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Forms in movement

Strategies of openness for commercial product design

Jaakko Nikkola

2018

Forms in movement

Strategies of openness for commercial product design

Supervisor: Oscar Person

Advisor: Fernando SantosJaakko Nikkola

2018

Aalto University

School of Arts, Design and Architecture

Collaborative and Industrial Design

Master of Arts Thesis, 30 ECTS

Abstract

Author:

Jaakko Nikkola

Title:

Forms in movement - strategies of openness for commercial product de sign

Department:

Department of Design

Degree Programme: Collaborative and Industrial Design Year: 2018

Language: Englanti

Keywords:

Product design, Industrial design, Design strategy, Open aesthetics, G-

ShockAalto university, P.O. Box 11000

00076 AALTO

Master of Arts thesis abstract

Today's commercial environment is increasingly complex. Globalization , fragmentation of consumer new challenges. In a complex system, product - consumer interaction can not be seen isolated from the Through consumption, we are asked to integrate with a multitude of relat ions, both social and concrete. If a product gets stuck to a rigid set of relations, it can only be acce pted accompanied by these relations. open for consumer-oriented integration. In this thesis, I examine a prod uct strategy, which leaves context. By examining the evolution of G-Shock, I argue that a commercia l design strategy should be consumer feedback, but should aim at measuring the potential a product h as for being used as a platform for consumers to create new value. In the future of commercial product design, we should continue to develop new strategies, which allow companies to become faci litators in consumer-oriented meaning making. sign

Laitos: Muotoilun laitos

Koulutusohjelma: Collaborative and Industrial Design

Vuosi: 2018

Kieli: EnglantiAalto-yliopisto, PL 11000

00076 AALTO

io, kuluttajaryhmien asemaa tuotteiden arvon kaupallinen muotoilustrategia tulisi luprosessin arvioimisen ei toimia alustana kuluttajien arvonmuodostuksessa. Kaupallisen muotoilun t ttaja-keskeisten merkitysten luomisen. Avainsanat: Tuotemuotoilu, Teollinen muotoilu, Muotoilustrategia, Avoin estetiikka,

G-Shock

The idea of openness, of unpredictability and loss of control, is perhap s the one important quality that separates our era from those that have passed . This development has been clearly visible in a struggle of artists and philos ophers to explore, explain and express the new possibilities, or necessities, f or human creativity. In the past decades, the idea has reached a more concrete me aning in the introduction of information networks and new manufacturing methods, whic h are constantly revolutionizing social and commercial relationships. It is th en more out of necessity than pleasure that we should consider - as designers - our position in navigating through this new chaos. I would like to thank Oscar Person and Fernando Santos for their patient guidance through this process.

Foreword

Helsinki, 21.2.2018Jaakko Nikkola

1. INTRODUCTION........................................................................

1.1. Background....................................................................

1.2.1. F

1.2.2. Cont

1.2.3. Design...........................................................

1.3. F

2. LITERATURE REVIEW........................................................................

2.1. Form as experience...............................................................

2.2. Form as expression..................................................................

2.3. Form as forming..................................................................

3. METHODS..............................................................

4. RESULTS

4.1. Concept........................................................................

4.2. Form evolution.................................................................

4.2.1. Stage 0: First pr

4.2.2. Stage 1: T

4.2.3. Stage 2: New associations and consumers...............

4.2.4. Stage 3: Collabor

5. DISCUSSION........................................................................

5.1. Case study........................................................................

5.1.1. Comparison t

o the model product strategy.............

5.1.2. Comparison t

o literature review...................................

5.1.3. Comparison t

o other examples.....................................

5.1.4. A critical view

5.2. Thesis contributions and further possibilities.....................

5.2.1. Implications f

or design practice...................................

5.2.2. Implications f

or design research..................................

5.3. Critique and limitations...........................................

5.3.1. Critique on pr

5.3.3. Critique on case stud

y method......................................

5.4. Conclusion.........................................................

Case study sources..................................................................... Image catalog...........................................................

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Part I

where I introduce the subject, 2 Chaos and unpredictability are certainly possible descriptions of today' s commercial environment. Others might be freedom and openness. The perspective varie s, the currents. In this text, I will explore how product forms can be used for a more The inspiration for this thesis comes from a particular product strategy , which seems to echo the general developments towards openness in today's co mmercial practices - openness, which has perhaps become most familiar to us in association with ubiquitous information networks or open-source programming. In prod uct design, similar tendencies appear both as tools, which allow consumers t o participate in the design process and as new manufacturing possibilities, which offer My focus is in the openness that appears through product strategies, whi ch use products as platforms for collaborations with other brands, artists and consumers. demands a company to rethink how much they have control over their produ cts. From an aesthetic viewpoint, the practical possibilities that have allow ed these recent strategies seem to bring an interesting addition to the ric h discussion on the role of products in a contemporary consumer society. This discuss ion on consumer emancipation and product aesthetics now seems to be given a phy sical manifestation in these open strategies. The idea of a "strategy" appears in this discussion both in a narr ow sense to relationship with consumers. A step towards a more open strategy thus in dicates a purposeful release of control, an invitation for consumers to participat e, a shift from To begin this thesis, I claim that a deeper analysis of these product st rategies can reveal general insights for commercial product design that can help sustain a deeper relationship with consumers and provide answers for the critica l more open approach to product design. These approaches are what I call " strategies of openness".

Introduction

1. 3

1.1. Background

A modern society is an almost completely synthetic environment, organize d by pleasures, new disappointments, new possibilities, often in multiple var iations competing with each other for consumers' attention. In commercial pro duction, the question "what does it do?" is immediately complemented with "w hat does it look another as an answer to these questions. In the eve of industrial design, citizens in commercial societies were g iven roles as those who created and those who destroyed, as those who produced and those forms to be multiplied for waiting consumers. In recent decades, the tayloristic production lines have been complement ed is judged, accepted or rejected, through a social discourse far beyond t he control of a single company. Burdened by the responsibility to answer the desires of consumers, a Des igner tries to imagine their preferences. To manufacture a positive response, consumers are categorized by their lifestyles, values, age, size, sex or personali ty. In a global context, such practices stretch imagination to its limits as they reveal their own contradictions. Each positive response seems to be complemented with ano ther release new products. almost unlimited consumer potential, cultural traditions, historical con texts, social practices, aesthetic preferences and symbolic associations offer unprece dented challenges in managing the messages they want to convey. Today's glob al commercial sphere is a complex and living organism, which a Designer is asked to A society which is fragmented, chaotic and in constant movement, asks fo r to accept their outdated cool. Where it is possible, new quick business strategies be rejected as trends pass by. For an industrial designer, such hasty ma neuvers are often hindered by the stiffness of manufacturing and promises of las ting technological value. For a company manager, this issues another dilemma as they are trying keep control of the brand's image.

Image 1. Example Be@rbrick

[1] [5] [4][2][3] 5

Hermès

[6][7] [8] 6 There is a particular product type, which seems to offer a new approach, a new systems, or product platforms. One example of such products is the categ ory of designer toys such as Be@rbrick (Image 1) or Dunny, which have gained great popularity both among celebrities and common consumers. The system throu gh which their basic shape is re-imagined as a cultural game tells an inter esting version of the surrounding commercial environment. What makes them particularly appropriating them on its surface, as well as inviting popular brands an d artist to on today's commercial culture is further advocated by Marc Steinberg, when he writes on the Journal of Visual Culture (2010 whereby the very terms 'artist', 'commerce' and 'consumer ' are transformed". A similar phenomenon can be seen in the current trends in sneaker design where a model produced by a company such as Nike (Image 5), Adidas or Puma is introduced and reintroduced through variations done in collaborations with smaller consumer brands. These variations are then put under critique th rough publications such as Hypebeast, Highsnobiety or Complex, as well as vari ous discussion platforms, where in a heated conversation each model is analy zed and either accepted or rejected. These tendencies are also spreading towards more technology oriented products. In the 1980s, Swatch introduced a new cheap way to manufacture wrist watches (Image 8). The low costs made it possible to introduce more variation on the appearance of the products allowing Swatch to challenge the existing symbolic associations in the watch industry by creating the "worlds smallest c anvas" as it is still advertised (Swatch, 2017). Another company from the 1980s, G-shock, has since become a popular cultural icon with its playful and participat ory aesthetics (Images 2, 3 and 4). More recently, companies such as Fitbit are trying to implement similar ideas. Even Apple, which has been known for its str ictly controlled aesthetics, has tried to take a step towards this direction w ith its Apple

Watch (

Images 6 and 7).

of these developments, there is another resource, which seems to only ga in in relevance. In the 1960's, an Italian writer, literature critic and se miotician Umberto Eco published a study called "The Open Work" (Eco, 1989). The focus of this work was to look at the aesthetic developments in avant-garde works in the ea rly 20th century to formulate a new aesthetic theory for "works in movement" (Eco, 1989 p. 12). The artistic developments presented by Eco are strongly motivat ed by other developments in science, technology, commercialism and social organizati on. It is evident that all these processes have only gained further momentum givin g a reason 7 to believe that they can well offer new inspiration for today's desig ners. In this study, I navigate in the intersection of the aforementioned prod uct thinkers, who have examined these general themes in great depth. I will further take a closer look at one of the previously mentioned examples, the G-shock, to highlight some perspectives in this development and to provide insights for commer cial product design as a whole. language used in this thesis to avoid confusion with the possible differ ences in terminology used particularly in practical design speech and the more ab stract discourses on general aesthetics. The following segment provides the mai n building blocks, which I will later use to construct the argumentation in this th esis and to anchor the following, sometimes abstract, themes into a solid foundation In general, my focus is in product design. To put this in more general t erms, I am interested in creating forms in a commercial context. This notion alread y displays the building blocks of this discussion. First, we have the question of a form - what are we designing. Second, we have the context there is the general question of what are the limitations of the act to design. I will answer these questions in the following segment, after which we can cont inue to further frame the scope of this thesis.

1.2.1. Form

The practice of industrial design as a whole appears as a large system o f processes and stakeholders such as manufacturing, marketing, workers and other per sonnel. To avoid these systemic complexities, I see design here from a perspecti ve, where a form presents the focus of the profession, and correspondingly an evalua tion of this process is seen through an evaluation of the form that is its outcome. A form is thus the main variable, which we focus on in this text. Before we can start building strategies for how such a form should be created, we need a way to evaluate it, to have a measure, which puts one next to another. Becau se we are creating products for people, it is natural to select this measure based on our ability 8 agree on a common meaning for the word "form" for this discussion, and its relation to what something is. I will begin from the simple recognition that a form is always a form of something. If we take a look around, we can recognize many different things: tables , a chair, walls, paint on those walls. That is, these things appear as a discontin uity in our observation of the world. However, if we concentrate for a moment, we ma y realize that we are simply observing different colors and shapes and with a mere passing gaze we seem to breath life into them. We recognize different qualities, put them in bundles and assign them a center those qualities seem to gravitate towar ds. Such a bundle is then what I refer to as a form: a set of those qualities, whquotesdbs_dbs17.pdfusesText_23

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