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La démarche à la fois abductive et pragmatique du design se nourrit du terrain puis s’en détache pour proposer des scénarii à vivre, se préoccupant de l’expérience humaine dans toutes ses dimensions. Sa vocation est d’« améliorer ou au moins maintenir l’habitabilité du monde » (Findeli, 2010, 292). Basé sur un dialogue entre textes et retours d’expériences de l’auteure, designer chercheuse française, cet article vise à dresser un portrait du praticien réflexif et à dessiner quelques jalons pour outiller sa démarche, portée par un questionnement éthique. Les notions théoriques seront interrogées au regard de l’expérience, des rencontres interdisciplinaires, et des paradoxes de l’identité flexible du praticien réflexif. Renégociant perpétuellement son positionnement ainsi que ses outils, c’est une force à la fois critique et créative que celui-ci cherche à exercer dans les entreprises et la société au sens large.
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Un grand signe pour un regard citoyen
Geoffrey Dorne
1. Le design et les métiers d’art : deux secteurs économiques en plein essor représentant un atout formidable de la France Le design et les métiers d’art font partie des « industries créatives » (ICC) dans la terminologie européenne qui représentent aujourd’hui près de 2,6 % du PIB européen et ont un taux de croissance supérieur à la moyenne. Le chiffre d’affaires du design en France est estimé en 2010 entre 1,9 et 3,4 milliards d’euros. Le nombre de designers exerçant leur activité à titre principal se situe, en 2010, entre 30 et 33 000, l’effectif total concerné par l’activité design étant estimé entre 46 et 56 000 personnes, dont 50 % intégrés dans des entreprises et 50 % indépendants. Le design n’est plus une question de forme et d’esthétique Depuis « l’esthétique industrielle » de l’aprèsͲguerre, le design a gagné tous les domaines de la relation entre l’homme et la machine, entre l’homme et son environnement. Centré davantage sur l’utilisateur que sur l’objet, le design s’est étendu à des méthodes de management avec le design Thinking, aux sciences de la conception. Touchant des domaines aussi divers que les nouvelles technologies, l’écoͲdéveloppement, les politiques publiques et sociales, il est par essence pluridisciplinaire, polysémique et intégrateur. Le design s’est imposé dans la société civile à la croisée entre l’art, la science, la technologie, les humanités numériques et il est en totale connexion avec le monde d’aujourd’hui dans sa réalité concrète et économique. Il a sa place au MIT à Stanford et dans tous les grands établissements qui pensent et préparent l’avenir de nos futurs modes de vies, « villes connectées », « prothèses intelligentes », « supports numériques » etc. La légitimité d’une recherche en design aussi bien dans les écoles d’art, à l’université que dans les écoles d’ingénieurs ou de commerce ne devrait plus être sérieusement contestable.
Design et métiers d’art
Design et métiers d’art
Geoffrey Dorne
« Architectes, sculpteurs, peintres, tous nous devons retourner à l’artisanat » écrit l’architecte Walter Gropius dans son manifeste du Bauhaus. Fondé en 1919 à Weimar, dissout en 1933 à Berlin face à la montée du nazisme, le Bauhaus est une école d’enseignement artistique qui s’est imposée comme une référence incontournable de l’histoire de l’art du XXe siècle. Elle a été créée par Gropius pour rendre vie à l’habitat et à l’architecture au moyen de la synthèse des arts plastiques, de l’artisanat et de l’industrie.
Bauhaus : exposition
Bauhaus : exposition
Geoffrey Dorne
Qu’il s’agisse de marques produits, de lieux ou d’entreprises, la mission d’une agence de design est de créer des uni - vers émotionnels spécifiques pour les marques, univers porteurs de valeurs pour les différentes parties prenantes (consommateurs, prescripteurs, colla - borateurs, partenaires…). Les agences de design françaises emploient plusieurs centaines de desi - gners, formés dans les meilleures écoles d’art graphique, imprégnés de cette culture et de ce sens des marques qui rendent leur travail si pertinent. Ce sont aussi des stratèges qui auscultent les tendances de nos sociétés pour en anti - ciper les grands mouvements. Brand packaging, retail design ou corpo - rate branding, les métiers des agences sont aujourd’hui tous largement digi - talisés. POUR L’ADC Frédéric MESSIAN Président POUR L’UDA Étienne LECOMTE Président Pierre-Jean BOZO Directeur Général Les agences imaginent et donnent corps à de nouvelles expériences de marque, physiques et virtuelles, qui accompagnent la transformation pro - fonde et durable des modèles écono - miques des entreprises. Le design est une discipline qui s’ins - crit dans le long terme, parce qu’une marque doit pour s’imposer respecter son ADN. Mais le design est aussi la dis - cipline du temps court. Au-delà de l’an - ticipation des tendances, il suscite et accompagne l’innovation. Levier de transformation et de création de valeurs puissant, la marque est plus que jamais au cœur des préoccupations de l’ensemble des entreprises.
Le guide de la bonne relation entre annonceur et agence en design
Le guide de la bonne relation entre annonceur et agence en design
Geoffrey Dorne
Les polices jouent un rôle essentiel dans les projets de tout type. Les polices sont aussi importantes pour un graphiste que les couleurs le sont pour un peintre. Les fontes représentent en effet la palette créative du concepteur. J'ai souhaité mieux comprendre les professionnels de la création et me plonger dans leur univers créatif. Pour transmettre un message, une grande partie du travail créatif repose sur des textes et des polices. Une police ou un style de police peut même être le point de départ de tout un mouvement créatif. Dans le cadre de cette enquête, j'ai sélectionné plusieurs styles de police vus à droite à gauche. J'étais curieux de voir les réactions de la communauté créative à ces tendances et styles spécifiques. Les créateurs sont les premiers acteurs des changements typographiques observés et je souhaitais vérifier certaines hypothèses émises par les fonderies au sujet des nouvelles polices disponibles sur le marché. Lorsque j'ai analysé les données de notre enquête sur les tendances typographiques, j'ai été frappé par la passion qui animait les créatifs. Les créatifs sont des professionnels vraiment passionnés ! J'espère que votre équipe et vous apprécierez la lecture de ce document et qu'il vous sera utile. L'enquête vous aidera peut-être à décider quels styles de police privilégier. Vous pouvez également avoir envie de lire les résultats de l'enquête simplement pour satisfaire votre curiosité. Quoi qu'il en soit, nous vous souhaitons une agréable lecture !
Résultats de l'enquête relative aux tendances typographiques
Résultats de l'enquête relative aux tendances typographiques
Geoffrey Dorne
Parti de l’univers du mobilier, le design s’est transformé en une véritable « science des processus » au service de l’homme qui se manifeste à travers une démarche d’intervention. Depuis plusieurs années, il s’intéresse de plus en plus à l’espace urbain et lui est bénéfique à de nombreux égards. Les exemples analysés permettent d’identifier les atouts que présente le design pour la ville et les impacts que celui-ci a sur les réalisations. Enfin, il s’agit de suggérer comment les méthodes propres au design peuvent être appropriées par les urbanistes afin d’adapter les processus d’intervention sur la ville à chaque contexte. Les bénéfices potentiels pour chaque acteur sont également mis en avant dans l’optique d’atteindre une ville intense
La démarche design, un outil pour renouveler les processus de l’urbanisme
La démarche design, un outil pour renouveler les processus de l’urbanisme
Geoffrey Dorne
Avant de présenter le design thinking tel qu’il sera défini dans le cadre de ce mémoire, il nous semble important de comprendre d’où vient cette notion. Cette mise en perspective historique mettra en lumière le fait qu’il n’existe pas une définition incontestée et incontestable du design thinking. (Chapitre 1) Fort de ce constat, nous choisirons de traiter le design thinking en tant que méthodologie d’innovation développée tout au long des années 90 dans la prestigieuse université de Stanford. Plus spécifiquement, nous présenterons la pensée de Tim Brown, CEO de l’agence d’innovation IDEO et apôtre depuis une quinzaine d’années du design thinking. Il s’agit de l’approche la plus diffusée en France ces dernières années. (Chapitre 2) Enfin, nous dépasserons cette vision pour mettre en lumière les grands principes sur lesquels le design thinking repose : la reformulation de la question de départ, le process de design et le fait de placer l’humain au coeur de la démarche. (Chapitre 3)
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? Mémoire
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? Mémoire
Geoffrey Dorne
design. En d'autres termes, pendant que la formation du designer continue à vivre placidement à l'ombre d'un Bauhaus déjà légendaire, l'industrial design, pour sa part, semble être dans une situation particulièrement critique.
Formation designer 1958
Formation designer 1958
Geoffrey Dorne
[lecture] Faut-il mesurer la bande passante du design ?
[lecture] Faut-il mesurer la bande passante du design ?
[lecture] Faut-il mesurer la bande passante du design ?
Geoffrey Dorne
L'enjeu du design industriel en 1980 - Quand on demande à un expert anglo-saxon les raisons du succès exceptionnel de l'industrie automobile française, au moment où ses concurrentes américaines, anglaises, italiennes, allemandes sont en difficulté, il répond invariablement: «Les automobiles françaises ont un meilleur design » — signifiant par là que ce n'est ni l'avance technologique, ni la gestion des entreprises qui fait la différence mais l'architecture du produit, son esthétique et sa valeur d'usage. Le diagnostic se confirme
L'enjeu du design industriel en 1980
L'enjeu du design industriel en 1980
Geoffrey Dorne
Le kit pratique que vous vous apprêtez à consulter aborde, de façon très concrète, certaines thématiques qui occupent une place croissante dans le métier de bibliothécaire, au premier chef la question de l’innovation. Pourquoi les bibliothèques sont-elles concernées par l’innovation, une notion que l’on rattache plus volontiers à la sphère de l’industrie ou de la technologie ? Tout simplement parce que, depuis que le numérique est entré dans nos vies quotidiennes, nous vivons tous au rythme du changement technologique. Les pratiques culturelles n’échappent pas à ce phénomène : elles évoluent en permanence à un rythme parfois difficile à suivre, même pour des professionnels. Pour ne pas être dépassés, les bibliothécaires doivent apprendre à observer, à comprendre et à intégrer au fur et à mesure ces nouveaux usages, bref, à innover.
Le design thinking en bibliothèque
Le design thinking en bibliothèque
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Un grand signe pour un regard citoyen
Un grand signe pour un regard citoyen
Design et métiers d’art
Design et métiers d’art
Bauhaus : exposition
Bauhaus : exposition
Le guide de la bonne relation entre annonceur et agence en design
Le guide de la bonne relation entre annonceur et agence en design
Résultats de l'enquête relative aux tendances typographiques
Résultats de l'enquête relative aux tendances typographiques
La démarche design, un outil pour renouveler les processus de l’urbanisme
La démarche design, un outil pour renouveler les processus de l’urbanisme
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? Mémoire
INNOVER EN FRANCE AVEC LE DESIGN THINKING ? Mémoire
Formation designer 1958
Formation designer 1958
[lecture] Faut-il mesurer la bande passante du design ?
[lecture] Faut-il mesurer la bande passante du design ?
L'enjeu du design industriel en 1980
L'enjeu du design industriel en 1980
Le design thinking en bibliothèque
Le design thinking en bibliothèque
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