Mapovani KKP, svazekII_final

Executive Summary
The challenge for the development of digital economy in the CR is the shortage of
people with specific knowledge of ICT and the lack of strategic support. Although
there is some background for it, mainly the state policy Digital Czechia, it is reduced
only to the electronic communication area (in particular the development of high
speed internet) and IT services are perceived only in the context of a service for
the physical IT infrastructure. The strategy ignores the opportunities and identified
needs of the private and public sectors, and ignores the transformational importance
of technological changes, e.g. in the form of using the open data by the public administration,
as well as by the private sector.
Design is undoubtedly another of the most progressive sectors with its strong potential
for innovation of products, services and environment. Although Czech design
is currently enjoying an increased interest of the public, media and industry, its
potential has not yet been strategically developed in the CR. The CR has, thanks to
a dense network of educational institutions in the fields of applied arts, a relatively
large number of designers who perform professional activities mainly as self-employed,
are grouped into design studios or are employed in larger firms. Their success
depends not only on the quality of work, but also on business skills, marketing, and
presentation of their work at Czech and international fairs, establishing cooperation
with companies and prestige contracts. Most often, designers become successful
entrepreneurs by establishing cooperation with a reputable company. More and more
often businesses are open, for example, with the motivation to introduce a missing
product or service into the market. However, in the CR this effort is often stopped
by lack of capital and business skills. Important players on the Czech scene include
companies whose business strategies are built on design. They are the traditional
companies (TON, Škoda, Prim, Preciosa, Baťa, Botas and Fatra) and also companies
founded after 1989 (e.g. the manufacturers of urban fixtures mmcité, hospital equipment
Linet, luxury lights Lasvit or household objects of everyday use Tescoma and
Plastia). However, there are very few companies that effectively apply design in
production in the CR, and the successes of Czech designers and companies at home
and abroad are rather rare. The potential for linking the business and design sectors
is not being developed sufficiently in the CR.
After the closure of the Design Centre, the CR is the only EU country where design
is not developed by a state-sponsored umbrella organization, which would create
favourable conditions for its development. At the state level, there is only one, not
too well-funded programme implemented by the CzechTrade agency, which is slightly
varied in relation to funding from the European Structural and Investment Funds.
For the period 2016–2018 the programme called Design 2, a follow-up to the Design
for Competitiveness programme (2013–2014) should be implemented. The aim of
the programme is to support Czech manufacturers through their collaboration with
designers. In the period 2016–2018 roughly 195 specific projects are expected. The
programme’s budget is about 10 million CZK and will, among other things, also facilitate
designers’ presentations at foreign trade fairs.
566