WORKS AND THOUGHTS

WORKS AND
THOUGHTS
Published by:
Institute of Design and Fine Arts,
Lahti University of Applied Sciences
Kannaksenkatu 22, P.O.Box 92
15140 Lahti, Finland
www.lamk.fi/mi
Lamk in english:
http://www.lamk.fi/english/
Graphic design, layout and art direction:
Sanna Koivumäki, Graphic Design, 3rd year
Photography:
Miia Autio
Henni Hyvärinen
Niclas Mäkelä
Jasmin Rauha
Sari Soininen
Photography, 2nd year
Graphic assistance:
Kanerva Karpo, Graphic Design, 3rd year
Text:
Saara Mansikkamäki, Photography, 2nd year
Translation:
Nouveau Language
Printed by:
LIBRIS, Helsinki 2011
Lahti, Finland 2011
ISBN 978-951-97052-5-5
A creative community
has pulling power!
Being surrounded by talented people who generate creative energy is an important part of studying. We inspire
one another. At best, working together encourages the
sharing and refining of ideas and mutual respect. With
its compact dimensions, the Institute of Design and Fine
Arts offers an ideal backdrop for spontaneous, self-motivated involvement of students.
As content producers describing and illustrating the Institute of Design and Fine Arts, this publication gives
centre stage to students. Images, design products and
works of art portray the constant dialogue of students
with themselves, each other and the surrounding society. Everyone has something good to offer. The purpose of
the Institute is to facilitate the development and growth
of students, so they are equipped for professional tasks.
Welcome to find out more and become a student at the
Institute of Design and Fine Arts of Lahti University of
Applied Sciences.
Lahti, 1 December 2011
Staff at the Institute of Fine Arts and Design
Miika Heikkinen
Graduated from industrial design in 2008, nb.
Specialised in vehicle design
You graduated from the Institute of Design in 2008.
What are you doing now?
Do you miss something from your student days at the
Institute of Design? What and why?
I work as an exterior designer at Ford.
I miss our excellent class. We were an incredible group,
and spent a lot of time together also outside of studies.
I also miss the workshops and the general positive atmosphere where “anything is possible”.
The best thing about your work?
The initial stage of a project, when I get to freely sketch
concepts without any greater restrictions related to the
manufacture method. I also enjoy fine-tuning reflective surfaces on Photoshop at the end of a project.
What would your dream car be like?
I’ve been waiting for a compact, environmentally
friendly car for a long while, which would offer the
equivalent driving experience as today’s top sports
cars. My dream car would enable a “rawer” driving experience, for example by leaning into curves.
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Your own ideology as a designer?
I think designers have a responsibility to design products with a purpose/need. I have a drive to design increasingly ecological solutions that can be useful on a
larger scale.
Your strength as a car exterior designer?
Ideation skills, sketching skills, a slight case of workaholism, and an optimistic attitude towards creating.
Opel Flow‚ Bentley Ten11
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ANU NOKUA, AUGUST SALO, JENNI HOKKANEN: Flûte, champagne bottle, 2nd year project, 2011
Packaging and Graphic Design
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ANNIKA HUURREKORPI
Fashion Design, 3rd year
You were dreaming of working as
a graphic designer. What happened?
I didn’t think that fashion design was a real profession.
I first applied to study Graphic Design, but completed
the preliminary assignment also for Fashion Design
as I had some interest in the field. Instead of Graphic
Design, I was invited for the entrance examination for
Fashion Design and something clicked. I realised that
you don’t have to be born a fashion designer, but you
can learn. I understood that being a fashion designer is
a real profession!
How have your studies progressed?
The beginning was difficult. Others had designed
clothes and created patterns in their free time, while
crocheting a scruffy pot holder was all I’d done before
coming here. But I throw myself into things and give
everything a try. I step outside of my comfort zone, test
my boundaries and try to learn from things that have
gone completely wrong.
Ruskan jälkeen, women's clothing
ƒPaulo, dress inspired by Picasso
What are your future expectations?
I sometimes thought it would be great to get my own
name out there as a designer, but the more I learn about
the field and techniques, I realise the future can be anything. There is so much of interest out there, and I still
want to find my own direction.
What would you say to those coming to
study at the Institute of Design; why study here?
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It’s a small school with a good atmosphere. You can’t
get lost in the crowd here. But if you really want to remain anonymous, that’s possible, too. When you need
help for your work you receive it immediately, and you
don’t have to get lost in bureaucracy. Teaching is fairly
diverse and clear. The courses are usually arranged as
they should.
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Oscillation, jacket
ƒAdamas, dress based on Breakfast at Tiffany's
PÄIVI MERVIÖ
Fashion Design, 4th year
Your thesis discusses Japanese aesthetics and
clothing. What sparked your interest in Japanese
culture?
which involves creating patterns for garments without
creating scraps of fabric, is an interesting and respectable method, although I haven’t tried it myself yet.
On some subconscious level, I’ve been drawn to Japanese culture and aesthetics since I was small. The initial spark perhaps came from meeting a Japanese exchange student in primary school. I’ve kept the paper
origami bird she gave me to this day. Since then, I have
taken part in two work placements in Japan within the
clothing industry and visited the country a couple of
times on holiday. Japan feels like a natural and homely
place for me some how.
You have created costumes for a musical, and a few
new costume design projects are awaiting. What is it
that fascinates you about musical costume design?
Using recycled materials is a constantly growing
trend in the fashion industry. What is the role of
recycling in your own design ideology?
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I am absolutely all for reusing and recycling materials,
and I recycle materials in my own design work occasionally, although not slavishly. I will be using recycled kimonos for my thesis. So-called ‘No Waste’ pattern cutting,
Musical costumes are like a different world compared
to industrial fashion design. Musicals allow to delve into
stories and roles and perhaps have a bit more fun. Costume design is also challenging, as you need to pay attention to so many details, such as the functionality of
the clothing when actors move on stage, the visibility
and effect of the costumes that should reach the audience, considering the visual whole, emphasising the
personalities of each character, and ease of changing
outfits (sometimes actors need to get changed into another costume in an incredible hurry). I’ve always loved
films and stories, ranging from history to sci-fi and fantasy, so creating costumes for different characters is
­really fun.
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MARIISA IIVARI, Fashion Design, 3rd year
Apocalypse, women's clothing
ƒDora, cotton dress inspired by Picasso
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PETTERI HÄKKINEN
Furniture Design, 4TH year
What are the most important properties or skills
of a good furniture designer?
Perhaps the most important quality are good
three-dimensional visualisation skills. It is also
crucial to be unprejudiced, prepared to try new
things and willing to question accepted rules.
Some of the skills that are required are knowledge
of materials and understanding of their properties. It is also important to master various design
tools, like certain computer programs.
Do you prefer some materials over others?
Which and why?
I am an artisan carpenter by prior training and
that is perhaps evident in my design work: I probably favour wood over other materials. It is an interesting living material that can be difficult to tame.
The Duck, 2011
Which of the everyday furnishings found in
every home is most in need of redesigning?
I think most of our everyday furnishings are functional and as such do not need redesigning. One
thing I’d like to do is to change the current styles
for something slightly lighter and softer.
What are your best memories of the Institute of
Design?
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My best memories come from the institute’s joint
events, like Christmas parties, studio parties, and
so on. They have always had a great atmosphere
and given good opportunities to meet people from
other departments.
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Hero posters, 2011: Kanerva Karpo, HENNA HAVUKAINEN,
JENNA TÄHTINEN, JENNA SEIKKULA „LAURI RYYNÄNEN, Graphic Design, 2nd year
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JARKKO KINNUNEN
Graphic Design, 6th year
What are you aiming for in the future?
I’m aiming to become a concept artist, in other
words to create visual content for games. This requires good drawing skills of more or less everything possible. That’s why I practice illustration as
extensively as I can. In the spring, I’m planning to
head for Los Angeles for a related course for a few
months. After that I’ll be applying for jobs either
in Finland or abroad.
Describe your role models.
Joao Ruas, Tsutomu Nihei, Ashley woods, Shaun
Tan, Moebius, Shinji Kimura, M.C. Barrett, Roger
Deans, Khang Le. And Isaak Levitan, Ilya Repin,
Adolf Hiremy-Hirschl, Rudolf Koivu, John Singer Sargent representing an older generation. On
top of these, a number of contemporary illustrators and concept artists.
What do you consider the best
experience during your studies?
Exchange periods abroad have been the best experiences. I’ve been on two exchanges; I first took
part in a game design programme in Holland, and
then at the Concept Art Atelier in San Francisco.
The first school was fairly bad, but offered a lot of
free time for working on personal projects. I used
the time efficiently to work on my own images.
The second school was really good, and emphasised the foundations of classical art education;
anatomy, figure drawing, perspective, and copying
sculptures and Old Masters, for example. Whether offered by a school or self-taught, I believe this
type of education is vital for illustrators of human
beings or the environment.
What would you say to those
wanting to work in the graphic industry?
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Your attitude is more important than what the
programme offers. None of the artists producing visual content that I admire have found their
own visual niche through minimal effort and just
sticking to what was required by their training.
Those who study graphic design do not merely
have to become graphic designers. The profession
can be used as a starting point, and go on to create
or study art, for example – if that feels right.
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JARKKO KINNUNEN,
Graphic Design, 6th year
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MIIRO SEPPÄNEN,
Miiro Seppänen:
2nd year project, 2010,
Kinos
Starpack contest
Packaging and Graphic
Design
TEEMU KEISTERI
Photography, 5th year
You are a photographer and video artist, and
your hand-drawn Ukkeli character is taking
over the world. What exactly are you going to be
when you grow up?
What makes you happy?
When I grow up, I’m going to be a video artist and
photographer, and maybe a film director. And,
of course, Ukkeli will spread the joy around the
world.
What feeds your creativity? Where do you get
your ideas?
Why is Ukkeli yellow?
When I created him, I made him yellow because
I wanted him to stand out. I also like 80s-style neon-coloured gym clothes. These days I make a lot
of black and white Ukkelis, drawing attention to
the form and the lines.
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What is the funniest thing that has happened to
you as a photographer?
I photographed the over-80s’ hurdles in the 2009
World Masters Athletics in Lahti. It was hysterical but beautiful.
Nature, the peaceful environment in Lapland,
being without electronics, and creative activity.
Spreading joy to others.
I try to rebel against current trends, combine
many techniques and play with new fashion phenomena that I find really boring. Ideas seem to
come automatically when I think about these
things.
The meaning of life…
…is to have fun in a balanced way.
Pipe design Kala
ƒIce Pizza
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LASSE URSIN
graduated from the Institute
of Fine Arts in spring 2011
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It is difficult to make a living on art.
Have you regretted your career choice?
You seem to build a lot of things, you must
have an understanding for technology?
Becoming an artist was a conscious decision, and I had a
realistic idea of the profession. I knew I wouldn’t be able
to make a living purely doing this. But I can’t really say
whether I’ve regretted the choice. At least I don’t admit it.
You’d think so, but at least in the beginning I
didn’t know what I was doing at all. Of course you
learn by doing and breaking enough pieces in the
progress.
You build mechanical drawing equipment.
What do you want to say through it?
The future of art in Finland
I’ve thought about the role of an artist in defining a work
of art. I can construct a machine, choose the pencils and
paper, yet I’m not present in the completion of the piece.
When a machine determines everything and the drawing is the end result of the machine’s physical laws, what
is my contribution as the artist behind the piece? Building on this theme, I’ve also created moving miniature
sculptures, funny little spectacles. I don’t think that the
purpose of art is to create utility objects or interior design elements. It’s more about reflection and challenging
viewers.
There’s been a thinking in the air that artists
aren’t necessary, as a perfectly nice picture can
be picked up from the supermarket. But the fact
that so many people apply to study arts speaks
against the thought that art studies should be reduced. This is the field that is the target of reductions whenever the economy takes a swing. But
do decision-makers really think that the 200 or so
applicants would then apply for some other field?
People want to express themselves and receive relevant training. In the end, the profession of an artist is not much different to that of a nurse.
Juurijalkaisia, 2011
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JENNI SORMUNEN
Institute of Fine Art, graduated in spring 2011
Harmaa eminenssi installation, 2011
„The price of comfort, 2009
Are there specific themes in your art?
I process a lot of different themes in my work, depending on the piece. The subjects I consider in my work are
those which interest me in life, such as the use of power on the societal and individual levels, the relationship
between the individual and society, and the relationship
between man and nature.
How do you maintain your interest and
motivation for making art?
For me, art is a communication tool, so as long as I have
the need to communicate I will have the motivation to
create artwork in one form or another. Naturally, having something worthwhile to say that interests people
requires curiosity and brainwork on my part, but then
my problem has never been underthinking things –
quite the contrary. Making art is also fun and the most
rewarding work I have ever done, so motivation is usually not a problem.
What was your most memorable moment at the
Institute of Fine Art?
I don’t think my most memorable moments are suitable
for printing. (laughs)
An eternal and clichéd question: What is art?
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Art changes as one tries to define it, just like any living thing. Defining art feels irrelevant to me. For me, art
is a kind of personal religion based on the synthesis of
thought and aesthetics.
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Juhani Salonen
Jewellery Design, 4th year
You are working on your thesis in an area
that is often ignored in jewellery design.
Tell us a little more?
The subject of my thesis is to examine the simulation of the sense of touch through jewellery. Often
jewellery is created purely on the basis of beautiful form, rather than thinking more deeply about
the connection of jewellery to one’s body. In my
view, an object, a piece of jewellery should inspire
touch. It’s always been important for me to create
things that feel good in the hand and bring pleasure through the sense of touch.
What has inspired you to design
jewellery from this new perspective?
Care label necklace, silver
My own behaviour. Deep inside my own thoughts,
I can’t be bothered to think about the functionality
of an object. As a result, I take advantage of all possible senses and objects. If I’m thirsty, I don’t start
looking for a glass, but the first object that can
somehow do the job of a cup will suffice. Some objects can sometimes work better in another function than their originally designed purpose. Often
the sense of sight is overemphasised, while other
senses remain in the background. In a way, people
forget the existence of their senses. When I sometimes look at small children who have just understood their own physicality and make the most of
it, I feel a little jealous. To have the ability and permission to be as liberated and use each sense to
its fullest.
According to many students, they learn the
most from their own group during the studies.
What makes a group such a force?
When people who want to develop themselves sit
together for several hours a day, new viewpoints
and thoughts are bound to be born. Also a certain love-hate relationship that prevails in a group
helps to develop, as it provides an opportunity to
also show one’s negative emotions. I’ve realised
that everything is much easier when you work together. It’s been a joy to notice that the solitary creator that I used to be has become a team player.
Trachea, silver
ƒPiece of shirt, silver & fabric
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TOMI HANGISTO
YDB
YDB brings together experts from various fields.
What is your background?
I now work for the City of Turku as an environmental planner, having been involved in planning public
urban spaces for over ten years. Recently I thought it
would be nice to supplement my education and felt
that design could bring some new dimensions into my
work.
Do you feel that the studies have met your
expectations?
The studies have allowed me to spend time on things
that would otherwise receive less attention in my work.
I have acquired many new perspectives for my work
and become familiar with many material applications
that were previously unknown to me. The design studies have taught me to see new opportunities in urban
planning. I believe this will result in new ways of work-
ing in my day job and therefore become visible to the citizens of Turku as improvements in urban planning. Design research has also been an interesting topic for me,
helping me to better understand the meanings behind
certain terminology used in the field.
You were involved in planning the award-winning
modifications to the Vähätori area in Turku. What are
your visions for the future of urban construction?
As a rule I feel that urban planning should concentrate on managing larger entities instead of focusing
on small details. Then we could solve certain problems
once and for all, rather than settling for poor compromise. As an environmental planner I want to be involved in planning settings that take into account people’s needs. I guess the idea is to give the urban space
back to the citizens. I want to create more enjoyable and
functional street environments that can have a positive
effect on people’s well-being.
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RIIKKA MANNINEN, KREETTA AIRILA: Harakoto
Product family design
JULIANNA NEVARI
Interior Architecture, 3rd year
When did you realise you wanted to become an
interior architect?
JULIANNA NEVARI: Bathroom ‚KREETTA AIRILA: Kitchen
When I was a teenager I completed some work experience in an interior architects’ office and design shop
and realised that it was what I wanted to do.
What is the difference between an interior architect
and an interior designer?
A designer focuses more on surface materials and furnishings. An architect, on the other hand, takes a more
comprehensive view, considering everything from the
structures of the space onwards. Interior designers are
usually employed by private customers, whereas interior architects can work for private individuals or corporate customers alike.
What are the strengths or your department?
Our department has a really good team spirit, and it is
definitely a benefit to link furniture design and interior architecture during the first year. This allows us to
network with furniture designers from the start and increases our appreciation for our field, as we have to observe it from others’ points of view.
What would be your dream job?
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I believe that the strength in design work lies in combining different fields. I hope one day to work in a multidisciplinary company. I’d like to be an expert interior
designer who combines design with brand management.
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KREETTA AIRILA,
RIIKKA MANNINEN
Interior Architecture, 3rd year
There are a lot of interior design
programmes on television, which has made
the industry more prolific. Do TV shows give
a realistic impression of the field in any way?
Kreetta: The programmes create an impression that things just happen and there are never any problems. Solutions which have taken
a long time to reach are presented in a flash.
Usually the projects are also more small-scale
than in reality.
Riikka: Some may end up working in the field
because of those types of programmes. But the
programmes do not present a realistic view of
the diverse nature of interior architecture as a
profession.
How extensively are interior architects able
to bring their own ideology into their work?
Kreetta: In this industry, everything stems
from the starting points of the customer rather than the designer. Of course you need to listen to your own voice, but the customer is the
boss whose needs you have to meet. Personally,
however, ecological considerations are something I want to emphasise in my work.
Riikka: Customers are rarely aware of changes in the industry and new regulations, and it
is the designers’ task to use their skills in leading the customer in the right direction. Maybe
this how designers can bring their own ideology into their work.
Your best projects at the
Institute of Design? Why?
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Riikka: Designing a passive-energy house for
the Kokkola Housing Fair was a truly rewarding group project. At the same time, we gained
understanding of the principles of energy-efficient and ecological construction.
Kreetta: Although we carried out the project on merely the design level, it inspired the
whole group and opened up a completely new
perspective to the design process. We have just
KREETTA AIRILA, RIIKKA MANNINEN,
JULIANNA NEVARI, SAANA TURUNEN:
Kajaste, modern dry toilet concept
completed an alteration plan for an entire residential area with the aim of creating new perspectives to sustainable housing and communities.
What is it like to study
at the Institute of Design?
Riikka: The Institute of Design has a practical
focus, and ensures that students have the adequate skills to complete projects even under
tight deadlines as well as produce illustrative
visual material for their plans.
Kreetta: Internal group work within the departments as well as projects with corporate
partners provide skills for working life. There
is a good atmosphere at the Institute of Design
as a whole, and it is easy to get to know students
from different fields.
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Arkipäivän estetiikkaa (everyday luxury), Jewellery design, photos: Jasmin Rauha
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Sini Kyllönen
Kukka Rantanen
Johanna Rantalainen
Juhani Salonen „Jenni Smeets
ƒFrom the series Buckwild ‚Untitled
AAPO HUHTA
Photography, 3rd year
Why did you decide to become a photographer?
I was initially drawn to photography because of its visuality. I took a great deal of photographs of my friends
and girlfriend of the time. I gradually realised the power of photography in telling something about the subject matter and myself. The studies introduced many
inspiring photographers, both past and present. I
guess I never really decided to become a photographer,
but it has fascinated me so much that I currently spend
almost all my time on photography.
Your biggest work-related dream?
It’s a difficult question, as my own photography develops constantly. I hope that I can photograph independently in my own desired format as long as it feels
pleasing.
You recently received the award for young press
photographer of the year.
Why are you interested in press photography?
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Sometimes it’s nice to work within a given framework
that’s much more straightforward compared to my
own projects. Usually press photos have a topical subject matter, and reader/viewer-centred photography
brings new thoughts also for my own projects. Photography is also different when you are after a single pic-
ture and the subject has been defined externally. Capturing one-off pictures or stories of this type brings a
welcome change between longer projects.
What is most challenging about photography?
The shoot itself feels rather easy, although it naturally
depends on the subject. However, sometimes personal
chemistry comes in, and the person I am photographing does not want to give anything away. In those situations all you can do is accept that you cannot influence everything and get all that you want. The most
difficult moment in projects is when you start to have
a fair amount of material and it looks promising, yet
it still needs to be expanded. The moment when you
don’t know which direction the project should take
and what the next picture should be. Usually the situation turns around in some way, by accident or by continuing in a certain direction, trusting that you’ll end
up on the right course.
What motivates you?
Moments of success. When you know that you’ve
achieved something even better than you’d first imagined. And other photographers. Following the progress of a project and seeing something you think you
wouldn’t have done the same way, yet the photograph
is even better than if you’d taken it yourself.
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MISKA KUNTSI
Furniture Design, 3rd year
Many people complain that
these days furniture doesn’t last and
seems to fall apart already when assembled.
Is there any sense in mass producing furniture?
High-quality furniture has always been and will
continue to be available on the market; the problem is that quality products made by skilled professionals from premium materials are also often
considerably more expensive than other equivalent products on the market. Mass production of
furniture makes sense, as it offers lower prices for
consumers. But the mass production or any type
of manufacture of poor quality or unnecessary
products never makes sense.
Your favourite piece? Why?
A sheepskin. It kindles memories from my childhood and a soft, warm feel. It’s warm when the
temperature gets cold and stays cool in the heat.
It’s used as a rug and padding in the summer, and
as a sledge or seat cover in the winter. A sheepskin
is suitable for users of any age or size, and if maintained correctly it stays in good shape for a very
long time. It’s a 100% natural product and available
in white! In addition, its original owner tastes excellent at the dinner table.
What do you find most
interesting about furniture design?
Why do you want to be a furniture designer?
In addition to product design, furniture design is
about problem-solving related to services, space,
concepts, communities, companies and daily lives
- an endless field. I’m glad to be able to do this as
my job.
Continue the sentence:
In twenty years time, furniture...
…will continue to have as important a role in the
daily lives of people as it did a thousand years ago.
Rousku
„Haka, 2011
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NIKOLO KERIMOV
PackagING AND Graphic DESIGN, 4th year
Give a little promotion speech for package design.
People often have a very negative impression of packaging, and it is often considered a waste. This is just a result of failing to look at packaging design from different
angles and making use of its full potential. Packaging
could be so much more aesthetic, cost-efficient, functional and ecological. A fantastic quality of packaging design
is that it combines industrial design and graphic design.
The studies allow to take part in many different types of
projects and become employed also in other areas than
packaging design. Packaging design could be described
as a cross-disciplinary science - if you can call it science.
Students of Packaging and Graphic Design at the
Institute of Design have gained success in
competitions within the industry. Why is that?
The department has an emphasis on competitions and
has developed into a competitive place in a positive way.
It motivates and inspires students to achieve higher quality in their work. Yet there is freedom to work as an individual and no one is forced into a certain direction. You
don’t need to hide your own thing here.
Has studying at the Institute of
Design changed you somehow?
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I’ve become a better person. Not really. But some kind of
change has happened. Perhaps seeing interesting things
in one’s surroundings more than before and being satisfied with less.
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LAURI TOIKKA
Graphic Design, graduated in spring 2010
You graduated from Lahti Institute of
Design in spring 2010, and your thesis
comprised designing a font. After Lahti
you went to Haag, Holland to do a Master’s
degree in type design. You continue to be
interested in typography. Why?
Red, movieposter
I see typography as the arrangement of information into a visual whole. Good typography communicates the intended values, which may be aesthetic, functional or emotional. Both the limited
and limitless opportunities of typography design
are perplexing. On the one hand, you have a limited number of elements to work with – on the other hand, the number of right and wrong solutions
is endless. The selection process leading to the final solution is both challenging and fascinating.
What are your future plans?
I am currently working on graphic and font design
projects in Berlin with my German colleague Florian. I hope to carry on working this way and to develop myself as a visualist.
What was the best thing during
your time at the Institute of Design?
What has stuck in your mind?
The Institute of Design had a liberal and warmhearted atmosphere, excellent technical facilities
and lovely girls.
What did you learn at the Institute of Design?
To trust myself professionally.
Colette font family
ƒUntitled blackletter typeface
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Tram concept
ƒFord truck concept
CALEB CLAASSEN
Industrial Design, 3rd year
You have lived on three different continents and
have multicultural roots. Do you think this
influences your work as a designer?
so small. But I’m in the process of applying for an
exchange period in Austria, and hope it will open
doors towards my dream.
It’s hard to say. Sometimes I approach things differently from others, but that may be down to my
personality. It’s hard to differentiate any clear
cause-effect relationships. Life in Africa was completely different to life here, and sometimes I miss
the California sun, but I don’t think my background influences my work to a larger extent.
My background perhaps brings me a better understanding of the way things are handled in the
world at large.
The Institute of Design is small
compared to other schools you are used to.
How would you describe the Institute of Design?
What type of work would
you like to do in the future?
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Anything in the field of industrial design in any
company or country would be quite welcome. My
dream would be to design motorbikes, as they
have always been a big part of my life. It’s hard to
become a motorcycle designer, as the circles are
I’ve really enjoyed being here. The school has an
inspiring and free atmosphere. Sometimes a little
too free… But you just want to keep creating new
and better things here. You could say that I have
the drive, others have the drive, and then it just
spreads! Everyone helps each other to improve!
Ford MGT sportscar
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What do you do for a living?
I’m a vehicle designer at Tesla Motors in Los Angeles. Tesla designs, manufactures and sells premium class electric cars. My main areas of responsibility include exterior and interior design.
As we have a small team, I also focus on components to an extent.
or, details, driveability, appeal, duration, price,
aerodynamics, multifunctional interiors…
Cars have fascinated me since I was small, but
I’m not a car fanatic and can’t even fix one.
Why did you choose this specific field?
I am a passionate follower of minimalism. I get
incredibly excited about new structures, and
natural forms are an endless source of inspiration to me. I love to draw - it is one of the reasons I chose to specialise in vehicle design, as
most of the work is carried out by drawing or
sculpting surfaces, textures and outlines. An
exterior of a car always aims for perfection.
We didn’t engage in designing cars so much in
Lahti, but previous graduates from the Institute of Design influenced my decision to get involved. Vehicle design is the most comprehensive
and challenging form of industrial design that I
know. So many elements need to be considered
when designing a car, such as the interior, exteri-
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What inspires you as a designer?
Audi, Interior theme sketch ‚Royal College of Art graduation project Bentley, Exterior side view rendering
JOONAS VARTOLA
graduated from Industrial Design in 2006, NB.
Specialised in vehicle design
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Day, perfume set
SAANA HELLSTEN
graduated as a packaging designer in 2011
You designed a perfume bottle and
packaging range as part of your thesis. Your
work earned you the innovation award of
the year. Are you still interested in perfume
packaging?
Perfume packaging design continues to be my
dream, and I will be applying to the MS programme in Packaging Design at the Pratt Institute in New York. The programme features
a separate course for perfume packaging design, and graduates have been employed in
leading companies in the industry.
What types of people does a career in
packaging design suit?
Someone who is good at designing a larger whole and understands the importance of
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brand associations. Packaging design involves
both 2D and 3D design, so you need to learn to
be creative in both areas. A user-centred approach plays a vital role in design, where even
the smallest details count. You need to step
into the consumer’s shoes and find the small
details that make the package a pleasure to
use. These include both structural and graphic features.
The most valuable thing you have
learned at the Institute of Design?
You learn the most from other students. It’s no
point keeping unfinished work hidden away,
but it should be shared with others, who may
be able to give invaluable tips for carrying on.
Networking is really important, as other students are also your future colleagues.
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Lina Jelanski
PHOTOGRAPHY, 4TH YEAR
How did you end up studying
at the Institute of Design?
I was initially studying photography in Barcelona,
when a classmate told me she was applying to the
Institute of Design. I had never even heard about the
school, and wasn’t planning to return to Finland at
all, but my competitive streak made me apply for the
same school. I was chosen and she wasn’t.
Working as a photographer requires constantly
stepping over one’s limits and an ability to throw
oneself into different situations. Have you noticed
whether photography has changed you?
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I have grown through photography. It has helped
me find my own voice in the world and to have the
ability to express myself in a way I didn’t know before. Through photography I have learnt to encounter other people and myself at the same time. But
the journey has not been easy. Honestly speaking, I
have never been a particularly sociable person. I’m
ashamed to admit it but at first I was afraid of talking
to others without a drink. At the same time, my fascination was a greater force than my anxiety. It’s still
difficult and scary to approach my subject, but I feel
that I have learnt a way to create a genuine contact
with others. I’ve understood how much depends on
the photographer’s own character. If I come across as
confident in the situation, the subject also relaxes. I’ve
also learned to smile (very difficult for me…), encourage and even compliment the person I’m photographing. Over time, my proneness to isolation I thought
was a burden became a strength – I take an outsider view to the world, and capture what I see through
my camera.
What is the most important thing you
have learned at the Institute of Design?
There are times when you have doubts about everything: yourself, photography, career choice. Even
your mental health. Sometimes even taking the camera out of its bag feels like an overwhelming task, and
a fear that your creativity is running out starts to take
over. Definitely the most important thing I’ve learnt
at the Institute of Design is that you don’t need to let
these periods scare you. They come and go just as
surely as winter is followed by spring. Knowing about
the temporary nature of these periods may not make
them easier to bear, but helps to get through. You just
need to be patient.
Pictures are from the series Uncertain Diary
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NOORA ISO-KUUSELA
Multimedia Production
How are the best ideas made?
The best ideas arise when you work in a tolerant environment, understand the criticism you receive and
are able to take your thoughts one step further. Music is one of my main sources of inspiration. When I
want to achieve a complete state of flow, I lose myself
in my headphones.
What is the best piece of advice you have received
from the Institute of Design that has helped you in
your career?
The most educational thing at the Institute are the
critiques, which one should learn to receive as early
as possible. Constructive criticism allows one to grow
as a designer, especially when the giver of the criticism has a broad knowledge of the field. The Institute
of Design has many teachers who also make a living
as designers, which makes their teaching practically
oriented. These days I am critical about my own work
but I am also able to take in criticism from outside,
even if it stings; I have gained many insights from
people’s justified comments.
I suppose the brain is the designer’s most important
tool, but does the computer come a close second?
Has computerised work completely replaced
handcrafting in your field?
I’d say computer hardware and software are just
tools. Computers are used in almost all professions
these days. You might know how to use software, but
that doesn’t make you a designer – just like having a
camera doesn’t make you a photographer. Many illustrators still draw by hand and I often make quick
sketches on the corner of a notepad, because it helps
me collect my thoughts.
What future career plans have you got?
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Until now, digital design has been one of my main
strengths, but in the future I want to focus on the
whole palette of marketing communications. In addition to visual design, I am interested in usability and
concept design. I am currently honing my language
skills in order to gain access to international projects.
I have had the opportunity to work in some of the best
companies in the field in Finland, and I hope that this
will continue to be the case.
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JUHANI ANANIN
Jewellery Design, 4th year
How did a Northern lad
become a jewellery designer?
At 16 and living in Lapland, I moved from Ivalo to Inari to see what it’s like to study traditional Sámi handicrafts at the Sámi Education Institute. A couple of years
into the studies I realised that this really was my thing.
You completed two artisan degrees in
Inari. Why did you decide to apply to
the Institute of Design as well?
I was fascinated by precious metals and wanted to learn
new ideas. Sámi handicrafts are always created on the
terms of the material and with respect to tradition. But
I became more interested in following my own ideas. I
began to become estranged from the world of traditional forms.
Why do you find precious metals fascinating?
You an create any shapes from metal as long as you
master the technique. Precious metals offer an endless
array of ways to shape your work. Fortunately, there are
so many techniques that it would be impossible to learn
everything within one’s lifetime.
You will be graduating as a designer, yet
think of yourself more as an artisan. Why?
When I design a range of jewellery, I want to be able
to create it as well. I see myself as a creator of limited
ranges and unique pieces, and want to make everything
with high standards, by hand. I seem to be quite a perfectionist; I want to challenge myself.
„The little things
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LAURA SALORANTA
Jewellery Design, 4th year
Why are you a jewellery designer?
Ha ha, that’s something I wonder about every now
and then, especially as I hardly wear jewellery
myself! Maybe this is one of those undying questions. I see jewellery as small-scale works of art,
and this gives me the freedom to think of myself
as a sort of visual artist.
Challenging situations for a jewellery designer?
Sometimes it’s hard to justify this work on the
whole, as pieces of jewellery are products that by
no means save the world. Ultimately, this is quite
a non-ecological industry, and its existence cannot be justified based on reason. It’s hard to confront these lines of thoughts, but somehow you
manage to justify your work, for instance based
on the fact that jewellery was worn already in the
Stone Ages. I believe that jewellery is connected
to humanity somehow, and can have a very spiritual meaning. If my pieces make someone happy, it
may be enough justification for me to create them.
Your role models in the industry?
There is no particular person, but I do have a general interest in Japanese jewellery designers.
They opt for similar forms as Finns, but always
add something absurd to the designs. I seem to
get excited about slightly odd things. Jewellery design is characterised by limitless forms, and being
tuned in the right direction allows you to do anything. Even something ridiculous.
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TOMI VÄISÄNEN:
Hideout of Baba Yaga
ƒRunaway train
‚Orbital breakfast
Rocket plane
TOMI VÄISÄNEN
Multimedia Design, 3rd year
How did you end up studying
at the Institute of Design?
For a long time, I thought I’d work in the army. At one
point, I had the application forms for both the National
Defence University and Institute of Design in my hand,
and I wondered to myself how my future outlooks could
be so poles apart. I sent them off and received an invitation to the entrance exam for both places. I decided to try
out civil life first, and here I am.
Why multimedia?
I realised that the computer was a superior tool over everything else; Photoshop and copy paste! (laughter) Don’t
write that down! This is exactly the right place for those
who have spent their childhood with Nintendo, and are
now able to carry on in the same vein. There’s as much
work in the field as you can possibly manage to do. I
studied for six months here at the Institute before I was
dragged to work straight from the classroom. I’m constantly working on my own projects. Not sure how to
make time for everything. I guess I don’t have a personal life. I’ve become such a nerd at this stage.
Heaven for a multimedia designer?
A damn powerful computer and endless quantities of
coffee.
Still interested in working in the army?
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I’m actually interested in merging the two professions. I
just sent a job application to work as a military photographer. That would be interesting to try, a real ”once in a
lifetime” opportunity.
MIIRO SEPPÄNEN
PackagING AND GRAPHIC Design, 2nd year
Sometimes the interface between a product
and its protective packaging is as illusive as
that between madness and genius.
What would be a good example of a product
where packaging plays a vital role?
If you think about the widely known Pez sweets,
what would they be without their packaging?
Sometimes it is the packaging that is the thing.
At best, packaging can create a product, but it can
also ruin it. The reason packaging design is commissioned is the added value it creates for a product.
You have already been making
a career at advertising agencies.
What do your studies mean to you?
I wanted to create time for myself where I could
freely think about and do my own things for four
years. At work there’s rarely time to develop your
own style or look for a personal direction, as you
have to work in line with the company style or customer brand. Studying provides time and freedom
to do exactly what feels good.
What are you like as a designer?
I am ambitious and pay attention to detail. Everything you do has to have a purpose. I need to have
a reason for every single line I draw. If I can’t justify my choices, they are unnecessary.
Describe studying at the
Institute of Design in a few words.
All of the teachers have their own unique style, yet
students are not pressured to do things in a certain
way. An opportunity to try lots of different styles
allows to ultimately find one’s own direction. In
other words, there is no unnecessary teaching.
However, the community teaches more than any
individual teacher. Students here are an incredibly close-knit bunch.
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Kinos,
package for
Starpack
competition
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JOONAS VARTOLA: Off-road vehicle concept
KALLE KEITURI
Vehicle Design, 1st year
Vehicle design is probably the dream
job for many little and slightly bigger boys.
Why did you become interested in the field?
I’ve been drawing cars since preschool, and started fixing cars already before I was old enough to get a driving
license. Gradually, I became interested in the overall design of cars. I can’t really even think of another field I’d
like to work in and which I’d be so enthusiastic about.
Vehicle Design is a new major degree
programme at the Institute of Design.
Have you enjoyed it?
Designers who have graduated from Industrial Design
have been employed by the vehicle industry already before, so I had high expectations about the programme.
And I can say that I haven’t been disappointed. I enjoy
the studies, and the teachers are good and up-to-date
with changes in the sector. The atmosphere in our class
is excellent, and everyone is motivated.
ANTTI ESKELI: Maininki,
Michelin Challenge Design 2011 finalist
The sector is very competitive.
How can one succeed?
ANTTI ESKELI: Maininki,
Michelin Challenge Design 2011 finalist
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It’s hard to say at this stage. However, I believe that
studying at Lahti Institute of Design provides adequate
skills for future employment needs. The rest is up to
yourself.
Your dream employer?
BMW
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ANU-ANETTE VARHO
IMIAD (International Master of
Interior Architectual Design)
IMIAD focuses on creating
international partnership networks.
How has this been achieved in practice?
Internationality is realised through exchange period and workshops. Both involve working closely
with students from other countries. In other words,
networks have been created through joint projects
and making friends with other students on our
journeys.
Where did you spend your
exchange period? Is it different to
study abroad than at the Institute of Design?
I was in Lugano, Switzerland. Studying at SUPSI was rather different from the Institue of Design
and what I was used to in Finland. Here, students
are taught to be individuals and defend their own
views, while the relationship between teachers and
students was more hierarchical at the host institution. Workshop facilities at the Institute of Design
are topnotch compared to Switzerland, probably
partly because we make more furniture prototypes
than in Switzerland. Another major difference was
that 3D modelling wasn’t really carried out at my
host institution. Instead, each design had to be accompanied with piles of handmade sketches and
models. These days, at the beginning of a design
process, I increasingly develop by ideas using these
tools.
How has completing the programme
been of practical use to you/your career?
The IMIAD programme has changed me a lot! International projects have especially changed my
way of creating and viewing. Studying whilst working was tough, especially as I was also living in another town. But there were more pros than cons.
Courage to do things differently than before and to
take new risks is a practical advantage. My thesis resulted in a new, interesting project in the area of regional design for the coming year.
Kylässä, visualisations of design office
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You will graduate soon. What was
the best thing about your studies?
The best thing was the international aspect as mentioned before. Great discussions over coffee with
my classmates and other IMIAD students are another lovely memory. Above all, change.
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RAMI SANTALA
Industrial Design, 4th year
How much does the product you are designing
influence how interesting you find the design process?
The product doesn’t really influence it, but it is the atmosphere that matters. The commissioner being bold,
having the courage to give me freedom and being interested in my work makes all the difference.
Your best projects at the Institute of Design?
For some reason, the coolest things are what I do on the
side of school stuff, extra jobs. It’s important that some
of your own work becomes realised already during the
studies, for example when your designs gain recognition through a competition or become real products for
a company. These types of projects create confidence
that as a designer you can make the right decisions at
the right time.
Is there a particular ideology you aim
to carry out through your design work?
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Foliage
ƒGero
At some stage, I thought that design equals harmonisation, but now I’m no longer sure. Thoughts and ide-
ologies come and go in my head, and they’ll form a coherent whole one day. In the last couple of months, I’ve
been inspired by a thinking where product design considers what it destroys in the process. Usually the focus
is on what new elements a new product brings, forgetting about the fact that something important may simultaneously be lost from our culture or tradition.
The ecological aspects of products are discussed a
great deal these days. Who is more responsible for
products becoming increasingly environmentally
friendly; designers or consumers?
Environmental issues are so complex that it is unfair to
outsource related decision-making to consumers. Product lifecycle thinking should automatically be integrated into the design and production process, so that consumers would not need to consider it.
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JENNA SEIKKULA, Graphic Design, 3rd year
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VEERA ALA-VÄHÄLÄ, Graphic Design, 3rd year
TARU KALLIO,
graduated from the Institute
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of Fine Arts in spring 2011
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ANNA-MAIJA METTÄLÄ, Graphic Design
JUHANI ANANIN, Jewellery Design, 4th year
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MANU KOSKELA,
Furniture Design, project 2011
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PINJA PIIRA,
Industrial Design, 3rd year
ELISE REHULA, Industrial Design, 5th year
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83
Spandex happening 2011
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„SINI NIHTILÄ
Graphic Design, 3rd year
Ilkka Kelaranta, Elise rehula,
project 2010, Industrial design
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Janne melajoki, Arttu Kuisama
Furniture design, 2009
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PAULA SUNDELL,
animalite -series
JANIKA SALONEN,
Institute of Fine Arts, 2010
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JENNA TÄHTINEN, 2010,
Graphic Design, 3rd year
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ANNA-MAIJA METTÄLÄ, 2011
SINI NIHTILÄ,
Graphic Design, 3rd year
ILONA PARTANEN, Graphic Design, 5th year
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ARJA KÄRKKÄINEN, Fashion Design, 2011
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JOONAS VARTOLA, Industrial design, graduated 2006
EVELINA
MUSTONEN,
fashion design,
4th year
‚Jacket
„Tee dress
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“I don’t know if it is a good thing or a bad thing.
The way this place somehow puts on hold
all other aspects of your life outside of it. It is
almost like you divide your life into two parallel
stretches of time for four years. Sometimes you
don’t even think there is life outside of it.
At times all you think about is getting out.
And I don’t know if it is a good thing or a bad
thing that I am describing what is usually
thought to be a ‘standardised’ university system
with so much emotion.
But I can’t help it.
All the good things related to my time here are
full of emotion, and all the other stuff is fading
away incredibly fast.
Maybe it’s naive to say that I feel like I have
grown. And to be honest, I can’t say that it will
definitely happen to you.
It can’t be advertised or mentioned in some
official-looking paper you get when you leave.
But I think there is a real opportunity for it to
happen.
And I don’t think anything else is more
desirable.“
– Veli-Matti Hoikka
Student of Photography,
4th year
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August Salo,
Packaging design, 2011
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MAIJU KOSKELA,
Furniture design, 2011
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Typographic posters, 2011: Riikka Hoskola, Martina Thorström,
Fanni Perälä, MARINA VESIKKO „ Tiia Lindström, Graphic Design, 2nd year
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„LAURI RYYNÄNEN,
Graphic Design, 3rd year,
2009
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Juhani Ananin
Kreeta Airila
Riikka Manninen
p. 60
Lina Jelanski
p. 56
p. 41
Annika Huurrekorpi
p. 9
Miika Heikkinen
Caleb Claassen
p. 4
p. 50
Julianna Nevari
p. 37
Juhani Salonen
p. 33
Laura Saloranta
p. 62
Lauri Toikka
p. 49
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Aapo Huhta
p. 42
Anu-Anette Varho
p. 73
Tomi Väisänen
p. 66
Miiro Seppänen
Noora Iso-Kuusela
p. 69
p. 58
Miska Kuntsi
p. 44
Saana Hellsten
Nikolo Kerimov
p. 55
p. 47
Rami Santala
p. 75
Petteri Häkkinen
p. 16
Päivi Merviö
p. 13
Teemu Keisteri
p. 26
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Lasse Ursin
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p. 28
Jarkko Kinnunen
p. 20
Kalle Keituri
p. 71
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RAMI SANTALA, industrial design, 4th year 2010, Zebra project
DEGREE PROGRAMME
IN COMMUNICATION
Qualification
Polytechnic Degree in Culture and Arts
Degree Title
Bachelor of Culture and Arts (Medianomi AMK)
Scope
240 ECTS / 4 years
Graphic Design
The job of a graphic designer combines creative problem-solving, art and communication.
The resulting works are a visible part of visual culture and the communication industry,
possessing cultural and environmental significance and impact.
Major subjects
Graphic Design
Multimedia Production
The aim of the studies is to provide students
with the skills required to work in the multidisciplinary tasks of graphic design. Studies focus
on the goal-oriented visualisation of messages
and the broad mastery of typography and various visual and graphical elements. A graphic designer’s tools and equipment can range
from a pencil to multimedia software, and
their assignments from making a single image
to large-scale campaigns and communicative
compilations. The development of perception
and handicraft, visual expression, vision, style
and aesthetic thought remains important in
the education of a graphic designer, in addition
to professional and technical skills. Throughout the education, special attention is paid to
the content of communication and reinforcing
the students’ conceptual skills.
Photography
Studies
Success in visual communication requires
sound general knowledge, creativity, visualisation and communication skills, and artistic talent. A qualified Bachelor of Culture and
Arts possesses up-to-date artistic and technical
competence related to communication technology.
Students follow the curriculum established for
their major subject. The curriculum in force at
the time of the student’s first year of study is
applied when evaluating the student’s completion of requirements. In addition, students have
the opportunity to complete some of their studies abroad, participating in various exchange
programmes. Credit transfer and substitution
based on earlier studies or experience is possible.
110
Basic studies required of all students at the
Lahti University of Applied Sciences include
language and communication studies and entrepreneurship courses. Required arts studies consist of courses in the visual arts, history
and cultural theory. Basic studies are completed primarily during the first two years of study.
Professional studies are specific to each major
subject and generally begin after the first year
of study. Students can choose between specific modules and courses to deepen their knowledge in specific professional fields. The choices are made in consultation with major subject
teachers in a special session, known as a HOPS
discussion, where a personal study plan is created for each student.
Elective courses can be selected from the student’s own degree programme, other degree
programmes at the Lahti University of Applied Sciences, or from other polytechnics or
institutions of higher learning. Elective studies
can also include courses taken abroad as an exchange student. Half of the professional practice is completed through participating in supervised business co-operation projects, and
half through internships at suitable companies
in Finland and abroad. The thesis is a supervised, independently created body of work accompanied by seminar sessions and a maturity test.
Graphic designers find employment in various
publishing and graphic design jobs, advertising
and design agencies, publishing houses, newspapers, magazines and online publications. In
marketing communications, graphic designers
participate in the design of corporate graphics
and advertising, designing the visuals of websites, logos, brochures, posters, labels and packages. They also participate in the planning of
advertising campaigns. In the field of information graphics, designers conceive traffic signs,
guides, exhibitions, visual systems and user interfaces. In cultural communications, graphic designers may find employment in government or other public organisations, or cultural
institutions such as museums. Graphic designers increasingly participate in new media productions, contributing to the design of digital
communication, information networks and interactive media.
Graduates may also find work as self-employed designers and artists in illustration,
comic strips, type design, animation or multimedia, or as teachers.
As a professional in visual communication, a
successful graphic designer should have sound
general knowledge, creativity, artistic talent and communication skills. Varied assignments and fast-paced work require independence, flexibility and teamwork skills as well as
good stress management.
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Photography
Multimedia Production
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Aims
A graduating student has the competence to work
as a digital communications professional for example in production houses, advertising agencies,
news production or as a digital media entrepreneur. Responsibilities can include film post-production, web content design and production, user
interface design, visual design for the game industry or coordinating production teams.
The purpose of the education is to create wellrounded professionals in digital communication.
Success in the profession requires sound general
knowledge in communication; an ability to integrate text, image and sound; goal-orientation; and
an ability to manage production teams.
Foundations
The focus is on practical projects in workshops
and the lectures that support them. Although
the education and the industry in general require
strong skills in applying technology, the focus of
the education lies in design and creative problemsolving. A significant part of the education takes
place in projects, which result in actual products
for real-world clients. In this way, students gain
valuable experience in goal-oriented professional
work already during their studies.
Specialisation lines
After the first two years of study, students pursue projects and advanced studies in one of the expressive tools or professional fields of multimedia.
A study module on either interactive content design or 3D-animation and post-production is selected into the students’ third year studies.
Students can pursue a specialisation into:
1) visual design, motion graphics and animation
2) video post-production
3) interactive content design
The aim is for students to gain the competence to
manage the continuously changing field of photography. As professionals in visual communication, they should be able to apply visual thinking
and expression, a sense of style and proportion as
well as technical skills gained during their basic
and professional studies.
Photographers must be able to generate ideas and
master technical details and materials, as well as
engage in both independent and teamwork. In addition, photographers must be able to follow the
technical and expressive development of visual
and audiovisual media and graphic production.
Some graduates will find employment in newspapers and magazines. They will need sound general knowledge and familiarisation with and interest in the themes they work with. Some graduates
will produce images for advertising and informative purposes. In a commercial environment, photographers must both master technology and materials and have co-operation and entrepreneurial
skills. Photographers also find employment in various organisations, such as museums, institutions
of higher learning, communication colleges and
research centres, in documentation, communication and teaching tasks. Some graduates become
photography artists.
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Vehicle Design
DEGREE PROGRAMME
IN DESIGN
Qualification
Polytechnic Degree in Culture and Arts
Degree Title
Bachelor of Crafts and Design (Muotoilija AMK)
Scope
240 ECTS / 4 years
Jewellery Design
Specialisation Line in Applied Art
Jewellery Design
Specialisation Line in the Design Industry
Vehicle Design
Fashion Design
Packaging Design and Graphics
Interior Architecture and Furniture Design
Industrial Design
Studies
Students follow the curriculum established
for their major subject. The curriculum in
force at the time of the student’s first year of
study is applied when evaluating the student’s
completion of requirements. In addition,
students have the opportunity to complete
some of their studies abroad, participating in
various exchange programmes. Credit transfer
and substitution based on earlier studies or
experience is possible.
Basic studies required of all students at the
Lahti University of Applied Sciences include
language and communication studies and
entrepreneurship courses. Required arts
studies consist of courses in the visual arts,
history and cultural theory. Studies taken
elsewhere (such as at other institutions of
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higher learning) may compensate for some
courses.
Basic studies are completed primarily during
the first two years of study. Professional
studies are specific to each major subject
and generally begin after the first year of
study. Elective courses can be selected from
the student’s own degree programme, other
degree programmes at the Lahti University of
Applied Sciences, or from other polytechnics
or institutions of higher learning. Elective
studies can also include courses taken abroad
as an exchange student. Half of the professional
practice is completed through participating
in supervised business co-operation projects,
and half through internships at suitable
companies in Finland and abroad. The thesis
is a supervised, independently created body of
work accompanied by seminar sessions and a
maturity test.
Objective
Jewellery designers design and manufacture
unique pieces and small series of jewellery,
other precious metal items and various
objects. The aim of the studies is to train
entrepreneurial designers who specialise in
the central professional fields of jewellery and
object design: design, modelling, jewellery
manufacture and production, and process
management. The work of a jewellery
designer is based on strong cultural values,
high-quality expression, a sound knowledge
of materials, and understanding of applied
arts. The studies prepare students to pursue
a career in jewellery design, research and
development in the field, studio production
and small entrepreneurship.
The education in Vehicle Design focuses on
the development of design skills. During their
studies, students learn the theory of vehicle
design. The aim is also to develop the students’
constructive and aesthetical thinking, design
and communication skills, and ability to
apply theory in practice. Students are able to
take into account the appearance, function
and economic requirements from the points
of view of the user, manufacturer and the
environment. The aim is to teach students
an overall approach to product development.
To accomplish this and be successful in their
profession, students need to be willing and
able to constantly look for new information, as
well as co-operate with experts in other fields.
The studies prepare students to pursue a
career in vehicle design. Graduates in vehicle
design are able to further their studies and
follow the professional development of their
field. Vehicle design studies cover private
transport and public passenger and freight
transport. A special sub-field is the design of
work and commercial vehicles. A large part of
the degree takes the form of various industry
partnership projects.
Contents
Studies focus on innovation, the ability to
generate ideas, product development, concept
design, jewellery manufacture, knowledge of
materials, and production methods and their
role in the design and manufacturing process.
Studies are based on hands-on workshops and
continuous competence development.
Major subject studies include product
design, material and design workshops, and
presentation skills.
MIILA HEINONEN, graphic design, 2011
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Fashion Design
The education of a fashion designer aims at
providing students with the basic skills and
competence in industrial fashion design. Central skills include the understanding of body
forms, motion and plasticity. The degree programme familiarises students with clothing
physiology, the qualities and uses of clothing
materials, clothing communication and industrial production processes enabling them to
design ethically, aesthetically, technically and
economically high-quality products and collections for different target groups.
Gaining competence and success in the profession requires outstanding visual expression
and the mastering of CAD tools, skills in visual perception and comprehension, skills in
seeking and applying information, cooperation
skills and initiative to find one’s special field of
operation, as well as creativity for solving problems in an aesthetically satisfying manner.
A variety of jobs are available for fashion designers, for instance in the fashion industry,
commerce and the media. In industry, designers create individual designs and collections.
They bring their expertise to product development teams, which are part of the marketing strategy of the company. Fashion designers
can also choose to specialise in buying or fashion coordination in trade and commerce; costume design for theatre, film or TV; or in expert service provision for the media.
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Industrial Design
The education in Industrial Design focuses on
the development of design skills. During their
education, students become competent in theoretical, artistic, technical and financial matters
related to the field. The aim is to develop the
students’ constructive and aesthetical thinking, design and communication skills and ability to apply theory in practice. Students are able
to take into account the appearance, function
and economic requirements from the points of
view of the user, manufacturer and the environment. The aim is to teach students an overall approach to product development.
Packaging and Graphic Design
Packaging design is a cross-disciplinary major subject. Students develop their expressive
skills in both graphic design and 3D design
workshops and projects. The overall objective
is to acquire and develop the skills and knowledge required in the implementation and control of the design process.
The professional objective is to educate versatile design experts who know how to create marketing communication materials for
both corporate and product-related purposes.
Depending on the student’s personal choices,
they may find employment in advertising and
design agencies or trade and industry.
During the first year of study, the emphasis
lies on common basic studies: language, cultural and art courses and general professional skills such as visual design and presentation
techniques. During the second year, students
learn how to use design software through
graphic and 3-D design workshops. During the
third year, students hone their skills in courses and industry partnership projects. They can
also choose to spend a year abroad as an exchange student. Fourth-year studies focus on
deepening professional skills and overall management. Studies mainly comprise corporate
co-operation, study trips, seminars and thesis
work.
Interior Architecture and
Furniture Design
Students choose their specialisation line when
taking the entrance examination. During the
first year of study, all students participate in basic courses in interior architecture and furniture design and supporting professional studies courses. After that, students focus on either
spatial or furniture design.
Graduates work as experts in spatial and building design and furniture design. They typically
work in architectural or interior architecture
agencies, design agencies, furniture industry
or as self-employed. The professional title of
“interior architect” in Finland is reserved for
graduates accepted as members in the Finnish
Association of Interior Architects.
Graduates are eligible to apply for interior architecture studies at the Institute of Design
leading to a Master’s degree.
To accomplish this and be successful in their
profession, students need to be willing and
able to constantly look for new information, as
well as co-operate with experts in other fields.
Graduates are able to further their studies and
follow the professional development of their
field. Industrial designers design objects for
industrial production. Their core competence
is the mastery of the human-product-environment interaction. Factors influencing design
include appearance, user-orientation and manufacturability; the product determines which
factor plays the most important role. Designers
can work independently or join design projects
in a product development team.
Design categories include consumer and investment goods, work environments, vehicles
and IT and leisure products.
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DEGREE PROGRAMME
IN FINE ARTS
Qualification
Polytechnic Degree in Culture and Arts
Degree Title
Bachelor of Culture and Arts
(Kuvataiteilija AMK)
Scope
240 ECTS
Specialisation Lines
Painting
Sculpture
Printmaking
Extended media
The purpose of the degree programme is to observe and promote the field of fine arts and provide
students with the knowledge and skills they need
to work as visual artists.
Studies
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In the first and second year of study, students follow the same programme. During that time, special attention will be paid to helping the students’
personal development and finding the expressive
forms and tools that suit each student.
Starting from the third year of study, students take
specialisation courses, either in the form of longterm workshops or month-long courses in their
chosen specialisation line (painting, sculpture,
printmaking or extended media). Students can
choose to take studies in one specialisation line
or even in all specialisation lines, and this determines the students’ major subject(s).
In addition to the courses offered in the degree
programme of fine arts, students can take courses
from the degree programmes in design and communication, and other Lahti University of Applied
Sciences units. By separate agreement, students
can substitute courses for ones taken at other universities, other institutes of higher education or
comparable establishments.
ADULT EDUCATION AND TRAINING AT
THE INSTITUTE OF FINE ARTS AND DESIGN
Painting
The studies in painting aim to enable students
to discover painting methods and techniques
that are suitable for them. Students receive assistance in developing their expression and
obtain the basic skills and knowledge required
for work as visual artists.
Sculpture
The studies in sculpture aim to provide students with the all-round skills required to operate in the broad field of three-dimensional
visual art and to improve their personal working methods. As students advance, they are encouraged to use a wide variety of materials and
tools to carry out their ideas.
Printmaking
The studies in printmaking aim to maintain
and upgrade the tradition, forms and methods
that have evolved from the historic expression
through printmaking. Students receive assistance in finding and developing forms of expression and technical skills that are suitable
for them.
The Institute of Fine Arts and Design offers both
youth and adult education and training.
Adult education and training leading to a degree
offers degree programmes in Visual Communication (Graphic Design), Design (Interior Architecture and Furniture Design) and Fine Arts.
The studies are designed to be carried out while
working.
The University of Applied Sciences offers two
Master’s Degree Programmes in Interior Design:
Design Business and Design Research and Degree Programme in Interior Design/International
Master of Interior Architectural Design IMIAD.
Also varying specialisation studies are available.
Specialisation studies in Service Design were implemented during academic year 2011-2012.
In addition, Open Studies and continuing education are an important part of adult education.
The content and requirements of the Open Studies comprise elements of polytechnic degrees, and
the studies are open to participants regardless of
their educational background or age.
Continuing education constitutes workplace-oriented , postgraduate updating of professional
skills or training commissioned by an organisation in the field of design and communication represented by the Institute of Design.
Extended media
The studies in extended media aim to provide
students with the knowledge and skills required for work in the new areas of fine arts.
Students become familiar with the working
methods of visual artists in the new, extended areas of fine arts and use them to produce
works. Students are encouraged to work independently and show initiative.
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