When designing objects, the designer has an idea of the environment, in which the designed item will be used. The designer gives the shape to an object but is not able to effect to the circumstances in which the object is finally used. The usage context itself has an impact to the way how the object is seen and continues shaping the item in a way that is not predictable.

Students
Jaeyong Lee & Emma-Sofie Kukkonen
We are interested in the ways people hide their unsustainable consumption habits behind a facade of sustainability. In the Finnish culture it is considered ideal to have a sustainable lifestyle, but we see tendencies of a superficial sustainability where the real incentive is to show off your concern about the environment, more than to actually do something for it. To illustrate this absurdity, we created a concept of a clothing shop loyalty card that lets you collect stamps for every 'sustainable' item you purchase within a month, and the reward is a free t-shirt to wear with pride.

Students
Inka Luhtanen & Katrine Svela


Embodying the very Finnish traits that are precaution and hygiene, sometimes leaning towards the absurd, a rappuharja is a not-1-not-2-but-3-headed brush to be found on every building's doorstep, for a proper shoe-cleaning before one steps in. A single brush could do the job, but three will get them as clean as it gets. Just to be sure. Why not make it five, seven then? And with soap, please.
Varmuuden vuoksi. For safety's sake.

Students
Orcum Erdem & Tuula Vitie

PhotographerAntti Ahtiluoto
With this poster we wanted to critic star designers role nowadays. Designers can sell products just by using their name as a brand on products. It feels like the product itself is not that important. On our poster we showed the extreme situation of product marketing using our own names as an example. On the corner there is a tiny picture of our design object and in the main role there is names of the designers.

Students
Olli Heiskanen & Ole T. Tørresen


We decided to criticise the current state of Finnish design education, particularly at the university level. We feel that there is a sort of doctrine being disseminated which places the 'users' at the top of the totem pole and teaches designers that their purpose is solely to cater to the needs of the 'almighty user'. We feel that especially in disciplines like Industrial design, the teaching is centered around creating social activists who function as tools for advancing the greater good while erasing the 'face' of the designer. Designers are being indoctrinated to believe that they can no longer operate as individuals and must rely on the 'collective consciousness' for meaning and value. Furthermore, these views are often presented as hard truth without any opposing views or perspectives.

Students
Mutambo Nkumbu & Thomas Welander
This project is about the future possibility that our society will be able to produce babies designed to have specific features and abilities. What would our society look like if this was reality and what would the role of designers be? Would everyone be a model, a genius and a super soldier at once living to be 1000 years? Would it create a racial segregation and discrimination between the enhanced and non-enhanced humans? Could it solve all our medical problems or overpopulate the earth? Would you hire a designer to design you baby? Would Aalto start a program in Human Design?

Students
Eveliina Ronkainen & Mette B. Pedersen


What is Finnish design? And what role has the society in it? Nowadays, when the Maker cultures steps in, rises the question is there need for designers, or the society is the new designer. And what makes Finnish design — Finnish? We interviewed people with different backgrounds, religions, nationalities and races. They all work and live in Finland and is part of the Finnish society and culture creators. We asked them to create their own version of well known design objects, that represents the finest example of Finnish design. Is it the time to let go the old and make a room for new, without being afraid of the identity loss? And should we trust the people, or the trained designers should take over the responsibility?

Students
Eini Knuutinen & Arita Varzinska

Many Finnish design companies use the same designs over and over again. Some designs, such as the shape of the Savoy vase by Alvar Aalto, are being overused. The companies are exploiting the designs just like rolling out toilet paper from the roll. During this process the design is losing its original message little by little. These companies are promoting consumption instead of fostering values and ethic. Is consumption actually changing the Finnish design culture? Does the form nowadays follow consumption?

Students
Luca Acito & Liinu Kivioja



As much as we respect Finnish national designers, it's time to give space for new and fresh design. Nowadays, the majority of new design is designed by dead people. We can't continue riding with the style that was established so well decades ago.As Finland has gained a reputation of being a design-focused nation, there is danger of losing that reputation if designers continue to simply follow in the footsteps of the old icons. We got inspired by dramatic sci-fi movie posters and visualized the launching moment of Aalto stool. Sending an iconic Finnish design object to outer space symbolizes getting rid of the old fashioned and narrow way of thinking to make space for something new.

Students
Henri Judin & Kirby Humphries

The "Unicorn" is a visualization of the Aalto fairytale. It questions the multidisciplinary approach for pursuing innovation. Is user-driven co-design the way to better design, or should there also be more room for the designers own vision? Does permanent teamwork leave space enough for an individual development? And is it sufficient to put people with different backgrounds together for innovation to happen? The poster tries to raise questions like these... You can find little references also in the sponsor details of the poster.

Students
Vertti Sarimaa & Philip Hectort



Our concept was to consider the limits and ideals behind critical design as a practice or attitude, as called by Dunne and Raby.We wanted to illustrate how ideals behind critical design fall into a paradox. Trying to raise awareness, expose assumptions, provoke action, and spark debate, but at the same time working within the limits of art galleries or critical design forums, the "movement" falls into a big contradiction that clearly limits its goals.In the poster we wanted to show how limited their efforts can be, turning into an elitist circle by being part of what they also criticize.Attempting not to reinforce the status quo, they end up legitimizing one of their institutions: the art industry.

Students
Ruut Joensuu & Gaspar Mostafa

Finnish design is often made abroad, far away from Finland, where production is cheaper. That is the way it is, but we want to provoke thoughts if we could bring it a bit closer to home.

Students
Pauliina Varis & Pirita Lauri


There is an idealized vision of Finland that exists in the mind of those who have yet to visit; one of perfect nature, quiet domestic life and undisturbed peace. This ideal is exported through Finnish design products, often in the form of textile print, depicting home utensils, forest flora and wild animals. The real picture is not always so idyllic. This print explores the unspoken social issues in Finland, such as alcoholism, drug use and high gun ownership, through the aesthetics of iconic Finnish textile design.

Students
Adelaide Kim & Elina Laitinen
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