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Critical Success Factors in a FurnitureDevelopment Process
Furniture design process review through a Finnish-Japanese design project.
Antti Pitkänen Industrial and Strategic DesignUniversity of Art and Design HelsinkiMA Thesis
Tutor: Johanna Vuorio Avarte
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Critical Success Factors in a FurnitureDevelopment ProcessFurniture design process review through a Finnish-Japanese design project.
Antti Pitkänen Industrial and Strategic DesignUniversity of Art and Design HelsinkiMA Thesis
Tutor: Johanna Vuorio, Avarte
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Table of Contents
1. Introduction 6
Starting Point 6Purpose 6Research Question 7Terminology 8Introduction of the main areas of study 8
2. Invited Overseas Designers program 12
General Background of the Program 12Oribe design Centre and the Universities 13Chair as a Process 14Experienced Design Management as Guidance 26The Many Needs of the Deliverables 27
3. Theory: New Product Development process 31
Definition of New Product Development Process 31The Main Advantages of a Well-defined Process 32Breaking Down the Process 34Roles in the Process 42Deliverables Produced During a Process. 43
4. Case: Avarte 48
Sniffing out the Global Trends 48Flexibility in Creativity 49A Close Circle of Friends 50Heavy Reports and Assessments Forms not Needed 51
5. Case: Fritz Hansen 52
A Philosophical Approach to the Challenges in the Process 52Two Years to Showroom 53A Strong Role of Brand Management in New Product Development 54Detailed Documentation to Commit the Stakeholders. 55
6. Case: Martela 56
Ideas from Many Sources 56Selling the Idea Throughout the Process 58The Many Players of the Development Process 58The Importance of the Brief 60
7. Conclusions 62
Success factors 64Further Recommendations 69
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
List of FiguresFigure 1. Structure of the Thesis. 9Figure 2. Examples of the Mood boards. 16Figure 3. Figure Example of the 2D Illustrations. 17Figure 4. Visualizations of the presented concepts. 18Figure 5. Visualization of the 5th concept. 19Figure 6. Development of the Neo-N concept. 20Figure 7. Pictures of the model making. 21Figure 8. Test model with the frame and the seat 22Figure 9. Marketing material for Neo by Oribe Design Centre. 23Figure 10. Photography of the Neo chair by Oribe Design Centre. 24Figure 11. Photography of the Neo chair by Oribe Design Centre. 25Figure 12. The Generic Product Development Process (Ulrich & Eppinger) 35Figure 13. The New Product development process (Jones / 1997 / p.xii) 37Figure 14. Stage-Gate Process by Cooper 39Figure 15. The Tasks and Responsibilities of the Key functions. (Ulrich & Eppinger)) 45Figure 16. The Lead Roles of the Key functions. (Tim Jones) 46Figure 17. Avarte chairs (www.avarte.fi) 48Figure 18. Fritz Hansen chairs (www.fritzhansen.com) 52Figure 19. Chairs by Martela (www.martela.fi) 56
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Acknowledgements
I would like to thank all those that have supported and contributed to the creation of this thesis.
The thesis took a year and a half to finish and during this time I have seen places and met
people that have made me feel a fortunate person to be doing what I am doing.
First and foremost I would like to thank Yoko Asano and the staff at the Oribe Design Centre
for the work that they have done to make a project such as the Invited Overseas Designers
program to exist, giving designers such as myself a chance to participate in creating something
truly great.
I would also like to thank the client company, Toyoisu, in making the project such an interesting
experience.
A big thank you also goes to my tutor, Johanna Vuorio, for having kept the door open for me to
come and talk about the ideas and challenges that I was confronted by.
All of the interviewed companies were open in sharing information and in answering my ques-
tions In particular, I would like to thank Christian Grosen Rasmussen from Fritz Hansen, as well
as Pekka Toivola and Kimmo Sundström from Martela.
To my new and old colleagues that opened your pools of knowledge I’m in eternal gratitude, in
particular to Veijo Hertell who proved to be a library of good information and advice during this
time.
To my family and those close to me I would like to firstly apologize, as you have had to par-
ticipate in this rather intense journey, and thank you for making it bearable. To my girlfriend,
Laura, thank you standing by me despite the long trips and ill communicated hours in front of
the computer.
To all the professors and staff of the universities that I have attended during these years of my
masters, thank you for the support and time that you have so generously shared.
To all those people that I forgot or didn’t mention a collective appreciation for all your time and
understanding.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Introduction1.
Starting Point
This thesis is a description of a project carried out under specific time, space and cultural con-
straints. It is a description of a journey of learning through different contexts that have shaped
the final outcome.
At the time when the project started I had very little previous experience in working in the fur-
niture industry. My skills and experience were from the product development in the industrial
context, ephemeral architecture and design consulting. Facing the new challenges of the fur-
niture project that I set on, I found myself in the need of finding out what the standard or the
best ways of working within this new context were. The following description is an attempt to
get to the root of the issues behind furniture development, by tackling it from various different
angles and using available resources within certain time constraints.
Purpose
My interest to investigate this theme has risen from the wish to understand the bigger picture
behind the issues related to New Product Development Processes and further to evaluate my
performance and the methodologies that I have used during the course of the Invited Over-
seas Designers program. I believe that having had this experience has improved my skills as
a designer and developed my capabilities to take part in projects of similar characteristics in
the future.
For the community around me I hope this analysis will serve as a description of some of the
areas of product development in the furniture industry. During the course of the research for
this thesis, I found to my surprise that there was actually very little publicly available information
on the methods and underlying processes used in developing products in the furniture industry.
I hope to have brought some light to what those best practices are within this industry and to
have raised some new questions to be looked at in more detail in the future.
To all those students planning to attend the Invited Overseas Designers program or any other
similar program, I hope this thesis will make it easier to decide to set on an adventure to chal-
lenge yourself and the skills that you have grown accustomed to, always remembering to be
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
critical and observant of the mechanisms that affect our role as designers in a much wider
context, in that of a new product development.
Research Question
What are the key factors that promote the success of a furniture development process?
The aspects of success are very much determined by the context by which they are judged
upon. Success relies heavily on the expectations that are imposed to every single project. As
such it can be seen that there are many different grades of success. Let’s discuss this idea a
bit further: Can the process of developing products be considered a success if it manages to
answer the initial brief? Can it still be a success if it hasn’t answered the brief at all, but has
brought out a completely new result which benefits the client company´s core business and
opens new possibilities? Is new product a success, if it is a commercial failure?
Success is something that we aim to in all areas of our daily operations. It is also an area where
design still needs to prove its capabilities in. As the design profession is a moderately new
member the functions of corporate operations, it is often faced with the challenge of proving its
role in creating value in the same way as marketing or technology innovations do. One of the
major problems is that design, in the common perception, is seen to be the influencing factor
on aesthetic and functional aspects of a product in development. Aesthetics on the other hand
has very much to do with the way it is perceived, making it a dimension that is hard to measure.
How do you then evaluate whether a product has been successful or that it possesses what
was desired or needed?
The development of new products is nearly always a job which is done as a part of a larger
entity. Seldom is there just one person or one department involved in the development of a new
product. In order to get to the root of the discussion behind the factors influencing new product
development, it’s also important to see the other tasks that are carried alongside design. Often
these individual actions are carried out as sequential or parallel activities, repeating them-
selves in all projects but in infinite configurations with infinite results. This is why it’s important
to look at the order in which they are done and how they relate to each other, that is to say to
the process. In this thesis I have attempted to answer the question of success in the product
development process in the furniture industry, by looking at the roles that are played within the
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
process, the structure, that is to say the stages that the process is built of, and the outputs that
it creates.
Terminology
For the purpose of this thesis I have used the term design, as the more narrow term linked to
that of applied arts and in further in reference to physical objects. This defines the act of design
in relation to visual appearance and human factors (Cagan & Vogel, 2002, p.139) and excludes
the other definitions used in reference to architecture, graphic design, engineering, service de-
sign etc. Under the definition used during this thesis it will involve industrial design, i.e. design
applied to industrial production and further furniture design as the design act specific to the
furniture industry. The reason to make this distinction is due to the fact that the two disciplines
are often taught as separate degrees, and are seen by those that practice it as separate crafts,
requiring a different set of skills. However the borderline is often blurry and hard to define as
concluded by the work presented here.
Process will be defined during the course of the thesis more in a more detail manner, but for the
time being it can be considered as a sequence of steps that transforms a set of inputs into a set
of outputs. The term of New Product Development Process refers to the process of conceiving,
designing and commercializing a product (Ulrich & Eppinger / 2003 / p.12).
Success is defined by the encyclopaedia as the “achievement of a desired end”. In the case of
this thesis it will be used in reference to New Product Devel-
opment process. Hence, a product that is conceived, de-
signed and commercialized can therefore be considered a
success.
Introduction of the main areas of study
This thesis consists of three parts. First, there is the analysis of the project in which I took part
in realized under the Invited Overseas Designers program. In the second part I have taken
upon to make a literature review on New Product Development Processes and the building
blocks that they are constructed of. The third major part is the description in the form of the
three case studies, of three very different Nordic furniture manufacturing companies and their
“Success- the achievement of a de-sired end”
Encyclopaedia
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
approach to product development process.
In the end these three different areas of study are tied in together through an evaluation of
those methods used and results described in the project, the general theory and the case ex-
amples, and are further discussed in the light of the research question (Figure 1).
The project used as the main case study is the outcome of an Invited Overseas Designers
program organized in-between Oribe Design Centre and University of Art and Design Helsinki.
The client in this case was a moderately small Japanese furniture manufacturer, Toyoisu Co,
Ltd., for whom I performed as the designer. The official part of the project started on the 19th
of September 2006 and continued until 18th of January 2007. The final result of the project is
a chair called Neo that was launched commercially in March 2008 in Japan.
The Invited Overseas Designers program was created to generate new products and products
concepts for the local companies operating in and around Gifu prefecture and to serve as an
opportunity for the designer to acquire skills and experience required working in a foreign envi-
ronment. The program has been running since 2001 and originally the projects were directed
towards the needs of the important ceramics industry operating in the area, but in the last
couple of years other projects such as lighting and furniture design have been undertaken.
Projects realized during this program have varied greatly, imposing a range of different kinds of
requirements on the management capabilities of the design centre. This is due to the nature
of the project as the realization time of the projects are short, distances long and cultures often
Structure of the Thesis.Figure 1.
INTRODUCTION1.
INVITED OVERSEAS DESIGNERS PROGRAM2.
NEW PRODUCT DEVELOPMENT THEORY3.
MARTELA
CONCLUSIONS7.
AVARTE4. FRITZ HANSEN5. 6.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
very different. Nevertheless, Oribe Design Centre has a very closely studied and designed
program, a process through which they have managed to obtain success for many projects.
A great deal of this is due to the high level expertise within the organization that has enabled
minimize risks and plan up front the whole time during the participation of each of the design-
ers.
New Product Development processes are widely studied in the scholarly community and are
often adapted to the industry requirements to be used in various ways. By researching into
the more popular schools of thought of New Product Development processes I have managed
to develop my understanding of the general structure and the building blocks which form and
influence the New Product Development process. In order to limit the scope of the analysis I
have chosen three models generally accepted by the community. The first of them is the New
Product Development process developed by Tim Jones which is probably the closest to the
product design point of view. The second model is the Stage-Gate model by Robert G. Cooper
(Winning at New Products), a model applicable to many different kinds of product developing
industries. The third model is that of Karl Ulrich and Steven Eppingers’ Generic Product De-
velopment Process (Product Design and Development) which makes a special emphasis on
how different functions inside the companies fit to a single process model. During the course
of the literature review I have also found many interesting ideas in other sources but have kept
them more in a supporting and deepening role in order to keep the discussion in a controllable
dimension.
The theoretical framework has been illustrated and supported with three interview based ar-
ticles. They have allowed me to look at the way new products are developed in three very dif-
ferent, yet firmly established Nordic Furniture manufacturing companies. To this I resorted as
for my surprise I found that there was very little publicly available material on furniture industry
specific New Product Development processes. This is very interesting as the industry is known
to very quickly produce and modify according the market specific needs, and many of the com-
panies operate on an international field. The case companies were chosen according to their
specific field in which they work in, their good reputation and their willingness to share their
knowledge for the purpose of this essay.
Focusing my efforts to observe the project as a process and making the literature analysis
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
together with the interviews has also helped me to reduce the possible subjective interpreta-
tion of the events that took place during my participation in the Invited Overseas Designers
program. On the other hand breaking down the discussion of the development of a chair as a
process has allowed me to define the factors that are crucial for me to as a designer to take
into account when participating in new product development projects.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Invited Overseas Designers program2.
General Background of the Program
The development for the Invited Overseas Designers program started out as a design and cul-
tural exchange program in June 1997, but it was not until 2000 when the design development
projects took a form somewhat similar to the present one.
Oribe Design Centre opened its doors in April 2001 and the
first students took part in the program. The product develop-
ment projects further developed to take the present structure
in April 2005, by which design development is carried out in
designer’s country of residence including two visits to Gifu
for meetings during the period of development, and the par-
ticipation of the design advisors. Until 2007 four projects
were conducted under the program every fiscal year, but adding to those some of the projects
that have taken from one year to another to finish and projects that have been carried out with
Japanese designers, there are many more active projects than the four at any point in time.
The Invited Overseas Designers program is designed for each fiscal year from April 1st to
March 31st. It is designed to finish within the fiscal year and each year the contract period of
each designer and contract details are designed reflecting back on the feedback of the previ-
ous year’s projects. Until a couple of years ago the program used to last for 4 months, but due
to the feedback from previous years about the program being too tight, in 2007 the program
was changed so that the part of the program in which the designer participated now lasts for 6
months. The actual projects stay active in the Oribe Design Centre after participation of the de-
signer has ended until they are launched, which some cases has taken up to couple of years.
The success rate of the project developed until launch and commercialization within the pro-
gram is very high and has been on the rise for the last years. In 2003 around 45% of the proj-
ects were completed to a result that made it possible for them to be launched. In 2005 already
75% of the designs were commercialized. As the program is 100% funded by the government
of Gifu Prefecture, the results carry a great importance in justifying how public money is being
spent.
“Purpose: To develop new value-added
products, which po-tentially tap the mar-ket and contribute to
revitalization of the local industry”
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Despite the major work done and success of the Design Centre the future looks uncertain. In
March 2008 only weeks before the essay was to finish it was announced that the Oribe Design
Centre would be dissolved and integrated into Gifu Economic and Industrial Promotion Center.
As a result, the Invited Overseas Designers Program will most likely to be reduced in size and
probably conducted in a different way in the future.
Oribe design Centre and the Universities
The Invited Overseas Designers Program is organized together with collaborating universities.
In the past there were altogether three universities participating in the program; Royal College
of Art (RCA), University Art and Design Helsinki (TAIK), Domus Academy from Milan and the
American institute called the International Design Network Foundation (IDNF)) . But in the last
years the collaboration has been carried out mainly with the first two universities, with each
university sending one or two students to attend the program.
TAIK became involved in 2001 in the program with the partnership organized by Professor
Tapio Yli-Viikari. The contact to the local government was established in 1998 when the pro-
fessor attended an event organized by the Japan Pottery Association. The following year the
governor of the Gifu Prefecture and his delegation came to visit Finland, and the first of the
agreements in-between the design centre and the University were made in year 2000. The
program has been on hold a couple of times, but due to the interest from the design centre,
the university, including the Rector Yrjö Sotamaa and the political instances in Gifu, TAIK has
been able to renew their contract year after year.
During the years many designers such as Sami Ruotsalainen, Heikki Ruoho, Camilla Groth,
Saara Renvall, Katja Sorvali and Zagros Hatami among others have participated in the pro-
gram, collaborating mainly in ceramics projects, but also in lighting project as it was the case
with Heikki Ruoho and H+ light or Saara Renvalls chair.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Chair as a Process
The project has many different stages that are carried out before, during and after the official
participation of designer. These stages and the whole structure of the program is laid out and
planned prior to the start of the program. The following description in the form of a diary depicts
the development of the program that I was involved in.
Summer 2006: Recruitment of client companies and designers
The whole process was started by Oribe Design Centre recruiting for possible collaboration
partners. The staff interviewed a number of local companies that were interested or in need of
new products being developed for them. The client companies were chosen on the basis of
their willingness to develop new products, a clear image of product to be developed (in other
words, they knew what they wanted) and initial willingness to take a risk to invest in the devel-
opment and commercialization of the product in development.
After the client was chosen, a new contract was made, as it is done each year with the over-
seas partner organizations (TAIK & RCA). The negotiations were held and the contracts were
updated with changes for example in the duration of the contract period of the program. After
the contracts were made, schedules drawn, and the various stakeholders of the project in-
formed, the participating universities were asked to market and publicize the project to their
students, setting a deadline by which the prospective designer/students needed to apply for
the program.
The students were asked to submit a portfolio of their work including visualizations, a curricu-
lum and an informal application form, a resume letter explaining each designer’s background
and interest in participating in the program. Each of the universities agreed to supply a certain
number of possible candidates for the program. Out of all of the applicants, approximately 5
were sent to be reviewed by the centre.
The participating designers were chosen according to the needs and requirements of the col-
laborating companies. The designer was to be either a graduate or a prospective graduate of
TAIK, as well as to be capable and available to engage in the design development activities
for the Collaboration Partner(s) for four months and including two visits to Gifu. The designers
were asked to describe any special skills they might possess, required to develop products
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
wanted by the collaboration partners. Designer’s major field of study did not necessarily need
to be in the field of products. In 2006 due to the needs of some of the client companies, ad-
ditional information and references were asked from the designer applicants, on their skills in
cad/cam and rapid prototyping.
August 2006: Project Kick-off
Once the designer was chosen and his willingness to participate in the program confirmed, the
staff at Oribe Design Centre and the collaborative partners developed the theme and concept
for the project.
The designer was sent a copies of the contracts to be signed during the project, and a detailed
schedule of the project together with a brief profile of the Project Manager. The designer was
asked to reconfirm that he was willing to participate in the program in the light of the new infor-
mation, as the designer would be required to transfer all the rights regarding the design(s) to
the collaboration partner for a design fee, possibly lower than prevailing market value. Royal-
ties at this point were mentioned not be an option.
After reconfirming the willingness to participate in the program, the theme was presented to the
designer in the form of a brief. The brief consisted of a short description of the initial concept
and the expectations regarding the designer.
A more detailed description of the contents of the brief and the contracts is made in the deliver-
able section of this thesis.
September 2006: Defining the scope
The designer was requested to submit a set of design concepts to the design centre, together
with a set of supporting mood boards and rough sketches on each of the themes described in
the brief, sent to the designer prior to the contract period.
The designer submitted four mood boards (Figure 2) with picture collages illustrating each of
the four adjectives outlined in the brief, together with some rough sketches of possible product
concepts and a visual benchmarking study of European furniture manufacturer’s products. The
designer asked the Design Centre and the client to describe which of those would be most at-
tractive to the local market and why. The designer resorted to this as he found it challenging to
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
design products out of his own area of expertise and to an unknown market.
Soon after the Designer Centre gave the designer feedback on the submitted work; the design
centre hoped that the designer would concentrate on producing more ideas, wishing to refrain
from evaluating any visual material on the bench marked products presented by the designer.
To assist the designer, the Design Centre provided him with more detailed information on the
specific manufacturing skills of the client company. This accompanied with an indication of the
quality of the sketches that they wish the designer to produce and a description three abstract
directions e.g. “Sweeping forms with soft impression” from which the designer was asked to
produce 10 designs per theme totalling altogether 30 different designs.
October 2006: Creating initial concepts
The designer sent the design centre and the client 30 new design concepts reflecting on the
feedback of the previous presentation. The ideas were presented as 2D visualizations, repre-
senting the over all form rather than any explicit design details (Figure 3). All of the designs
were drawn from the same perspective and used simple line and colour. The illustrations con-
Examples of the Mood boards.Figure 2.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
centrated in the emotional content and the first impression in an attempt to capture the essen-
tial idea of the concept.
Soon after, the Design Centre gave feedback on the second presentation. The ideas had been
presented to the client and they had discussed them together with the Design Centre’s person-
nel. Out of the proposed designs, the designs which were not seen to be interesting enough
were pointed out, together with the five chosen ones that were seen to have aspects of the
attributes outlined in the brief and to be of interest to the client company.
The designer was asked to make further development on the chosen designs, before arriving
for his first visit to Japan. He was also requested to be prepared to explain the technical details
of the concepts: the configuration, structure of each of the proposed parts together with sug-
gestions on the materials. At this point the designer was asked to focus on the quality of the
ideas and the way they were presented rather than the quantity.
Figure Example of the 2D Illustrations.Figure 3.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
October / November 2006: Developing the ideas
Upon the arrival to Japan, the designer presented the developed concepts to the design centre
staff; the five chosen designs and additional two designs chosen by the designer which had
been developed into altogether 18 separate designs (Figure 4). The designs visualized as 3D
renders, showed different configuration in structures, materials and finishes of the design con-
cepts.
The designer was taken around the premises and firstly presented the concepts to the pro-
ducer, assistant director and senior coordinator responsible for the Invited Overseas Designers
Program. The designs were discussed and feedback was given. The quality of the presentation
was seen to be of the required standards.
Later on the same day the designer was taken for a visit to a shopping centre to see an ex-
ample of an environment in which the designed products would be situated in. On the basis
of the given feedback and new information the designer finalized the designs for the following
days visit and presentation to be held at the client companies’ premises.
Visualizations of the presented concepts.Figure 4.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
The following day the visualized concepts and a brief explanation of the source of the ideas,
were presented to the client company. Out of the ideas presented, four were chosen to be fur-
ther developed.
November 2006: Refining the Ideas
The four designs were developed to a level were the actual frame and materials could be dis-
cussed in more detail.
After being immersed in the local culture it seemed for the designer easier to come up with
culturally relevant ideas. The use of colours in objects, the contrast of cultural heritage with
modern day consumer culture and other local aspects seemed to be striking and in many ways
a very inspiring situation to be in. The surplus of stimulus in the new environment resulted in
a situation in which it seemed important for the designer to challenge those somewhat more
obvious options that had already been presented. At the now fifth presentation it seemed that
the client and the managing counterpart of the design centre had already been accustomed to
their role of being surprised and it seemed that this was being almost expected of the designer
Visualization of the 5th concept.Figure 5.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
to do so.
The designer presented a further fifth concept (Figure 5), something very different from the
earlier ideas. The concept was supported with pictures and moving image explaining how the
idea had developed. The new concept was seen to have the elements of freshness and nov-
elty that the client company had looked for since the beginning. It was decided that the new
concept together with one of the refined concepts agreed at the last meeting would be taken
into closer detail design.
November / December 2006: Deciding on the concept
Towards the end of the first visit the it was agreed that the final design concepts (Figure 6)
were to be developed into prototypes. At this point it was important to confirm the feasibility
of the concept. The designer adapted the design concept to the tested ergonomic dimensions
and made some initial technical drawings of the design which were given to the client for them
to start working on the frame.
December 2006: Making of the Prototypes
Development of the Neo-N concept.Figure 6.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
In order to test the ideas and finalize of the details of the chosen designs, it was decided that it
is important to make some functional and visual prototypes of the chairs.
Due to the tight schedule and budget in which the project was to be completed it was then
agreed that the designer would use the facilities available to him at the university to make the
seats and the client company would take care of making the frame.
The seat of the designed chair, made out of very organic forms allowed only for limited range
of techniques to be used in order to produce the seat prototypes. After looking at different pos-
sibilities, it was decided that the use of fibre glass on CNC-milled polystyrene mould was the
best option (Figure 7). This allowed for the ergonomic aspects of the seat to be tested at an
early stage, before using the same mould to make the actual seat. The mould for the seat was
made as positive, enabling the seat to be tested. After the necessary verifications were made
and it was seen that the measurements were correct, the fibre glass was laid in many layers on
top of the mould. The layers were built until the seat had sufficient strength, and further it was
removed from the polystyrene mould. The seat was finished by filling the imperfections of the
Pictures of the model making.Figure 7.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
seat, painted and later packed for safe transport.
January 2007: Modifying for Manufacture
Back in Japan, the designer presented the models of the seat to the client company together
with the technical drawings and images of the model (Figure 8). While the designer had been
working in building the model of the seats the client company had worked on the frame. They
had made many variations on treatments and finishes, and planned out how the frame could be
manufactured in their system. During this visit the last modifications to the frame were made to
adjust it to the shape of the seat and also the colours in which the chair was to be manufactured
were decided.
February 2007: Development Hand-over
Towards the end of the second and last visit, the client and the design centre expressed that
they were pleased with the results that had been produced during the course of the project.
At this point it became important to finalize the details of the designs to that point that it would
be possible for the client company with the help of the design centre to commercialize the de-
Test model with the frame and the seatFigure 8.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
signs. At this point the lead role of the development of the chairs was transferred to the client
company and the designer and the company held negotiations on the terms that the rights of
the designs would be transferred to the client company.
Summer to Winter 2007: Production Ramp-up and Preparation for Launch
Together with the local suppliers the client company negotiated the most efficient way for the
chair to be manufactured. At this stage the importance of the design centre in consulting the
technical details and the implementation of the design of the chair was vital. The designer’s
role at this point was to be involved only if major changes were to be made to the design. Ex-
change of e-mails in-between the designer and the design centre were carried on during this
period, but many of the decisions in regards to the details were made in situ with the client and
the design centre. Due to technical reasons and limitations of the machinery in use at the client
company, some compromises had to be made in the case of the frame. Also the form of the
seat was modified to be suitable for a greater number of different versions of the same chair.
Much of the marketing material (Figure 9) and the photography (Figure 10&11) were made by
Marketing material for Neo by Oribe Design Centre.Figure 9.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Photography of the Neo chair by Oribe Design Centre.Figure 10.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Photography of the Neo chair by Oribe Design Centre.Figure 11.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
the staff at the Oribe Design Centre. The writing and translation of the texts, designing the lay-
out and theme for the marketing material, together with the photography was all coordinated
by the design centre.
Experienced Design Management as Guidance
The project was conducted by the Design Management section at the Oribe Design Centre.
There were altogether six members in this section; a Section Director, two Assistant Directors,
and Senior Coordinators and another staff member that is not directly involved in the . Apart
from them there was also the Headmaster of Oribe Institute of Design, acting as the general
manager of the program and two Project Producers, who managed and are responsible for the
design work produced at and through the design centre. According to their own words the col-
laboration partner-company and designer were the main parties of the project, never-the-less
the staff at Oribe Design Centre had a vital function as a go-between the client company and
the designer and making sure that the project was carried out smoothly. Perhaps this was a
sign of modesty on their behalf, as during the course of program their role in steering the proj-
ect to an acceptable end was of major importance.
The Senior Coordinators role was vital as a communication link to the rest of the organization
and the client company. She took care of almost all of the translation from Japanese to English
and the other way around of the documents, conversations and presentations produced during
the program. She also coordinated the daily activities making it easier for the foreign designers
stay in Gifu, explaining the right places to eat, helping in organizing trips and in general serving
as an irreplaceable link to the local culture,. Despite of the importance of her role in the entire
program coordination, all the decisions related to the project itself were taken for approval to
her seniors.
The Assistant Director, a prefectural government official, was involved in the project for docu-
mentation and to see that the project was taken to a correct end. During this project she was
in one of her first projects in her new role and due to this was present at all the meetings held.
She actively participated when the discussions were held in Japanese.
The Project Manager, with a strong background in design management positions in the car
industry, was of high importance in affecting the course of the project. During the design stage
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
he evaluated proposals and explained the required quality and quantity of the work to the de-
signer. He also attended all the meetings with the client and most of the internal ones with the
project group or the Headmaster. After the contract period ended the Project Manager visited
the client company giving them advice on the modifications to be made during the technical
product development.
The Headmaster of the Oribe Design Centre and the General Manager of the program is an
accomplished designer that used to run his own design studio in Tokyo. His role in the whole
of the program was of crucial significance as he has a lot to say in regards the management of
the projects and was also often involved in evaluating the design proposals
During the project he had a significant role in particular at the concepts stage when parallel
ideas where presented and the direction for the whole project was decided on. The designer
met the Headmaster in total three times during the course of the project; in the beginning when
the designer had just arrived for first his visit to Japan and presented the preliminary ideas, at
the end of that same visit when the direction for the development of two ideas were decided
on and a third time during the second visit when the designer presented the prototypes to the
staff at Oribe Design Centre.
From the client company the President and the Superintendent were actively involved in the
project. The President of the company, previously involved in and in charge of designing their
new products, without perhaps a formal design background, had a great deal of information
about their own local markets.
The Superintendent, in charge of the manufacturing side of the company, had a very signifi-
cant amount of knowledge about the possibilities within the manufacturing capabilities of their
company and their manufacturing collaborators. Both of them took a great deal of time during
the course of the visits to explain about their existing products and their factory. They were very
active in looking for new solutions, and took all the technical problems given by the designer as
challenges to really show what they were able to do.
The Many Needs of the Deliverables
A project such as the Invited Designers Program produces many different kinds of outputs dur-
ing the course of its development. Some of them are made by those taking care of the manage-
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
ment of the project, and some by those in the operative roles such as in the designer and the
client company. These deliverables varied from briefs or reports from individual meetings as
well as to visual presentations and test models.
There were a number of legal documents that were made and signed during the course of
the project. These included contracts such as the Design Assignment Contract, a Commis-
sion Contract and an Agreement for Design Development of New Products. The role of the
contracts was crucial in making sure that the design centres operations, the client companies’
investment and the designers work was secured and that everybody knew their rights and re-
sponsibilities right from the beginning.
The Brief as a Starting Point
One of the most important documents from the point of view of the designer was the brief. It
had an important role in determining the scope and direction of the project. As a document, it
tied in the clients and the design centres view on what the to-be-developed products should be
like and how they would be evaluated.
The brief gave a short description under the titles of design concept, target end-user, key words
to be used, an approximate retail price, and depiction of the design and technical consider-
ations, making it a solid starting point for the designer.
Through a short description of the products and the context in which they were to be used and
an explanation of the end-user, including the type of family unit, their income level and type of
housing, the brief gave the designer the possibility to start envisioning the way the products in
development would be used and what would be required of them. The direction for the seman-
tic values for the chair was given through the use of some general and abstract words describ-
ing the emotions that the products should convey and support.
The brief also defined through an approximate retail price, the relation to other products in
the same category. This gave the designer a point of reference when considering the extent
of the possible options in the use of materials, manufacturing techniques, components, and
mechanisms, highlighting those in particular which could not be used. It also accentuated the
important considerations to do with safety and structural strength of the products at hand.
Together with the product and user related issues, the brief also explained how design and
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
product development had previously been carried out in the client company, their core compe-
tence and skills and a description on their hopes on the results of the project.
Careful Documentation for Future Projects
Together with the brief, a detailed schedule was sent to the designer. In this document there
was the day based progression describing the activities taking place before, during and after
the official participation of the designer. The schedule also described the dates on which the
each of the presentations were to be handed in, when the different contract became effective
and when they expired, the deliverables of the presentations, the dates when the designer
could expect to receive some feedback and initial dates for the overseas visit of the designer.
The development of the project was recorded by the Oribe Design Centre staff in the form of re-
ports. These included memos which were made after a meeting was held with the collaboration
partner, stating what was discussed and agreed, as well as a more extensive report compiled
after each time the designer’s stayed in Gifu. These reports were not public in the sense that
they would have been translated and sent to the designer, but were filed to be used as a record
on future projects and to evaluate the Invited Overseas Designs programs performance.
Written Communication Prevents Misunderstanding
Communication played an important role in determining the direction of the project. Most of the
daily communication was carried through the internet, resulting in a large number of e-mails.
This could be seen as something quite natural, as the distances in-between the different par-
ties were long and in top of that there were the standard challenges often seen in cross-cultural
projects, such as language and cultural barriers which increase the possibility of misunder-
standing. Perhaps seeing the project from this point of view, it could be said that one of the
strengths of such project is that almost all of the communications was carried out in the form of
emails, giving the counterparts a chance to go through the statements and refer back to them.
The emails as such operated as a log of the decisions made during the course of the project.
Visual Material to Illustrate the Development of the Idea
The designer produced during the course of the project a large number of presentation mate-
rial. Examples of this material can be seen in the chapter describing the stages of the project.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
A major part of the work was in the form of visual presentations from free sketches to 3d dimen-
sional renderings as well as 3D geometry which was used in making the technical drawings
and prototypes. During the course of the project also a number of photographs and moving im-
ages such as video recording and downloaded advertisements were used to explain the ideas
that the designer was working on.
These types of deliverables, typical to the work of a designer, proved that visual media is the
most efficient way of communicating ideas. This was of particular importance as the project
team faced the challenge of afore mentioned cultural and language barriers. The ideas were
presented as desirable images and often the changes to the designs were explained through
the use of free sketching as a tool of communication and agreement on the next steps to be
taken in the development of the designs.
Learning-by-Seeing
The client company on the other hand, responded to the designs by making a large number of
test models and attempts on new finishes proposed by the designer. During the course of the
project they produced hundreds of different options of how the frame could bend using their
manufacturing techniques. In many occasions the designer was also taken in person to see the
production facilities and the process of making the frame, illustrating to the designer the chal-
lenges proposed by designs presented to the client company. During the course of the project
this hands on method proved essential in testing the extents to which the proposed ideas were
feasible and for the designer to be able to modify the designs into manufacturing and finally to
a commercially viable product.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Theory: New Product Development process3. The following chapter discusses the main ideas behind the new product development process.
By the end you will have gained an understanding behind the definitions, main advantages and
the elements out of which a new product development process is made out of. These ideas are
further illustrated by couple of the main literature examples and comparison on how they differ
from each other. All of this is done in order to get to the root of what constitutes a successful
new product development process.
Definition of New Product Development Process
Process as a concept has many different meanings and ways of being explained. Encyclopae-
dia defines process as “a naturally occurring or designed sequence of changes of properties
or attributes of an object or system…” or alternatively “a sys-
tematic series of actions directed to some end.” What ever
one chooses, both of the definitions have in common that
they have a starting state, which is transformed into some-
thing else through a series of actions.
Eppingers (2003 / p.12)definition simplifies the meaning of
process into three different simple entities: inputs that are transformed into outputs through a
series of steps. Another way of seeing it can be as an organized way of transformation. In prac-
tice companies employ processes and in particular New product Development processes to
“conceive, design and commercialize a product” (Ulrich &
Eppinger / 2003 / p.12)
Reinertsen uses in Managing a Design Factory (1997 / p.119)
the analogy of languages to describe the nature of a New
Product Development. He presents a comparison to pro-
cesses by describing the function of words being the build-
ing blocks from which according to agreed rules of order,
words are combined to form sentences. As with languages
he describes the importance of creating common rules without killing the flexibility to create
something truly original. He argues that flexibility is a key issue when designing New Product
“New product devel-opment processes are used to conceive, design and commer-cialize a product”
Ulrich & Eppinger
“A Process is a se-quence of steps that transforms a set of inputs into a set of outputs.”
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Development processes, in particular in the design intensive industry where rarely one project
is similar to another one.
Ulrich & Eppinger argue (2003 / p.12-13) that a well defined New Product Development pro-
cess helps to assure quality by specifying the phases and checkpoints allowing us to confirm
that everything is in line with general level agreed in the company.
“A process is a methodology that is developed to replace the old ways and to guide corporate activity year after year. It is not a special guest. It is not temporary. It is not to be tolerated for a while and then aban-doned”
Cooper on Thomas H. Berry, Managing the Total Quality Transformation( 2001 / p11)
This comment underlines the nature of the process in relation to time. It is something that is
developed overtime, something that is learned and must be nurtured for it to increase its value
and benefits it can yield.
The Main Advantages of a Well-defined Process
The following chapter describes the many advantages that a well-defined New Product Devel-
opment Process can be seen to have.
Eppinger (2003 / p.13) argues that new product development processes can be seen to have
three main uses. He argues that it can be seen as an agreed order or procedures which serve
to narrow down the available product concepts and by this increase the amount of specifica-
tions until an organization can safely confirm that the product concept can be produced without
the danger of failing. This means that an efficient process helps a company make the right
decisions, by giving the right reasons to qualify and disqualify options.
According to Ulrich & Eppinger the can also be seen to operate as an information produc-
tion system, by which strategic objectives, market needs and capabilities are transformed into
product concepts, marketing plans, sales pitches. These are deliverables that help us to go
through the necessary steps so that we are able to satisfy the needs of an organization before
it faces the risks involved in launching a new product.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
As such it can be also seen as a risk management system through which uncertainties related
to new ideas are reduced, securing safer investments and better market approval. The im-
portance for a careful planning is reinforced by the claim that according to estimates (Jones /
1997 / p.82 on a study carried out by Berliner & Brimson / 1988) up to 70 to 90 percent of the
decisions regarding the costs created in commercializing a new product are made during the
pre-development stages of the project
Cooper describes the notion of a process as a road map (2001 / p.13), a description of the path
to take into account in order to efficiently take an idea to the market, ensuring that the pauses
are taken in the right places as well as for the right reasons.
It is also useful to create coordination among team members or organization as it describes to
everybody at which moment in time their is contribution required. For the management this is
vital in order for them to be able to delegate the right areas of responsibility and tasks among
the team. For the operative team member it is on the other hand vital to understand the impor-
tance and relevance of their own tasks.
A systematic process also helps to plan the milestones and phases according to the general
schedule of the project. This makes it easier to keep track of possible delays and problems
during the development and respond to them in the appropriate manner, ensuring the delivery
of the project at the right time.
Overtime a well documented development process helps the management to evaluate projects
in relation to each other, to foresee possible problem areas up front and to make the necessary
actions and adjustments to organize the appropriate resources to resolve the problems. It also
helps the product development organization to learn from previous mistakes and improve in
order to not to repeat the same mistakes in future projects.
Jones (1997/ p.81) ties these ideas together by saying;
”Projects have to be well planned, managed, and controlled. Only by carefully setting achievable targets and realistic objectives and scheduling a development program according to its specific needs can the necessary budgets be defined and resource requirements identified and made available at the appropriate time. “
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Additionally Cooper argues that Stage-Gate process (A New Product Development process
that he has named to take possession of the methodology that he has created) is designed to
speed the process of product to market (2001 / p.142). He claims that through the use of his
method, companies can shorten the time-to-market of a new product. This can be seen as pure
sales pitch made to sell more books, but it also reinforces that the value of New Product De-
velopment process is in making companies more efficient in commercializing new ideas. This
is perhaps one of the strongest arguments speaking in favour of the use of an established and
studied process, as increasingly time equals money, separating those companies that survive
from those that don’t.
Breaking Down the Process
Despite the fact that there are many versions of the New Product Development process, all of
them share the objectives are related to the commercialization of new and profitable Ideas. The
following chapter describes building blocks out of which the processes are constructed of.
For the purpose of this study I have chosen three different approaches to New Product Devel-
opment. Ulrich & Eppinger, Jones and Cooper all present their views of what is an efficient con-
struction of a process to develop new products. Their arguments share some similarities but
also have some fundamental differences in the way ideas their ideas are presented, depending
on the emphasis that the authors have chosen to give.
All of the models presented here are made out of stages or phases depending on the terminol-
ogy that is chosen. Stages are those steps that were described earlier; and they are made of
sets of parallel or sequential activities that share a common theme, an objective.
Depending on the author the number of these stages varies. Ulrich & Eppingers Model is made
out five phases with an additional sixth phase, which is called the zero phase which is dedi-
cated to the planning of the project. This model is often seen in many different publications and
could be considered a generic process within the product development literature.
Cooper describes a process that has five stages and an additional pre-process Idea Discovery
Stage and Post-launch Review that as such are not recognized permanent part of the process.
On top of that he also describes a further stage called the Strategy Formulation Stage, which is
not generally involved in the in the generic Stage-Gate model, but is seen to be highly impor-
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
tant in enabling an effective product development.
The model presented by Jones is perhaps the most different out of the models presented here.
He has divided the process into three phases and subsequently into component stages that
have their distinctive outcomes. By simplifying the process into three phases he makes it pos-
sible for his model to be adjusted to many different kinds’ product development projects.
The Generic Product Development Process by Ulrich & Eppinger
As mentioned earlier the model presented by Ulrich and Eppinger has five main phases and a
zero phase which precedes the actual product development process (Figure 12).
The Zero/Planning phase precedes the actual project approval and launch. At this stage the
suitability of possible projects are evaluated against Corporate Strategy and market objectives
and it is also when the assessment of technology developments is made. The requirements for
this phase is to create a description of the company’s attitude in relation to the new project, in
other words to create a mission statement.
After the direction is chosen and the project is launched, follows the first actual phase of
product development. This stage is called the Concept Development Stage or in other words
the Front-End (Ulrich & Eppinger / 2003 / p.16), and sometimes also called the Fuzzy Front
End (Cagan&Vogel / 2002 / p.107) of the process. This stage is defined by its nature in having
many interrelated activities which determine the direction which the particular project is going
The Generic Product Development Process (Ulrich & Eppinger)Figure 12.
Ulrich & EppingerStages Gates0. Planning.
Mission Approval1. Concept Development.
Concept Review2. System-Level Design.
System Spec Review3. Detail Design
Critical Design Review4. Testing and Refinement.
Production Approval5. Production Ram-up.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
to take. This stage includes studies such as customer need identification, benchmarking stud-
ies on competitive products, and must include economic analysis on the viability of the project.
This is also the stage at which concept generation and identification is carried out. After this
stage, the project is planned out and sufficient resources must be allocated to the project, in
order for it to carry on. Ulrich & Eppinger also argue that this stage benefits from early prototyp-
ing, sort of proof-of-concept prototypes.
The second Stage, the System-level Design Stage looks at the product architecture, i.e. func-
tional and physical elements of a product and further dividing the product into smaller sub-
systems, planning out how the product would be taken into the manufacturing and assembly
process (Ulrich & Eppinger / 2003 / p.165).
In the third, Detail design stage, the product is developed to a stage at which the design can
be frozen which means that the different part geometry, materials and tolerances in production
are decided on. At this stage it also possible to start with the tooling design and acquisition of
the correct equipment to begin later with the production.
In the fourth Stage of this model the developed product is further taken into testing and re-
finement. This stage often produces a large number of test versions which are evaluated and
enhanced to meet the required standard. The suppliers are facilitated with information about
the new product, enabling their ramp-up. Some changes in the design are still possible at this
stage but decreasing in number as the time goes by. At this stage also the sales plans are
drawn and the promotion and launch materials are developed and the workforce is trained to
receive the new product. The importance of this stage is to ensure through the implementa-
tion of Beta-prototypes, i.e. preproduction prototypes the reliability and performance of the new
product.
The fifth and final stage is the production Ramp-up Stage, where the developed product is
taken into production first in smaller amounts and tested with the key customers. At this point
the remaining flaws are evaluated and further corrected before the upcoming launch.
The New Product Development Process by Jones.
The model proposed by Tim Jones constitutes out of three phases: Inception, the Pre Devel-
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
opment phase before any attempts to visualize the concepts is made, the Creation Phase at
which the concepts are created and developed into visual and functional prototypes and the
final Realization phase at which the finalized design is taken into production and launched to
the market (Figure 13).
In the Inception or Pre-Development Phase, market research and R&D take an important role
Tim JonesPhases Stages GatesInception-Pre-Development New product opportunity
Project FieldNeed Identification
Project BriefIdea Generation
Screened IdeasFeasibility assessment
Project DefinitionProject planning
Specification and scheduleCreation-Development Concept
Concept DefinitionDesign
Detailed DesignDevelopment
Design DefinitionModeling
PrototypeTesting
Design verificationRealization- Post-development Production preparation
Pilot buildProduct introduction
ManufactureDistribution
Product launchOperation
Product feedbackEvaluation
The New Product development process (Jones / 1997 / p.xii)Figure 13.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
in carrying out the major tasks. Design and senior management together with marketing exam-
ine the product opportunity against appropriateness to organization, technological capabilities
and market, resulting in a description of the extends of the opportunity for the new product.
After this the initial brief is created defining the key problems, product opportunities, potential
market and users. Idea generation is started, an activity lead by R&D together with Marketing,
Design and other New Product Development functions. The Ideas are generated and screened
assessing them against market, technological feasibility by parameters agreed by the majority
of the functions. After this the most promising ideas are selected using an agreed product cri-
teria. Towards the end of this phase the development of the product is planned and a product
specification is compiled.
The second phase, the Creation Phase Jones’s model , is the time when the product is devel-
oped to what it is to become. This phase is mainly lead by design to produce a range of prod-
uct concepts. Out of these concepts the most appropriate are selected and further developed
into preliminary prototypes. Only the product concepts that answer the identified specifications
are developed. The product detail is designed and assessed against feasibility and Customer
reactions. At this point often user clinics are formed at which the key product attributes are
investigated through tests and market analysis tools, thus resulting in the production potential
to be determined. When the necessary information requirements are fulfilled the products are
allowed to go into production
During Realization, the post development phase which is the third and final phase of Jones
model, the product is introduced to manufacturing. A pilot product is built, manufacturing, dis-
tribution and promotion is planned and the plans are assessed. At this point also an economi-
cal and reliable production is established and product support is activated for launch. At the
moment at which the product is launched, market research is activated and the product per-
formance is measured, and possible problems areas are determined and recorded for future
development.
The Stage-Gate model by Cooper
Coopers model is made out of five to eight stages, the latter number if the Idea Discovery, Post
Launch Review and Strategy Formulation Stages are considered to be parts of the process.
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Never-the-less the author claims that “Each stage is designed to gather information needed to
progress the project to the next gate or decision point.” The key stages within the process are
defined as the pre-stage of Discovery, Scoping, Building the Business Case, Development,
Testing and Validation and finally the actual Product Launch (Figure 14). (Cooper / 2001 /
p.133-141)
Another major difference in-between these three models is
the emphasis that is given to the steps in-between the stag-
es and phases. Cooper stresses the significance of these
steps what he calls gates (2001 / p.131-132). These in-be-
tween stages are moments of evaluation when it is judged
whether each stage and their relevant activities have pro-
duced the correct outcome enabling the project to proceed
to the next stage. Cooper defines these check points as Go
or Kill points; quality control checkpoints at which all the information is brought together and the
next steps are decided on. These gates’ role in prioritizing the information and helping to make
the correct decisions is significant. They are moments of evaluating the deliverables against a
standard menu of criteria that is agreed at the beginning of the project or at the previous gate.
This criterion, a set of “Must meet or knock-out questions” are there to get rid of any unfeasible
ideas and outputs, at the same time forcing the project team to create an action plan, a list
“Each stage is de-signed to gather in-formation needed to progress the project to the next gate or decision point.”
Cooper
Stage-Gate Process by CooperFigure 14.
CooperStages GatesPre-Stage: DISCOVERY
Gate 1: IDEA SCREENINGStage 1: SCOPING
Gate 2: SECOND SCREENINGStage 2: BUILDING THE BUSINESS CASE
Gate 3: GO TO DEVELOPMENTStage 3: DEVELOPMENT
Gate 4: GO TO TESTINGStage 4: TESTING AND VALIDATION
Gate 5: GO TO LAUNCH Stage 5: LAUNCH
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of the deliverables to be produced and to set a deadline for the next stage. The management
of these Gates he attributes to senior management. The other two models have included the
evaluation as generic part of the stages, in which the viability of the project is evaluated at the
point at which the each deliverable is produced.
At the discovery stage the fundamental technical research is carried out seeking new techno-
logical possibilities, and by working with users to discover unarticulated needs. At the same
time strategic planning exercises are performed to uncover disruptions in the marketplace
identifying market gaps and possible significant opportunities.
At the first gate ideas are screened, subjecting the idea to a set of “must-meet” and “should-
meet” criteria. This is done to test the strategic alignment and feasibility of the project, to un-
derstand the magnitude of the opportunity and possible market attractiveness against product
advantage and fit with company policies. If the developed product manages to pass this criteria
and is found worthy of the chase, it is allowed the go ahead.
The first actual product development stage in Cooper’s model scopes the project defining the
extents of the development tasks ahead. At this stage both market and technical information is
gathered. Through carrying out preliminary market, technical, business and financial assess-
ments recommendations are drawn for the next steps.
At the second gate a further screening is carried out evaluating the project in the light of the
new information. Again the product concept is assessed against a “must-meet” and “should-
meet” criteria. In addition to these also sales forces, customer reaction and other technical,
legal and regulatory “Killer variables” which might affect the viability of a successful product
launch are assessed.
The second, Business Case Stage is the stage which opens the door to product development.
This stage involves a detailed investigation of what defines the product, verifying the attractive-
ness of the product concept. Cooper defines this as the “Critical homework stage” at which
the intended target market, the description of the product concept and the specification of a
product positioning strategy are decided on, together with the product benefits to be delivered.
This is the stage where the value proposition is formulated, spelling out of the essential and
desired product features, attributes, requirements and specifications. A competitive analysis is
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carried out together with a concept testing and technical appraisal confirming the “do-ability” of
the product concept.
The third, Go to Development gate determines whether the project goes to actual develop-
ment. This generally means that the project goes into heavy spending. At this point it is vital to
review the activities carried out in stage 2, checking the quality of the execution and results,
the development, preliminary operations and marketing plans. If the project passes the review
a project team is designated.
At the third, Development Stage the emphasis is on technical work but also on carrying out par-
allel marketing activities such as market research and customer feedback surveys. Prototypes
and working models should be used to ask the users to get more reliable information about
their views of the product in development. After the necessary information has been gathered,
including all the tests results, market launch, production and operation plans, a description of
the production facilities requirements, updated financial reviews and legal regulatory, legal and
patent documents, the project is allowed to into the next evaluation.
The fourth gate prepares the project to go into more of a thorough testing. At this point the
development and continued attractiveness of the product is checked together with the consis-
tency of the product features with what was established at the gate three. From the collected
and revised financial analysis based on more detailed data, a decision is made to approve for
the project to the next stage.
Stage four checks on the entire viability of the product. It looks at the planned production pro-
cess, possible customer acceptance and the economics of the whole project. These results are
produced through for example in-house product tests or other user or field trials. The trials are
performed through limited production or pilot production, allowing also pre-test marketing, test
market or trial sell to see the customer reactions. On the basis of the information gathered a
revised business and financial analysis are made.
The fifth gate is the last gate before launch and hence the last point in which the project can
still be terminated. After this, Cooper explains, it is very hard to turn back. This gate checks on
the results of the previous stages and makes sure that everything is correct.
Stage five is all go, at this point it is just the case of a skillful implementation of the previously
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
made and agreed plans. After the project is launched and the product performance reviewed,
a critical analysis of the strengths and weaknesses of the whole project and the end results is
carried out.
Roles in the Process
All of the authors agreed that multi- and cross-functional teams are most beneficial for new
product development process. The main functions were seen to be marketing, design, manu-
facturing due to their continuous involvement in the process, but it was also seen that other
functions such finance, sales, services and research and development played key roles in the
new product development (Ulrich & Eppinger / 2003 / p.13). Figure 14 is a description of the
activities carried on in Ulrich and Eppinger Generic New Product Development Process during
the different stages in reference to the functions within a company.
The multifunctional approach to new product development was seen as a strength, as
by eliminating iterations and by making the different functions work on the same project from
the beginning, project development times could be shortened and the process made more
efficient. The authors argued that an efficient process involved a range of concurrent activi-
ties that must be performed simultaneously. Nevertheless it was seen that during the different
stages, different departments must take a leading role in pursuing the new product develop-
ment (Jones / 1997 / p.xiii). Figure 15 shows the different functions lead roles in regards to the
phases and stages of the process described by Jones.
Jones model made of the three Phases described in the previous chapter, argued that in the
first, Inception Phase, is when the R&D and market research departments should be in charge
(Jones / 1997 / p.xiii). These functions, together with marketing, design and top management
should take care of the early stage new product opportunity identification and other tasks de-
scribed in the earlier chapter (Figure 16, p.46).
Jones further suggests that in the second, the creation phase should largely be lead by the
Design department of the company. At this phase the design department, consulting with the
other functions conceives the new product concepts and develops them through to the proto-
type stage.
The third and final, Realization Phase attributes the leading role to production engineering,
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
sales and marketing, whilst decreasing the design functions involved to that of a consultative
role.
This order of functions during the process was seen to be somewhat agreed by all the authors.
They also agreed that it was important, that all of the functions were involved throughout the
process despite that the lead role was changed during the stages. (Jones 1997 p.xiii-xv)
Another important role identified by the authors was the role of the management. Cooper
referred to a study (carried out by Song, Montoya and Schmidt Cooper/p.57) in which 300 of
the top companies where interviewed about organizational issues in regards to new product
development process. Through the results of this study it was seen that the management
played an important role in the new product development process. The top managements’ role
in “championing” the project and to provide strategic direction, as well as creating policies and
procedures to enable an internal culture of cross-functional cooperation was seen of crucial
significance.
All of the authors brought out the importance of a clear organizational structure in developing
the projects. Ulrich and Eppinger described two different organizations; a functional organiza-
tion and a project organization (2003, p.25). In the first organization model, the departments
would be made out of professionals with similar training and experience. A project organization
in which teams, composed of different disciplines, focused in the development of a specific
product or product line. The authors went to further describe other types of organizations, such
as project and balanced matrix organizations which were made out of different combinations
of these two extremes. It seemed like a consensus that the successfulness of the type of an
organizational structure depended strongly on the case, but the organizations that combined
strong management culture and multifunctional project teams were seen to be most efficient
ones (Cooper/ 2003/ p.58).
Deliverables Produced During a Process.
This chapter looks at the different kinds of deliverables produced during the New Product De-
velopment process. They often are many numbers and for that reason it is crucial for us to see
their uses and the function in taking the project further by recording, assessing, communicating
the process and the item developed.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Screening the possibilities
In early stages of the development process, that is to say the Fuzzy Front end of the process,
the stages from discovery to development where there is emphasis on project planning and
opportunity identification, the deliverables are geared towards explaining the results of the
different analysis and the identification of the possible opportunities. The authors agreed that
different kinds of market research or voice of customer research as defined by Cooper and
benchmarking studies should be carried and documented. (Cooper / 2001/ p.179)
The documents establishing the opportunity of the new project were defined with different
names by the authors. Ulrich and Eppinger named this as the Project Mission Statement,
which includes a description of the target market, business goals, key assumptions and con-
straints ((Ulrich & Eppinger / 2003 / p.13). This document is also called at times the Business
Case or New product Investment Applications as named by Jones (Jones / 1997 / p.83), a
name representative of the nature of the document in describing the right to exist . This type
of documents are generally started at the beginning of the project and specified as the project
progresses and more information is gathered. Other examples of such continuously developed
documents are the different kinds of risks analysis and plans used often in projects which are
large, complex and carry a high risk factor.
Brief as a Tool for the Designer
Another result of the early stages is a brief, one of the major documents to be delivered to en-
able a successful product development. Briefs are given many names in different contexts such
as job ticket or design and creative briefs. A brief generally includes the following subheadings;
project overview and background, and category review, company portfolio, business objectives
and design strategy, project scope, time line, and budget, and at times also other more detailed
research data which is included in the appendix (Phillips, 2004 p29). At times also another,
separate and more detailed project schedule is drawn, describing all the important events tak-
ing place during the stages of the project, the deliverables to be handed in and so forth.
Reports and Assessments to Serve the Different Stakeholders
Towards the end of the front end stages of the process, when the concept is starting to be
defined to a point that it can be shown and explained, the authors suggest that different kinds
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Ulrich/Eppinger Functional Activities
Stages Gates Marketing Design Manufacturing Other functions
0. Planning.
Articulate market op-• portunity
Define market seg-• ments
Consider product • platform and architec-ture
Assess new technolo-• gies
Identify production • constraints
Set supply chain • strategy
Research: Demon-• strate available tech-nologies
Finance: Provide • planning goals
General Manage-• ment: Allocate project re-sources
Mission Approval
1. Concept De-velopment.
Collect customer • needs
Identify lead user• Identify competitive •
products
Investigate feasibility • of product concepts
Develop Industrial • design Concepts
Build and test experi-• mental prototypes.
Estimate manufactur-• ing costs
Assess production • feasibility
Finance: Facilitate • economic analysis.
Legal: Investigate • patent issues.
Concept Review
2. System Level Design.
Develop plan for • product options and ex-tended product family
Set target sales • price points.
Generate alternative • product Architectures.
Define major subsys-• tems and interfaces
Refine Industrial • design
Identify suppliers for • key components
Perform make-buy • analysis.
Define final assembly • scheme
Set target costs•
Finance: Facilitate • make-buy analysis
Service: Identify ser-• vice issues
System Spec Review
3. Detail Design Develop marketing •
plan
Define part geometry• Choose materials• Assign tolerances• Complete industrial •
design control docu-mentation.
Define piece-part • production processes
Design tooling• Define quality assur-•
ance processes Begin procurement •
of long-lead tooling
Critical Design Review
4. Testing and Refinement.
Develop promotion • and launch materials
Facilitate field testing•
Reliability testing.• Life testing• Performance testing• Obtain regulatory ap-•
provalsImplement design •
changes - Refine Industrial design
Facilitate supplier • ramp-up
Perform make-buy • analysis
Refine fabrication and • assembly processes
Train work force • - Refine quality assur-ance processes
Sales: Develop sales • plan
Production Approval
5. Production Ram-up.
Place early produc-• tion with key customers
Evaluate production • output
Begin operation • of entire production system
The Tasks and Responsibilities of the Key functions. (Ulrich & Eppinger))Figure 15.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Tim Jones FUNCTIONAL INVOLVEMENT
Phases Stages
Market R
esearch
R&
D
Design
Production
Manufacturing
Marketing
Sales
Inception-Pre-Development New product opportunity
Need Identification
Idea Generation
Feasibility assessment
Project planning
Creation-Development Concept
Design
Development
Modeling
Testing
Realization- Post-development Production preparation
Product introduction
Distribution
Operation
Evaluation
The Lead Roles of the Key functions. (Tim Jones)Figure 16.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
off assessments are carried out. These tests include such as technical and manufacturing as-
sessments together with the concept testing and analysis. The results of these assessments
are included in the developed Business Case.
Physical and Visual Material
The second third of the of the process, the stages at which the ideas are developed, and as
was mentioned the period which is generally lead by the Design Department, there is a num-
ber of outputs related to that field. The classic deliverables include concept visualizing mate-
rial such as mood boards, sketches and quick mock-ups, together with 3D CAD models and
technical drawings. As the development stage gets closer to the end, quick prototypes, turn
into appearance models and further Alpha and Beta prototypes. Beta prototypes are used to
test whether the product works as intended and answers user needs and the Alpha models are
generally built with the already intended parts, but not yet necessarily with the intended assem-
bly process (Ulrich & Eppinger / 2003 / p.15). By the end of the Development Stage generally
an accurate control documentation is made documenting functionality, features, sizes, colours,
surface finishes and key dimensions (Ulrich & Eppinger / 2003 / p.15 &199). This is generally
recorded in formats such as drawing and computer files and other technical documentation
such as technical, assembly drawings and parts lists.
Towards the end of the second third of the whole process which would be in Jones’s model the
borderline in-between the Creation and Realization phase, or alternatively beginning of phase
four in Ulrich and Eppinger model, marketing, sales and manufacturing departments are acti-
vated. At this point marketing creates the promotion and launch material, and sales makes the
plans for the coming launch. Manufacturing produces all the documentation needed to pursue
an efficient ramp-up, including engineering, manufacturing, test and verification plans as well
as material needed to prepare the workforce for the eventual product introduction.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Case: Avarte4. Based on the interview held with Johanna Vuorio (Sales Director) on 27.09.2007
Established in 1980, Avarte represents one of the building stones of the Finnish design legacy
that put Finland on the map of the Design connoisseurs worldwide. Avarte has produces many
of world known classics such as Karuselli, and Remmi by Yrjö Kukkapuro that have become
part of the permanent collections at, for example, the Museum of Modern Art in New York, and
the Vitra Design Museum, in Weil am Rhein. Other designers used by Avarte include younger
designers, such as Mikko Paakkanen, Samuli Naamanka and Jenni Roininen that have also
become to some extent in-house designers for Avarte.
Today Avarte is a small furniture assembly, development and sales company that produce
furniture with a very particular personality. With an annual turnover of 2 million euros and a
staff of eleven Avarte represent a closely knit “family-like” organization. Annually new product
development constitutes around 3-5% of the entire turnover.
Avarte bases their product development on four main principles; Ergonomics, Ecology, Aes-
thetics and Economy. These values have represented an important role since the beginning
and have set criteria according to which new product concepts have been evaluated before
further development and production.
Sniffing out the Global Trends
Avarte chairs (www.avarte.fi)Figure 17.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Avarte as an organization is geared towards getting most up-to-date information on what’s hot
in the global furniture market. The employees visit international fairs and follow the many differ-
ent kinds of design publications through which they can witness the competitor’s new products
and the way they are being promoted. Other important feedback route is the bidding for public
interior projects, for example universities and museums. In these cases the interior architects
and designers publish their projects and the furniture companies make a proposal based on
the requirements of the designer. A winner is chosen and the others are informed about the
winning proposal, letting everybody know on what is selling well and at what price.
The public launches are generally timed in with the more important Nordic fairs such as Fur-
niture Fair in Stockholm in February and biannual Habitare fair Helsinki in September. This is
quite normal as for many companies of this size participation in events such as these constitute
a major part of their marketing budgets.
Flexibility in Creativity
The development times in Avarte vary a great deal. They can be anywhere from 10 months to
five years as it was with the Sirkus chair by Yrjö Kukkapuro. On average the whole process
takes about one year. The longest and most resources requiring stages of the project are those
involved with technical development of the products. At this stage all of the components are
searched for, and in the case that an appropriate components supplier is not found, the com-
ponent is designed and outsourced for manufacturing.
At Avarte the management attempts not to put too much stress on the designers to comply with
a strict schedule, but have found themselves working with designers that generally are able to
come up with visualized ideas in more or less a months time.
The development for new products in Avarte is started after one of the following instigators has
been identified:
The usual customers and retailers express that they have received requests for a new •
product from their clients.
A designer/employee has come up with a new product.•
Realization that the portfolio lacks a specific type of product that would enhance the total •
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
collection.
In the cases one and three usually a brief is written in which objectives for the product are
stated. The appropriate designer is discussed and the project is presented to the designer
leaving it up to him either to accept or to rejects the project. In the latter case another designer
is selected.
At this point the designer retires to develop ideas based on the brief. The result is generally one
or more 3D visualized concepts which are presented to Avarte. The presentations are left for an
evaluation, in which most Avartes´ personnel are consulted. After the evaluation, the feedback
is discussed together with the designer.
If one of the designs is chosen for further development a functional prototype is constructed
as soon as possible. Once the prototype is finished, all of the components are outsourced and
details are developed, the results are drawn out and parts list are made. Usually at the moment
in which the feasibility of the project is confirmed the communications activities are started.
Generally the communication activities are pursued even if full ramp-up of production has not
been completed. At this point the retailers are notified by which date roughly they can expect
to be able to order and purchase the products.
A Close Circle of Friends
At Avarte everybody opinion is asked for when for example strategic direction or new products
to be included in the collection are decided on. Beyond the immediate proximity of the central
core, Avarte boasts of a close circle of suppliers; metal component manufacturers, plywood
press manufactures, leather and fabric suppliers etc, which have become an integral part of the
product development of their products. Further the company has a large professional network,
made out of “friends”; international design furniture specialist, that express interest in their
products by giving them a channel to precise feedback and their views on the latest trends in
the furniture industry worldwide.
Avartes´ daily operations are directed by the General Manager that together with the Sales
Director decides on the total annual investments in New Product Development. The design re-
lated decisions on the other hand are consulted with Yrjö Kukkapuro. He has collaborated with
Avarte since the beginning and presently works as the special advisor in design related issues,
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
often involved from the first stages of the development of new products. His understanding of
structures, materials and design has proven to be very important, as for small companies such
as Avarte it is vital to be able to see whether the concept at hand has the necessary qualities
to be first of all produced and then to be successful in the market place. This ability and under-
standing has passed on to others which has allowed the team to make more educated guesses
about new products feasibility and appropriateness.
Other significant roles include the technical drawing specialist, an internal function of the com-
pany which makes all the assembly drawings and parts list. Some of the technicians have
ended up doing some more design related activities and in some cases even the actual design
of new products. In addition to them there are also the designers that operate as an external
department of the company, yet often with an established relationship and enjoying a great
deal of confidence from the internal staff.
Logistics specialists as well as upholsterers are used within the process to bring their expertise
when required. Never-the-less most of the time all of the personnel is informed when a new
product is being developed, and often also consulted on their opinion.
Heavy Reports and Assessments Forms not Needed
Due to the relatively small size of the company, the type of laborious documentation which is
required in bigger organizations is not needed at Avarte. The employees are consulted on daily
basis and the decisions are made as the development progresses. The main deliverables of
Avarte during a project is the brief, the designs presented as 3D renders, technical and as-
sembly drawings, parts list which are fed into production controlling system, and the material
used in the marketing of the new products. In the brief they usually describe the price bracket
to which the product belongs to in reference to the competitors, logistic requirements, descrip-
tions about the feeling that the new product is to raise and the desired timetable for the whole
project.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Case: Fritz Hansen5. Based on information given by Christian Grosen Rasmussen (Design Manager at Fritz Han-
sen)
Fritz Hansen is a Danish manufacturer of exclusive furniture established in 1872. Fritz Han-
sen’s collection contains a wide range of different kinds of products from chairs, office furniture
to screen walls. With 215 employees and an annual turnover of 81 million euros Fritz Hansen
represents a significant global player in the furniture industry in their own category. The future
seems to be as bright as the past, as the Company recently announced the plan to grow to an
annual turnover of EUR 150 million by 2010.
Fritz Hansen launches two new collections annually consisting of 1-3 new products, together
with 1-3 revitalized products from the existing collection. Beyond the general development of
the portfolio Fritz Hansen also has a number of smaller research and development projects
totalling approximately 10 per year and out of these only 2 out of 10 are usually launched. In
the collections the ratio is much higher and almost all of the projects that are allowed to go into
further development are taken into production and are finally launched. This was said to be be-
cause of the integrated development process, in which the Brand Management, Sales, Design
and D&Q departments are all involved right from the beginning of the project.
A Philosophical Approach to the Challenges in the Process
The three biggest challenges during the development of new products at Fritz Hansen were
Fritz Figure 18. Hansen chairs (www.fritzhansen.com)
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
described to be in
Creating ownership in all departments’ right from the beginning as the different depart-•
ments work with different focuses.
To measure the value of designs.•
To fight peoples personal taste, as it can be dangerous for a company to listen and •
follow the employee’s own personal taste. It’s was found important to find a balance be-
tween objectivity and subjectivity. To create a design philosophy and follow it.
To tackle the last point Fritz Hansen has developed a well defined design philosophy which is
divided into four categories, and are used as guidelines in developing new designs.;
Timeless and Relevant in Time. • The design has to be timeless in aspiration and rel-
evant in time. Solutions should be found in timeless simplicity rather than chasing short-
lived trends.
Pure. Searching for beauty -• appealing to the heart - in timeless simplicity, minimal
excellence and quality in the detail.
Original.• The design should always be unique through a strong visual clarity and honest
in its promise. The design should be innovative in form and function.
Sculptural.• Each design object should be seen as a three-dimensional sculptural object
with a high aesthetic quality and a uniqueness of its own which is acknowledged by its
obvious and immediate recognition.
The Fritz Hansen’s design philosophy from their Web-site accessed on the 07.12.2007.
Other challenges were seen in getting everyone to agree on a design, and for the sales depart-
ment set a price target in the beginning of the project. The cost of design in the whole process
was seen to be low in comparison with the actual product development and the costs caused
by the launch of a new product.
Two Years to Showroom
Fritz Hansen’s development process last 24 months in total. The stages of the process consist
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
of concept and design development, analysis, realization, tooling and testing.
The whole process of developing new products is divided as follows: 8 months concept and de-
sign development, including concept creation and concept clarification, three months of analy-
sis, 13 months realization tooling and testing, resulting in product introduction.
The design phase is divided so that after 4 month’s there is the concept approval and after 8
months of development the concept must be accepted by the Sponsor group.
The Development stage is divided into many sub stages, and launch is made first as an internal
introduction and then as external launch in Fritz Hansen’s showrooms. In total there are around
20 milestones during the 24 months of product development of new products. This includes
anything from concept approval, collection definition, tooling, photo shoots and showroom or-
ders.
The two annual collections are presented on fixed dates allowing the different departments to
know when exactly everything needs to be ready. The fairs are not seen as key events in re-
gards of the launch of new products, as Fritz Hansen has chosen to introduce the collections
in their own showrooms in the sales regions. This is done in order to have the customer’s full
attention and receive accurate feedback on the new products.
A Strong Role of Brand Management in New Product Develop-
ment
The four main departments involved in the process of new product at Fritz Hansen are Brand
Management, Design, D&Q (Development and Quality) and Sales.
The brand management department, lead by the product manager, is involved in the process
since the beginning. This department is responsible of writing a commercial brief, conducting
market research, analysis and focus group interviews, and executing the product and collec-
tion introductions.
The design department is lead by the Product Design Manager. This department is in charge
of identifying designers for each project, developing the design and carrying out initial tests
and pricing, together with other design related matters involved at Fritz Hansen. The designers
are generally involved in the first eight months of the project; i.e. concept creation and concept
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
clarification and again at the launch stage. They are involved in the technical development
stage only if necessary.
Other departments include the development and quality department, lead by the Project Engi-
neer, which is responsible of developing the product from design to tooling and testing, and the
Sales department, which is in charge of selling the collections.
The majority of the issues involved in the project are decided by the Sponsor group that also
makes the decision whether a concept is taken into further development. The most important
decisions are made by the CEO of Fritz Hansen.
Detailed Documentation to Commit the Stakeholders.
During the development of new products at Fritz Hansen many different kinds of deliverables
are needed. The deliverables produced during new product development process at Fritz Han-
sen include; Design and commercial briefs, scope statements, risk analysis, sponsor analysis,
concept approvals, collection definitions, analysis, approval for development, construction de-
tails, tools and packaging, photo shooting, showroom orders and dealer orders etc
The brief was seen to be one of the most important documents as through this the sales, brand
Management and the CEO commit to the project. It also was said to vary a great deal in content
but it always includes following areas: a project description, a description of the technology and
requirements, a target price and a time line, on which the gates and deadlines are described.
Another important document is the scope statement as through this it is possible for the prod-
uct development team to produce the right product in the right time, with the right quality.
New product development projects are given the go ahead according to the market situation
and “collection mix” in other words the general state of the product portfolio. The new ideas are
reflected against the sales estimates, risks, price and quality of the design. The products that
were seen to be most successful after launch represented simplicity and pureness in design
and high quality already in development stage.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Case: Martela6. Based on the interview with Pekka Toivola (Design Manager) on the 22.11.2006 and 6.11.2007
and information given by Kimmo Sundström (Product Development Manager).
Martela is the largest furniture manufacturing company in Finland and third in the Nordic coun-
tries. With manufacturing facilities scattered around Finland, Poland and subsidiaries in other
countries such as Sweden and Norway, Martela has also gained a significant role as a Europe-
an player in the furniture industry. Martelas’ turnover in 2006 was almost 120 million Euros with
personnel of around 690. Of the whole turnover product development constitutes 2.5% and
during one year there are generally 10-15 projects. The number of these depends on the size
and nature of each of the projects. The two of the most important business segments for Mar-
tela are those related to office and public space furnishing. These are divided under five main
product categories; Office Furniture, Space Furniture, Schools, Welfare and Auditoriums.
Ideas from Many Sources
At Martela the whole process from idea to launch takes at least one year. Generally the prod-
ucts have to have the technical specifications and be ready to be photographed half a year
before launch, in order to produce all the sales and marketing material in time. New product
development projects start when;
A designer comes to show his/her idea of a new product. This is very typical as the •
Chairs by Martela (www.martela.fi)Figure 19.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
industry culture is based on furniture designers developing new product concepts and
presenting them to furniture manufacturing companies in the hope of being taken into the
product portfolio and in the end to enjoy the benefits in the form of royalties.
Martela develops a new product concept which takes into account a new need or that is •
significantly better than a previous solution to an old need.
Customers come with a suggestion or a request for a modification. Over time when the •
requests are repeated and a specific new need is identified, this feature is made into a
permanent part of the collection by modifying it to fit the overall product portfolio. This was
seen to be particularly important as in Office furniture the working methods and related
tools have changed and evolved a great deal in the last years, forcing the furniture on
which they stand to evolve along.
Martela internally realizes a new opportunity; a spot that the competitors have not man-•
aged to fill, a need for an update, a change in their collection or a change in requirements
for the product. During this comparison a two-by-two graph is often used to look at the
attributes to be emphasized and to see position which the new product is to occupy in
relation to others.
Technological innovation; an external company comes and presents a new innovation •
to Martela. Due to its sheer size, Martela attracts many companies to come and present
their latest technical and material innovations.
Information of the current and future state of the market is retrieved from various sources. One
important source of information is the proposals and bids for new projects. In the case they
happen to loose the offering Martela is informed of the winner. At this point they would usually
reflect back on the features that the winning products had and compare them to those of the
products that they offered. If it is seen that the products do not differ in, for example architec-
tural suitability, product specific features or delivery times, the conclusion might be that they
haven’t been competitive in price. At times clients are also directly asked why they have opted
for the other companies’ products.
Another source is provided by Martela´s own large organization and the significant amount of
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
office workers that it employs. This means that they have a natural testing group that use their
own furniture, giving them valuable feedback and suggestions on how to improve their own
product line.
Those involved in sales and product development read general publications and visit a number
of different international fairs at which they get to see the competitors products and often even
test them. Pekka Toivola also described the general rules of the industry by which everybody
openly presents their new products, even when knowing that the one making the enquiries
might be somebody from the competition. The lack of secrecy is due to the general opinion that
the competition will find out anyway, so it is better to flaunt it.
Other sources of information are the already mentioned clients that come with their sugges-
tions of improvements and modifications, and market specific studies that are carried out.
These studies are made with external companies specialized in that carrying out focus group
interviews and more widespread market research programs.
Selling the Idea Throughout the Process
After the discovery of new needs, or possible directions for new product development, gener-
ally a brief is written, which is then presented to a designer. The designer presents the ideas
answering the questions pointed out in the brief. At this point it is particularly important how the
designer describes the idea. If the designer is able to describe the idea in such a way that it de-
fines and gives the product a reason to exist, a quick prototype is made and it is then presented
to the product board together with the “Data sheet”. If the Product Board sees the viability and
attractiveness of the product concept, a project is created, planned out and given it the neces-
sary resources to be taken into further development. Production ramp-up and tooling stages,
the stages in which a major part of the costs involved in commercializing a new product are
created, were seen particularly critical in determining the successfulness of a project. Finally,
if the new product concept is seen that it is viable, profitable and in line with the whole product
portfolio, it is accepted by the Product Board and put into production.
The Many Players of the Development Process
Martela has a varied range of teams and expertise roles that are used within the new product
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
development process. Some of these are internal functions and some are external ones.
At the top the list there is the Product Board, which consists of the General Manager, Produc-
tion and Logistic Managers and Heads of each business unit (managers of each of the two
main portfolios). Their role is to make all the top decisions involved in starting new product de-
velopment projects and accepting them into production. The Product Board requires that they
are given at the beginning of a new project a Datasheet and at the end presented with accurate
calculations of what the new product will mean in the overall product portfolio. They also moni-
tor and compare that the results produced by the project teams in the end, correspond with the
initial focus outlined in the datasheet.
Below the Product Board there is the Steering Group which consists of the Product
Manager, Product Development Manager, Logistics manager and sometimes also the Design
Manager. Their role is to see that the work done by the project team is made according to the
plan proposed in the data sheet. If it is seen that, for example, the initially set price target will
not be met, they can order the project team to go back in the development process to achieve
the set targets, or alternatively send them to ask the Product Board to allow them to change to
the initial content of the datasheet. Steering group also observes that the project plan is fol-
lowed, deadlines met and the quality of the deliverables and documents produced during the
process are of the required standard. Steering Group meets once a month with the project
managers of each of the project. In these meetings even the smallest details of the product at
hand are discussed.
Project team is in this case the operative function of the new product development process.
The team is made of the Project Manager, Designer, Purchasing, Logistics, and Technical de-
velopment personnel. Their task is to develop the new products to fit the requirements set in
the data sheet and brief within a specific time frame. The team has a cross-functional structure
allowing all of the relevant points of view to be considered when designing the new products.
In the pre-project stage there is a unit that is made up by the Product manager, Head of Busi-
ness unit, Design Manager and Product development manager. They make the decision on
whether the new project is given the go-ahead and the data sheet is made.
Externally Martela uses a range of different entities that take part in their product development
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
at different stages of the process.
The customers (buyers and end-users) opinion is also consulted. They actively come and
ask for modifications to the existing products to better fit their needs, or are activated to give
information about their preferences through market research that is carried out by specialized
agencies.
At times architects and other design professionals are asked to give their opinion on products
when they are still at a concept stage. They are mostly professionals who have previously
worked with Martela and are known to be loyal to the company.
The Importance of the Brief
Due to the size of the company and the elevated number of new products in development,
Martela has a number of obligatory documents that have to be produced during the process of
idea to market. Some of these documents are technical in nature and others have more to do
with the project management and information requirements of the organization.
Perhaps the most important one from the point of view of the designer is the brief. This is nor-
mally written by the Product Manager and / or Design Manager and presented to a designer
that has already been acquainted with the ways of Martela and has become a usual collabora-
tor. This document usually outlines the price category to which the design should fit in, where
it is going to be used, reference products of the competitions and what kind of attributes it
should have. Particularly in the case of chairs a two-by-two graph is sometimes used in which
on one axis there is price and on the other modern and traditional, portraying the position that
the new product should take. In most cases the brief is seen as a fairly loose document, which
allows for the creative interpretation of each of the designers. This idea is well illustrated by a
comment that Pekka Toivola said during the interview;
“It is almost more important what is not mentioned in the
brief than what is”
Another important document is the data sheet, as it puts
together a range of information that, if accepted, gives the
project the right to go into development and right to start us-
“It is almost more im-portant what is not
mentioned in the brief, than what is”
Pekka Toivola
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
ing the company resources to make it succeed. The datasheet describes the products position
in the portfolio, the products that it replaces, target price, sales and investment estimates and
what the competitors have to offer in that particular need and at what price. However, the main
point of the Datasheet is to describe the reason why this particular concept should be included
in the portfolio.
Beyond that project team together with the designer produces information in the form of visu-
alizations, technical drawings, parts lists and prototypes through which the feasibility is tested
and the design developed until it reaches production readiness. Most of this information is pro-
duced in various different formats as it needs to be fed into the various sales and production
systems in use at Martela.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Conclusions7. This chapter brings together some of the main points addressed in this thesis. In order to bring
together and analyze the critical success factors that affect the furniture development process,
I have looked at the key points that have risen at the interviews, the experience of the project
that I participated in and the facts that the various authors have pointed out.
Differences in Product Development Process
During the course of the study I became aware of the fundamental differences of general prod-
uct development used in other industries in comparison to that of the furniture industry.
The case project that I was working on showed a variety of different methods that could be
used to guarantee success in the long term. The interviewed companies, on the other hand,
represented their own approaches to new product development, all of them with their own pro-
cesses, their own ways working and own in built structures that performed in some contexts
better than in others.
One major difference and advantage in comparison to other types of industries is that the fur-
niture designers often presented the new product concepts and worked in the development of
a product without any compensation until the project is on the market. This gives the furniture
companies a good chance of obtaining well-developed ideas without any initial investment. In
these cases, the external designer would have done much of the preparatory work in defining
the product concept, designing it and often even making a prototype.
The three case companies recognized this as a general and normal practise in their industry,
whereas in the three New Product Development theories, not one of the authors pointed this
out as a part of the product development process, underlying the nature of this as an industry
specific practice.
The financial risks to the designer in this case would be substantially bigger than in standard
product design projects, where often the payment is received according to time worked on the
project or based on the agreed stages of the project. On the other hand, a common royalty
based reward system has, at times, proven worth the risk for the designer as once the chair on
the market, some designers have secured revenue for many years ahead.
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Another major difference was in the importance given to prototypes. Before the project would
be allowed to go into actual development, companies would usually require a prototype to
check the viability of the concept.
On the basis of those results, the Go or No-go decision would be made for the project. After
the product concept would be allowed to go into development, many more prototypes would be
made before the design would be finalized.
The general development cycles of the project also seemed to be a great deal longer than those
in product development, for example in standard product or packaging design. In the case of
Avarte and Martela the development times were at least a year, and in Fritz Hansen the pro-
cess was generally 24 months. A colleague that had worked in Italy, designing office chairs for
some of the leading brands, explained that couple of the projects that he worked in took more
than five years to get to the market, and of course free of charge until royalties were paid. This
underlines that this is not a local phenomenon but a worldwide standard procedure.
Similarities
Despite the clear differences there were many similarities as well.
The Invited Overseas Designers Project as an example of a project carried according to specif-
ic process model was one of the best ones. The structure of the project of the model presented
by Jones on pages 37 and 46 explains a process that is almost identical to that performed in
the program. The first Inception Phase would have been the part of the project in which the
design centre interviewed the companies and established a direction for the project. The sec-
ond part of the project, in which the designer was involved in the events, followed closely the
stages described under the Creation Phase of the Jones’s model. In the period after the official
participation, the design again followed a structure of the third, Realization Phase.
The case companies’ product development processes had many similar elements that were
mentioned in the different theoretical models. They had clear stages and gates, the tasks men-
tioned in a similar order. Nevertheless, their processes were all highly customized to their own
structures and methods of working.
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Success factors
Through the research and investigation, some patterns in all the processes have risen which
lead to following observations.
Structured projects
A combination of rigidity and flexibility was seen as a strength in creating a powerful product
development process. The process should have sufficient amount of documentation in the
forms of briefs, reports and legal documents to secure a safe product development. It was fur-
ther discussed that a complete, consistent process with an excellent quality of execution (Coo-
per / 2001/ p.103) was of high importance in ensuring good results. The process should be
multi-staged and disciplined (Cooper / 2001/ p.111) ensuring competitive advantage through
speed (Cooper / 2001/ p.108) in the short and long-term product development. The documen-
tation would enable continuous development of the right practices for the future development
activities.
In the project in Japan, the structure was essential for the project to be able to succeed in
such a short time-frame. Without the kind of meticulously detailed schedules, briefs and pre-
established contracts an overseas project of this kind could have not been performed. Martela
and Fritz Hansen had created many different kinds of organizational structures and standard
formats documents of gathering information in order to make sure that the investment on new
project would be on safe base. These two organizations had developed a clear decision mak-
ing process, knowing who would be making decisions and when, and always basing those
decisions on a clear and structured set of information.
In Avarte, the documentation was in a smaller scale, due to the small size of the organization.
This allowed for decisions to be made in an informal manner with greater flexibility. All the per-
sonnel could be easily reached when consulting new ideas or opinions. However, the visual
and technical data was still carefully recorded and stored.
It seems that new product development in complex organizations and under strict time con-
straints demands a thorough project planning and time management. In these organizations,
the importance of communication and recording of the decisions making process also be-
comes crucial. The company specific practices support an efficient process when members
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
from various functions from the organization are involved, preventing inefficiency by not having
parallel teams struggle with the same problems but instead joining their knowledge and getting
the project to go forward in a more straightforward manner.
Up-front Homework to Establish Direction.
The importance of up-front homework (Cooper/2001/ p.90) could be evidenced in all of the
cases presented in this thesis. The companies involved have to do a great deal of sharp and
early product definition work to establish scope for the projects. By identifying needs and ben-
efits, they are able decide their positioning strategy (2001/ p.92) and target market specifica-
tion, allowing for a clear starting point for the projects.
To get the information, the interviewed companies used many different kinds of marketing
research tools such as focus group interviews, key customer preproduction launches, market
analysis, competitor benchmarking and in general just closely looking at what is going around
them, within the industry and in the wider world.
In the case of the Invited Overseas Designers program, the preparatory work was made in
organizing the existing structure with the collaborating universities, recruiting for the students,
scheduling the whole of the project and building together with the client company a project that
would answer their needs.
Agreed criteria of selection
Honest and pure assessments were something important that was seen in all the examples,
from the words of the authors to those that worked on the field. The product development pro-
cess requires clear and agreed gates, situations in which the ideas are judged on, and tough
go/kill points that get rid of any bad or unfeasible ideas (Cooper / 2001/ p.101). It could also
be seen that clear project goals and regular project reviews (Jones / 1997 / p.87) were of high
importance, establishing a pace to the process making it work consistently and enabling more
efficient furniture development. Reinertsen (1997/ p.246) argues the importance of using deci-
sion rules, establishing opinions on facts, and not forgetting the power of intuition as a powerful
tool of guidance.
Martela used a selection criteria tool at product board, to evaluate the different product con-
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cepts before they were allowed to go into development. At Fritz Hansen, the product would be
evaluated against their collection mix and corporate philosophy. In both of these organizations,
the project would be further evaluated against what was said in the brief or in the Data Sheet,
and if it was seen by the Steering Group that the project did not comply, the project would have
been put on hold until approved by the product board.
In smaller organizations such as Avarte, the evaluation would be made in an open format allow-
ing all the staff to contribute to the evaluation of the new concept, establishing their decisions
on their vision and experience. In Japan, decisions were based on a very similar structure,
public reviews with the client and the design centre staff, but with the last say from those at the
top of the hierarchical organization.
Right Resources at Right Place
During the course of looking at the product development, it became apparent that full time
dedicated resources (Cooper / 2001/ p.106) had a crucial role in making the projects succeed.
Even in the furniture industry, where the products are not technically complicated, the develop-
ment needs its funds in order to produce results. The companies are required to take the risk
of going into development, production and launch of a new concept which is very expensive.
In order for the companies to be able to invest in the project, they required a closely studied
business plan explaining the opportunity and how the company would potentially profit from
the new idea. Once the idea had been approved, the companies would have to provide the
financial resources and direction for the project to succeed.
In the case companies, once projects were accepted, it would lead to project teams constitut-
ing of personnel from the various departments being created, building of prototypes and to car-
rying out all kinds of tests and assessments - all work that carry a high price tag with them. In
the same way, the Invited Overseas Designers Program had a strong backing from the design
organization and the company, enabling the foreign designers attendance, the design centre
staff employment and covering the various expenses created.
Experienced Team and Management
Most of the authors claimed that the role of the top management in organizing the right resourc-
es and in pushing the right buttons to get the job done (Cooper / 2001/ p. 97) was of signifi-
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
cance. The management’s role in making sure to leverage on the existing resources and skills
(Cooper / 2001/ p. 98) making good use of capacity at hand (Reinertsen /1997 / p.246) and in
ensuring that the team functions effectively with minimum interference, but sufficient support.
(Jones / 1997 / p. 87) were issues that could be seen as key factors in enabling success.
The examples of the processes used in the furniture companies portrayed a strong emphasis
on the management side. In the Invited Overseas Designers program, the project team was
made out of the designer, staff of the Oribe Design Centre, and representatives of the client
company. The latter two had long and established careers in their fields, creating a pool of
technical, economic and management competence supporting the much more inexperienced
designer in his work.
This was seen also in the case companies where different levels of management would be
involved in managing the projects and supporting the development through to a successful
conclusion. In the three case companies, all the layers of the organization were involved, from
the Director to the operative project members. Each was making decisions about the project
according to their specific areas of responsibilities.
Cross Functional Teams to Create Speed.
The authors agreed that multi-disciplinary and cross-functional project team (Cooper / 2001/ p.
95) with shared and divided responsibilities would create efficiency within the process through
eliminating iterations (Jones / 1997 / p.74). The project teams should be made out of the differ-
ent departments and work together in a project since the beginning, allowing the project take
into account multiple points of view.
In the case examples, it was seen that the early preparatory work would be already carried
out with managers from different departments, and further that the actual project team itself
would be made out of personnel with specific functions. In Martela the project team was built
of manufacturing, design and marketing functions. In Fritz Hansen brand management was
also involved, making sure that new products where in line with the design and brand identity
of the company. The team built for the Invited Overseas Designers program in the same way
represented the different facets of product development, from design manufacturing, marketing
and management.
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Global Market to Successful Products
A thorough understanding of the customer was seen as a key factor for the companies to be
able to produce concepts that, through clear and established product superiority, would be
able to deliver unique benefits and product value to the customer (Cooper / 2001/ p.83) The
products in development should always be targeted at the world market (Cooper / 2001/ p.88)
ensuring market attractiveness (Cooper / 2001/ p.101) for the neighboring and world markets
and consumers. At launch, clearly and aggressively communicated product benefits would
bring (Cooper / 2001/ p. 94) an opportunity to differentiate themselves in the highly competitive
markets.
All of the companies’ case companies had closely knit links to the market around them. Martela
and Avarte, for example, fostered the regular contact with professionals from the design indus-
try, receiving valuable information about the needs and desires from various points of view. In
the case of the program that I was involved, the international outlook to the project was brought
by getting a foreign designer to contribute to the project.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Further Recommendations
This thesis investigated through different contextual and literary examples the best practices in
the product development processes. The cases showed differences and similarities in their ap-
proach to the process, but shed little light on the reasons that might lie behind these qualities.
In the future, it would be interesting to investigate a larger sample of furniture companies in
order to see the extents of patterns in them, and create a more thorough understanding of the
subtleties in their approaches. Throughout this thesis only qualitative interviewing techniques
were used, allowing the companies to answer the questions in an open manner. The examples
described in a general level the product development process of few different companies. In
my opinion it would take a much more in depth research project with companies committed in
terms of resources to get to the root of issues behind their processes.
It would also be interesting to look at the cultural issues behind product development. One area
would be the corporate culture of the company and another national culture in the wider con-
text. It would be interesting to see how these aspects contribute to the type and formation of a
process within a company. This thesis did not take this into account, although the project was
carried out in two continents and involved people from various cultural backgrounds.
Another area untouched by this thesis was the historical development of product development
process. The authors discussed in detail the development of the process over time from the
historical Roman times to future models in a general context. In the future, furniture companies
must take into account the future needs of their customers and how they are able to answer
these issues already at early stages of the development. Looking at the past of the process
could give light to where the future will lie in and to see where possible areas of development
might be in.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Bibliography8.
Ulrich, Karl T. and Eppinger, Steven D. (2003) / Product Design and Development / Third Edi-
tion / Tata McGraw-Hill Edition.
Cooper, Robert G. (2001) / Winning at New Products: Accelerating the process from Idea to
Launch / Third Edition / Basic Books.
Cooper, Robert G., Edgett, Scott J. Kleinschmidt, Elko J. (2001) / Portfolio Management for
New products / Basic Books.
Holt, Knult (2002) / Market Oriented Product Innovation – A Key to Survival in the third millen-
nium / Kluwer Academic Publishers.
Jones, Tim (1997) / New Product Development: an introduction to a multifunctional process. /
Butterworth-Heinemann.
Pisano, Gary P. (1997) / The Development Factory: Unlocking the potential of process innova-
tion / Harvard Business School Press.
Reinertsen, Donald G. (1997) / Managing the Design Factory: A Product Developer’s Toolkit /
The Free Press, (1997)
Cagan, Jonathan & Vogel, Craig M. (2001) / Creating Breakthrough Products: Innovation from
Product Planning to Program Approval. / Financial Times Prentice Hall.
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Critical Success Factors in a Furniture Development Process-Furniture design process review through a Finnish-Japanese design project.
Keinonen, Turkka. & Jääskö, Vesa (2003) / Tuotekonseptointi / Teknologiateollisuus ry.
Phillips, Peter L. (2004) / Creating a Perfect Brief: How to manage design for strategic advan-
tage / Allworth Press.
The chair and the written thesis presented
here were the outcome of a project carried
out under the Invited Overseas Designers
program organized between Oribe Design
Centre and University of Art and Design
Helsinki. The client was a Japanese furni-
ture manufacturer called Toyoisu Co, Ltd.
The project started in September 2006
and carried on until the final result; a chair
called Neo was launched commercially in
March 2008 in Japan.
The chair made out three-dimensionally
curved steel pipe was designed to support
user in comfort and to change the atmo-
sphere in offices and shops. The seat and
the pipe frame gives elasticity to the back-
rest, making it comfortable even when sit-
ting for a long time.
The thesis draws together the experience
of the designer in the program, the best
practices of established companies, to-
gether with main thoughts in the product
development literature, describing the criti-
cal practices in determining the success of
a furniture development project.