Innovation by Design in Scandinavia

Over spring break I visited two of the world's most design-centered cities - Copenhagen and Stockholm - with a group of 25 classmates. Aside from the usual spring break fun and shenanigans, we visited a handful of uniquely innovative companies, including large diabetes and healthcare company Novo Nordisk, the wave-making music start-up Spotify, the"IDEO of Europe", DesignIt, and the constantly-changing telecommunications company Ericcsson. We learned about innovations in sustainability, in healthcare service delivery, in social music, and so much more. I was impressed with these companies, and wondered why the region is particularly dense with successful innovations. After some thought, I boiled it down to three things:

1) Community: Denmark and Sweden are intensely community-driven places; they think of themselves as cohesive tribes. This communal attitude is evident in their social-centered governments, in their approach to public transportation, and in their approach to business innovation. When your perspective is first and foremost aligned to community, you can not only excel at collaborative work process (the birthplace of innovation, contrary to the single man innovator myth), but you can also better envision products and services that scale.

2) Environment: Over and over again, we heard about environment and sustainability - in Copenhagen many spoke of "blue and green" - the well-known (and well-marketed) goal of preserving both the oceans and landscape of their country. Scandinavians are particularly atuned to their physical surroundings, and how their actions and output affect it. This awareness of environment and context is a very important part of creation.

3) Anti-Authority: One nuance that I wasn't expecting is that in many ways, despite their heavily socialist government, Scandinavians are very anti-authority; the way they see it, if there is something that as a community they want to change about their society, they should rise together and do it. This is possible and works, particularly in Denmark, because the nation is very small and so change can be agreed upon and implemented relatively quickly. However the sentiment permeates not just politics but culture and worklife in general, and Scandinavians are definitely not afraid to challenge ideas and the critique the status quo. This is of course an essential part of creative destruction and innovation.

Overall, a very enlightening trip that left me and my classmates with much to ponder...

The group meeting with CEO and Founder of DesignIt (image courtesy of DesignIt)

Home Sweet Home

Perhaps I've been reading too many design and apartment makeover blogs lately, or perhaps I assume others are as nosy about people's homes as I am (you know who you are), but I thought it might be fun to share some pictures of my humble abode - my (tiny!) SF studio apartment. When you have a small space, love design, and enjoy nesting, as I do, you tend to become meticulous about the things you place in and around your home. Here's how I've gone about it:

I wanted bedding that had natural, floral elements, but without being too girly. I got this beige and brown garden duvet at the mass-market home decor mecca, Anthropologie. The painting hanging over the bed is one I did while taking classes with Susan Miller (Susan Miller Gallery, Union St.). I wish I had a better bedside table (this one is a shoddy excuse for craftsmanship from Ikea).

I love my iHome alarm clock and ipod player (it is, however, a bit bulky, and I'm sure they now sell much sleeker ones). Above the stack of books is a postcard I picked up at a store in Santa Monica that says "Meditation is for Everyone". It reminds me to (try) and do a quick meditation on the day right before I go to sleep.

I think that the books you choose for your bedside table are supremely important. There should be a mix of "staple books" (things that you like to flip through frequently, or that provide inspiration and thought provocation), and of course your current reads. I am currently reading Zeitoun, by Dave Eggers (for a book club), and Against Interpretation, by Susan Sontag. The rest are all regulars:

• Unbearable Lightness of Being, by Kundera, and Either/Or, A Fragment of Life, by Kierkagaard (for intellectual foyers)
• Strike Sparks, by Sharon Olds (when a poetry mood strikes)
• Practical Idealists, by Wilson, Barham, and Hammock (trying to learn how to have it all)
• The Principles of Uncertainty, by Maira Kalman (beautiful, beautiful book)
• Change by Design, by Tim Brown (design thinking is EVERYWHERE)
• Collaborative Habit, by Twyla Tharp (her soothing tone calms me)

I'm a big believer in a big, clear desk. No cluttered paperwork, no filers. Just a few important objects, and your computer. Nothing is more inspiring and makes you feel more like a 'professional' writer (or whatever), than a good desk. This dark wood desk is from Ikea, but is surprisingly sturdy and of good quality. In the center I have a desk calendar, note-cards (to inspire me to write thank you notes often), an old photograph of my grandparents, and some candles.

This little love seat couch pulls out into a twin bed, and has been a godsend for my out of town guests. It's actually comfortable, I don't know how - good work Crate and Barrel. Throw pillow and blankets from Pier One, guitar is a Guild (shamefully out of tune).

Perhaps my favorite thing in the apartment is this black and gold lacquer Japanese cabinet. I got it about ten years ago in Los Angeles (Japantown), and really love the funkiness that it adds to my space. It is crammed full of books and art supplies. The house slippers are handmade from Jaipur, India. The pictures in the frame are snapshots from my 2009 trip to Argentina and Brazil.

And finally, the kitchen. This is my baker's rack where I keep my dishes and kitchen knick knacks. The colorful tumbler cups and small plates in the front are from Pottery Barn, a gift from mom. The elephant teapot and small blue and yellow cups at the top are from Anthropologie. The small unframed picture on the left hand side is a Jennie Smith print that I picked up at Little Otsu in the Mission; the larger framed poster in the back is a John Post photograph of my hometown, Manhattan Beach.

Hope you enjoyed the tour. Interior design is a veritable playground for design lovers, and I have a feeling I will constantly be reinventing and reinvigorating my home with new items and themes. I look forward to having more space (and more funds) to play with in the future.

A Design Thinker’s Reading List

I have read three books in the last few months that I think provide ample inspiration and thought-provoking fodder for any design thinker:

• The Creative Habit, by Twyla Tharp: In this “how-to” guide, Tharp suggests that being creatively inclined is not some pre-ordained gift, but rather a skill that can be acquired and honed by anyone with the right outlook and set of tools. Using anecdotes from her own life and career as a professional choreographer, Tharp discusses both the theory and psychology behind harnessing creativity, and the practical steps that can help. Her straightforward and no-nonsense writing style lends credibility to her credo – you feel as if you have just had a stern but productive talk with an experienced mentor.

• Design Thinking, by Tim Brown: Brown is the CEO of IDEO, the well-known Palo Alto based design consultancy. In this book he shares the secrets behind IDEO's success and discusses how design thinking can transform organizations and societies. To paraphrase, Brown describes the concept of ‘design thinking’ as the act of intensely and intelligently observing human activity and interaction, with the goal of uncovering a need and turning it into demand. The idea that design thinking is a business and management strategy and not just a designer’s tool has been gaining traction – as evidenced by this recent NY Times article discussing the ways in which Business Schools are incorporating it into their curriculum. As a businessperson, this book excites me – too often in the business world we approach problems from a staid and wholly left-brained perspective; design thinking teaches us to question assumptions and address the ‘why’ before we jump to the ‘how’.

• Beautiful Evidence, by Edward Tufte: This is the first in a series of four volumes by Tufte that seek to explore how the components of an image, be it a scientific diagram or an artistic masterpiece, can either enlighten or subvert the intended meaning of the visual. For example, in the first chapter Tufte explains how any image whose purpose is direct visual evidence must contain a scale or map, in order to inform the viewer of the image’s context within its broader environment. The subject matter may sound uninspiring and the tone egregiously academic (Tufte is a Professor Emeritus at Yale University), but trust me, you will never look at a PowerPoint deck or a scatter plot the same way again. Tufte’s insights and observations will inspire you to consider the elements of style and design with every visual you create or encounter.

Tharp, Brown, and Tufte have inspired me to foster a creative habit everyday, look for design-centric solutions to business challenges, and be intensely aware of the role design plays in everything we create. Not a bad starting set of principles.

Twyla Tharp: twlatharp.org

Tim Brown: designthinking.ideo.com

Edward Tufte: edwardtufte.com

Stripe Design Group

I just got back from a day in Santa Cruz, where I discovered an adorable home and clothing store called Stripe. The store is owned by The Stripe Design Group, a "creative collective" company that, in addition to owning the retail store, does residential and commercial interior design. The store is more like a gallery than a shop, with works by local artists adorning the walls and fun design objects strewn about to play with and admire. The handmade cards, antique jewelry, old cameras, and delicate glassware were some of my favorite things. I walked out with this harmonica necklace by Garrett Jewelry.

The owner changes the decor of the store for every season - all the more reason to visit every couple of months. They also hold frequent events with local designers and artists. However if you can't make it down to Santa Cruz, an online store is coming soon to their website, www.stripedesigngroup.com.

Great Outdoors

Over the holidays I had the opportunity to spend some time outdoors (thank you, California!). I went on walks along the beach, went for a hike on the bluffs of Palos Verdes, and went camping on the central coast of California. Although I am decidedly a city lover, it was nice to slow down, quiet down, and get out and enjoy the small and large wonders of the natural world. I was reminded of how much inspiration can be drawn from the outdoors – not only because of the beauty of the landscapes and seascapes, but also because of the focus and clarity it brings. When you are hiking or merely ‘being’ outdoors, distractions are gone and all that’s left to focus on is the environment. You become increasingly aware of the noises, smells, colors, and textures. As an artist, I immediately begin to wonder, how might I paint that hillside, or that tide pool? What colors would I use, what kind of brushstrokes? Other thoughts fade away and I am content to simply contemplate my surroundings. Its no wonder that the Transcendentalists and Impressionists turned out such inspired work. And then there is of course the wonderful sense of peace that the outdoors brings – a reminder of the larger forces at work, and the pure miracle that is such an abundance of life. The ‘natural high’ one gets from being outside is a powerful, visceral force, when one really sinks into it.

And yet – it is tragically fleeting. We get back in our cars, back to our homes, our comforts and conveniences, and the spiritedness and revelations we experienced, the gratitude we felt simply for being alive, are soon forgotten. Of course it would be nice to simply abscond from our modern lives and amenities. Some do just that - this couple, recently highlighted in the New York Times, live full-time with their baby in a yurt out in the Alaskan wilderness:

And this is certainly admirable – but for those of us who want to balance a host of interests and goals requiring contact with modern society, it is necessary to find a way to integrate nature with urban life. One approach is to bring the outdoors in – creating homes and spaces that celebrate nature. John Carson of Margaretville, New York, embraced this idea when he decided to build his home around a 250-ton boulder:

Although perhaps a bit extreme, I love the idea of co-habitating with something so massive and raw – there is no way to avoid contemplating the natural building blocks of our earth when you have a eight-foot tall rock in your living room.

However you integrate nature into your life, whether it is with regular walks, camping trips, living in a yurt, or building your home around a giant boulder, it is important to make an effort to connect with the outdoors on a regular basis. It reminds us of our history, our unity, and our mortality as human beings.

Palos Verdes, California

Yellow Bird Project

Do you like artsy t-shirts, and charity, and indie rock music? Me too. So do the creators of the Yellow Bird Project, a Montreal-based non profit that enlists indie music artists to design t-shirts and other merchandise that are then sold on the YBP website. Proceeds go to a charity of the musician/band's choice. What a wonderful ecosystem of charity, creativity, and cool gear.

Pictured below is a t-shirt designed by Rilo Kiley, one of my favorite indie bands. Proceeds from the sale of this shirt go to the Free Arts for Abused Children organization:

Visit and support the Yellow Bird Project at www.yellowbirdproject.com

The Rise of the Victorians

Recently, a movement has come to my attention called “steampunk”. First originated in the 1980s, the term ‘steampunk’ (as defined by wikipedia) denotes ‘works set in an era or world where steam power is still widely used—usually the 19th century, and often Victorian era England —but with prominent elements of either science fiction or fantasy, such as fictional technological inventions like those found in the works of H. G. Wells and Jules Verne.’

Steampunk has gained traction over the past year as the movement spread to popular film, and fashion; several movies set in the era were made (There Will be Blood, the upcoming Sherlock Holmes), and the fashion world has seen a plethora of Victorian styles in men’s and women’s clothing (oxford shoes, vests, bowler hats, and oversized trouser pants). These trends have been well documented by the NY Times fashion editors. The steampunk movement also reaches into the art and design world. For example, this refurbished desktop computer, which has been embellished with brass, iron, and wood, giving it the appearance of being from the Victorian age:

It has been demonstrated by research analysts that most aesthetic or sartorial trends are the byproduct of social, economic, or cultural macro forces. Given this fact, what can we credit with the rise of steampunk and a return to the Victorian era?

Well for one, we are in the midst of a global recession that has spurred numerous references and comparisons to the Great Depression. This has encouraged a look back at the images and objects of our past. Paying homage to the styles of this era seems like a natural response, and a way to connect with our current circumstances. In so doing we are also romanticizing the time period, which perhaps serves to comfort us and helps us believe that we too will make it through this economic crisis, as our predecessors did.

I think perhaps the rise of steampunk in the design world can also be attributed to the recent monumental surge of new technologies. New innovations in Internet technology, mobile communication, and desktop computing bombard us everyday. The aesthetic de-modernization of objects by Steampunkers may represent a desire to slow the rapid spread of technology to all spheres of life. However, the fact that the objects remain functioning, despite their pre-modern appearance, demonstrates an acceptance that modern technology is here to stay. The interplay between these two sentiments is what makes steampunk design particularly provoking, and relatable. We all feel the push-pull of embracing new technologies while at the same time wanting to keep our lives simple and free from the pressures of invasive, ‘always on’ devices.

Steampunk influences are all around – just today I read in the Wall Street Journal that the New York MTA will be running antique subway cars that served the city in the 1930s during four Sundays in December. New Yorkers have embraced the vintage cars, dressing up in early 20^th century attire to ride. It looks like this trend is here to stay, at least until the Stock Market picks up.

Wall Street Journal Article: http://online.wsj.com/article/SB10001424052748704869304574596291960167518.html

New York Times Article: http://www.nytimes.com/2009/11/12/fashion/12CODES.html

Wikipedia Article: http://en.wikipedia.org/wiki/Steampunk

The Mad Men Aesthetic

I just finished Mad Men Season 3 (a bit behind as I live in a cable-free zone and download all my media). This acclaimed show is great for a number of reasons: the rich and complex characters, the ways in which historical events are woven together with fictional plots, and the delicate balance created between nostalgia and the recognition of an era wrought with contradiction.

However what has captivated me about Mad Men – and in sticking with the theme of this blog – is the aesthetic that series creator and executive producer Matthew Weiner has created. I read that Weiner is slightly obsessed with the authenticity of the show – from the costumes, to the sets, to the slang, down to the smallest detail such as the type of crystal glass that Don Draper casually drinks his Monday morning scotch out of. As a result, as a viewer you are completely immersed in the era and paradigms of the characters. Of course films allow for this kind of immersive experience, but to achieve aesthetic authenticity week after week with a television series is another level of accomplishment. The hue of Betty Draper’s lipstick, the plushness of the shag carpeting in the Sterling Cooper office, and the plasticity of the ham on white bread sandwich Peggy eats for lunch, all contribute to an aesthetic that becomes a character unto itself. Glossy, sexy, yet at the same time superficial and empty, the aesthetic puts a form to the show’s theme of a collective social anxiety during the brink of a culture shift.

People’s obsession with the Mad Men aesthetic is evident in the plethora of 1950s and 60s styles that have been seen recently in fashion, interior design, even beverage choice (the resurgence of the Manhattan). Everyone loves a good throwback, and Mad Men certainly delivers. Can’t wait to see what visual wonders Weiner recreates next season.