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Hotel Garbo collection.",collections:["C0033","C0020"],stories:[],keywords:["K0084","K0078","K0017","K0006","K0027","K0019"],permalink:"https://repo.aalto.fi/uncategorized/IO_49f02e71-5e7d-4eb1-aaed-2952959c1aa9/"},{id:"A0450",file:"Nokia_0523",start:"2004",end:"",title:"Nokia 7280, 'Jinx'",description:"Black and white mobile phone. 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Possibly Nokia ROCK from the Maxx sport line in Vision 99.",collections:["C0033","C0027","C0010"],stories:[],keywords:["K0074","K0088","K0075","K0017","K0006","K0020"],permalink:"https://repo.aalto.fi/uncategorized/IO_9361d39d-aff7-48c6-b6cb-df75a6d734a9/"},{id:"A0466",file:"Nokia_0958",start:"1990s",end:"",title:"Unknown model",description:"Beige and black model of a mobile phone. Possibly Nokia ROCK from the Maxx sport line in Vision 99.",collections:["C0033","C0027","C0010"],stories:[],keywords:["K0074","K0088","K0075","K0016","K0017","K0006"],permalink:"https://repo.aalto.fi/uncategorized/IO_0b4907d7-f83d-45d2-8747-f8298453fb96/"},{id:"A0467",file:"Nokia_0960",start:"1990s",end:"",title:"Unknown model",description:"Red and black model of a mobile phone. Possibly Nokia ROCK from the Maxx sport line in Vision 99.",collections:["C0033","C0027","C0010"],stories:[],keywords:["K0074","K0088","K0075","K0017","K0006","K0026"],permalink:"https://repo.aalto.fi/uncategorized/IO_a2cb7bd1-3ab3-447b-bca2-49e5cef2814b/"},{id:"A0468",file:"Nokia_0982",start:"",end:"",title:"Unknown model",description:"Red model of a mobile phone designed for children.",collections:["C0033","C0011"],stories:[],keywords:["K0042","K0006","K0026","K0033"],permalink:"https://repo.aalto.fi/uncategorized/IO_926c75b7-1511-47bb-86cc-25aaef4c37db/"},{id:"A0469",file:"Nokia_0983",start:"",end:"",title:"Unknown model",description:"Black model of a mobile phone,  simplified keyboard with geometrical shapes.",collections:["C0033","C0011"],stories:[],keywords:["K0042","K0017","K0006"],permalink:"https://repo.aalto.fi/uncategorized/IO_bfb6c6cf-11a4-48c6-8bd8-1573e7c7af04/"},{id:"A0470",file:"Nokia_0984",start:"",end:"",title:"Unknown model",description:"Orange and white model of a 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The mobile phone was to become 'the portal to each individual's unique needs'. Another aim of the 3G concepts was to push the mobile operators to develop and provide the services allowed by the new technology.",keywords:["K0007","K0044","K0065","K0067","K0091"]},{id:"C0002",grouping:"products",title:"Wearable Devices",blurb:"Although Nokia is best known for its mobile phones, the company's product range included wearable technologies, such as earbuds and digital pendants, too. On a concept level, designers at Nokia envisioned countless ways of embedding technology in everyday lives through devices that would be worn close to the body. These ideas varied from fitness monitors and digital blindfolds to smart glasses and wrist pads. In the 1990s, the wearability element often aimed towards making complex technologies more mobile. During the 2000s, a specific interest in measuring and monitoring the human body and its functions, such as movement, heartrate and calory intake, emerged.",keywords:["K0004","K0012","K0013","K0014","K0059","K0064","K0065","K0067"]},{id:"C0003",grouping:"strategy",title:"Colours, Materials and Graphics",blurb:"Colours, Materials and Graphics (CMG) was a unit specialising in the aesthetic and tactile elements of Nokia products. Throughout the years, the unit changed its name many times, but the focus stayed the same: researching, designing and experimenting with colours, materials and decorative elements, such as plastics, metals, textiles and paints. \n\nCMG designers were interested in how objects could convey and create different ideas, moods and feelings. What kinds of visual and tactile elements communicate luxury? How about playfulness or durability? According to a Nokia material trend report from the early 2000s, colours and materials were both 'the content and the container', and thus formed a foundational part of the design process.",keywords:["K0058","K0059","K0060","K0065","K0068","K0076"]},{id:"C0004",grouping:"products",title:"The Nokia Communicator",blurb:"The Communicator was an important product in the history of Nokia, and also in the development of mobile technology. It is considered one of the first 'smartphones' with features such as email and a web browser. The first Nokia Communicator was released in 1996 and improved models ensued in the following years. In the Nokia Design Archive, there are multiple concepts and development plans for the Communicator's future from the 1990s and early 2000s. \n\nThroughout its existence, the Nokia Communicator was an expensive status symbol; documents related to the design process of the first Communicator describe its future user as 'educated, usually of male gender, highly motivated to succeed in a competitive environment, travels extensively, somewhat conservative.'",keywords:["K0002","K0007","K0010","K0041","K0061","K0068"]},{id:"C0005",grouping:"design research",title:"Designing Technological Futures",blurb:"At Nokia, design work was not only focused on product development. Design was often also used as a tool to raise discussions and communicate visions about technological futures. A common way of presenting these ideas was in the form of concepts, which could include diverse elements such as visual materials, text and objects. Some of these concepts remained confidential within the company and were used within Nokia to make decisions about which directions the business should take. Others were shared and communicated with a wider audience in order to present ideas about cultural shifts and spark public discussion about the ways in which technology would be employed in the future. \n\nAs such, these concepts can reveal interesting insights about the wider picture of technological development and the different values and worldviews behind it.",keywords:["K0012","K0039","K0044","K0048","K0050","K0061","K0065","K0067","K0091"]},{id:"C0006",grouping:"design process",title:"Craft in the Design Process",blurb:"Even though Nokia products were industrially mass-produced, craft played an important part in the process of their creation. Throughout the 1990s and 2000s, digital tools for design work developed fast, ranging from computer-aided design software to 3D printing, but drawing and making sketches and models by hand remained popular too. \n\nThe archival materials in this collection include distinctive drawing styles, videos about hand-built interaction prototypes and silicone models moulded by hand by master model makers. They show that craft skills and material knowledge are an integral part of designing for industrial production.",keywords:["K0044","K0046","K0047","K0059"]},{id:"C0007",grouping:"products",title:"Phones, Fashion and Accessories",blurb:"In the Nokia product line, accessories played an important part throughout the company's existence. They allowed for the personalisation of mass-produced and uniform technological devices and thus created marketing opportunities for a wider range of consumer groups. As mobile phones arrived on the market in the 1980s and early 1990s, they were most often black or grey and aimed at wealthy businessmen. \n\nDuring the 1990s, however, colourful accessories, such as pouches, chains, changeable covers and phone 'jewellery', cemented the mobile phone's status as a fashionable object that expressed the wearer's identity and taste.",keywords:["K0014","K0015","K0037","K0061"]},{id:"C0008",grouping:"design process",title:"Designer's Everyday Work at Nokia",blurb:"The design work at Nokia was always done in interaction with other people. A designer could be a member of a design team with whom they could share ideas and thoughts, and with whom they could develop concepts. At the same time, each designer typically participated in one or several project teams. These consisted of experts from many fields, like different fields of technology, marketing, leadership etc. These teams followed Nokia's practices for timelines and processes, aiming for a shared goal like the launch of a completed product on the market, a new technology, strategy or marketing campaign. \n\nThe daily work of designers included participating in meetings, workshops and reviews. As the projects were often global, part of the work was keeping in touch with colleagues all around the world and trying to synchronise teamwork across different time zones and cultures. A lot of time was also put into development programmes for Nokia employees in which the Nokia designers participated and met colleagues from other parts of the company.",keywords:["K0032","K0036","K0051","K0058","K0059","K0060","K0061","K0062"]},{id:"C0009",grouping:"design process",title:"Design and Globalisation",blurb:"The design, production and consumption of Nokia products took place globally in different cultural contexts and societal conditions. \n\nSince the late 1990s, Nokia created multiple projects for cultural research and outreach, such as 'Only Planet', a programme for collaboration between Nokia and design students in universities across the world. 'Only Planet' expressed an interest in fostering cultural understanding and supporting the design of products with functions, colours or symbols catering to different cultural expressions. Meanwhile, more commercially driven projects, such as 'lolo' from the early 2000s, aimed to create 'high-value, low-cost mobile phones in the lowest income markets'. \n\nThese tensions between cultural understanding and commercial goals within an international company such as Nokia form a fascinating starting point for exploring design and globalisation.",keywords:["K0035","K0037","K0060","K0061","K0067","K0068"]},{id:"C0010",grouping:"design process",title:"Designing Lifestyles",blurb:"Since the emergence of mobile phones in the 1980s and 1990s, ideas of different lifestyles played a prominent part in their design and marketing. \n\nWhile the first models were aimed at wealthy businessmen, an understanding that mobile devices could be designed for a wider variety of lifestyles and users quickly emerged. Materials in the Nokia Design Archive show that designers turned to youth culture – such as skateboarding, gaming and street style – for inspiration. A prominent interest in creating devices for fitness, sports and outdoors enthusiasts existed, while mood boards with titles such as 'Affluent Materialist' and 'Successful Idealist' portray an interest to design for aspirational and glamorous lifestyles featuring luxury watches and cars. \n\nThe materials in this collection show not only how mobile devices were designed to symbolise and express personal values and identities, but also what kinds of lifestyles were seen as worthy of designers' attention.",keywords:["K0040","K0041","K0042","K0043","K0061","K0068","K0074","K0075"]},{id:"C0011",grouping:"design process",title:"Design and User Segmentation",blurb:"A central task for designers at Nokia was to think about who would use the company's products. Through user segmentation, which originated from the field of marketing, designers were able to divide customers into groups based on their gender, age, interests, cultural backgrounds and lifestyles. \n\nThe methods for segmentation work varied depending on who conducted it and for what purpose. The significant segmentation tools were based on wide numeric data sets, whereas the more qualitative and ethnographic approach aimed to understand the needs and wishes of people in a particular segment. While user segmentation could offer some tools for navigation in the design process, it often relied on many stereotypes, assumptions and norms. \n\nMaterials in the Nokia Design Archive show, for example, that women were often portrayed either as caregivers or fashion enthusiasts, while men were depicted as powerful and wealthy professionals. These materials offer fascinating insights into some of the ways in which social and cultural values are present both in the design process and the finalised product.",keywords:["K00433","K0034","K0035","K0040","K0041","K0042","K0043","K0068"]},{id:"C0012",grouping:"design process",title:"'Going Crazy' with Design Concepts",blurb:"Many of the concepts envisioned by designers at Nokia did not make it into public campaigns or go into further development. They ranged from holographic orbs and butterfly-shaped communicators to pocket-sized projectors and 'privacy masks' that prevented lip reading. These concepts were often developed in workshops that explored a specific topic wherein the idea was to purposefully spark the imagination and 'go crazy' without the constraints of technological, social or cultural realities. \n\nIn hindsight, these concepts are an intriguing way to try to understand the bigger picture of technological development and some of the visions, values and worldviews behind it.",keywords:["K0002","K0003","K0004","K0011","K0012","K0039","K0065","K0091"]},{id:"C0013",grouping:"design process",title:"Design Research at Nokia",blurb:"Many Nokia designers did research as part of their design work. When a new project was starting, designers typically did research (and collected existing material and information) in order to ground their design work. Some designers were also specialised in doing research within larger teams, for example, some did ethnographic studies on potential users or researched new materials. \n\nWithin Nokia, there were also entire units focusing purely on research. The largest one was Nokia Research Center, but there were also smaller units like the Design Research activities within Nokia Design. In these units, the designers could do design development work, like designing a product with new technology, such as the Morph wristband, or focus on doing research of their own. \n\nSome of this research was done in collaboration with universities (often even with double affiliations), resulting in broad academic publishing. Other areas of research were conducted and disseminated internally, leading to competitive advantages in the long run, like those resulting from scientific breakthroughs and patents.",keywords:["K0059","K0060","K0061"]},{id:"C0014",grouping:"product family",title:"The Imagewear Series",blurb:"The Nokia Imagewear series was a collection of devices with colour LCD screens made for displaying and wearing digital images. The devices were designed to be worn around the neck or wrist, just like jewellery or accessories. Images could be transferred into them from phone cameras or other devices through infrared technology or a compatible memory card. \n\nThe Nokia Medallion I and Medallion II allowed the wearer to display images, while the Nokia Kaleidoscope was a portable image storage and viewing unit. According to the press release for the Imagewear series, the devices were meant for people who wanted to 'stand out' and express their personality and style in a novel way. They can also be seen as a fascinating example of the idea that mobile technology should be present in people's lives via a stream of gadgets with specialised functions.",keywords:["K0015","K0037","K0063"]},{id:"C0015",grouping:"strategy",title:"Strategy and Nokia Design",blurb:"Strategy work was conducted both within Nokia Design and as part of the broader strategy work of Nokia. The strategy work within Nokia Design ranged from large-scale strategies on broad trends and design directions to more specific design strategies that included things such as future roadmaps for a particular product category. The Nokia Design strategy and portfolio work was one of the most protected parts of the company as if a competitor were to have seen these strategies it would have given them a quick visual view of all the planned future products and product families. \n\nThe broader strategy work within Nokia took part as an annual process, and many units and insights were included. Nokia Design strategic thinking was included into this company-wide strategy work, and many designers also worked directly on specific parts or approaches of the strategy.",keywords:["K0036","K0048","K0061","K0069"]},{id:"C0016",grouping:"aesthetics",title:"Cars and Design Inspiration",blurb:"When browsing through the Nokia Design Archive, images of cars keep on appearing as a recurrent visual element. Upon further investigation, it becomes apparent that influences from the car industry played a prominent part in the design of Nokia products. Images of cars are a repeated motif in the inspirational material for designers' sketches, and the car is often present as a status symbol in user segmentation materials depicting the lifestyles of Nokia customers. \n\nIndeed, the masculine and streamlined world of car manufacturing has been a prominent part of the industrial design profession and its education throughout the twentieth century. A frequent Nokia collaborator, the American design agency Designworks is best known for their work with the luxury car brand BMW.",keywords:["K0006","K0044","K0048","K0059"]},{id:"C0017",grouping:"design tool",title:"Visual Inspiration in the Design Process",blurb:"Visual language is a powerful tool for conveying ideas, feelings, moods and styles. Even though design work is not always about the visual or the aesthetic, visuality plays an important part in many stages of the design process. This collection presents some examples of how designers at Nokia used visual material as sources of inspiration in their work. \n\nThe collection includes snapshots taken on the streets of Japan, mood boards evoking specific styles and themes, photographs from car and technology fairs and colour explorations. The purpose of these materials was not only to capture and record visual sources of inspiration, but also to communicate them to other people taking part in the design process.",keywords:["K0048","K0050","K0059","K0069"]},{id:"C0018",grouping:"aesthetics",title:"Nokia Design and Japan",blurb:"Japan is known for the advances it has made in technological development, including consumer electronics development, throughout the twentieth century. Therefore, it is perhaps not a surprise that Japan and Japanese culture are very much present in the Nokia Design Archive materials. This collection illustrates some of the ways in which Japan was a part of the design work at Nokia. \n\nThe country and its cultural expressions acted as a prominent source of inspiration through gaming, aesthetics, youth culture and fashion, to mention a few such sources. Nokia also collaborated with Japanese mobile operators, such as J-Phone and DoCoMo, in producing mobile phones for the Japanese market. These phones are an interesting example of differences in the cultural expressions of products.",keywords:["K0035","K0068"]},{id:"C0019",grouping:"product family",title:"The L'Amour Collection",blurb:"The L'Amour Collection, released in 2005, consisted of three mobile phones 'created for fashion-conscious people': the 7370, 7380 and 7360. \n\nThe design process of the collection included an extensive trend analysis process and material explorations with stainless steel, genuine leather and decorative elements, such as floral carvings and gem-like buttons. The keywords in the design process were 'deliciously seductive, a sense of glamour, luxury and hedonism.' Fabric tags with the Nokia logo were attached to the phones to highlight their status as fashion objects. \n\nPhotographs from the L'Amour Collection launch events in Italy, Singapore and Thailand show opulent dinners under chandeliers with entire fashion shows as entertainment. In a presentation outlining the launch campaign strategy, the main goal was to 'position the L'Amour Collection as the ultimate object d'art for today's fashion leaders.'",keywords:["K0006","K0022","K0023","K0025","K0040","K0068"]},{id:"C0020",grouping:"strategy",title:"Making Phones Fashionable",blurb:"Designers at Nokia began exploring the relationship between fashion and mobile phones during the 1990s. In an undated Nokia Design presentation, fashion was seen to effectively utilise 'the biannual seasons to increase consumer expectations, build up hype and kill last season's products.' Thus, incorporating fashion elements onto mobile phones was an important way to widen the customer base, not only in terms of numbers but also in terms of its characteristics. \n\nDuring the 1990s, the user profile for mobile phones expanded from travelling businessmen to women and youth. Meanwhile, phones became colourful and customisable with changeable covers and accessories, such as phone jewellery and textile pouches. In the early 2000s, fashion became a means for presenting mobile phones as exclusive luxury products that would enable the user's self-expression. Around the same time, Nokia started to launch yearly fashion collections, of which the L'Amour Collection is just one example.",keywords:["K0008","K0014","K0037","K0061"]},{id:"C0021",grouping:"products",title:"Mobile Multimedia Technology",blurb:"Before the smartphone era, many mobile phone companies, including Nokia, experimented with the creation of a wide variety of mobile devices designed to employ specific technologies. In this way, people would be in possession of many small devices that would perform distinct functions, such as photography, image viewing, fitness monitoring, gaming and recording audio and video. Some products arrived on the market, such as Nokia's Imagewear series from 2003, which consisted of wearable, jewellery-like screens. \n\nMany concepts, however, were left at the concept stage. As the 2000s progressed, functions previously performed by separate devices were increasingly included in a single product, a development which culminated in the emergence of the smartphone.",keywords:["K0001","K0007","K0013"]},{id:"C0022",grouping:"product family",title:"The Morph Concept",blurb:"As mobile technologies progressed during the early 2000s, Nokia increased its investments in high-tech research and conceptual work within mobile services, software and nanoscience. One example of this kind of work is 'Morph', a concept released in 2008 demonstrating some of the possibilities that nanotechnologies might enable, concretising the research work done at Nokia Research Center. \n\nMorph delivered all the functions of a multimedia communication device. The designers speculated that it could be made of nanomaterials, which would allow the device to be folded and stretched, and even change its appearance. Moreover, its nanowires would be able to sense the chemical properties of compounds in the air, warning its user about pollution.",keywords:["K0006","K0011","K0013","K0014","K0020","K0039","K0044","K0065"]},{id:"C0023",grouping:"design type",title:"Mobile Phones and Gaming",blurb:"The famous Snake game was first included in the Nokia 6110 mobile phone, released in 1997. It is often considered the starting point for mobile phones as gaming devices. Perhaps inspired by the success of Snake, Nokia started to develop a mobile phone with gaming as its main function. The result was the infamous N-Gage, the success of which did not end up meeting the company's expectations. \n\nThe Nokia Design Archive contains many materials related to the N-Gage – such as concepts, publications, sketches and models – but it also contains materials related to gaming and game design in general. These materials show how prevalent gaming was at Nokia Design, starting in the 1990s and continuing well into the 2000s. Designing devices for gaming was seen as a way to engage with younger consumers. Eventually, gaming became an inseparable part of mobile devices, continuing into the era of smartphones.",keywords:["K0006","K0007","K0034","K0065","K0068"]},{id:"C0024",grouping:"product family",title:"Nokia 7600",blurb:"Upon its release in 2003, the Nokia 7600 was a novelty in the mobile phone market. It had state-of-the-art technical properties: 3G technology, a colour screen, an MP3 player and a digital camera for both photography and video. Moreover, the 7600 was one of the first 'fashion phones' produced by Nokia, having unique aesthetics and a novel marketing strategy. Its imagined users were described as 'Fashion Shopaholics', 'Creative Fashion Peacocks' and 'Eclectics'. \n\nUpon its launch, a limited edition of the phone with special packaging and accessories, such as exchangeable covers and notebooks, was sold at the most exclusive retailers around the world, including Colette in Paris and Corso Como 10 in Milan. This signalled the development of mobile phones into fashionable lifestyle products coveted by urban trendsetters.",keywords:["K0006","K0030"]},{id:"C0025",grouping:"strategy",title:"Nokia's Competitors",blurb:"Throughout Nokia's existence, competition over the dominance of the mobile phone industry was tough. Many of the materials in the Nokia Design Archive include analyses of competitors' products that attempt to create an understanding of the rapidly changing field. \n\nFor example, in 2007, a presentation was put together immediately after the launch of Apple's iPhone, aiming to brief Nokia workers about how the iPhone would change the mobile phone market. Often, products and brands were analysed and compared in an aspirational way too: what did Nokia designers consider as examples of their own work? \n\nComparisons and analyses were not always limited to technology companies. A presentation from 2000 goes through multiple fashion brands in order to see where and how Nokia could enter the world of fashion.",keywords:["K0061","K0069"]},{id:"C0027",grouping:"strategy",title:"Vision 99",blurb:"The Vision 99 project was conducted in 1997 as an internal exhibition for Nokia management showing several future product concepts for different types of users. It was the first time that segmentation thinking was shown at Nokia, exemplifying what a sports phone or a fashion phone could be. \n\nSubstantial effort was devoted to the ideas behind the products, as well as to the finish of the concept models and the presentation of the exhibition. The internal exhibition created a lot of interest and discussion within Nokia's leadership and was often later referred to as an igniting event for designing mobile phones for different users.",keywords:["K0036","K0044","K0048","K0061","K0067","K0091"]},{id:"C0028",grouping:"design tool",title:"Trend Forecasting",blurb:"Generally, forecasting work is about analysing different sets of data and making future-oriented predictions based on them. The methods and purposes for forecasting activities at Nokia varied greatly. Some were considerable efforts, made among colleagues, such as the Annual Trends, that were launched as books and websites. Other activities were done by individual designers through observation and documentation. \n\nThis approach is visible in a 1999 presentation about trends in Japan where, apparently, 'personalisation, stereos, headsets, use of fur (real and fake), and the Hawaii trend' were prevalent. Another example of a different scale is the Nokia WorldMap 2005, which was coordinated by the Insight & Foresight Unit. The WorldMap was conducted through 'literature reviews, participation in think tanks and conferences, and expert interviews', and the goal was to 'identify the most significant trends and disruptions facing Nokia over the coming 5 years.' In other words, the purpose of the WorldMap was to prepare the company for the future and provide support for decision-making. \n\nOn occasion, the goal of trend forecasting was to develop a better understanding of certain markets or user groups. This work was often commissioned to external agencies, such as The Future Laboratory, which was hired to research trends in youth culture between 2007 and 2010. According to the final report, the process provided Nokia 'with the tools to understand this complex and lucrative market'.",keywords:["K0044","K0060","K0065","K0067"]},{id:"C0029",grouping:"design history",title:"Uncovering Nokia Design History",blurb:"This collection presents different kinds of materials that document some of the key moments in the history of Nokia Design. It includes photographs of people, situations and products. It also includes documents such as the announcement of the founding of the Nokia Design Organization in 1997. There are also presentations about design strategy, lists of the Nokia products launched, texts describing the design process and the meaning of design at Nokia, and material from Nokia Global Design Conferences.",keywords:["K0036","K0058","K0059","K0060","K0061","K0062"]},{id:"C0031",grouping:"design process",title:"The Design Process at Nokia",blurb:"For product development, the design process at Nokia Design followed the broader product development process at Nokia, driven by engineering. This process was divided into milestones, and the Nokia Design milestones were related to these. \n\nThe first step would be concept development. By this time, there would already be a design brief, a UI proposal and a design strategy to lean on. This first step ended in preliminary sketches and mock-ups. In the design process, this phase was called 'D1', and in the broader process 'E1'. \n\nBy D0 (E0), these sketches were further developed to preliminary 3D files, grey models and rendered visuals. The approval of D0 (E0) was a big decision point as several parts of the company management decided if the concept should be developed as a real product or not. \n\nMost of the design work was done between the decision point D0 and the approval of the final product design in D1 (E1). This included the final 3D surfaces, the final rendered visuals, the final appearance models, the final CMD (colours and material) specifications and artwork showing, for example, point-of-sale ideas. The product development process continued with several steps from there (E1–E5), but much of the design work in those latter stages was supportive or focused on the product launch.",keywords:["K0036","K0058","K0059","K0060","K0061","K0062"]},{id:"C0032",grouping:"aesthetics",title:"Y2K Aesthetics",blurb:"Originally the term Y2K referred to the feared collapse of global computer systems upon the change of the millennium at New Year's Eve in 1999. More recently, however, Y2K has come to signify a distinct style or aesthetic expression that was prevalent not only in fashion but also in furniture, technological devices, web design and graphic design, starting in the mid-1990s and running until the early 2000s. \n\nNokia was one of the leading mobile phone producers at the time and, as such, is an inseparable part of Y2K aesthetics. The style is marked by transparent and iridescent materials, gradients, neon colours, space-age silver and metallics, as well as amorphous shapes, plastic and faux leather. Ideologically, the Y2K era was marked by the tension between optimism and paranoia about both the role that technology would take in people's lives individually and what it would mean for the future of the entire human civilization.",keywords:["K0015","K0018","K0022","K0025","K0040","K0043"]},{id:"C0033",grouping:"products",title:"Objects in the Nokia Design Archive",blurb:"In addition to paper documents and digital files, the Nokia Design Archive includes approximately 2000 objects. This collection includes a hand-picked selection of objects and images of not only some of the most iconic phones that Nokia produced, but also of previously unseen models, concepts and handmade experiments.",keywords:["K0003","K0006","K0007","K0069"]},{id:"C0034",grouping:"products",title:"The Nokia Moonraker",blurb:"The Moonraker was a Nokia smartwatch that never made it to the market. Apaar Tuli, who was the User Experience (UX) Design Lead in the product development process, remembers that he worked on the Moonraker for at least 18 months, delivering a finished product only to have it pulled out of production two months before the expected launch. \n\nThe Moonraker project included extensive research on usability, UX design and the prototyping of gestures and movements. The UX design team was so disappointed by the cancelation that they organised a ceremonial funeral by burying a Moonraker prototype in the sand on a beach close to the Nokia headquarters in Espoo, Finland. \n\nThis collection includes sketches and video material related to the Moonraker development process, as well as an interview with Apaar about his work as a UX designer at Nokia.",keywords:["K0013","K0014","K0020","K0024","K0044","K0066"]},{id:"C0035",grouping:"strategy",title:"The Nokia Ventures Organisation",blurb:"The Nokia Ventures Organization (NVO) was founded in 1998 to explore new business areas and to facilitate the future growth of Nokia. According to Nokia President Pekka Ala-Pietilä, the NVO looked beyond the expected. By 2000, the NVO consisted of four units: \n- Nokia Internet Connections (NIC) offered IP-oriented products and solutions, and was headquartered in Mountain View, California; \n- Nokia Home Communications (NHC) developed digital platforms and communication solutions for the home environment; \n- the Nokia Entrepreneurial Network (NEW) consisted of insight and foresight; \n- Ventures (an internal incubator) and New Growth Businesses created and developed new businesses within Nokia. \n\nIn NIC and NHC, the design work comprised everything from early concepts to product development work. In NEW alone, there were about 30–40 projects annually. Each project also received support for defining for whom their (often technology-driven) concepts were designed, what their users’ needs would be and how to move forward into product development. \n\nIn addition, there was an NVO Fund. As the in-house design team in the NVO was small (just under ten people), much of the design work in product development was subcontracted to design agencies. This collection includes products and projects developed under the NVO, as well as information on the designers who worked there.",keywords:["K0032","K0036","K0082","K0058","K0061","K0065"]}],km={collections:gm},Km=[{id:"S0001",name:"Adam Scott",start:"",end:"",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0002",name:"Adriana Parcero",start:"2006",end:"2009",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0003",name:"Äijälä Enni",start:"2004",end:"2008",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0004",name:"Aki Laine",start:"2004",end:"2011",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0005",name:"Akseli Anttila",start:"1995",end:"2010",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0006",name:"Alastair Curtis",start:"1993",end:"2009",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0007",name:"Alejando Sanguinetti",start:"2006",end:"2010",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0008",name:"Aleksi Eeben",start:"2002",end:"2014",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0009",name:"Aleksi Heinonen",start:"2006",end:"2012",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0010",name:"Andrew Gartrell",start:"1994",end:"2012",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0011",name:"Anna Nilsson",start:"2008",end:"2014",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0012",name:"Anna Valtonen",start:"1995",end:"2008",start2:"",end2:"",text:"",link:"https://aalto.cloud.panopto.eu/Panopto/Pages/Embed.aspx?id=5bf2e2d9-bb24-43f1-803b-b1bc0086bf84&autoplay=false&offerviewer=false&showtitle=true&showbrand=true&captions=true&interactivity=all",recording:"",transcript:"",stories:["S0109","S0085","S0049"],collections:["C0001","C0005","C0013","C0027","C0028","C0035"],papers:"",keywords:["K0031","K0036","K0060","K0061","K0064"]},{id:"S0013",name:"Anniina Verkkomäki",start:"2005",end:"2012",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0014",name:"Anssi Tarna",start:"2004",end:"2011",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0015",name:"Anthony Dalby",start:"1999",end:"2014",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0016",name:"Anton Fahlgren",start:"",end:"",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0017",name:"Antti Kujala",start:"1997",end:"2010",start2:"",end2:"",text:"NRC, Entry business unit, Nokia Case",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0018",name:"Anu K.Nousiainen",start:"2000",end:"2009",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0019",name:"Anu Nordling",start:"1999",end:"2001",start2:"2002",end2:"2012",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0020",name:"Apaar Tuli",start:"2002",end:"2014",start2:"",end2:"",text:"x",link:"https://aalto.cloud.panopto.eu/Panopto/Pages/Embed.aspx?id=21ef1733-4577-432e-9b11-b1bc0086bffe&autoplay=false&offerviewer=false&showtitle=true&showbrand=true&captions=true&interactivity=all",recording:"",transcript:"Apaar Tuli.pdf",stories:[],collections:["C0002","C0008","C0030","C0034"],papers:"",keywords:["K0009","K0011","K0013","K0014","K0059"]},{id:"S0021",name:"Ari Koli",start:"2002",end:"2014",start2:"",end2:"",text:"",link:"",recording:"",transcript:"",stories:[],collections:[],papers:"",keywords:[]},{id:"S0022",name:"Axel Meyer",start:"2000",end:"2023",start2:"",end2:"",text:"oulu Axel Meyer (Argentina) 1999 (concepts and peripherals)",link:"",recording:"",transcript:"",stories:["S0056"],collections:[],papers:"",keywords:[]},{id:"S0023",name:"Babette Strousse",start:"1994",end:"2007",start2:"",end2:"",text:"x",link:"https://aalto.cloud.panopto.eu/Panopto/Pages/Embed.aspx?id=bf55600a-30c6-4513-bd79-b1bc0086bfb1&autoplay=false&offerviewer=false&showtitle=true&showbrand=true&captions=true&interactivity=all",recording:"",transcript:"Babette Strousse.pdf",stories:["S0049","S0043","S0006"],collections:["C0008","C0015","C0029"],papers:"",keywords:["K0032","K0036","K0058","K0062","K0070"]},{id:"S0024",name:"Benoit Rouger",start:"2003",end:"2014",start2:"",end2:"",text:"Material technology projects, 3D glass, technical plastics, composites, etc. Started in 2005 with a Master thesis on camera capture on the go. I joined the E-series Design Team led by Valtteri Eroma. I was located to Salo before we moved to Nokia Espoo in 2007. In my team, we helped my colleagues with their projects, it was an awesome place to work. We used to closely collaborate with the Strategy and Insight team. The design team was getting the latest trends on design and technology. As a team, we created design language sprint for the range of products. At the time, the portfolios was structured by the business units.With the wake of smart phones, business organisation changed and so did design accordingly. 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These were, as the name says, projects including the total experience around a specific theme: device design, bag design, clothes design, graphic design, photography & styling, colours & material design, packaging design, sound design, animations, exhibition design etc. These projects were all on a conceptual level, only for in-house use, and never ended in the shops for consumers. \n\nOne which I remember well, for which I worked as the art director, was called Pulse and was about sport, health and well being. I worked with several external partners from different countries and the final presentation was made in form of an exhibition in Nokia House.\nI also worked as the art director for a few book design projects (also in-house projects, on a conceptual level). 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O(E){for(;M.firstChild;)M.removeChild(M.firstChild);M.appendChild(document.createTextNode("".concat(E," / ")))}let ee="sortStart",Ce=!0,de="";document.getElementById("search").addEventListener("input",ip(E=>{const B=E.target.value;B!=de&&Ae({newSearchPattern:B})},300)),document.getElementById("search-clear-btn").addEventListener("click",()=>{document.getElementById("search").value="",Ae({newSearchPattern:""})}),document.querySelectorAll('input[name="story-sorter"]').forEach(E=>{E.addEventListener("change",function(B){Ae({newSortOption:B.target.value})})}),document.getElementById("showAllStories").addEventListener("change",function(E){Ae({newShowAllStories:!E.target.checked})});function Ae({newSortOption:E,newShowAllStories:B,newSearchPattern:T}){ee=typeof E<"u"?E:ee,Ce=typeof B<"u"?B:Ce,de=typeof T<"u"?T:de,w=c(),O(w.length),Se.getState().setVisibleNodes(w),_(w),p(ee==="sortAlphabetical")}function Xe(){d.addEventListener("mousemove",j),d.addEventListener("mouseout",U),d.addEventListener("click",$)}function S(E){const B=d.getBoundingClientRect();return{x:E.clientX-B.left-n.left,y:E.clientY-B.top-n.top}}function j(E){const B=S(E),T=Q(B);if(T!==-1){v(T);const R=w[T];d.style.cursor="pointer",tp(E,R)}else tr(),d.style.cursor="default"}function U(){v()}function $(E){const B=S(E),T=Q(B);if(T!==-1){let R=w[T];console.log(R),I=R,pt(I)}else I=null;v()}function Q(E){return w.findIndex(B=>{const T=t(B.name),R=e(+B.start),ae=e(Math.max(+B.end,+B.end2));return E.y>=T&&E.y<=T+t.bandwidth()&&E.x>=R&&E.x<=ae})}}const n2=Object.freeze(Object.defineProperty({__proto__:null,initializeTimelinePlot:i2},Symbol.toStringTag,{value:"Module"}));export{r2 as __vite_legacy_guard};
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