the foun-
der of NONOBJECT, design studio based in Palo Alto,
California whom at the moment is working with a book
on “design fictions”. By deliberately creating objects that
cannot exist - because the material is not yet available, or
the business plan, or the manufacturing process, or the
infra-structure to support it, or even the human sensibility
- it becomes possible to explore the meaning of design
at a more profound level and to think more richly about
what is and what might be. Branko Lukic says; ”I am crea-
ting objects that explore the space between you and the
object. Your mental space, beyond object.” His idea is to nUCLEUS Nonobjekt
put soul back into design experiences, to imbue products
with love and emotion. Here within lies a great challenge
for designers around the globe. To work with and develop
human connectivity and make products and services more
sensual at the same time as pushing the boundaries for
rational values such as function, material and technology.

differentiating
Tarati Nonobjekt


When it comes to design to break boundaries also me-
ans to design new processes and new ways for people
to buy less goods (because the world cannot take it any
longer). Swedish designer Marie Nilsson asks for new
ways to consume design in her Master Project at Industrial
Design in Lund; “Create products, services and systems
that encourage sharing. Question the traditional approach
of buying and private owning and see the possibilities of
collective owning, leasing and lending”. Marie talks about
breaking patterns. A challenge that really demands an ef-
fort, because we are deeply imprinted by material things
and many build their identities around the latest car or cell
phone. And not to mention clothes, the fashion industry
fights hard to make us change our entire wardrobes at
least twice a year. Danish fashion brand Noir Illuminati links luxury with fair trade and sustainability

fantasy


What about the phenomena, that David Report named
Vulgarism, that lives in the claimed boundary country bet-
ween art and design? Is that too an example of BREA-
KING BOUNDARIES and a way forward for the design
community, or is it a dark alley?

According to us design and art plays on entirely diffe-
courage
rent levels. Where art poses questions design provides
answers. Real art is not made to please the market, it’s
questioning and have its own identity and authenticity.
Design on the other hand is there to solve a problem for
someone. This is a fundamental difference. Many are the
designers who dream of being artists (money, fame and
status appeals). Despite what one may think of this, but
they should at least be given due credit for injecting crea-
tivity into a guild that is too often caught in a crippling
corporate trap. Too much design suffers too big of a lack
of fantasy, curiosity and courage.

Lighting by Marcus Tremonto

Our windup
What is good design? Who decides what good design is Do not be afraid to borrow ideas that has proven to be
and what types of products, processes and services may successful. We do not need to invent the wheel over and
our five key trends lead to in the future? over again. Old ideas in new contexts have many times
According to us, good design is a clever solution to a proven to be an excellent way forward. Begin to borrow.
problem. To reach there you must be open-minded and Let us hope for a much wider spread open source thin-
open-hearted. Unite the past, present and future and be king in the future world of design. Think big! Jean-Luc
inspired from the world around you. Design is about hu- Goddard once said “It’s not where you take things from
mans. Always. That’s why it has to be culturally connec- - it’s where you take them to”. (I have myself borrowed
ted. We are not machines. You always have to see design this quote from Paul Arden, who in his turn took it from
through the lens of humanity. Jim Jarmusch....)

David Report
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