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| Id | 565 | |
| Author | Lommerse M., Eggleston R., Brankovic K. | |
| Title | Designing Futures: A Model for Innovation, Growth and Sustainability of the Craft and Design Industry | |
| Reference | Lommerse M., Eggleston R., Brankovic K.; Designing Futures: A Model for Innovation, Growth and Sustainability of the Craft and Design Industry ;Design Principles and Practices vol:5.0 issue: 4.0 page:385.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84859196288&doi=10.18848%2f1833-1874%2fcgp%2fv05i04%2f38136&partnerID=40&md5=05656109a77aebea0156c83e6e89118b |
| Abstract | An industry development program, Designing Futures, has engaged design practitioners in new development approaches to evolve their work and advance the craft and design sector over a decade. This paper describes the context, development and evolution of a cluster-led model, the Designing Futures Cluster Program, aimed at building capacity in the craft and design field in Western Australia. Through a framework encouraging groups of practitioners to collaborate, it provides design, production, management and marketing mentoring and assistance. The Cluster Program is set in the context of the cultural and socio-economic contribution that creative industries can make to communities, and the impacts of policy and funding on fostering creative futures. Case study and action research methodologies were combined for the research, which resulted in a model. Using the results a comprehensive manual was developed to articulate the model and guide future delivery of the program. The case study illustrates how cluster development enables increased productivity within creative practice, by mentoring and fostering links and professional networks with a range of industry representatives. The model, which has been proven to accelerate learning and professional growth of participants, is being explored for wider application. © Common Ground, Marina Lommerse, Rebecca Eggleston, Kris Brankovic, All Rights Reserved. |
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| The Cluster Program is set in the context of the cultural and socio-economic contribution that creative industries can make to communities, and the impacts of policy and funding on fostering creative futures. . | Participants were able to share knowledge and information due to the broadening of their networks. . | Strengthened teamwork and support networks have been evident in subsequent interaction outside the workshops and in participants assisting each other at special events. . | This gave them design process experience they can use to create future products and extended their knowledge of materials, processes and technologies. . | These goals included: develop processes that result in new and innovative designs with market value; generate sustainability, and improve visibility and viability of micro-design businesses; create a framework for collaborations between craftspeople and designers; build a framework for effective investment; develop a critical mass of viable and active craftspeople and designers; create a framework to develop networks between craftspeople, designers, government, private industry, educational institutions, suppliers and manufacturers; and establish pathways for networking myriad interests across creative industries. . | In particular, design the creative endeavour of devising and enhancing products, services and business methods has substantial power to drive industry growth, boost jobs and generate positive flow-on effects to the broader economy and public wellbeing. . | Recognition of creativity and design as important tools for industries to boost productivity and competitiveness in todays global markets stands to benefit the craft and design sector in the future. . | The addition of a Digital Media Hub to this site will also aim to help open up access to new markets, audiences and networks across creative disciplines. . |
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