Luovat alat Suomen talouden ja työllisyyden vahvistajina -työryhmän tavoitteena on tukea hallituksen työllisyyteen ja kilpailukykyyn liittyvien tavoitteiden saavuttamista. Työryhmä uskoo, että sen ehdottamien toimenpiteiden avulla voidaan lisätä luovien alojen työllisten määrää yli 10 000 henkilöllä – mikä on lähes 10 % hallituksen koko työllisyystavoitteesta. Lisäksi muiden toimialojen kilpailukykyä ja työllisyyttä voidaan lisätä merkittävästi hyödyntämällä luovien alojen digitaalisia ja asiakaslähtöisiä liiketoimintamalleja, design-, palvelumuotoilu- ja brändiosaamista sekä markkinointi- ja viestintäosaamista nykyistä laajemmin koko taloudessa. Luoviin aloihin ja luovan osaamisen hyödyntämiseen tehtävät panostukset nopeuttavat elinkeinorakenteen monipuolistumista, lisäävät vientiä ja tuotannon jalostusarvoa. Työryhmän esitykset eivät rajoitu perinteisten luovien alojen edistämiseen vaan kohdistuvat myös nykyisen ja tulevan talouskasvun ajurin, aineettoman pääoman, ja luovan osaamisen tehokkaaseen hyödyntämiseen sekä taloudellisen lisäarvon synnyttämiseen läpi koko yrityskentän.

Scholars representing the field of design were asked to identify what they considered to be the most exciting and imaginative work currently being done in their field, as well as how that work might change our understanding. The scholars included Richard Buchanan, Nigel Cross, David Durling, Harold Nelson, Charles Owen, and Anna Valtonen. Scholars representing educational technology were asked to reflect upon implications for our field. They included Elizabeth Boling, Andrew Gibbons, and Irene Visscher-Voerman.

This paper focuses on the post-industrial society and the changing object of design. Postindustrial design will be realized through the digitalization of the physical world and the advent of digital fabrication tools such as 3D printing that bridge the gap between digital design and physical goods. In post-industrial design professional designers will be concerned with designing toolkits and incomplete designs rather than fully determined products. The consumer will be adapting the incomplete design to his or her needs and desires in some way or another. This adaptation could be done with minimal involvement as well as by intensive participation. The aim of this paper is to investigate the changing relation between consumer and designer in a post-industrial society by examining the object of design. We exemplify the new object of design by examining several consumer products that possess some property of post-industrial design. Based on our research we propose four ways, or tactics, for designers to deal with heterogeneous consumer needs and preferences, two of which are unique to post-industrial design. We end this paper by briefly discussing the implications to design practice and design education.

Finnish art and design education is among the best in the world, and its research in the field is pioneering. Pro Arte Utili is a collection of accounts of the events and the drivers behind them, as told by the people in leadership positions at the University of Art and Design and Aalto ARTS.

Design practice is intrinsically about change and changing the world. Over the past two decades several new areas have emerged within design, such as service design, design thinking, speculative design, transition design and social design. What constitutes a desirable design outcome has also evolved. New design processes exist to enable those outcomes, and broader, more diverse communities often contribute to collective change making.Despite this, we still have a fragmented understanding of how to use design to create change, with a limited number of frameworks to guide its implementation in public and private settings.This article provides a brief overview of the recent developments in and through design that relate to how and why the usage of design has changed and how we design change. I look at the products, processes, and people related to change in design, and how design practice has fostered new roles in the field. In depth interviews with expert designers, and their insights about these roles, have been used to open up the discussion of what questions designers are aiming to define and answer, with whom, and how.

The article discusses the roles of industrial designer in Finland. These include the designer as the creator, the designer in a team with mechanics and marketing and the designer as an end-user expert. The article notes how the government and the local actors used design to emphasize the national identity and improve the poor economical situation of the country. It highlights the design organization of Nokia Corp. which emphasizes multidisciplinary teams, inspiring environments and diversity to achieve the best possible innovations. It emphasizes the connection of past with the future as the role of in-house design.

How can we reform curricula, and universities at large, through a participatory design approach? Two development processes, one from Umeå Institute of Design in Sweden and the other one from Aalto University in Finland, are shown to exemplify this. These cases are used to highlight different practices on how change is designed and executed, what the prerequisites for a successful process are, what challenges these approaches bring, and how we can develop the practice of developing universities - thorough a participatory design approach - further

For large scale change and transformation to happen, a collective culture is needed that embraces change, reaches all members of the academic community and allows ideas to flourish and grow beyond initial initiatives. Building such a culture is never easy, nor can it be done by any individual alone - it takes time and disappears all too easily. Hence, I think that many pieces of how this kind of culture can be built could be interesting for a broader audience, as many of the smaller initiatives or approaches are fairly general in nature and could be usable in a broad set of environments. In this article I will look at seven different approaches and areas, which in my opinion have all had a part in creating an environment which makes such a transformative culture possible.

Kirja perustuu Helsingin yliopiston ja Taideteollisen korkeakoulun Proaktiivinen Muotoilu (PROOMU)-hankkeeseen, jossa tutkittiin muotoiluosaamisen kehitystä teknologiateollisuuden yrityksissä.