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It's an example of where Nokia understands hardware, demonstrating that weight can lend handheld devices a perception of quality see also an Olympus PEN or a Bang & Olufsen TV's remote control. It is roughly the same weight as the iPhone-slightly lighter in fact, despite being a tad larger. Paradoxically, although the surface gives an impression of lightness, the body feels heavy. The body is polycarbonate, a thermoplastic polymer. It's a beautifully made device, perhaps the finest mobile phone handset design yet. This makes it a more interesting business strategy-particularly as the OS is free, yet generates vast revenue for Google-but that's not for the pages of this magazine.Дomus has had the N9 for the last month and thoroughly road-tested it.

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Although Google's Android operating system is moving faster than either, there is no particular hardware story to discuss there. But it's also impossible to talk about the N9 without talking about Apple's iPhone, the product that swallowed Nokia's enormous market share within a couple of years. So this also may be a battle of ideologies as well as transactions, implicitly at least.ДЄs such, as a user, it's nice to have an alternative.

The one-eyed nature of much of the American press, unwittingly in thrall to one idea of innovation and design, as exemplified by a Californian Ideology, generally has little time for a European manufacturer from faraway Finland, despite the numbers. But this means little when share prices are linked to confidence, and confidence is largely dictated by a technology press based in the US, where Nokia has traditionally had no more than a foothold. This is a little odd, as the firm is still the world's largest manufacturer of mobile phones. The N9 and Lumia are being described as the last roll of the dice for Nokia.

This means that Meego is released, and then immediately replaced, effectively (the N9 will not be made available in the UK or US, or several other key markets).

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It's into this maelstrom that Nokia has pitched the N9 handset running its home-grown Meego Harmattan operating system (OS), and just three months later, effectively superseded it with the Lumia, essentially the same hardware design but crucially, and radically for Nokia, running Windows Phone as its OS. This is a dog-eat-dog game the stakes are so high precisely because phones are so relevant, so meaningful. Yet Finland's Nokia has found itself in a battle to the death with America's Apple and Google and Canada's RIM on one side (software), and various Asian handset manufacturers on the other (hardware). Or that a new chair from Jasper Morrison puts another by Konstantin Grcic out of business. It's not as if Dieter Rams's 606 shelving destroys the possibility of Nils Strinning's String System. The stakes are high, and the cut-throat battle fiercer than most in design. It is vast business and cultural phenomenon, all at once. While objects have long been cultural choices and symbolic goods, the mobile phone, being the most personal connection to the internet, is a device for generating symbolic goods, a vehicle for culture, a proxy for the owner's identities. The phone is an intimate device, not simply through its ubiquity and connectivity, its relationship with the body. Instead, each handset is a play in a wider global contest, a node in logistics networks of immense scale and complexity, a platform for an ecosystem of applications, an exemplar of the internet of things, a window onto the daily interactions of billions of users, of their ever-changing personalities and cultures, a product that consumers traditionally consider the most important in their possession, after the keys to their home. Presumably installed long before the company's current travails amidst the choppiest of market environments, the board inadvertently suggests the great game that Nokia is embroiled within.Д®ach mobile phone handset is not a mere product, perhaps like the other products that have traditionally adorned the pages of this magazine-as a chair is, or a lighting fixture is. In the reception of Nokia House, the company's hulking steel and glass HQ overlooking the Baltic between Helsinki and Espoo, there is a giant sculpture of a gold chessboard, intriguingly without pieces.